A graphic skills course that focuses on the techniques, craft, and ideologies of collage as a form of architectural representation. There are in-class workshops and weekly projects involving (handmade) collages. There are also a limited number of supplementary readings to situate our work within the context of architectural history and theory.

It can be remarkably easy to take the process of looking for granted. Each day, humans contend with an onslaught of visual information. Education primarily focuses on teaching people how to read, write, and deal with numbers. But what about learning how to look closely and critically at images, at the world around us, and at ourselves? In this transdisciplinary course, we will question common assumptions and our own about looking; interrogate the anatomy and physiology of vision; develop our looking muscles; practice visual problem-solving strategies; and together design new tools to help people engage with the visual world.

How can screenwriters prepare for the evolving challenges of our global media world? What types of content, as well as form, will emerging technologies make possible? Do fields like neuroscience help us understand the universal principals behind screenwriting and do tech advances that alter the distance between audience and creator, man and machine, also influence content of our stories? This class will use fairytales, films, games and new media to illustrate universal script principles while creating a rich interdisciplinary lens to explore the innovative intersection of narrative screenwriting, science and technology.

This workshop class will introduce students to the fundamental elements of developing and writing a TV series in the current "golden age of television." Students will watch television pilots, read pilot episodes and engage in in-depth discussions about story, series engine, season arcs, character, structure, tone and dialogue, which will be applied to their work. Each student will formulate and pitch an original series idea, write and rewrite a detailed treatment of the concept, and complete the first 30 pages of the pilot episode by end of semester. Students will read all drafts of each other's work and give verbal feedback every week.

This course, conducted in English, is a study of Fascism through selected films from World War II to the present. Topics include: the concept of Fascist normality; Racial Laws; the role of women and homosexuals; colonialism; and the opposition of the intellectual left. Films include: Bertolucci's "The Conformist", Fellini's "Amarcord", Rossellini's "Rome Open City", Cavani's "Night Porter", and Wertmüller's "Seven Beauties". The approach is interdisciplinary and combines the analysis of historical themes with an in-depth cinematic reading of the films.

This course introduces students to set and costume design for performance, exploring theater as a visual medium. Students will develop their ability to think about the physical environment (including clothing) as key components of story-telling and our understanding of human experience. Students will expand their vocabulary for discussing the visual world and work on their collaborative skills. We'll spend half the semester focusing on costuming and half focusing of the scenic environment, both in a practical, on your feet studio class taught by professional theater practitioners. Absolutely no experience required.

An introduction to the art and craft of lighting design for the stage and an exploration of light as a medium for expression. Students will develop an ability to observe lighting in the world and on the stage; to learn to make lighting choices based on text, space, research, and their own responses; to practice being creative, responsive and communicative under pressure and in company; to prepare well to create under pressure using the designer's visual toolbox; and to play well with others-working creatively and communicating with directors, writers, performers, fellow designers, the crew and others.

The great thing about drawing is you can do it anywhere! This course approaches drawing as a way of thinking and seeing. We'll introduce basic techniques while also encouraging experimentation, with a focus on both drawing from life and drawing as an expressive act. Students will be introduced to the basics of line, shading, proportion, composition, texture and gesture. You'll also maintain a drawing journal, and use it as a regular space for observation and personal expression. Through exposure to a variety of mediums and techniques, you'll gain the skills and confidence necessary to develop an individual final project of your choosing.

An introduction to the materials and methods of painting, addressing form and light, color and its interaction, composition, scale, texture and gesture. Students will experiment with subject matter including still life, landscape, architecture, self-portraiture and abstraction, while painting from a variety of sources: life, sketches, maquettes, collages, photographs and imagination. Students will progressively develop personal imagery that will inform an individual final project. Princeton will provide all materials for the painting class.

