Drawing I - Rhode Island School of Design

Transcription

R HOD E ISLA N D SC H O O L O F D E S I G N
D EPARTMENT OF ILLU ST RAT I O N
Illustration by branche coverdale, IL 2014
2014-2015
DE T AIL E D C OUR SE LI ST I N G
This catalog is a comprehensive listing of courses offered in RISD’s
Illustration Department for Fall, Wintersession and Spring, 2014-2015. There may be a
couple of new courses added in the coming year, but for the most part the pages which
follow offer detailed, illustrated descriptions of all classes as of Spring 2014.
Each entry includes a narrative description of an Illustration Department class, a few
samples of work associated with the class activity, and a list of details which are designed
to better inform your course selection. Classes are listed by course number, in numerical
order, in the same way they appear in the RISD Course Announcement, which may be
IL L U S T R AT I O N D E PA RT ME NT
CU R R ICU L U M C O MMI T T EE
found on the Registrar’s website, r is dre g i s t ra r. w ordpre s s . c om . Depending on the
catalog year, also included among the listings may be courses under the Interdisciplinary
and Liberal Arts categories (IDISC and LAEL).
Robert Brinkerhoff, Chair
Jean Blackburn
Susan Doyle
Fritz Drury
Nick Jainschigg
Fred Lynch
David Porter
This book is the result of significant effort on the part of Illustration faculty and staff,
so we want you to use it and enjoy it. We think that you’ll benefit from the expanded
descriptions and illustrated class profiles when planning your studies for 2014-2015.
Meanwhile, consult your advisor (listed herein), stay on top of your degree requirements
for graduation and enjoy the coming year at RISD.
Special thanks are extended to Mara Sahleanu (il’2014) for her design of the book, and to
Rachael DuMoulin and Matthew Everett for their meticulous editing.
DEGREE REQUIREMENTS
B FA i n I L L US T R ATIO N
RH OD E I S L A N D S C HO O L O F DE SIG N
• Foundation Studies Studio Credits (Drawing, 2D Design, Spatial Dynamics)
18 credits
• Liberal Arts Credits (including foundation year English and Art History)
42 credits
• Non-Major Studio Electives (any studio classes taken outside the department)
12 credits
• Illustration Requirements
54 credits
Sophomore Year
Illus. Concepts 1
Drawing 1
Painting 1
3
3
3
Illus. Concepts 2
Drawing 2
Painting 2
Junior and Senior Year
Illustration Concepts Elective
Computer Literacy Requirement
Illustration Open Electives
3
3
3
3*
3*
30
126 credits
† Note: Any substitutions or exceptions to the degree requirements must be approved in consultation with
the Illustration Department Head. Under no circumstances does an advisor or individual instructor of a
course have the authority to assign credits toward degree matriculation.
* Please consult the list of acceptable courses which fulfill the Illustration Concepts Elective requirement. These
courses are listed in the introduction to the Illustration Department chapter of the RISD Course Announcement.
** Please consult the list of acceptable courses which fulfill the Computer Literacy requirement. These courses
are listed in the introduction to the Illustration Department chapter of the RISD Course Announcement.
Students are advised to pay close attention to program evaluations, which are periodically provided by the Registrar, combined with regular consultation with their advisor and (in special cases) with the Department Head
to track fulfillment of the BFA requirements. The Registrar’s program evaluations are considered the definitive
record of matriculation progress, and students bear primary responsibility for acting on advice based on information provided by the Registrar.
I L L US TRAT I ON DEPA RTMENT ADV I SO R S
All Illustration majors are assigned an academic advisor, whose name appears on student transcripts, available on WebAdvisor (wa.risd.edu). Students and advisors
are equally responsible for establishing contact, but students are ultimately accountable for completion of degree requirements toward graduation. Listed below are
full-time faculty who serve as advisors to Illustration majors, along with their duties in the area of advising, as well as specific areas of expertise. Our primary purpose
as faculty is to serve RISD’s students, so take advantage of the counsel provided by us. We welcome the chance to get to know you as students and future artists and
designers. If you are unable to reach your advisor, please contact Rachael DuMoulin in the Illustration office at 454-6240 or [email protected].
Students whose advisors are on leave from teaching should contact Robert Brinkerhoff as a temporary advisor.
For more information about individual instructors, including both full and part-time faculty, visit this link: http://www.risd.edu/templates/facultylist.aspx?id=429497014
Robert Brinkerhoff
Professor & Department Head
ISB Main Office | 454-6241
[email protected]
Jean Blackburn
Professor
general advising; exceptions to degree requirements/distribution of credits; academic standing/disciplinary questions;
approval of independent study, interdisciplinary study and double major forms; Brown/RISD Dual Degree advising; approval
of internships; grade disputes and grievances; international exchange applications; academic petitions; building concerns;
approval of crit applications for on-site installations; questions for non-majors; expertise in editorial illustration, corporate
and institutional illustration
general advising; expertise in drawing, painting, studio practice and gallery/museum representation, sculpture, installation,
3D illustration, museum/gallery internships and assistantships; artist residencies
ISB 301 | 454-6246
[email protected]
Trent Burleson
general advising; expertise in drawing, painting, studio practice and gallery/museum representation
Professor
ISB 201 | 454-6252
[email protected]
Susan Doyle
Associate Professor
SABBATICAL 2014 - 2015
general advising; expertise in painting, studio practice and gallery/museum representation, printmaking, graphic deign,
history of illustration, student competitions, community service and sponsored studios/partnered research
I L L US TRAT I ON DEPA RTMENT ADV I SO R S
Bill Drew
Professor
ISB 300 | 454-6254 & 454-6240
[email protected] | [email protected]
Fritz Drury
Professor
general advising; Yale-Norfolk Summer Program; expertise in publishing, book illustration, drawing, painting, studio practice
and gallery/museum representation
ISB 200 | 454-6243
[email protected]
Judy Sue
Goodwin-Sturges
general advising; expertise in children’s book illustration and publishing
Professor
ISB 401 | 454-6257
[email protected]
Nick Jainschigg
general advising; expertise in science fiction and fantasy illustration, scientific illustration, publishing
Associate Professor
ISB 301 | 454-6248
[email protected]
SABBATICAL WS + SP 2015
Nick Palermo
Professor
ISB 403 | 454-6250
[email protected]
David Porter
Assistant Professor
ISB 201 | 454-6245
[email protected]
general advising; additional advice about graduation requirements; expertise in editorial illustration, book illustration,
illustration concepts
D E TA I L S
COURSE DESCRIPTION
IL L U S 2000
Illustration Concep ts 1
Staff
Course Level: S oph omor e (Requi red)
3 CREDITS
P R E R E QU IS IT E S
REL AT E D S T U D IE S
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Fou nda ti on S tudi es
Illus tr a ti on Conc ep ts 2
Pr op a ga nda
Wha t’ s You r S tor y?
XX/XY
S tyle & S u bs ta nc e
Tr a di ti ons , Tr a p p i ngs , Cult u re , K i t sch
Contemp or a r y Illus tr a ti on
Edi tor i a l Illus tr a ti on
N ew Yor k, N ew Yor ker
Illus tr a ti ng D a nte’ s Comed y
Voi c e + V i s i on
Illustration is the visual communication of ideas and feelings. The fine arts, in contrast, merely
require expression. But in illustration, where communication is paramount, lucid articulation is
essential. An illustration that is not understood by its audience is a failure. In this context, “art”
is not an end but a means: it is a delivery system for the perceptions of the mind and the heart.
Mastery of the means of expression is admirable, but the underlying concept is fundamental.
“How?” is subservient to “Why?”
Illustration Concepts 1 is the first of two sequential required courses that acknowledge and embrace
the primacy of concept, idea, and perception in the creation of an illustrative statement. While the
individual sections of each course may vary in method and emphasis, they share a single goal: to
develop and deepen each student’s conceptual reach and grasp, and to enlist his or her unique
imagination as the driving force in the solution to a broad spectrum of illustrative problems. They
incorporate the premise that it matters little how well you speak if you have nothing to say.
c onc ep t/ p r oblem s olv i ng, g ra p h i c d e si g n , e d i t o ri a l
i llus tr a ti on, c or p or a te & i n st i t u t i o n a l i l l u st ra t i o n , b o o k
a nd p os ter i llus tr a ti on/ desi g n
OPEN M ED IA : p en & i nk/ scra t ch b o a rd , m i x e d m e d i a /
c olla ge, dr a w i ng/ p a i nti ng, d i g i t a l 2 D / 3 D , p ri n t m a k i n g ,
CONTACT INFORMATION
content and concept
imaging skills
professional practice
See listings for individual instructors
ISB MAIN OFFICE | 401-454-6240
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 2004
Illustration Concep ts 2
Staff
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
Illus tr a ti on Conc ep ts 1
Pr op a ga nda
XX/XY
Illustration Concepts 2 is the second required course in a two-semester sequence. Like its antecedent
it embraces the primacy of concept, idea, and perception in the creation of an illustrative statement.
While the sections of the course may vary in method and emphasis (due to the proclivities of
individual faculty), they share a single goal: to develop and deepen the student’s conceptual reach
and grasp and to enlist his or her unique imagination as the driving force in the solution to a broad
spectrum of illustrative problems. They incorporate the premise that it matters little how well you
speak if you have nothing to say.
Illustration is the visual communication of ideas and feelings. The fine arts, in contrast, merely
require expression. But in illustration, where communication is paramount, lucid articulation is
essential. An illustration that is not understood by its audience is a failure. In this context, “art”
is not an end but a means: it is a delivery system for the perceptions of the mind and the heart.
Mastery of the means of expression is admirable, but the underlying concept is fundamental.
“How?” is subservient to “Why?”
CONTACT INFORMATION
imaging skills
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 2008
Introd uction to Illustration
Antoine Revoy
Course Level: Fr e sh man , Sophomore, Juni or, Seni or, Fi ft h Year, G raduat e
Ope n to n on - maj or s (Ele c t i ve)
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
N one
Illus tr a ti on Conc ep ts 1 & 2
Pr op a ga nda
XX/XY
Simply put, illustrators must be dedicated to two undertakings: communication of concepts put
forth by the material they illustrate, and self-fulfillment in the enjoyment of their work. This course
will be a survey regarding the concepts, techniques, and methodology of illustration specifically
designed for Freshman students who are considering illustration as a major. Students will examine
illustration genres, including book, editorial and corporate illustration, while working with a variety
of methods and materials. Complementing this basic orientation will be frequent demonstrations
of materials and techniques commonly used by illustrators.
By the end of the wintersession term, students will have gained an awareness of a few of the
professional paths an illustrator may take, experimented with a limited range of materials and
techniques, and developed a sense of how to balance practical image-making with creative
fulfillment.
a ni ma ti on, f i lm/ v i deo
CONTACT INFORMATION
www.illustration.revoy.net
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 2012
D rawing 1
Staff
3 CREDITS
Visual articulation of ideas is the most important ability an illustrator has; drawing is fundamental to
such articulation. This course is designed to develop the student’s descriptive and communicative
skills through weekly exercises in drawing from direct observation. Fall semester focuses primarily
on organizing pictorial space and defining a composition in relation to a unified viewpoint.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
D r a w i ng 2 / Pa i nti ng 1 & 2
V i s i ble Ci ti es
A r ti s ti c A na tomy
D r a w i ng w i th Color
M ea ns a nd A n End
The Huma n F i gur e i n Cont e x t
S c i enti f i c Illu s tr a ti on
Understanding how point of view can influence an image, both physically and conceptually,
gives the student tools to construct more complex themes and to work more confidently from
imagination. Frequent slide lectures will expose students to spatial and compositional approaches
from art history.
p a i nti ng & dr a w i ng a s i llu st ra t i o n a n d fi n e a rt ,
p or tr a i tu r e, s tudi o p r a c ti c e
c ha r c oa l, c onté, gr a p hi te a n d o t h e r d ra w i n g m e d i a
CONTACT INFORMATION
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 2016
D rawing 2
Staff
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
D r a w i ng 1
or pe r mi s s i on of i n s t r u c t or
Building on skills developed in Drawing I during the Fall semester, this class will focus primarily on
the human figure through weekly observational drawing. Basic anatomical considerations will be
addressed in order to help the students better understand and depict the complexities of the human
form. As the course progresses, students will integrate the figure into a spatial context, engaging
issues of composition, figure and ground, and effective lighting. In increasingly challenging projects
students will explore how viewpoint, both physical and conceptual, can effect the viewer’s experience
of a drawing. Experimentation with materials, concepts and approaches is strongly encouraged.
D r a w i ng 1 / Pa i nti ng 1 & 2
D r a w i ng Wi th Color
S p ea k, M emor y
M ea ns a nd A n End
p a i nti ng a nd dr a w i ng a s i ll u st ra t i o n a n d fi n e a rt ,
c ha r c oa l, c onté, gr a p hi te, an d o t h e r d ra w i n g m e d i a
ME D IA
AF F INIT IES
content and concept
imaging skills
CONTACT INFORMATION
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 2020
Means and an End
Nick Palermo
3 CREDITS
Basic to all visual expression is the ability to articulate what one sees; skill and sensitivity in drawing
are the essence of such articulation. The primary objective of this course will be to increase the
student’s perceptive powers through drawing from direct observation of the human figure. Drawing
will be defined as an investigation of visual form, with marks on the page recording the process of
analysis. Relationships of direction, proportion, volume and articulation will be thoroughly studied.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
N one
This course is focused on enabling students to subjectively edit the wide range of data in observed
reality according to his or her expressive priorities. A high level of skill in drawing is not a prerequisite
for this course, but a strong commitment to creative engagement and growth is.
D r a w i ng 1 & 2
The Huma n F i gur e i n Cone x t
p a i nti ng a nd dr a w i ng a s i ll u st ra t i o n a n d fi n e a rt ,
a ni ma ti on, s tor yboa r di ng, st u d i o p ra ct i ce
dr a w i ng medi a
CONTACT INFORMATION
content and concept
imaging skills
www.risd.edu/Illustration/Nicholas_Palermo/
[email protected]
ISB 403 | 401-454-6250
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 2024
Painting 1
Staff
3 CREDITS
This oil painting/color course instills lessons on the use of color to establish spatial relationships,
light, shadow, and expressive inflection, as drawn from and related to visual fact.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
D r a w i ng 1 & 2 / Pa i nti ng 2
Intr oduc ti on to Oi l Pa i nti n g
Fa nta s y Pa i nti ng
S p ea k, M emor y: Pa i nti ng a s M e m o i r
R ena i s s a nc e Pa i nti ng Tec hn i qu e a s
Color Wor ks
Color f or Por tr a i t a nd F i gu re
La nds c a p e Pa i nti ng
A r ti s ti c M edi u ms f or Illu s t ra t i o n
M a s ter Pa i nti ng Tec hni q u e s
This course introduces the use of color in image-making, developing understanding from the
experience of light in direct observation of still-life, landscape and figure. The unifying effects of light
source are described as the basis for color harmony, complemented by the abstract principles of color
design and the organization of the color wheel. The course will review strategies for organizing and
linking colors on the palette, concepts of complementary and simultaneous contrast, properties of
hue, saturation and value and the creation of harmonies through linked mixture. The manipulation
of spatial effect and color issues in building narrative associations are explored while reinforcing
drawing skills necessary to build effective representational images. The methods and mechanics of
oil painting are covered in depth, and the history of painting in fine art and illustration is explored
through slides and demonstrations.
oi l p a i nti ng
CONTACT INFORMATION
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 2028
Painting 2
Staff
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Pa i nti ng 1
Color Wor ks
Tr a di ti ons , Tr a p p i ngs , Cult u re K i t sch
This course extends the lessons of Painting 1, reinforcing concepts of color organization and
compositional construction. The influence of color choice on the emotional and associative
expression of an image is explored. The course covers various strategies for engaging the viewer
through color harmony and tension, spatial illusions, the tactile properties of the painted surface
and depicted forms.
Students are encouraged to develop personal approaches to color and paint application. While
continuing work from direct observation, the course proceeds to explore strategies for building
synthetic, layered compositions from a variety of visual sources while using color to unify an image,
create emphasis and suggest narrative sequence.
oi l p a i nti ng
CONTACT INFORMATION
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 2032
Introd uction to Oil Painting
Jason Brockert
Course Level: Fr e sh man , Sophmore, Juni or, Seni or, Fi ft h Year, G raduat e
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
N one
Color Wor ks
Oil painting is one of the richest, most powerfully expressive mediums in existence. It offers a vast
diversity of approaches and provides the most flexibility of all the painting materials. To take advantage of that variety, certain technical knowledge is essential. This class is geared as a thorough
introduction to the novice oil painter. Our early class focus will be on understanding materials
through a variety of life study exercises. Focus on color and composition will promote effectively
orchestrated images. Our ultimate goal will be to make powerful images that marry the variety of
oil with our own personal vision. The class will balance the technical mastery of our materials with
the clarity of effective visual communication.
We will communicate ideas of light and space as a means to explore effective design and color. A
major focus will be how to interpret the complexity of our world into luminous and vibrant color and
especially the exploration of “warm” versus “cool” color relationships. Powerpoint and the RISD
Museum will open our eyes to masters of oil paint both old and new and they will help serve as our
guides. No painting experience is required.
p a i nti ng & dr a w i ng a s i llu st ra t i o n a n d fi n e a rt , co l o r
des i gn, p or tr a i tur e, s tudi o p ra ct i ce
oi l p a i nti ng
CONTACT INFORMATION
www.jasonbrockert.com
[email protected]
ISB 403 | 401-454-6250
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3000
Ed itorial Illustration
Chris Buzelli
Course Level: J u n ior, S e ni or (El ect i ve)
Th is c ou r se f u lf ills th e I llu s t rat i on Concept s requi rement for Juni ors.
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
R eq u i r ed s op homor e s tudi o s
Wor ds , Ima ges , Idea s
XX/XY
Pr op a ga nda
Cov er to Cov er
Wi t’ s End
Magazines, newspapers and other publications rely heavily on pictures to illuminate messages
initiated by writers, and more than any other genre of illustration, the editorial field gives voice
to the artist. In this alternately reactive and expressive line of work, the illustrator engages in a
powerful partnership with the written word, effectively becoming an author of opinions and ideas.
This class will approach several editorial assignments, all of which involve an illustrated response
to written text.
What makes a reader stop and read an article? The right picture draws the reader into the story.
This class responds to modern editorial assignments from social, environmental and political
issues. It also deals with the business side of being a professional illustrator: “How do I get freelance illustration jobs?”; “Can I make a living as a freelancer?”; and “How/where do I start?”
The final project is a real life editorial job that will be published in a magazine.
gr a p hi c des i gn, ma ga zi ne/ b o o k i l l u st ra t i o n , st u d i o
p r a c ti c e, c onc ep t/ p r oblem so l vi n g
a ni ma ti on, p hotogr a p hy, f il m / vi d e o
CONTACT INFORMATION
content and concept
imaging skills
www.chrisbuzelli.com
[email protected]
ISB 400 | 401-454-6254
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3004
Contemp orary Illustration
Chris Buzelli
3 CREDITS
XX/XY
Pr op a ga nda
Cov er to Cov er
Wi t’ s End
P R OF E S S IONAL
AF F INIT IES
gr a p hi c des i gn, edi tor i a l/ a d ve rt i si n g / b o o k i l l u st ra t i o n ,
c onc ep t/ p r oblem s olv i ng, s t u d i o p ra ct i ce
ME D IA
AF F INIT IES
content and concept
imaging skills
What is it like to make a living creating pictures for the numerous outlets of American culture
in contemporary times? This course will emphasize problem-solving in a commercial situation
while steadfastly holding on to your personal integrity. This class will be exposed to the numerous
illustration-based opportunities through participation in several online competitions and product
contests. While the core of illustration is communication, the style of the statement ultimately
determines how effective that communication can be. Style, however, is more than something to
be applied to an image after the fact. It incorporates the illustrator’s entire approach to problemsolving and creation. Illustration is (once again) in the midst of a revolution. It is spreading beyond
its traditional venues of paper and print into galleries, toy culture, music, movies, animation, and
the interactive world of the web.
The successful illustrator is one whose concepts and images can jump across media and
communicate with audiences in a direct way. More and more, illustrators are sought out for their
unique ideas and vision. This class places a large emphasis on the concept of each project as it is
revealed through the style of thinking and execution. The assignments are based on real projects
and art competitions, with real constraints and deadlines. Students will also be exposed through
slide lectures and web links to the work of artists and illustrators whose work exemplifies how
illustration is changing for a new century.
CONTACT INFORMATION
chrisbuzelli.com
[email protected]
ISB 400 | 401-454-6254
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3012
Style & Sub stance
Fred Lynch
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Pr op a ga nda
XX/XY
Wi t’ s End
Cov er to Cov er
Illustration is an art of visual communication: style is the illustrator’s vocabulary, and substance is
what the illustrator has chosen to express. The success of an illustration depends on the seamless
connection of these two entities. In this course, students encounter a wide variety of subject matter
drawn from a variety of fields. They are asked to create illustrations with a particular emphasis on
the development of a personal vision as well as the successful communication of wisely chosen
ideas. The strengths and limitations of style are examined in the light of style’s importance in the
marketplace.
CONTACT INFORMATION
www.fredlynch.com
[email protected]
ISB 201 | 401-454-6245
fall + spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3016
New York, New York(er)
David Porter
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Pr op a ga nda
XX/XY
Wi t’ s End
Pr emi s es & Pr ojec t
i llus tr a ti on, c or p or a te & i n st i t u t i o n a l i l l u st ra t i o n , b o o k /
p os ter des i gn a nd i llus tr a ti o n
The New Yorker is one of the most respected periodicals in America, if not the English-speaking
world. Its commentary, analysis and contribution to the broadest spectrum of cultural concern
are almost always articulate and influential. Its readership is probably the best-educated and
most sophisticated of any general-circulation magazine. More importantly... its cover is invariably
illustrated. It is seen by almost everyone of consequence in the world of visual communication.
The cover of the New Yorker has, however, a much more limited view than do its contents. It is witty,
it is light, it is playful, it is whimsical, it is wistful. While the cover’s reach and range have expanded
notably over the past fifteen years, the world to which it alludes has no poverty, a white race only,
no sex. Until the last decade it had no politics. The New Yorker cover invites perception and play,
but not passion.
Students in the course develop a portfolio of covers in response to areas of cultural interest (Books
& Music, Film and Theatre, Fine Arts, Sports, Fashion, etc.), to the passing seasons in the City (New
Year’s, April Fool’s, Summer heat, Halloween, etc.) and to events of social concern (Politics, Money,
Current Events). A light touch, a strong grasp and cultural reach are helpful.
CONTACT INFORMATION
www.risd.edu/Illustration/David_Porter/
[email protected]
ISB 201 | 401-454-6245
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3020
Wit’s End
David Porter
Th is c ou r se f u lf ills th e I llu s t rat i on Concept s Requi rement for Juni ors.
3 CREDITS
A smile is recognition. Laughter is conspiracy. To be tickled is to be vulnerable.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Pr op a ga nda
XX/XY
Pr emi s es & Pr ojec t
This course will invite students to integrate language and image in the pursuit of visual wit. Not
the comic, nor the comical. Not comics. Rather, it will seek to provoke insights that are best
expressed visually and verbally, as humor. Humor as the means, not the end, of the illustrative
gesture. A funnybone to pick. Assignments will include inversions of expectation, the uses of the
inappropriate, the various guises of the satirical, of parody, single frame cartoons, black comedy.
Wit. (“Wit” is merely insight made delightful). These will seek to elicit from the student a series
of illustrations that will be as self-descriptive as any portfolio, as definitive as any “style.” Humor
is intensely idiosyncratic and personal. But when it “works,” when it achieves its audience, it is a
particularly intimate and effective means of communication. In other words, illustration.
i llus tr a ti on, c or p or a te & i n st i t u t i o n a l i l l u st ra t i o n , b o o k /
p os ter des i gn a nd i llus tr a ti o n
CONTACT INFORMATION
www.risd.edu/Illustration/David_Porter/
[email protected]
ISB 201 | 401-454-6245
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3024
Prop agand a
David Porter
3 CREDITS
Propaganda seeks to convince without persuasive argument: it appeals to the visceral rather
than the cerebral. Its modes range from frontal assault to the subtlest manipulation; its methods
manipulate the audience’s psychological vulnerabilities to fear, anger, and desire.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
XX/XY
a ni ma ti on
Students in this course will experiment with such manipulation by making forceful statements for
and against individuals and issues of social concern: political figures; drugs, alcohol, and smoking;
ecology, abortion or globalization; race, religion, or gender. The latter third of the course will
incorporate designs for a memorial or consciousness-raising installation in a public space and, of
course, advertising. Advertising is the ubiquitous (iniquitous?) manifestation of propaganda in the
modern world. The object of the course will be to construct visual statements that are forceful and
irresistible. Alas, these will not always be in the service of truth.
NB: Illustration is inextricably linked to a text, a manuscript: language of some sort. PROPAGANDA
will require its participants to invent captions for their images that focus, amplify, or deepen the
effect of the visual statement.
CONTACT INFORMATION
www.risd.edu/Illustration/David_Porter
[email protected]
ISB 201 | 401-454-6245
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3032
XX/XY
Melissa Ferreira
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Pr op a ga nda
M a ki ng Pla y
We are not governed by our genitals. While our behaviors are fractionally determined by our physical
sex (and the underlying genetics), we are also shaped by cultural traditions and expectations that
influence us profoundly. Welcome to the world of gender studies. You may endorse or oppose our
society’s definition of masculine and feminine and its sexual practices and pressures; this semester
will give you an opportunity to closely consider what you do (or don’t) and why (or why not). This
course, however, is by no means a seminar in social psychology. Rather it examines gender issues
that you’d find on the newsstands and Oprah: dating, marriage, parenting, fashion, body image,
career choice, and stereotypes. We’ll deal with safe sex campaigns and the treacherous terrain of
grade school sex education, not to mention the hormonal vicissitudes of adolescence.
We will consider the prurience of both pornography and political correctness. Weekly illustration
assignments will proceed from assigned readings, documentaries, films, and podcasts. Whatever
the topic, we follow important illustration protocol: identifying the target audience, clarifying and
strengthening concepts, and keeping to the deadline.
Our goal is inventive communication and the articulation of individual sensibility; virtually any
media and method can be used as we explore what it is to be female, male or something in between.
CONTACT INFORMATION
http://melissaferreira.net/blog
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3036
What’s Your Story?
Mary Jane Begin
3 CREDITS
Pi c tu r e & Wor d
CoM i x
S eq uenti a l A r t
Comi c s : G r a mma r of the G ra p h i c N o ve l
Ci nema ti c S tor ytelli ng
M a ki ng Pla y: G a mes
P R OF E S S IONAL
AF F INIT IES
c onc ep tu a l/ p r oblem s olv i n g ; g ra p h i c d e si g n ; e d i t o ri a l
i llus tr a ti on; c or p or a te & i n st i t u t i o n a l i l l u st ra t i o n ; b o o k
ME D IA
AF F INIT IES
OPEN M ED IA : p en & i nk/ scra t ch b o a rd ; m i x e d m e d i a /
c olla ge; dr a w i ng/ p a i nti ng; d i g i t a l 2 D / 3 D ; p ri n t m a k i n g ;
a ni ma ti on; p hotogr a p hy; v id e o a n i m a t i o n , p h o t o g ra p h y,
f i lm/ v i deo
content and concept
imaging skills
In choosing a story to retell, invent or illustrate, the choice itself is revealing. Are you obsessed
with wizards, dragons, minimalist plays, super heroes, British literature, nursery rhymes, myths,
folktales or graphic novels? What motivates an artist to explore one particular theme or genre over
another: Is it a personal obsession, a political/moral stance, or a “purely aesthetic” interest? This
course requires students to search the deeper and/or darker recesses of their hearts and minds
to unearth personal meaning in the narrative sources they choose for class projects, ultimately
using these analytical conclusions to shape each project’s character. Assignments will include the
creation of the following: an historical narrative image where student plays a role, a sequential
series from a text of student’s choice, a comic panel and a toy or game. Discussions will include:
characterization, setting, atmosphere, format, focus, movement/readability, editing, symbolism,
storyboarding, typography, layout, and a study of style and its role in illuminating meaning.
This course will involve in-class critique, a character workshop, a visit to Special Collections, a visit
to the RISD Museum, a field trip, slide/power point lectures, and a weekly review of books, picture
books, graphic novels, comics, games and toys.
CONTACT INFORMATION
http://maryjanebegin.com
[email protected]
ISB 200 | 401-454-6242
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3040
Premises & Proj ects
David Porter
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
N ew Yor k, N ew Yor k( er )
Wi t’ s End
Pr op a ga nda
M a ki ng Pla y
A premise is an idea with consequences. Students in this course will conceive a premise for each
of three distinct projects. The first is for children, the second for adults, the third at the student’s
discretion. Each project will develop and test its premise: it will expose inspiration to proof. No
project will be completed in this course. The object, rather, is to give in each instance sufficient
visible evidence of your imagination’s potential; to demonstrate delight. Such promising projects
may be continued and/or completed after the course itself is over. While the commercial potential
for all projects will be considered and discussed, the primary emphasis will be on ways to generate,
recognize, and make manifest the student’s own best ideas.