Black Queer BDSM material culture resists contextualization in relationship to biographical narratives because of the underground elements of the community. This course will explore the material culture of this community from three perspectives: Architecture + Location, Visual Artists and Exhibitions, and Black Queer BDSM communities with a significant research focus on finding and presenting new materials. We will consider the fragility of archival engagement with these communities by surveying existing BDSM archives in research libraries, community groups, and individuals and their personal ephemera.

In this introductory studio course, participants explore the world wide web as an opportunity for self-publishing. We'll understand the web's history and original design as a decentralized system for publishing on one's own terms. But it's easy to forget this, as today the corporate and platformed web captures and sells our data and attention. Through hands-on exercises and projects, this course aims to demystify the web, removing barriers to basic web coding and publishing by focusing on the foundational skills in making websites with HTML and CSS. We'll remember what makes a web a web: links made by humans.

This studio course introduces students to the aesthetic and theoretical implications of digital photography. Student emphasis is on mastering digital equipment and techniques, managing print quality, and generally becoming familiar with all aspects of the digital workspace. Popular media, found photographs, and the "life" of digital images will also be investigated. Slide lectures, readings and class discussions of student work in critique format will augment visual skills with critical and conceptual understandings of contemporary photography.

The practice of graphic design relies on the existence of networks for distributing multiple copies of identical things. Students in this course will consider the ways in which a graphic design object's characteristics are affected by its ability to be copied and shared, and by the environment in which it is intended to circulate. Through hands-on design projects, readings, and discussions, students will delve into different material forms of distribution - the printed newspaper, social network software, the community radio station, the PDF.

This studio production class will engage in a variety of timed-based composition, visualization, and storytelling techniques. Students will learn foundational methods of 2D animation, acquire a working knowledge of digital animation software and technology, and explore the connective space between sound, image, and motion possible in animated film. Screenings, discussions, and critiques will relate student work to the history and practice of animation and to other media, art, and design forms.

This class will be a studio introduction to sculpture, with particular emphasis on the study of how form, space, and a wide variety of materials and processes influence the visual properties of sculpture and the making of meaning. A balance of indoor, outdoor, and/or transient assignments will lead to the development of an understanding of contemporary sculpture, as well as basic technical facility with found objects, common materials, natural earthworks, ergonomics, and three-dimensional design.

This studio course investigates video installation as a contemporary art form that extends the conversation of video art beyond the frame and into live, site-specific multi-channel environments. Screenings, visitors, and readings augment critical thinking about temporal/spatial relationships, narrative structure, viewer perception and the challenges of presenting time-based work outside of a theater. Technical workshops will hone video-making and presenting skills. Students develop research interests and apply their skills sets to short exercises and expanded self-directed projects culminating in projects designed for exhibition.

This course takes an exciting approach to color photography using methods of cameraless and lens based analog photography. We will experiment with Anthotypes, Lumens, Chlorophyll printing, and Polaroids. Several of the materials needed for this course can be found in your backyard or kitchen cabinet! Students will receive a kit for all necessary materials. Participants are encouraged to experiment, using the medium to convey observations and ideas. The possibilities of color in photographs are endless and together we will expand the ability to interpret color. The class is augmented by lectures, readings, critiques, and a visiting artist.

This course is an introduction to the fascinating history of collage. Students study techniques employed in the iconography of China and Medieval Europe, and expand to its historical resurgence in the form of keepsakes and scrapbooks. Students evaluate the relationship of collage to historical advancements in photography, assemblage, and décollage. Students discover collage's relationship and technical developments to the radical histories of trauma, disruption, and desire by studying contemporary artists. Projects are structured around mixed media drawing, printmaking, painting, along with found object sculpture.

An introduction to narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques. This course teaches the basic tools and techniques for storytelling with digital media by providing technical instruction in camera operation, nonlinear editing, and sound design paired with the conceptual frameworks of shot design, visual composition, film grammar and cinema syntax.