Classes will be of seminar size. They will consist of speculation, discussion, suggestion, and critique:
skull sessions. Such dialogue is essential to the generation and development of both premise and
project, and will comprise the vast majority of class time.
CONTACT INFORMATION
http://www.risd.edu/Illustration/David_Porter/
[email protected]
ISB 201 | 401-454-6245
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3048
Voice + Vision
Robert Brinkerhoff
Course Level: Fr e sh man , Sophomore, Juni or, Seni or, G raduat e
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
none
Pi c tu r e & Wor d
CoM i x
Illus tr a tor a s D es i gner
Wor ds , Ima ges a nd Idea s
Writing and image-making are both important languages to process and communicate personal
ideas and experiences with immediacy. How can they be used most fruitfully together? In this class,
we will examine the relationship between the voice and vision of the artist-writer through a series
of projects that intertwine written and visual communication. Projects may include image-making
which is stimulated by writing (or vice-versa), blogging and visual journalism for the artist-writer, as
well as creative writing projects which consider a significant visual element. We will look to artist’s
books and notebooks, developments in literature, blogs, and on-line communications. Students
will be encouraged to mine areas of personal interest in the development of a body of work.
This class explores the intersection of two languages: verbal and visual. Our primary aim is to
liberate your creative process with the use of these two languages in tandem, exploring how verbal
language (whether something as simple as titling an image, or as complex as poetic verse or a story
written by you) may play a significant role in not only what you create but how you create. You’ll be
working with both verbal and visual vocabulary—sometimes together, sometimes apart from each
other—with the goal of forging provocative, communicative art.
CONTACT INFORMATION
http://www.robertbrinkerhoff.com
http://robertbrinkerhoff.blogspot.com
[email protected]
ISB main office | 401-454-6240
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3104
Visib le Cities
Jean Blackburn
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
A dv a nc ed Pa i nti ng
Pa i nti ng S emi na r
M ea ns a nd a n End
The Huma n F i gur e In Cont e z x t
p a i nti ng & dr a w i ng a s i llu st ra t i o n a n d fi n e a rt , st u d i o
A society’s history is written in its stones. From the dystopia of Gotham City or Grand Theft Auto,
the hive mind of the Borg and the ecstatic asceticism of the Shakers, to the suburban conformity of
Levittown and the Sphinx half buried in sand, every city, every society, is an embodiment of ideas,
history, geography, and beliefs. Each built environment has its own logic, both architectural and
cultural. With some provocative writings about the phenomenon of the city as inspiration, you will
be asked to conceptualize a place and bring it to life visually. The essence of a city – its buildings,
pathways, public and private spaces – depends on how you define the character of its people, its
government, its history, its geographic siting and even its language.
After defining a back-story in broad strokes, you will begin researching the implications of those
choices visually. Working from thumbnails and sketches to finished conceptualization, students
will explore compelling physical and conceptual viewpoints with a variety of possibilities in the use
of media and technique. Rather than limiting ourselves to purely pragmatic architecture, the class
will be searching for imaginative visualizations, where form becomes poetic metaphor suggestive
of narrative.
p a i nti ng/ dr a w i ng, mi xed m e d i a / co l l a g e
CONTACT INFORMATION
content and concept
imaging skills
www.blackburnartspace.com
[email protected]
ISB 301 | 401-454-6246
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3108
Artistic Anatomy
Fritz Drury
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Cha r a c ter Cr ea ti on
Cr ea tur e La b
Cha r a c ter a nd Ev i r onment D e si g n fo r 3 D G a m i n g
The Huma n F i gur e In Cont e x t
Students in this course will investigate the specific physical structure of the human body,
with the aim of producing drawings of greater structural and visual integrity and more fluid
descriptions of movement and weight in the figure. We will proceed through the skeletal
and muscular systems at a brisk but reasonable pace, learning names, points of articulation
and the dynamic functions of each component of the body. Each weekly assignment will
consist of a careful, descriptive drawing of an element of the skeletal or muscular system,
and a “dynamic” drawing in which that same element is shown in action in the living figure.
We will also review the work of artists, both contemporary and historical, who have made vital
artistic use of the elements of anatomical study. The course includes an optional field trip to the
Brown University Evolutionary Biology Lab to draw from cadavers. There will be at least one written
test on anatomical facts and terminology. The course culminates in a final project on the theme of
“A Human Ideal,” exploring past concepts of idealized form in the figure in relation to anatomical
reality and contemporary cultural perspectives.
f i gu r a ti v e p a i nti ng, p or tr a it u re , a n i m a t i o n , co n ce p t a rt ,
s c i - f i / f a nta s y i llus tr a ti on
OPEN M ED IA : a ll dr a w i ng a n d p a i n t i n g m e d i a
CONTACT INFORMATION
www.fritzdrury.com
[email protected]
ISB 200 | 401-454-6243
fall + spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3112
D rawing With Color
Anthony Janello
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Color Wor ks
Color f or Por tr a i t & F i gur e
Wa ter c olor & G oua c he
Wa ter c olor : A n Intr odu c ti o n t o t h e M e d i u m
Ca r a n D ’ a r c he c r a yons on m a so n i t e
Color is arguably the single most expressive and mysterious tool available to the artist. Many artists
who are skilled in black and white drawing have difficulty when they turn their hand to color. Through
classroom exercises, an awareness of the transformative power of color is awoken. Limited color
underdrawings are further developed with multiple layers of color. The use of warm and cool color
relationships – as well as the exploration of polarities of color in order to create rich and dramatic
effects – is examined in depth.
Class work gives the student the opportunity to work from the live model. For homework, the
student is encouraged to engage in subject matter which has personal significance, perhaps
something one had always wanted to create but hadn’t had the opportunity.
Caran D’arche crayons are an overlooked medium that offers the student a unique bridge from
drawing in black and white to working with confidence in full color. Crayon creates a bridge: less
intimidating than more traditional media, while simultaneously capable of producing highly
sophisticated imagery. Crayon provides an important alternative to oil painting for the nuanced
investigation of color. Their waxy yet rich consistency makes for an ease of layering and modification
that promotes experimentation and self-discovery. Rich modulation of color through optical color
mixing and a full range of approaches (from detailed rendering to gestural mark-making) can be
achieved by the student. Subject matter, style, and content are all of the student’s choosing.
CONTACT INFORMATION
content and concept
imaging skills
www.slowart.com/articles/janello.htm
[email protected]
ISB 401 | 401-454-6257
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3204
Color for Portrait and Figure
Tony Janello
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
S eni or Pa i nti ng S emi na r
Color Wor ks
Portraiture in oils does not simply begin and end with a likeness. In this class, we will explore
ideas and techniques employed by great painters since the Renaissance to create truly lifelike
representations. We will begin with limited color underpaintings and thereby establish the basic
image which frees us up to explore color through glazing. As the semester progresses, we will
move on to opaque painting techniques and finally to thickly applied paint using the palette knife.
Emphasis is placed on color mixing and the use of a limited palette. We will examine how color
can convey life and how this can be achieved through the use of subtle warm and cool color
relationships. The mastery of color is essential for the artist who wishes to create portraits and
figures that seem alive to the viewer.
Initially, life painting in the classroom creates a bridge between tonal painting and color. The use of
glazes versus opaque oil color, once explained and demonstrated, are then applied by the student
and thereby understood. By employing a simple palette of three primaries, the student learns to mix
all the colors he/she needs. Palette knife is used later in the semester to create very accurate warmcool color effects that are difficult to achieve with brush alone. Along with gaining a mastery of color,
the student is exposed to a variety of techniques aimed at improving one’s ability to capture a faithful
likeness. The study of portrait painters of the past and present from Velazquez and Rembrandt to
Lucian Freud and Jenny Saville is an integral part of this course. Students are encouraged to design
homework assignments tailored to their specific needs.
oi l p a i nti ng
CONTACT INFORMATION
www.slowart.com/articles/janello.htm
[email protected]
ISB 401 | 401-454-6257
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3212
The Human Figure in Context
Nick Palermo
Course Level: Fr e sh man , Sophomore, Juni or, Seni or, Fi i ft h Year, G rad
Ope n to Non - M aj or s (Ele c ti ve)
3 CREDITS
This observational drawing course is designed primarily to increase one’s understanding of the
human figure and its placement in space. Students will also explore the narrative potential of
the human figure in context as they gradually develop their own personal imagery. The classical
principles of design presented in the course will likewise enable students to create more compelling
visual dynamics in their work.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
M ea ns a nd a n End
Color Wor ks
p a i nti ng & dr a w i ng a s i llu st ra t i o n a n d fi n e a rt , st u d i o
dr a w i ng medi a
CONTACT INFORMATION
content and concept
imaging skills
www.risd.edu/Illustration/Nicholas_Palermo
[email protected]
ISB 403 | 401-454-6250
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3216
Ad vanced Painting
Fritz Drury
Fee: $50.00
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
content and concept
imaging skills
R ena i s s a nc e Pa i nti ng Tec hn i qu e s
This course will build on the skills established in Sophomore Painting, while broadening
the students’ understanding of options available to the painter. The primary work of the semester
will be on individually directed projects to be worked on both in and out of class. Overall, a goal
of establishing a personal visual vocabulary of facture and image will be emphasized. Students
will be encouraged to particularize their use of the painting medium and their approach to subject
and statement through color, painterly touch, format, use of materials, drawing and compositional
decisions, stylistic reference, and implied narrative.
The core medium of the class will be oil paint, but this may be augmented or extended by other media.
The course will include group exercises designed to solidify a basic understanding of drawing, the
use of the medium and the principles of color. Periodic outside assignments will extend this practice
while emphasizing personal choice and expressive adjustment based on individual priorities.
A flexible format for in-class work on personal projects will allow group interaction to co-exist with
individually directed work. The semester’s goal for each student will be to define a direction for
future work in painting through a connected artistic investigation completed during the course.
p a i nti ng a nd dr a w i ng a s f i n e a rt a n d i l l u st ra t i o n , st u d i o
p r a c ti c e
oi l p a i nti ng a nd dr a w i ng, m i x e d m e d i a / co l l a g e
CONTACT INFORMATION
www.fritzdrury.com
[email protected]
ISB 200 | 401-454-6243
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3224
L and scap e Painting
Trent Burleson
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
D r a w i ng/ Pa i nti ng 1 & 2
Color Wor ks
Throughout history, the natural environment has been a subject of charm and awe for the artist, from
the delicately painted frescoes in ancient Roman homes to the 16th century, when the landscape
transcended the role of “background” and gained momentum as a sublime subject in its own right.
This is a course on the history of techniques, concepts, possibilities, and purposes in landscape
painting. The class will encourage exploration of landscape as sublime subject, as metaphor
for human experience, or as the battleground for politically charged debate of environmental
issues, among other possible approaches. Students will work on location and in studio, learning
approaches to plein air painting as well as incorporation of references in the construction of natural
environments.
We begin in the balmy days of September so students can study directly from nature and work on-site
in the open air. When cold weather closes in, we rely on a mix of resource materials (photographs,
sketches) in the warmth of the studio. During the last part of the semester, we review each student’s
work and progress in weekly group critiques. Major emphasis is placed on developing a personal
vision of nature and an individual approach to transforming landscape into art.
c omp os i ti on, p or tr a i tu r e, s t u d i o p ra ct i ce
oi l p a i nti ng
CONTACT INFORMATION
content and concept
imaging skills
www.burlesonart.com
[email protected]
ISB 300 | 401-454-6252
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3228
Fantasy Painting
Bill Drew
3 CREDITS
From the disturbingly exotic pictures of the Underworld by Hieronymus Bosch and the twisted visual
puzzles of M.C. Escher to the mid-20th century comic characters of Stan Lee and classic 1950’s
science fiction films, fantasy images provide a rich source of inspiration for the contemporary artist/
illustrator.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
In this course, we will study the art of Surrealist artists such as Magritte and Max Ernst, the unique
fruit and vegetable portraits of Archimboldo, investigate the abstract dream imagery of Hilma Af
Klint and Carl Jung and the seminal graphic novels of Sue Coe (Porkopolis) and Art Spiegelman
(Maus). We will interpret text and film as we create our own fantasy paintings working with
appropriated imagery, collage, and painting mediums such as oil, acrylic, gouache, and watercolor.
p a i nti ng & dr a w i ng f or f i ne a rt a n d i l l u st ra t i o n , st u d i o
p r a c ti c e
p a i nti ng/ dr a w i ng, mi xed m e d i a / co l l a g e
CONTACT INFORMATION
content and concept
imaging skills
billdrewartist.com
[email protected]
ISB 300 | 401-454-6254
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3236
Spea k , Memory: Painting as Metap hor
Bill Drew
(Ele c tiv e ) - Ope n to Non - Majors
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
none
D r a w i ng 1 & 2 / Pa i nti ng 1 & 2
Color Wor ks
Wa ter c olor : Intr oduc ti on to t h e M e d i u m
The visual journal is an invaluable tool in a young artist’s development. Based on memory,
dreams, fantasy, travel, and intuitive stirrings, each student’s journal will be the source of a group
of paintings executed in a variety of mediums such as oil, acrylic and watercolor. In addition to
their individual journals, students may create images/paintings based on pertinent film, memoirs,
essays, or other reflective texts by well-known and lesser-known authors.
Suggested references may include: Christopher Isherwood’s I Am A Camera; Arthur Koestler,
Darkness At Noon; Allen Ginsberg, Howl; Jack Kerouac, On The Road; Elie Weisel, Night; Vladimir
Nabokov, Speak, Memory; Francis Ford Coppola, Apocalypse Now; Sylvia Plath, The Bell Jar;
William Styron, Darkness, Visible: A Memoir of Madness; Julian Schnabel, The Diving Bell and the
Butterfly; Jonathan Swift, Gulliver’s Travels; Frank Baum, The Wizard of Oz.
oi l a nd mi xed medi a p a i ntin g
CONTACT INFORMATION
www.risd.edu/Illustration/William_Drew/
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3240
Painting Seminar
Fritz Drury
F ee: $ 10 0 . 0 0
3 CREDITS
R eq u i r ed S op homor e S tudio s
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
V i s i ble c i ti es
XX/XY
Pr op a ga nda
Pr emi s es & Pr ojec ts
A dv a nc ed Pr ojec ts
The Por tf oli o
This course will focus on extending issues of personal imagery, style and use of materials begun
in Advanced Painting and other departmental electives. Studio work will be done outside of class
time, which will be devoted to rotating group critiques, alternating with individual meetings
with the instructor. In addition, there will be a weekly slide lecture, with related reading and
writing assignments, to familiarize students with aspects of contemporary and modern art. The
“movements” of the 20th Century, which dissected and reassembled the visual arts in radical
ways, will be analyzed for useful insights into creative possibilities for the painter and illustrator.
Discussion of problems and opportunities facing the contemporary artist will be augmented by a
field trip to New York City. Students will ultimately be responsible for developing a strong direction
in their independent work, based on a thorough investigation of concept and media, and prepare a
written statement of artistic purpose over the course of the semester.
p a i nti ng a nd dr a w i ng a s f i n e a rt a n d i l l u st ra t i o n , a rt
c r i ti c i s m a nd theor y, c onc e p t / p ro b l e m so l vi n g , st u d i o
p r a c ti c e
OPEN M ED IA : mi xed medi a / co l l a g e , scu l p t u re ,
p r i ntma ki ng, p hotogr a p hy
CONTACT INFORMATION
content and concept
imaging skills
www.fritzdrury.com
[email protected]
ISB 200 | 401-454-6243
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3300
Merging World s
Joe McKendry
3 CREDITS
none
D i gi ta l Illus tr a ti on
Photogr a p hy 1
Cov er to Cov er
Photogr a p hy f or Illu s tr a tor s
S c i - F i & Fa nta s y Illus tr a ti o n
P R OF E S S IONAL
AF F INIT IES
a ni ma ti on c onc ep t a r t, boo k / e d i t o ri a l i l l u st ra t i o n , sci f i / f a nta s y i llu s tr a ti on, na r r a t i ve p a i n t i n g / d ra w i n g a s
i llus tr a ti on a nd f i ne a r t
ME D IA
AF F INIT IES
It is rare that an artist has the entire scene before her exactly as she wishes to paint it. Changing light,
incomplete or inexact costuming, conflicting schedules for models and far-flung or inaccessible
locations are just a few of the many reasons artists choose to compose their images from sketches,
photographs and notes. The ability to merge imagery from various sources is an essential skill for
illustrators and fine artists alike.
In a series of projects, students will gather diverse reference materials and combine them
convincingly in pictorial space. We will discuss the importance of lighting, color, and value in
creating a believable scene. Some of the methods used by illustrators and painters that we will
explore include tracing paper, perspective, grids, measuring dividers, and optical systems. We will
emphasize the ways in which style and execution can help to remove some of the visual disparities
between source elements and create a unified composition.
Class time will be divided between the computer lab (where students will combine and manipulate
their images digitally) and the studio (where the illustrations will be completed using a variety of
media).
CONTACT INFORMATION
content and concept
imaging skills
www.joemckendry.com
[email protected]
ISB 403 | 401-454-6250
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3304
I n t ro d uction to D igital Illustration
Richard Gann, Paul Olson
3 CREDITS
This course introduces digital media for Illustrators using three types of computer applications:
image editing (Photoshop), vector graphics (Illustrator), and digital painting (Painter). While
orienting students to the technical aspects of digital media, the class also provides an essential link
to the Illustration Department’s drawing, painting, and conceptual curriculum.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
V R D es i gn f or S c i enc e
A dv a nc ed D i gi ta l Pa i nti ng
Web D es i gn
Typ e i n M oti on
D i gi ta l 3D f or Illus tr a tor s
Cha r a c ter & Env i r onment De si g n fo r 3D G a m i n g
Typ ogr a p hy f or Illu s tr a tor s
ga me des i gn, a ni ma ti on c o n ce p t a rt , b o o k / C D co ve rs,
gr a p hi c des i gn, edi tor i a l/ b o o k a n d sci e n t i f i c i l l u st ra t i o n
The purpose of this course is to introduce students to the ways of working with digital imaging in
such a manner as to maximize creativity and enjoyment and minimize intimidation and confusion.
The students are not presumed to have previous experience with computers or digital imaging
programs. They will leave the class with proficiency in Photoshop, Illustrator, and Painter. The benefits
of digital fluency are many, and not merely to produce purely digital art. It can be extremely helpful
in the preparation of promotional materials, the gathering of references, or in experimentation and
sketching prior to final execution in traditional media. The goal will be to introduce the students to
the basic concepts of working digitally and to demonstrate the flexible and forgiving nature of the
tools as a means to encourage experimentation. Rather than treat digital imaging as a phenomenon
without precedents, this class will concentrate on the tools of digital imaging as part of a continuum
of media ranging from pencil through photography. As in any choice of medium, a consideration of
the strengths and weaknesses of the tools will be central. The assignments are designed to play to
the strengths of digital tools, but the final quality of the illustrations produced will be dependent on
the creativity of the artist.
CONTACT INFORMATION
rbgann.com
[email protected]
content and concept
imaging skills
ISB 304 | 401-454-6247
olsonpaintings.com
[email protected]
ISB 400 | 401-454-6254
fall + spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3308
Ad vanced D igital Painting
Eric Telfort, Richard Gann
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Intr o to D i gi ta l Illus tr a ti on
Digital illustration has rapidly become commonplace or even standard in many art-related fields.
As illustrators have moved into the digital realm, we find ourselves exploring traditional concepts
of picturemaking with ever more complex software. Some software packages strive to mimic paint,
ink and graphite, but these programs also give us the freedom to explore mark making in entirely
different ways unavailable in traditional media, identifying digital programs as tools to reinforce
traditional and introduce novel techniques of illustration.
Web D es i gn
Typ e i n M oti on
D i gi ta l 3 D f or Illu s tr a tor s
Cha r a c ter & Env i r onment De si g n fo r 3 D G a m i n g
Pa i nti ng 1 & 2
ga me des i gn, a ni ma ti on c o n ce p t a rt , b o o k / C D co ve rs,
gr a p hi c des i gn, edi tor i a l/ b o o k / sci e n t i fi c i l l u st ra t i o n
mi xed medi a / c olla ge, dr a wi n g / p a i n t i n g , d i g i t a l 2 D / 3 D ,
p r i ntma ki ng, a ni ma ti on, p h o t o g ra p h y, f i l m / vi d e o
CONTACT INFORMATION
www.rbgann.com
[email protected]
erictelfort.com
[email protected]
fall + spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3312
Web D esign
Richard Gann, Annalisa Oswald
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
Intr oduc ti on to D i gi ta l Illu st ra t i o n
Cha r a c ter a nd Env i r onment D e si g n f o r 3D G a m i n g
Elec tr i c Book
Typ e i n M oti on
Once hailed as an emerging force in global communication, the World Wide Web is now part of
mainstream media. Questions about what might be accomplished with this powerful vehicle for
information, expression, and communication have evolved into questions of how to better those
accomplishments through thoughtful design, attention to interactivity, and intelligent content.
Good web design is vital to distinguishing the voice of the artist and illustrator from the cacophony
of junk out there in cyberspace.
This class is an orientation to web design with specific attention to designing for interactive
visual communication. Students apply basic computer skills (Digital Illustration or equivalent) to
problems in designing and illustrating for the Web. Coursework stresses the underlying structure
of html in digital design. Students develop personal interactive web pages and complete a finished
portfolio site while exploring the expressive possibilities of interactivity.
gr a p hi c des i gn, ga me des i g n , a n i m a t i o n , i n t e ra ct i ve
des i gn, edi tor i a l/ book i llu st ra t i o n
CONTACT INFORMATION
ME D IA
AF F INIT IES
di gi ta l 2 D / 3 D , p r i ntma ki ng , a n i m a t i o n , fi l m / vi d e o
www.rbgann.com
[email protected]
ISB 304 | 401-454-6247
content and concept
imaging skills
[email protected]
www.anaphase.com
ISB 301 | 401-454-6247
fall + spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3316
Typ e in Motion
Rafael Attias
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
A ni ma ti on Intr oduc ti on f or I l l u st ra t o rs
Pr op a ga nda
Cov er to Cov er
Learn basic typography, page layout and the many new and evolving applications of computergenerated art. This class will introduce the basics of Flash, InDesign, Illustrator and Photoshop. We
will explore type in motion and the marriage of visuals to music in time.
This class explores the fundamentals of coordinating typography, imagery, and motion graphics.
Students work on several assignments throughout the semester utilizing InDesign, Photoshop,
Illustrator, Flash, and/or other programs which encourage the synthesis of type, image, and sound
over time and including movement, both real and implied.
The projects will cover a wide range of topics, from poster design, books and packaging
to more interactive applications, with the goal of learning how to combine these tools to
realize successful visual communication in an electronic, time-based environment.
di gi ta l 2 D / 3 D , a ni ma ti on, v i d e o
CONTACT INFORMATION
content and concept
imaging skills
www.rafalicious.com
[email protected]
CIT: 169 Weybosset | 401-454-6139
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3320
D igital 3D for Illustrators
Nick Jainschigg
3 CREDITS
Within the last decade it has become possible for the average artist or designer to afford and
understand sophisticated 3D digital tools. As the price of these tools decreases (some of the best
are now literally free) and their ease-of-use increases, it is becoming more and more practical to
incorporate them into a broad range of artistic work.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Cr ea tur e La b
Web D es i gn
3 D Illus tr a ti on
D es i gn f or TV A ni ma ti on
ga me des i gn, a ni ma ti on, c o n ce p t a rt , b o o k i l l u st ra t i o n ,
s c i enti f i c v i s ua li za ti on, s c i -f i / f a n t a sy i l l u st ra t i o n
This course will teach the basics of creating work in 3D, using ZBrush and Blender (www.blender.
org). While 3D is commonly thought of in terms of creating realistic environments and characters,
it has many more uses. It is frequently used in the production of both still and motion graphics, as
well as in the preparation of reference work for more traditional media. This course will treat 3D
as a medium with its own strengths and weaknesses, and as a tool in conjunction with traditional
media.
Blender, the popular and powerful open-source program, is rapidly gaining acceptance across a
wide range of animation and design businesses. ZBrush has become an industry standard due to
its ability to let artists use their sculpting skills directly in a 3D environment. Together, they provide
the artist with powerful tools for creating detailed and complex 3D illustrations with great speed.
No experience with 3D is required, but due to the complexity of the software and of the concepts
covered, a familiarity with computers and with 2D computer graphics is recommended.
dr a w i ng/ p a i nti ng, di gi ta l 2D , a n i m a t i o n , p h o t o g ra p h y,
v i deo
CONTACT INFORMATION
content and concept
imaging skills
www.nickjainschigg.org
[email protected]
ISB 301 | 401-454-6248
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3328
Ch a racter & Environment D esign for
3D Gaming
Eric Telfort
Course Level: J u n ior, S eni or (El ect i ve)
3 CREDITS
“Game assets” is the name given to the models, textures, environments, and other elements that
together form the reality of the 3D game world. As such, they are of great importance in determining
the look of the game and how the player will relate to it. The design and creation of game assets
requires both technical knowledge and artistic sensibility. The successful game artist combines the
best aspects of the geek and the wild-eyed painter/visionary.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Cr ea tur e La b
A ni ma ti on Intr o f or Illus tr a t o rs
a ni ma ti on c onc ep t a r t, ga m e d e si g n , b o o k i l l u st ra t i o n ,
s c i - f i / f a nta s y i llus tr a ti on, s t u d i o p ra ct i ce
This course offers an introduction to the many artistic and technical aspects of designing and
producing characters, environments, and props for 3D games. Among the topics we will explore
are: the design of effective low-polygon characters and scenes, texturing and UV mapping, simple
character rigging, and effective collaborative design and execution.
Although the class will have a substantial technical side, greater emphasis will be placed on the
“why” of the technique: what does it mean to design an environment for a game? How does the
environment relate to the player/viewer and her expectations? What elements go into a successful
and visually harmonious environment and characters? The more important aspects of the course
have much in common with set design, costume design, and architecture rather than with
programming. The final project of the semester will be a one-month collaborative creation of a
complete game environment, with “natural” and constructed elements as well as characters.
OPEN M ED IA : dr a w i ng/ p a i n t i n g , d i g i t a l 2 D / 3 D ,
p r i ntma ki ng, a ni ma ti on, p h o t o g ra p h y, f i l m / vi d e o
CONTACT INFORMATION
content and concept
imaging skills
[email protected]
www.erictelfort.com
ISB 301 | 401-454-6248
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3400
Image D esign
Marc Rosenthal
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
The S i lks c r eened Pos ter
The Tw o- Legged Pr i nt
Cov er to Cov er
D es i gn f or G ood
D es i gni ng A Pr i nted Collect i o n
gr a p hi c des i gn, book i llus t ra t i o n , co n ce p t / p ro b l e m
s olv i ng, s tudi o p r a c ti c e
Milton Glaser once commented that a good designer “sees a way to unify separate occurrences and
create a gestalt, an experience in which this new unity provides a new insight.” Excellent design is
much more than the sum of its parts; its unified totality presents a visual reality, a world with its
own inherent logic. This class will investigate imagery that is both picture and graphic form. In
rigorous pursuit of the orchestration of shape, structure, movement, color palette, figure/ground,
and pattern we will examine the tools and processes that lead to dynamic image design. While
studying influential figures from the history of visual communication, students will undertake
projects including posters, illustrations, symbols, logos, icons, information graphics, and other
forms of imagery which explore the intersection of illustration and graphic design.
This course seeks to apply a design sensibility to the creation of illustrations. The formal
characteristics include flatness, strong graphic quality, awareness of figure/ground, scale, color,
placement – these all take precedence over naturalistic concerns, rendering and perspective. This is
a stylistic approach that lends itself to clear, conceptual communication. The goal of communication
is always primary; and assignments will require problem-solving as well as development of a clear
and refined graphic approach. We will use form, geometry, pattern, white space, and perhaps,
letterforms to achieve, as Milton Glaser put it “the unity and conviction that emerges from dealing
with the total surface.”
CONTACT INFORMATION
content and concept
imaging skills
www.marc-rosenthal.com
[email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3404
Typ ograp hy for Illustrators
Dimitry Tetin
3 CREDITS
This typography course is specifically designed for Illustration majors. We will study the fundamentals
of typography (including its historical and contemporary applications) in a series of lectures and
class exercises that build in complexity beginning with the study of individual letterforms and the
classification of typefaces, then progressing to the considered use of typography in single-page and
multiple-page layouts.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Cov er to Cov er
Ima ge D es i gn
Typ e i n M oti on
Web D es i gn
A significant part of the course will be dedicated to understanding the elements of page design
including proportion, dynamics of form and white space, grid systems, and the subjectivity of
color. In the last part of the semester, assignments will explore the integration of very simple drawn
imagery with a critical eye to the relationship of text and image in creating visual hierarchy and
narrative interplay.
Students will use Adobe InDesign and Illustrator throughout this course, so some basic computer
experience will be helpful but not absolutely necessary. Students unfamiliar with the Adobe interface
will be required to attend an introductory study session.
CONTACT INFORMATION
www.dimitrytetin.com
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3408
Illustrator as D esigner
Rafael Attias
3 CREDITS
This course explores the role of illustrator as graphic designer with a focus on the fundamentals
of designing with imagery, the relationship between verbal and visual communication, and the
complementary partnership between graphic design and illustration. Students are encouraged to
have some fundamental experience with computers before enrolling in this course.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Typ e i n M oti on
Ima ge D es i gn
Web D es i gn
Cov er to Cov er
gr a p hi c des i gn, book i llus t ra t i o n , st u d i o p ra ct i ce ,
c onc ep t/ p r oblem s olv i ng
How does design differ from art? In many ways, design is distinct from art. Design, in the purest
sense, is a definable aspect of art: a set of visual forces which contribute to the effect of two- and
three-dimensional visual experiences. On another level, design often refers to utility or function and
can be described as an act of “creating with purpose.” Design in the functional sense takes many
forms, is made of many different parts and media, and exists for different reasons. An industrial
designer may design useful things, an architect may design useful spaces, and a graphic designer
may design useful messages. This class is about making images for graphic design and designing
with imagery. As illustrators, you are uniquely sensitive to the way images communicate. This class
is about understanding the role of design in image-making and designing contexts for images.
Almost every assignment will involve the synthesis of picture and word so by the time the semester
is over you should feel fairly confident in orchestrating words and pictures.
CONTACT INFORMATION
www.rafalicious.com
[email protected]
CIT: 169 Weybosset St | 401-454-6139
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3412
Word s, Images, Id eas
Dimitry Tetin
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
In this course, students conceptualize, edit, design, and produce either a book or the first issue
of an original publication. Possibilities include: artist’s book, magazine, comic book, zine, e-zine
on the web, etc. Emphasis is on concept and design. We will discuss editorial ideas and look at
existing artists’ books and publications, especially alternative forms. Using computers, we work on
typography, layout, and design. Collaborations both within and outside of the class are encouraged.
To take this course, you must have some rudimentary knowledge of the computer and some ideas
for content.
D es i gni ng a Pr i nted Collect i o n
Typ e i n M oti on
Ima ge D es i gn
Web D es i gn
CONTACT INFORMATION
dimitrytetin.com
[email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3424
Creating A Printed Collection
Susie Ghahremani
Course Level: Fr e sh man , Sophomore, Juni or, Seni or, G raduat e
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
Pr emi s es a nd Pr ojec ts
Illus tr a tor a s D es i gn
Ima ge D es i gn
The Entr ep r eneu r
Become your own art director in this “learn by doing” boot camp that explores the transition of 2-D
work into tangible products. In this interdisciplinary course, we’ll learn about manufacturing and
printing processes (i.e., books, gift objects, identity materials and more) by breaking down how to
get from point A (concept) to point B (final, massproduced product, suggested in the form of a
greeting card collection). Manufactured products are frequently the territory of professional artists—
whether through printed identity materials such as show catalogs and portfolios or through more
entrepreneurial output such as the objects found on DIY websites and museum stores. This course
is designed to create hands-on experiences for students to abandon thinking exclusively of “art for
art’s sake” by considering the potential real-world applications of art as tangible and functional
objects married to the creative identity of the artist. We’ll begin with the simple challenges of a
printed business card representing your identity as an artist and work toward a larger project of
your concept and design by investigating manufacturing options in Rhode Island and beyond.
Understanding how to negotiate the technical aspects and restrictions of manufacturing such as
budgeting, file delivery and set-up, and learning how to build relationships with manufacturers could
serve you for a lifetime as an artist and entrepreneur. Critiques, visiting lecturers and suggested
readings are designed to simultaneously inform and inspire! A non-mandatory $150 budget is
suggested for materials in this course.
c olla ge, dr a w i ng/ p a i nti ng, d i g i t a l 2 D / 3 D , p ri n t m a k i n g
CONTACT INFORMATION
content and concept
imaging skills
boygirlparty.com
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3428
D esign for Good
Annalisa Oswald
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Typ e i n M oti on
Web D es i gn
Publi c A r t Wor ks hop
Pr emi s es a nd Pr ojec ts
S i lks c r een Pos ter D es i gn
The goal of this course is to allow students to apply conceptual skills and image-making talents
to issues that matter to society and the world. This course combines image-making, infographics,
graphic design, brand identity, and story-telling. Working across print, digital, mobile, and social
media platforms, this course will challenge students with assignments that will cause them to think
and create innovative visual communication that motivates people around a social cause.
Students will learn to visually and verbally present their ideas and their work, to understand what
makes a compelling story – one that motivates and persuades the audience. Students will research
and organize data that is relevant to their subject matter. Through a series of weekly & bi-weekly
assignments, students will build a portfolio of pieces that ties together a unified campaign around
a social cause. This course prepares students to apply visual and verbal communication across a
broad spectrum of platforms – digital, mobile, print, and social media.
Students will research their cause and incorporate facts and findings into their work. Readings
will be required from online sources. Students are encouraged to conduct their own research and
interviews as part of this course. Individual presentations and group critiques are an essential part
of this course.
s olv i ng, s tudi o p r a c ti c e, p u b l i c p o l i cy a n d co m m u n i t y
s er v i c e, p u bli c a r t
OPEN M ED IA : p en & i nk/ scra t ch b o a rd m i x e d m e d i a /
c olla ge, dr a w i ng/ p a i nti ng, d i g i t a l 2D / 3 D , p ri n t m a k i n g ,
a ni ma ti on, p hotogr a p hy, f i l m / vi d e o
CONTACT INFORMATION
www.anaphase.com
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3504
The Entrep reneur
Oren Sherman, William Foulkes
6 CREDITS
This is a course in the business of art and design with an emphasis on transforming creative impulse
from the studio into marketable enterprise. This elective course, open to both Illustration and
Graphic Design majors, is co-taught over one full day in a collaborative environment, combining
the studio experience with business basics: marketing and branding as an essential part of the
creative process.
Pr of es s i ona l Pr a c ti c e
The Por tf oli o
P R OF E S S IONAL
AF F INIT IES
i ndus tr i a l des i gn, p r oduc t d e si g n , p a ck a g i n g ,
entr ep r eneur s hi p , gr a p hi c d e si g n , i l l u st ra t i o n , t e x t i l e
des i gn, a r t br a ndi ng, li c en si n g
ME D IA
AF F INIT IES
OPEN M ED IA : gr a p hi te, p e n & i n k , d ra w i n g / p a i n t i n g ,
di gi ta l 2D / 3 D , p a c ka gi ng/ p ro d u ct d e si g n
This class encourages students to think beyond the confines of traditional markets; to work
collaboratively toward the goal of employing inventive thinking in the workplace; and, eventually, to
develop an independently owned and operated enterprise.
A fundamental objective of this class is for students to understand a basic business vocabulary, to
explore how design vocabulary and creative studio thinking overlap, to complement and enhance
business vocabulary, and to understand how creative skills can be used to identify and execute
business opportunities. Students will be introduced to business concepts through lectures,
case studies, assignments, and class discussion. Topics covered will include business models,
marketing, finance, and strategy as they relate to studio activity. Homework assignments will work
off the classroom pedagogy.
CONTACT INFORMATION
content and concept
imaging skills
www.orensherman.com
[email protected]
ISB 407 | 401-454-6240
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3604
Cover to Cover
Lars Grant-West
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Pi c tu r e a nd Wor d
The M a gi c of Books
book i llus tr a ti on, s tudi o p ra ct i ce
The finest illustrated book covers – from graphic novels to literary classics – captivate the reader
both emotionally and intellectually, reflecting the essence of narrative content through potent
imagery. This course explores the generative process of making illustrations for book covers – from
sketch to finish, from comprehensive image to final revisions. Students will be engaged in analysis
of narrative content, preparatory drawings and finished work. Weekly demonstrations will provide an
intensive look at how an illustrator approaches formal material and aesthetic decisions in support
of content, helping students gain confidence in the use of processes and materials.
The evolution of a book cover is informed by several considerations, among them genre, message,
and audience. This class takes a very practical approach to the development of cover illustration,
with the type of book, its literary foundation and its readership as key issues of concern. A variety
of assignments exploring several publishing genres will be introduced over the twelve-week period,
all aimed at reflecting the essence of literary content through compelling imagery. Group critiques
of both works-in-progress and finished illustrations guide students through each assignment, and
discussion of all aspects of cover illustration will be germane to discourse.
p hotogr a p hy
CONTACT INFORMATION
content and concept
imaging skills
www.larsgrantwest.com
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3600
The Magic of Books
Judy Sue Goodwin-Sturges
3 CREDITS
How often do we stop to appreciate a beautiful book jacket or a well-designed book? What are the
elements that go into their making? How do images and text relate to one another and produce an
object that is somehow greater than the sum of their parts?
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Putti ng It A ll Together
Cov er to Cov er
CoM i x
S er i a l Ima ger y i n Pr i ntma k i n g
This course examines books of all kinds for readers of all ages. Selections from a wide variety of
genre will be studied and discussed in class. Students will experiment to find the best imagery and
style to complement the text. Composition, design, media, and color will all come into play. During
each class session, we will discuss students’ work from the prior week. In the second half of the
semester, students will use what they have learned to create a final project: a book that epitomizes
the interaction of words and images.
At the end of this course, students should have gained a heightened awareness of books and
bookmaking, of the relationship of images to text, and of picture-making in general.
book/ edi tor i a l i llus tr a ti on, g ra p h i c n o ve l , sci -fi / fa n t a sy
i llus tr a ti on, na r r a ti v e p a i nt i n g & d ra w i n g a s i l l u st ra t i o n
or f i ne a r t
OPEN M ED IA : dr a w i ng/ p a i n t i n g , a n i m a t i o n , p a st e l ,
gou a c he, a c r yli c , c olla ge, ph o t o g ra p h y
CONTACT INFORMATION
www.studigoodwinsturges.com
[email protected]
ISB 401 | 401-454-6257
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3608
The Artist’s Book
3 CREDITS
At their very core, all books convey a sequence of ideas, but the execution varies widely from one
volume to another. In this course, juniors and seniors strive to extend this concept outside of
traditional book parameters to achieve their own creative interpretation. Working from their own
themes, students mold an innovative presentation of images and concepts – in two dimensions
or three, using concrete depictions or abstract forms – into the construction of their own unique
artist’s book. Assignments include the study of different folds, narrative problems, poetic counting,
lost and found, and a free project of the student’s choice.
Cov er to Cov er
The M a gi c of Books
Typ e i n M oti on
The Colla ged Ima ge
Each week, the class will discuss each student’s books-in-progress. At the end of the course, students
will be asked to reconnect with one or several of the previous assignments to craft one book as a
final project. Students are encouraged to write and to work in the media of choice that might include
painting, printmaking, etc. This course allows students to display their knowledge of paper and
folds, challenges them to convey an idea or theme across many changing pages, and provides
considerable practice in bringing conceptual ideas to life. Assignments will include exploration of
the following aspects and forms of artists books: paste papers, bookbindings, accordion folds,
mazes, flag books, star books, combination books, and variations on the above.
P R OF E S S IONAL
AF F INIT IES
gr a p hi c des i gn, edi tor i a l/ a d ve rt i si n g / b o o k i l l u st ra t i o n ,
c onc ep t/ p r oblem s olv i ng, s t u d i o p ra ct i ce
ME D IA
AF F INIT IES
content and concept
imaging skills
CONTACT INFORMATION
www.studiogoodwinsturges.com
[email protected]
ISB 401 | 401-454-6257
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3612 & L AS E416
Picture and Word
Judy Sue Goodwin-Sturges, Stacy Graham O’Connell
3 CREDITS each for LAS E416 and ILLUS 3612
This is a team-taught course which begins with an overview of the children’s book genre and will
focus on the 32-page trade picture book. Using a reading list of recommended picture books,
students are encouraged to familiarize themselves with classic as well as current titles.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
A r ti s t’ s Books
The Por tf oli o
Cov er to Cov er
book des i gn a nd i llus tr a ti o n , st u d i o p ra ct i ce
p hotogr a p hy
The first half of the semester introduces the components of a picture book via in-class and athome writing and illustrating projects, which are presented in class and critiqued by faculty and
fellow students. The second half of the course is devoted to developing story ideas that will provide
the basis for the final project: a complete original story, tight sketch dummy, and 2-4 finished
illustrations. Each student is expected to keep an ongoing “writer’s notebook,” which is intended
to help the student find his/her own storytelling voice and should provide the beginnings of story
ideas to draw upon for the final project. In addition, students are encouraged to keep a sketchbook
to develop their artistic style. Class discussion and individual critiques with the faculty will provide
guidance in finalizing text and art. Students will present their final projects to a group of outside
professionals during the last class.
S t u d en t s r eg i s t er ed f or t h i s cla s s mus t a ls o regis t er fo r LAS- E416.
CONTACT INFORMATION
[email protected]
ISB 401 | 401-454-6257
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3632
Making Play: Games
Jason Beene
3 CREDITS
“One of the most difficult tasks men can perform, however much others may despise it, is the invention of
good games and it cannot be done by men out of touch with their instinctive selves.” – Carl Jung
The ability to play is a complex activity that is at the core of human learning. From “Monopoly”
to poker, “Doom” to the baseball diamond, games allow us to explore social interactions, take
risks, set goals, develop skills, and expand our imaginations while entertaining us without serious
consequences. What makes a game fun? Or memorable? REL AT E D S T U D IE S
2 D or N ot 2 D
Cha r a c ter & Env i r onment De si g n fo r 3D G a m i n g
Pup p etr y a nd Per f or ma nc e
P R OF E S S IONAL
AF F INIT IES
gr a p hi c des i gn, ga me des i g n , i n t e ra ct i ve d e si g n ,
“Without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the
play of imagination is incalculable.” – Carl Jung
CONTACT INFORMATION
ME D IA
AF F INIT IES
content and concept
imaging skills
In this class, we will explore the intersections of learning, experimentation, and play. In
our constructed projects, we will search for innovative ways to expand or reinvent game
traditions. Through individual and collaborative projects, we will examine how game mechanics
(rules/systems) thoughtfully combined with game aesthetics (visuals/story) can be used to craft
engaging, memorable and informative user/player experiences. Our goal is to develop primarily
non-digital games that are conceptually innovative responses to various questions you pose related
to play. Quality assurance and usability concerns will be explored through focus group play tests.
www.jasonbeene.blogspot.com
[email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3700
The Two-L egged Print
Randy Willier
Ope n to Non - M aj or s
(Ele c tiv e )
F ee: $ 2 5 0 . 0 0
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
Pr op a ga nda
Wi t’ s End
Pr i ntma ki ng Tec hni q u es f or I l l u st ra t o rs
p r odu c t des i gn, texti les / s u rfa ce d e si g n , p ri n t m a k i n g
a s i llu s tr a ti on a nd f i ne a r t, e d i t o ri a l a n d a d ve rt i si n g
i llus tr a ti on
This course explores the creation of communicative images within the format of the T-shirt. We will
begin with an overview of the historical and contemporary use of the printed shirt as a vehicle for
commercial and personal advertising, humor, advocacy, social protest, and as a badge of personal
identity: the phenomenon of using the body as a substrate for images aimed at passersby. Students
will learn and practice the art of serigraphy – silkscreen printing – and will develop designs through
a variety of techniques, from simple handmade stencils to the use of photo/computer technology.
Assignments will progress through a series of developmental phases, and in-class critiques will
play an important role in shaping concepts and designs. We will also investigate the business/
commercial side of silkscreening, including the construction of a home studio, recordkeeping and
marketing.
Each student will begin by designing a visual “persona” which will then be implemented as a
printed t-shirt design. For the rest of the term, students are given the freedom to explore and create
their own individual concepts, adjusting concept and approach in response to group critique, and
building proficiency in the technique. The lab fee provides for nearly all the materials necessary
for production during the course; the only real out-of-pocket expenses come from the purchase of
T-shirts or other printable materials.
p r i ntma ki ng, gr a p hi c des i g n , t e x t i l e s
CONTACT INFORMATION
content and concept
imaging skills
www.risd.edu/Illustration/Randy_Willier/
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3704
P ri n t ma king Techniques for Illustrators
Randy Willier
Fee: $200.00
3 CREDITS
This course surveys a range of low-tech printmaking processes with the aim of broadening the
student’s range of markmaking skills and experimenting with new visual effects with which to create
engaging images. This fast-paced course gives students exposure to methods such as monotype,
relief printing, and drypoint.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Ima ge D es i gn
D es i gn f or G ood,
The A r ti s t’ s Book
Rather than emphasizing disciplined editioning, assignments will utilize printmaking processes for
producing multiples that explore variations in color, compositional emphasis, and tonal adjustment.
We are looking for exciting, image-making means that communicate outside of what the hand can
directly draw.
dr a w i ng a nd p r i ntma ki ng a s i l l u st ra t i o n a n d f i n e a rt ,
c olor des i gn, p os ter a nd bo o k d e si g n , e d i t o ri a l a n d
book i llus tr a ti on
p r i ntma ki ng, c olla ge, i ns ta l l a t i o n , a rt i st ’s b o o k s
CONTACT INFORMATION
www.risd.edu/Illustration/Randy_Willier
[email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3712
The Silkscreened Poster
JooHee Yoon
F ee: $ 2 2 2 . o o
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Ima ge D es i gn
Web D es i gn
Cov er to Cov er
This course is an introduction to water-based screen-printing, poster illustration and design.
Students will learn and practice the art of serigraphy – silkscreen printing – and will develop designs
through a variety of techniques, from simple handmade stencils to the use of photo processes.
The use of media and processes as a means of solving creative and visual problems will be
explored. Concurrently we will examine elements of two-dimensional form, typography, color, and
communication concepts in a design context. The poster as a format and form of communication
will be explored from a historical as well as a contemporary and cultural perspective.
This course will seek to extend the poster’s utilitarian goal with an aesthetic experience. Assignments
are structured around topics such as propaganda, political and social causes, and communication
for theatre, music, and the arts. Students will learn to combine and manipulate their images
traditionally and digitally, completing work using a variety of media and silkscreen processes.
The lab fee provides for most of the materials necessary for production during the course; student will need
to purchase some inks, paper or other printable materials.
gr a p hi c des i gn, p os ter a r t, co n ce p t / p ro b l e m so l vi n g ,
s tu di o p r a c ti c e
s i lks c r een p r i nti ng
CONTACT INFORMATION
content and concept
imaging skills
http://jooheeyoon.com
ISB 201 + 107 | 401-454-6244
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3716
Color Works
Mary Jane Begin
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Pa i nti ng 1 & 2
p a i nti ng a nd dr a w i ng a s i ll u st ra t i o n a n d fi n e a rt , co l o r
For students, color is often one of the most intimidating elements of designing a piece, as the
choices can seem endless and arbitrary. Anxiety and stress often result in hit or miss approaches,
repetition of a particular palette or avoidance of color altogether. This class encourages awareness of
color as one of the most dynamic components of an image and emphasizes the need for achieving
a balance between acquired knowledge and instinct. Students will be required to investigate: value,
harmony, limited palettes, color grounds, layering, mixing, opacity, transparency, temperature,
mood, contrast, complimentary color, spatial relationships, vibration and reflection as part of their
in-class and homework assignments. Students will work from models dressed in costume, with
poses changing every three weeks, and will be given instruction in a combination of acrylics and
watercolor in a variety of technical applications. The expectation is that individuals will gain a level
of expertise in the designated media and then apply that knowledge to other media.
This course will involve in-class critique, working from the model, and homework assignments that
will include portrait, still life, color charts, a master copy, and a final series of illustrations/images
of their choosing. The four week final project will be at the end of the semester allowing students
to explore a style, material, media and subject matter of their choice that includes an investigation
of color related issues.
OPEN M ED IA : a c r yli c p a i nt i n g , w a t e rco l o r
CONTACT INFORMATION
content and concept
imaging skills
www.maryjanebegin.com
[email protected]
ISB 201 | 401-454-6252
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3720
A rtistic Med iums for Illustration
Nick Jainschigg
Th is c ou r se h as se ats av ailabl e for five Seni ors onl y.
3 CREDITS
This course is designed to teach the student about contemporary uses of illustration media and how
to combine them creatively, safely, and effectively. Students will acquire the skills and confidence
to evaluate new mediums and techniques on an ongoing basis with minimal expense and difficulty
through the use of limited palettes.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
M i xed M edi a
Color Wor ks
Pa i nti ng 1 & 2
Mediums covered will include: acrylics, gouache, casein, watercolor, markers, crayons (wax and
water-soluble), colored pencil, scratchboard, ink, oil (for illustration), and associated tools, palettes,
and surfaces.
NOTE: Only twelve seats are available via WebAdvisor registration for Juniors; up to five seniors
may add the class by contacting the Illustration Department on a first come-first served basis.
p a i nti ng & dr a w i ng f or i llu st ra t i o n a n d f i n e a rt , co l o r
des i gn, s tudi o p r a c ti c e
a c r yli c p a i nti ng, w a ter c olor, a n d o t h e r m e d i a
CONTACT INFORMATION
[email protected]
ISB 301 | 401-454-6248
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3728
Mixed Med ia
Lenny Long
3 CREDITS
This course focuses on the exploration of combining a variety of media with the expectation of
discovering a new, personal approach to creating images. Students are taught initially the specific
properties and use of watercolor, gouache and acrylic and then explore combinations of these media
with pastel, colored pencil, inks, collage material, charcoal, and found objects.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
A r ts i ti c M edi u ms f or Illu s t ra t i o n
Color Wor ks
Pa i nti ng 1 & 2
There will be discussion and experimentation with various techniques, materials, and finishes.
Students will work in class from set ups, photo references and the model , and will develop weekly
homework assignments using the techniques and media combinations explored in class.
a c r yli c p a i nti ng, w a ter c olor, a n d o t h e r m e d i a
CONTACT INFORMATION
content and concept
imaging skills
[email protected]
ISB 400 | 401-454-6254
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3732
R enaissance Painting Techniques
For Contemp orary Practice
Bill Drew
3 CREDITS
The slow craftsmanship that imparts jewel-like clarity and color to paintings from the Middle Ages
and Renaissance stands in contrast to our fast-paced society. This class will present their important
traditional techniques in a mix of studio exploration and art historical review. The techniques will
include gilding, pure egg-yolk tempera, combined methods of oil and tempera, and use of oil glazes.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
Color Wor ks
Pa i nti ng 1 & 2
Students will examine relevant art and consider art historical issues related to growth and
development of these techniques.
des i gn, s tudi o p r a c ti c e, a r t h i st o ry
gilding, pure egg-yolk tempera, oil painting
CONTACT INFORMATION
content and concept
imaging skills
http://billdrewartist.com/index.html
[email protected]
ISB 300 | 401-454-6254
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3736
Wa t erc o l o r: An Introd uction to the Med ium
Joe McKendry
3 CREDITS
This course attempts to present the transparent watercolor medium in a manner both logical and
painless. Students will explore wet into wet, dry-brush, masking, and other techniques through
exercises designed to create an understanding of the vastly different ways watercolor can be used. These methods and approaches will be studied through slide presentations and then applied in
the creation of landscapes, still lives, and figure paintings. Technical aspects of brushes, paper, and
paint quality will be discussed. Museum visits, guest critics and demonstrations will augment class
discussion. P R E R E QU IS IT E S
M i xed M edi a
Color Wor ks
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
The facility of watercolor in developing luminous atmospheric harmonies, abrupt notes of contrast,
and saturated color effect will be discussed. Techniques for assuring the clarity and precision of
mixture on the palette as well as the properties of diffusion and blending unique to this medium
will also be considered. The crucial role of paper selection and preparation will be covered in full.
w a ter c olor
CONTACT INFORMATION
www.joemckendry.com
[email protected]
ISB 403 | 401-454-6250
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3740
Watercolor and Gouache
Lenny Long
3 CREDITS
The remarkable brilliance of color found in watercolor and gouache make these media a perfect
vehicle for the study of color mixing, both optical and mechanical, and the depiction of dazzling
effects of light in finished artwork. Working from the figure and other motifs, this class will address
the variety of manipulations possible in watercolor and gouache, singly and in combination, while
focusing on principles of color structure. Outside assignments will be organized around thematic
series.
P R OF E S S IONAL
AF F INIT IES
MEDIA AF F INIT IE S
M i xed M edi a
A r ts i ti c M edi u ms f or Illu s t ra t i o n
Color Wor ks
Pa i nti ng 1 & 2
Watercolor and gouache are direct but rich media that are perfect for illustrative use in their simplicity
and ease of employ, but subtle and dense enough for a wide range of realistic and expressive effects.
Students will develop an understanding of the use of gouache and watercolor separately and as a
combined medium.
w a ter c olor a nd goa u c he
CONTACT INFORMATION
content and concept
imaging skills
[email protected]
ISB 403 | 401-454-6250
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3744
Master Painting Techniques
Trent Burleson
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
none
M i xed M edi a
Color Wor ks
How did Caravaggio finesse such powerful chiaroscuro in his masterpiece, The Conversion of Saul?
What’s beneath the surface of a Titian? Why are the details in Rembrandt portraits so alluring? And
how did Vermeer so perfectly capture the north light in his tranquil domestic scenes? Knowledge
of painting technique is vital but often neglected. This course presents the techniques of four great
Late Renaissance and Baroque artists: Titian, Caravaggio, Rembrandt and Vermeer. Students paint
from life in the studio, deciphering the techniques of these artists in painting from observation while
guided through demonstrations and discussions of visual examples by these artists. Four figurative
compositions inspired by the masters are completed during the semester, exploring materials and
methods such as colored grounds, underpainting, glazing and scumbling to better understand and
build upon the unique contributions of each of these artists.
This course seeks not just to expose students to the great and time-tested painting
techniques of the masters but also to expand their own personal painting vocabulary and
to get beyond old habits and limitations.
oi l p a i nti ng
CONTACT INFORMATION
www.burlesonart.com
[email protected]
ISB 300 | 401-454-6252
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3748
Pen, Ink, and Scratchb oard
Antoine Revoy
3 CREDITS
This course is an introduction to the surprising and challenging medium of pen and ink. Among the
simplest of mediums to use, it is also quite difficult to master. It can be as expressive as handwriting
and as precise and elegant as engraving. It is also intimately bound up with the history of illustration
and of printed images: it was the first medium to be successfully reproduced and remains as
contemporary as the latest comic or magazine illustration.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
M i xed M edi a
S er i a l Ima ger y i n Pr i ntma k i n g
The structure of the course leads students quickly through the very few tools needed (pen, nib,
ink, paper) so that a major portion of the time can be spent on the truly important and challenging
aspect of the medium – understanding the way pen and ink affects the viewer and learning how its
special qualities can be used to articulate eloquent images. Scratchboard will be introduced at midsemester, both as an adjunct to pen and ink work and as a medium in its own right. Scratchboard
ties closely to woodcut and wood engraving, two mediums with a close relationship with illustration
across many times and cultures.
gr a p hi c des i gn, p r i ntma ki n g , b o o k i l l u st ra t i o n ,
p en & i nk, s c r a tc hboa r d
CONTACT INFORMATION
content and concept
imaging skills
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3760
The Collaged Image
Jamie Murphy-Hlynsky
3 CREDITS
This course focuses on developing images through the practice of collage and mixed media.
Students are given the opportunity to explore the expressive characteristics of materials both found
and hand made. The “hands on” tactile characteristics of the method create the opportunity to
quickly combine images to form surprising narratives for communicating ideas.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
none
M i xed M edi a
Through both demonstration and in-class exercises, students will investigate a wide range of collage
approaches and techniques. Issues related to context and integration will be explored as well as
formal considerations such as design, composition, color, etc.
Slide presentations, reference materials, and museum visits will familiarize students with the
work of many contemporary illustrators and fine artists who use collage as a medium as well as
the pioneers of fine arts and communicative collage in the 20th century. This exploration will help
provide a frame of reference for students to develop their own individual approach to the medium.
c olla ge a s i llus tr a ti on a nd fi n e a rt , st u d i o p ra ct i ce
c olla ge, dr a w i ng medi a , oi l a n d a cry l i c p a i n t i n g
CONTACT INFORMATION
www.hlynsky.com
[email protected]
ISB 400 | 401-454-6255
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3768
2D or Not 2D
Melissa Ferreira
Course Level: J u n ior, S e ni or, Fi ft h Year, G raduat e (El ect i ve)
3 CREDITS
Current illustration employs varied and resourceful modes of expression to communicate both
forcefully and poetically. Illustration has historically tended to confine itself to two dimensions: art
made flat, reproduced flat. But for some visual statements, the best articulation involves the third
dimension. Eloquence occasionally requires that a line lift off the page, that color sculpt itself into
shape, and that form not be wholly illusory.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
XX/XY
M i xed M edi a
c onc ep t/ p r oblem s olv i ng, s cu l p t u re , co rp o ra t e &
i ns ti tuti ona l i llus tr a ti on, ed i t o ri a l i l l u st ra t i o n
Proof of this assertion will be provided by students in this course. Weekly assignments will combine
illustrative objectives with the playful spirit of exploring materials for their own sake. These might
include plain paper and junk mail: cut, crimped, ripped, twisted, poked, prodded, and glued. Layered
cutouts from old publications will be added and subtracted. Quick assemblages will be the basis for
compositions that animate shadow boxes and tell stories.
Techniques using polymer and air-dried clays will be demonstrated. Scavenged objects to be
disassembled and reconstructed in fresh configurations will offer new ways to make images.
Whatever the initial steps, pieces will be finished incorporating mixed media, collage and other
surface treatments that unify the whole. Idea and technique will come together in the completed
pieces: illustrations that are anything but shallow.
2D or not 2D? That is the question. Or it will be after taking this class.
mi xed medi a , p olymer a nd a i r-d ry cl a y
CONTACT INFORMATION
www.melissaferreira.net
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3772
3D Illustration
Jean Blackburn
Fee: $ 50.00
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
M i xed M edi a
2 D or N ot 2 D
Cha r a c ter a nd Env i r onment D e si g n f o r 3 D G a m i n g
3 D i llus tr a ti on, edi tor i a l i ll u st ra t i o n , a n i m a t i o n ,
s c ulp tur e, book a nd p a c ka g i n g d e si g n
p hotogr a p hy, a ni ma ti on, f il m / vi d e o
Working in three dimensions promotes important new ways of solving visual and conceptual
problems. We will bring dimensional drama to the art of illustration through a wide variety of
materials and techniques. Whether using plaster, Sculpey, paper, clay, wood, latex, fabric, foam,
or found objects, sculptural materials are enormously nuanced in what they can suggest. From
the most subtle low relief to full sculpture in the round, we will examine how various sculptural
strategies can be used to convey complex concepts and ideas pertinent to illustration. A survey of
contemporary sculpture and 3D illustration will provide plenty of conceptual, process, and material
inspiration.
Projects are structured to introduce you to a variety of materials and methods of working. Model
construction, character design, casting, and manipulating found objects are some of the ways we
will address illustrative projects. We will visit the Rapid Prototyping facility at RISD to see how digital
files can be translated into 3D objects. Additionally, students will learn how to light and photograph
three dimensional work for reproduction or portfolio.
The class promotes exploration and personal expression while encouraging strong conceptual
solutions, excellent craftsmanship, and good design. This class will emphasize both material
manipulation and strong conceptual thinking.
CONTACT INFORMATION
[email protected]
ISB 301 | 401-454-6246
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3774
Pup p etry and Performance
Erik Sanko
3 CREDITS
Puppets can span an emotional range from poetically tragic to violent and irreverent and throughout
history have been both venerated and outlawed.
M i xed M edi a
2 D or N ot 2 D
Cha r a c ter a nd Env i r onment D e si g n f o r 3 D G a m i n g
Cr ea tur e La b
P R OF E S S IONAL
AF F INIT IES
c ha r a c ter des i gn, 3D i llu s t ra t i o n , e d i t o ri a l i l l u st ra t i o n ,
a ni ma ti on, s c u lp tur e, book a n d p a ck a g i n g d e si g n
ME D IA
AF F INIT IES
p hotogr a p hy, a ni ma ti on, f il m / vi d e o
The goal of this class is to give people a basic understanding of puppetry philosophy, construction
and manipulation and to gain a richer appreciation of live movement towards image-based
storytelling. The course will be loosely divided into three stages: investigating what a puppet is,
designing and building, story telling/performance. Each student will create a three-dimensional
figure (or figures), either representational or abstract. Manipulation languages of the puppets
will be explored to highlight their narrative strengths including the puppet’s relationship to the
puppeteer. Exploration of the means by which the story is going to be told and find what is most
appropriate will be integral to course activity. The culmination of the students’ efforts will result in
class performance/presentations, either individual, in small groups or collectively as a class.
(Spring)
CONTACT INFORMATION
content and concept
imaging skills
http://eriksanko.com
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3912 & L AEL 3912
V isualizing the Natural Sciences
(fo rmerl y T h e Art of Communicating Science)
Nick Jainschigg & Lucy Spelman
Course Level: J u n ior, S e ni or, Fi ft h Year, G raduat e
3 CREDITS each for LAEL 3912 and ILLUS 3912
RELAT E D S T U D IE S
P R OF E S S IONAL
AF F INIT IE S
ME D IA
AF F INIT IE S
S tu d e n ts r e gis te r e d f o r th is c l as s mu s t al s o r eg i s t er f or
LA EL- 3 9 1 2 .
A na tomi c a l S c u lp tur e
s c i enti f i c i llus tr a ti on, c or p o ra t e & i n st i t u t i o n a l
i llus tr a ti on, c onc ep t/ p r obl e m so l vi n g , st u d i o p ra ct i ce
OPEN M ED IA : p en & i nk/ scra t ch b o a rd ; m i x e d m e d i a /
c olla ge; dr a w i ng/ p a i nti ng; d i g i t a l 2 D / 3 D ; p ri n t m a k i n g ;
a ni ma ti on; p hotogr a p hy; f il m / vi d e o
This 6-credit course invites undergraduate and graduate students to improve their skills in
communicating and illustrating science. The general topic is changing biodiversity, how humans
impact plants, animals, and their environment. Examples will be presented from around the world,
as well as from Rhode Island. Through a series of exercises, students will practice analyzing and
interpreting scientifi c information in order to both understand and present it. The science content
will be delivered through lectures, visits to research labs, and to a nearby nature sanctuary. The
course is designed to introduce students to relevant scientifi c concepts and challenge them to use
their art to make these ideas more concrete and meaningful. In some cases, the goal may be to
educate; in others, it may be to raise awareness, stimulate debate, or entertain. Students will explore
the use of different media, including 2-D, 3-D animated, and interactive modes. They will also target
different audiences and venues, including: general interest or editorial publications, art for public
spaces including galleries, educational and peer- to-peer science materials. Class work includes
assigned reading, several minor projects, an exam, and a comprehensive final project. Students will
choose a recent research study on the topic of human impacts on biodiversity for the subject of their
final project, which is a written paper combined with original artwork designed for a public space
or public interaction. The Departments of Illustration and History, Philosophy and Social Sciences
will teach the course collaboratively. Students must register for both LAEL 3912 and ILLUS 3912.
CONTACT INFORMATION
www.drlucyspelman.com
[email protected]
content and concept
imaging skills
[email protected]
ISB 301 | 401-454-6248
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3916
Scientific Illustration
Jean Blackburn
Fee: $ 50.00
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
D r a w i ng 1 & 2
Pa i nti ng 1 & 2
Cr ea tur e La b
V i zu a li zi ng the N a tur a l S c i e n ce s
For centuries, science has posed widely divergent creative models for the physical world. From the
Greek philosophers to String Theory, ways of visualizing the world are in constant evolution. How
we examine things and seek to understand them are among our first concerns in this class. What do
an egg and an aqueduct, a bubble bath and a bee hive, or a tree branch and a highway system have
in common? With millions of years for Research and Development, nature’s diversity of forms is an
enormous library of inspiration for designers and artists.
This class serves as an introduction to the enormous field of Scientific Illustration. The scientific
illustrator must organize scientific information in an efficient, clear, and visually compelling manner.
It must satisfy the needs of the scientist, the format, and the audience. Major areas of concern will
be in developing professionalism, strong composition, craftsmanship, and nuanced observational
skills. The influence of belief systems on the depiction of “factual” information will be examined in
historic scientific illustrations. Students will be expected to produce several portfolio quality pieces.
s c i enti f i c a nd medi c a l i llust ra t i o n , a rch a e o l o g i ca l
i llus tr a ti on, book i llu s tr a ti o n , p a i n t i n g & d ra w i n g a s
i llus tr a ti on a nd f i ne a r t
OPEN M ED IA : dr a w i ng/ p a i n t i n g , d i g i t a l
CONTACT INFORMATION
content and concept
imaging skills
[email protected]
ISB 301 | 401-454-6246
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3920
Sc i en c e Fiction & Fantasy Illustration
Robert Burckhalter (Rob Rey)
3 CREDITS
This course is an introduction to the visual depiction of imaginary worlds and beings, in particular
those found in science fiction, fantasy, and horror. We will explore the expectations surrounding
these genres and the ways in which artists have circumvented or subverted them.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
M er gi ng Wor lds
CoM i x
Cr ea tur e La b
This course will also be an introduction to the history and methods of narrative illustration and
representational painting. Sketching, reference gathering, composition, and the use of painting
and drawing materials will be covered. Additionally, there will be discussions of related areas such
as: the development of characters, environments and creatures; the extraction of information from
the manuscript or brief; the use of the sketch as a research tool and as a presentation device; and
several demonstrations of traditional media techniques as well as a visiting artist.
ga me des i gn, a ni ma ti on c o n ce p t a rt , b o o k i l l u st ra t i o n ,
c omi c book/ gr a p hi c a nd s ci -f i / f a n t a sy i l l u st ra t i o n
This course is open to all skill-levels and disciplines. More time and emphasis will be placed on
conceptual clarity and originality than fineness of execution. All assignments will be of one week’s
duration. One afternoon per week will be devoted to science fiction and fantasy in the media –
primarily movies – and the influence these powerful images of imagination and possibility have had
on the culture at large. Such classic films as Fritz Lang’s Metropolis , Jean Cocteau’s Beauty and the
Beast , and Stanley Kubrick’s 2001: A Space Odyssey will be screened and discussed with special
attention to the grand visual sets and design.
c olla ge, dr a w i ng/ p a i nti ng, p ri n t m a k i n g , a n i m a t i o n
CONTACT INFORMATION
content and concept
imaging skills
http://robreyart.com
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3924
Creature L ab
Lars Grant-West
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
MEDIA
AF F INIT IES
content and concept
imaging skills
c ha r a c ter des i gn, book i llu st ra t i o n , e d i t o ri a l
i llus tr a ti on, s tor yboa r di ng, co n ce p t / p ro b l e m so l vi n g
OPEN M ED IA , BU T WITH A H I G H L E V E L O F
PR OF ICIEN CY R EQU IR ED : g ra p h i t e , p e n & i n k , d ra w i n g /
p a i nti ng/ di gi ta l 2D
This class is designed to train students in the art of creature creation/design. We will be studying
animal anatomy and physiology with a focus on adapted elements to meet specific environments.
We will follow a structured process to design beasts for a variety of genres. We will also discuss
the psychological implications of different aesthetic choices using existing creatures from film and
literature as case studies. Each assignment will deliver a specific set of parameters within which
students must generate multiple sketches. Students will each be responsible for their own creations
but are likely to need to make edits that come up in class critique. Some of these edits will be “suggestions” (as they generally tend to be in class critiques), while others will be mandatory (with the
instructor playing the role as art director/employer in crit situations). We will primarily be exploring
the genres of fantasy, science fiction, and horror. From ancient mythology and folklore to today’s
high-powered movie and video game industry, the creation of fantastic creatures is a well-established and revered craft. This class builds on that long legacy. Expect to dredge the depths of your
imagination to shape your creations, flesh them out using the rich palette of real-world animal adaptations, then breathe life into them with your own personal style. Class discussion of the natural
world will kickstart your out-of-class research as your beasties are captured in realistic renderings
using media of your choice. Students will design inhabitants for specific fantastic environments or
genres, illustrate creatures from literature and folklore, re-envision classic critters, and create plenty
of your own from scratch. Whether your interest is in concept art, sculpting in clay or pixels, or finished illustration, arrive ready to create!
CONTACT INFORMATION
www.larsgrantwest.com
[email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3928
D esign for TV Animation
Bryan Konietzko
Course Level: S oph omore, Juni or, Seni or (El ect i ve)
3 CREDITS
PR E R E QU IS IT ES
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Cr ea tur e La b
This course, taught by Bryan Konietzko (co-creator and art director of Avatar: The Last Airbender and
The Legend of Korra) will take students through each major aspect of designing and art directing for
an animated TV series. Students will each choose a style, either of their own creation or adapted
from a preexisting one, to generate characters, props, backgrounds, color models, and background
paintings that all serve a single short-format story. The curriculum will concentrate on cultivating
a harmonious, expressive, and appealing art direction that is pragmatic for the applications and
limitations of TV production. Whether the final goal of each art style chosen is 2D or 3D, the assignments will be drawn and painted, either traditionally or digitally, or by using a combination of the
two mediums. We will examine how all aspects of design are paramount in the production process,
and also potent and vital components of storytelling as a whole.
c ha r a c ter des i gn, book i llu st ra t i o n , e d i t o ri a l
i llus tr a ti on, s tor yboa r di ng, co n ce p t / p ro b l e m so l vi n g
a ni ma ti on
CONTACT INFORMATION
content and concept
imaging skills
http://bryankonietzko.tumblr.com
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3936
Character Creation
Shanth Enjeti
3 CREDITS
Character design has always been an integral part of narrative illustration. Its application to diverse
and emerging illustration markets such as digital game design, animation, comic books, film,
merchandising, and advertising have substantially expanded its relevance. Character design is now
an exciting career path in itself.
A ni ma ti on f or Illu s tr a tor s
Cr ea tur e La b
S c i enc e F i c ti on & Fa nta s y I l l u st ra t i o n
P R OF E S S IONAL
AF F INIT IES
ga me des i gn, a ni ma ti on c o n ce p t a rt , b o o k i l l u st ra t i o n ,
c omi c s , s c i - f i / f a nta s y i llust ra t i o n , st u d i o p ra ct i ce
ME D IA
AF F INIT IES
content and concept
imaging skills
In this class, students will push beyond stereotypical designs to develop characters and environments
that are imaginative and culturally resonant. Particular emphasis will be placed on the expressive
power of facial expression, body posture, color, and costume. Through exploration of our own
perceptions of good/evil, success/failure, beauty/ugliness, we will create characters that have never
been seen before. This course will also stress the importance of visual investigation; research into
other cultures and their artifacts – as well as into such areas as biology, anatomy, and engineering –
can provide the character designer with the inspiration necessary for originality and the knowledge
necessary to make the character thoroughly convincing. Presentation will be emphasized.
Good drawing, color and composition are all essential if an idea is to be presented with clarity and
expressiveness. Students may choose any medium – provided that it allows for color. Examples of
work from some of character design’s finest exponents, both contemporary and historical, will be
shown and discussed.
CONTACT INFORMATION
[email protected]
www.shanthenjeti.com
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3940
Co mi c s : Grammar of the Grap hic Novel
R. Kikuo Johnson
3 CREDITS
Students will investigate the mechanics of comics storytelling through a series of exercises
designed to deconstruct the comics language. Clarity is key to engaging the reader, and this
course emphasizes communication regardless of style. This course is structured around a series
of cumulative exercises introducing a new element of the comics language each week, designed to
equip the student for further work in this important art form.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
CoM i x
c omi c book i llus tr a ti on, ed i t o ri a l i l l u st ra t i o n ,
s tor yboa r di ng, c onc ep t/ p r o b l e m so l vi n g
Some have called the last few years comics’ “second golden age.” After decades of genre myopia
in this country, an explosion of variety has recently swept the field. Today, politics, religion, art,
existentialism, and Batman are all fair game as a growing number of American readers become
accustomed to the medium’s versatility. Comics has come a long way since the 1950s when comic
books were stigmatized as a crude and harmful obstacle to literacy in America and were burned in
public demonstrations.
This class deconstructs the comics language and explores the tools you will use to build your own
stories. Starting with the most basic elements of narrative imagery, assignments will add new
components each week and quickly build in complexity of expression. Discussion will include a
history of the medium and the rise of manga and the graphic novel.
OPEN M ED IA : gr a p hi te, p e n & i n k , d ra w i n g , p a i n t i n g ,
di gi ta l 2D
CONTACT INFORMATION
content and concept
imaging skills
www.seabread.com
[email protected]
wintersession
D E TA I L S
COURSE DESCRIPTION
IL L U S 3944
Seq uen t i al Art: Comics, Manga, & Band es
D essinées
Shanth Enjeti
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
CoM i x
S p ea k, M emor y
c omi c s , s tor yboa r di ng, gr ap h i c d e si g n , b o o k
i llus tr a ti on, p i c tor a l na r r a t i ve , a n i m a t i o n
a ni ma ti on
Sequential art is an evolving and global art form whose recent history is grounded in three distinct
forms: Comic, Manga, and Bande Dessinée. This course offers an intensive introduction to the
storytelling possibilities that these forms present and teaches storytelling and technical approaches
that will enhance an artist’s ability to thrive in both ‘sequential art’ and other narrative driven fields.
This course is also designed to resolve any lingering deficiencies in composition, value, color,
perspective, and drawing fluency, all of which are essential. In addition to short assignments and
in class exercises, the course will include the showing of exceptional examples of comics, manga,
and bandes dessinées work by artists including: Winsor McCay, Osamu Tezuka, Hergé, Hayao
Miyazaki, Moebius, and R. Crumb. Students are also encouraged to bring in their favorite examples
of ‘sequential art’ to share with and inform the class.
Attention to the orchestration of panel layout and composition within individual panels themselves
will be taught in tandem with the use of value and color as storytelling tools. In addition to creating
works of a personal nature, students will be given assignments that require them to work from a
given concept to demonstrate their ability to present various technical and psychological elements
in a compelling fashion. Students will also gain a knowledge of the practical and professional
concerns of the form as well as an insight into the origins of various styles.
CONTACT INFORMATION
[email protected]
content and concept
imaging skills
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3948
Co M i x: Wo r d s and Pictures Mixed Together
Paul Karasik
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Pi c tu r e & Wor d
c omi c book i llus tr a ti on, ed i t o ri a l i l l u st ra t i o n ,
s tor yboa r di ng, c onc ep t/ p r o b l e m so l vi n g
Not illustration. Not creative writing. Comics has its own language resulting from images and
words working together. As students demonstrate mastery, they will move from highly structured
lessons and exercises to more personal and experimental long forms. Students will devote the last
third of the course to creating and self-publishing a 24 page mini-comic of their own. Be prepared
to write and draw a lot of pages.
The combination of drawings and words in a sequence transcends culture and language and
communicates with people of all ages, literate or not, in a direct and powerful way. How does
this happen? This course will examine the elements that make up a comic: pictures in sequence,
captions, dialog, visual symbols, narrative technique, and style. More importantly, it will investigate
how these elements are combined in the mind of the reader to create the visual language of the
comic.
This class offers a look at how narrative structure is manifested in comics, from non-verbal, didactic
narratives, intended to show and tell, to wildly inventive interpretations of traditional stories and
fables.
OPEN M ED IA : gr a p hi te, p e n & i n k , d ra w i n g / p a i n t i n g ,
di gi ta l 2D
CONTACT INFORMATION
content and concept
imaging skills
paulkarasik.blogspot.com
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 3956
Cinematic Storytelling
Jesse Benjamin-Schmal Straus
3 CREDITS
CoM i x
Intr oduc ti on to A ni ma ti on fo r I l l u st ra t o rs
Pi c tu r e & Wor d
P R OF E S S IONAL
AF F INIT IES
c omi c book i llus tr a ti on, ed i t o ri a l i l l u st ra t i o n , co n ce p t /
p r oblem s olv i ng, s tor yboa rd i n g
ME D IA
AF F INIT IES
This course will examine various storytelling techniques used in cinema that are essential in guiding
the look and feel of a film. These will include storyboarding, color key creation, and production
illustrations. Our goal is to build the essential skills needed to participate in the narrative process
of filmmaking. You will work both individually and in groups on a series of assignments to create
finished works that build your individual skills and demonstrate your abilities to work on a story team
in a cinematic production. We will examine camera placement and frame-to-frame clarity by creating
storyboards for different scenarios. In addition, to explore the emotional beats of a narrative, you
will create lighting and color keys. In the final weeks, we will create a finished production illustration
for a narrative that will be either supplied or created by the student.
In Cinematic Storytelling students respond to assignments with the goal of investigating how
cinema’s specific needs of fixed aspect ratio, time, and movement can be used to communicate,
as well as the relevant skills used to address them in storyboards, color keys, and production
illustrations. Attention to the study of time, composition, and their effect on the viewers psychology
will be taught in tandem with the study of how the masters of cinema and animation use these
elements to create indelible impressions with their work. In addition to creating works on their
own, students will be given group assignments that will require them to demonstrate their ability to
work as a team on a given concept. Students will also learn to be aware of the practical professional
concerns of the industry.
CONTACT INFORMATION
content and concept
imaging skills
[email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 3960
I n t r o to Animation Techniques for
Illustrators
Ann LaVigne, TBA
Fee: $85.00
Estimated Cost of Materials: $40.00
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
none
Photogr a p hy 1
Photo f or Illus tr a tor s
CoM i x
This course provides students with practical, hands-on creative experience in animation production.
The course is primarily designed to introduce students to the fundamental principles of animation:
timing, movement, staging, design, and editing. Class exercises explore a variety of traditional
and experimental techniques and processes including: drawn animation, direct-to-film, cutouts,
modified base, and pixilation. This class is more concerned with process than finished product.
Personal expression and experimentation are emphasized.
A wide range of independent animated films is screened and discussed to provide creative stimulus
and demonstrate a variety of aesthetic and technical approaches.
The course is reserved for sophomore illustration majors and is a prerequisite for all other animation
classes in the Film/Animation/Video department.
oi l p a i nti ng
CONTACT INFORMATION
content and concept
imaging skills
harrietandmickey.com
[email protected]
AUDITORIUM | 401-454-6233
fall + spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 4000
Ad vanced Proj ects
Lenny Long, Paul Olson
Course Level: J u n ior, S eni or (El ect i ve)
3 CREDITS
The ability to bring a creative project to a full and successful level of finish is often neglected in the
academic environment, but is an essential professional skill. This course requires students to selfestablish clear project goals to be met thoroughly and with the highest degree of resolution and
polish.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
The Por tf oli o
dr a w i ng a nd p a i nti ng a s i ll u st ra t i o n a n d fi n e a rt , 3D
In a written proposal, each student will present his or her project for the semester: a graphic novel,
a series of paintings or drawings, a children’s book, a suite of prints or posters. Work may be in
any medium, in any format and on any theme, but these parameters must be clearly set out from
the beginning. Students present a written proposal to the class on the project they are interested
in doing, and then implement their plan, working both in the classroom and on their own time. A
professional-level juried exhibition of the completed projects will be mounted in the ISB gallery, with
an emphasis on presentation, marketing and a public opening.
Advanced Projects is a working studio focusing on the development of a consistent body of work
in style and finish. The project must be fully completed within the semester; realistic planning and
satisfactory fulfillment of stated goals is emphasized. The range of projects has included children’s
books, editorial illustration, landscape painting, portraits, 3D pop-up books, drawings, wall reliefs,
comic books, dressing screens, dioramas, CD covers, political imagery. Students will have individual
crits weekly and group crits at mid-semester and during studio review week.
CONTACT INFORMATION
content and concept
imaging skills
[email protected] [email protected]
fall
D E TA I L S
COURSE DESCRIPTION
IL L U S 4008
Putting It All Together
Course Level: S e n ior (Elect i ve)
3 CREDITS
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Cou r s e a v a i la b le t o s e n i or s o nl y
The Por tf oli o
This course is an opportunity for seniors to follow their own passions by developing a series of
original projects. Students are encouraged to work in the media and technique of their choice –
painting, illustration, 3D, etc – and will present weekly progress for discussion and critique while
formulating a body of work for professional presentation and portfolio. Assignments are selfdirected; the class is a collective independent study. Professor and student will work closely to focus
the development of the student’s desired project, whose ultimate goal might be creating material
for graduate school applications, a cohesive and well-directed portfolio, or simply artwork that is
reflective of their RISD career. The semester’s work culminates in a presentation to an objective
group of outside professionals who will critique the merits of the final body of work and offer
suggestions for future exploration and development.
p a i nti ng a nd dr a w i ng a s f i n e a rt a n d i l l u st ra t i o n , st u d i o
p r a c ti c e
OPEN M ED IA : a ll i llu s tr a ti o n , d ra w i n g , & p a i n t i n g
medi a
CONTACT INFORMATION
content and concept
imaging skills
[email protected]
ISB 401 | 401-454-6257
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 4012
The Portfolio
Mary Jane Begin, Ellen Weinstein, Staff
Course Level: S e n ior (Elect i ve)
3 CREDITS
The term portfolio is used here to mean the entire delivery system that explains who an artist is to
the professional world. That identity, or “brand,” consists of a resume, website, printed samples,
mailers, business cards, video clips and any other representation of the skills offered and the work
created. This class prepares each artist properly for real world experiences in the disciplines and
industries that fit the work developed. A design project in their entirety, portfolios serve as the
gateway to job opportunities, freelance work, gallery exhibitions, artist residencies, and internships.
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
content and concept
imaging skills
Cou r s e a v i la b le t o s e n i or s on l y
The primary focus of the portfolio is on four main areas of discussion: the creation of the artwork
itself; the portfolio as a delivery system for the work; the charging of fees and the creation
of contracts; and the connection to client, employer, or art buyer. Each student will develop an
individual program and portfolio, including a proposal for a body of work, a website, a business
card, advertising materials, a resume, and a client list with contact information.
c onc ep t/ p r oblem s olv i ng, e d i t o ri a l i l l u st ra t i o n ,
c or p or a te & i ns ti tu ti ona l i l l u st ra t i o n , b o o k i l l u st ra t i o n ,
gr a p hi c des i gn, p a c ka gi ng a n d 3 D i l l u st ra t i o n
Class will meet each week and review in a group or individual critique format, augmented with guest
lecturers, attendance at a portfolio and resume workshop, as well as participation in a Portfolio
Review Day sponsored by Career Services.
CONTACT INFORMATION
www.maryjanebegin.com
[email protected]
www.ellenweinstein.com
[email protected]
spring
D E TA I L S
COURSE DESCRIPTION
IL L U S 8960
Professional Internship
Mary Jane Begin
3 CREDITS
Three-credit internships are permitted in Fall, Spring, Wintersession, and Summer.
Undergraduates are eligible to take a fall, spring or Wintersession internship once they have
successfully completed their freshman year and may take their first summer internship after their
sophomore year. Undergraduates may take a maximum of 6 internship credits toward their degree.
Registration for an internship requires application through the RISD Careers website (risdcareers.
com).
Comp leti on of S op homor e y e a r
i nter ns hi p dep endent
P R OF E S S IONAL
AF F INIT IES
ME D IA
AF F INIT IES
Students applying for internships should first submit all necessary e-forms (signed and fully completed by
the student and the sponsoring organization) via ArtWorks by the published deadlines.
Visit risdcareers.com for more information.
CONTACT INFORMATION
content and concept
imaging skills
http://maryjanebegin.com
[email protected]
ISB 200 | 401-454-6242
fall,
wintersession,
spring, summer
non major electives (12 credits)
- non-major elective
illustration major electives (30 cr)
- illus elective
- illus elective
- illus elective
- illus elective
- illus elective
- illus elective
- illus elective
- illus elective
- illus elective
- illus elective
special electives (6 cr) *
- illustration concepts elective
- computer literacy elective
change of major
brdd
faculty
semester|year credits grade
transfer|substitution
* please consult the official course announcement for a list of classes which fulfill the illustration concepts elective and the computer literacy requirement.
illustration major requirements (54 credits)
sophomore core sequence (18 cr)
- illus 5227
Illustration Concepts I
- illus 5232
Illustration Concepts II
- illus 5200
Drawing I
- illus 5250
Drawing II
- illus 5201
Painting I
- illus 5251
Painting II
liberal arts electives [lael, arth, engl, hpss (12 cr)]
- lael elective
- lael elective
- lael elective
- lael elective
history, philosophy & social sciences (9 cr)
- hpss-s101
Topics: History, Philosophy & Social Sciences
- hpss elective
- hpss elective
literary arts & studies (9 cr)
- engl-e101
Literature Seminar: Design in Words
- engl elective
- engl elective
history of art & visual culture (12 cr)
- arth-h101
History of Art & Visual Culture
- arth-h102
History of Art & Visual Culture II (topics)
- havc elective
- havc elective
liberal arts requirements (42 cr)
foundation studies requirements (18 cr)
double major
transfer
iso
courses completed to fulfill requirements (126 credits total)
anticipated graduation date
advisor
BFA in Illustration
Rhode Island School of Design
student
Academic Planning Grid

Drawing I - Rhode Island School of Design

Transcription

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