In a digital world, this course promotes hand-made printed images. Students will examine two kinds of printmaking: relief and intaglio. To make images that matter, students will learn to cut blocks, fashion stencils, plan and execute color layers, etch and drypoint copper plates, and understand the range of mark making possibilities available in printmaking. Students are encouraged to draw regularly to cultivate themes and content, and to develop a basic knowledge of print in contemporary art. Woodblocks have been around since the 8th century; etchings for 500 years. Students will make something completely new from something old.

This course will examine photography's evolving technologies. Students will work with analogue black and white and color film which they will scan and print their digitally in order to broaden their photographic strategies, technical skills, and their understanding of the medium. A range of tools will be introduced, including camera operation, film scanning, Photoshop image management tools and inkjet printing. The course will require independent and collaborative assignments with critiques augmented by readings, visiting photographers, discussion, and potential field trips provided that travel restrictions and the pandemic conditions allow.

This course is designed for students who are interested in learning the fundamentals of working with clay. A wide variety of hand-building will be taught, enabling students to make utilitarian vessels as well as sculptural forms. Students will learn about glazing and colored engobe application methods and how to operate electric and gas kilns. Studio work will be complemented by readings, field trips, and slide presentations.

This studio class will explore a broad range of approaches to art-based performance: from instruction pieces and happenings, to the body as language and gesture, to performance as a form of archiving. We move through the history of performance to investigate techniques of narrative, site, the audience, duration, voice, movement, installation, with a particular emphasis on documentation and how performance has engaged virtual spaces. Readings and critiques expand vocabulary in assessing performance art. Exercises explore different forms of performance building a foundation of techniques and positions for developing art-based performance work.

There are unlimited ways in which to record and portray the world around us. In this class, we will analyze classic and contemporary strategies for making a documentary film, and see if we can invent some new ones of our own. It's important to know what came before, and as important to learn about the present by being a part of creating it. The emphasis is on making. A wide range of films will be screened, but the course is mainly dedicated to having each student shoot and edit a medium length (20-30 minute) documentary, or a series of shorter films.

An intermediate exploration of narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques. This course picks up where Narrative Filmmaking I left off, expanding on the basic tools and techniques for storytelling with digital media by providing further technical instruction in camera operation, nonlinear editing, dialogue recording, and sound mixing paired with the conceptual frameworks of point of view (narrative stance), master shot technique, performance, and blocking.

This class will focus on how contemporary painting considers the human figure. Portraits without people, the selfie, imagined figures, forgotten figures, fragmented figures, figures from our lives, abstract figures, cyborgs, crowds, and composite figures will be considered within a structure of exploratory painterly approaches. This class will NOT focus on "how to" paint the figure. No experience painting the figure is necessary.

Advanced Questions in Photography will examine ways in which lens-based media can interrogate representation, class, gender and race. The class will look artists of the 1960's through 1990's such as Eleanor Antin, Adrian Piper, Douglas Huebler, Martha Rosler, Barbara Kruger, Carrie Mae Weems, Felix Gonzales Torres, Lyle Ashton Harris and more recent artists Trevor Paglen, Hank Willis Thomas, Jason Lazarus, Walead Beshty and Hito Steyerl. With staff support from the 185 Nassau Street digital lab, students are expected to produce a focused body of work culminating in a digital, (HP Indigo press or similar) book and a web presentation.

This studio course builds on the skills and concepts of the 200-level Graphic Design classes. VIS 415 is structured around one semester-length assignment which connects graphic design to the design of software interfaces. The single project allows an individual in-depth investigation of a broader class assignment and will leverage the online setting with students working together to refine their individual projects through a mix of critique and user testing. Studio work is supplemented by guests, readings, and lectures. The course will explore information design and visual problem solving specifically for electronic media.

Students will design, build, and critically analyze three common objects, a cushion, a prosthetic, and a light fixture. Each object will be informed by the diverse structural properties of a singular material: ash wood. These objects will be executed quickly and in round-robin fashion, a structure that allows students to be leaders on some assignments and learn from their classmates on others, supported by lab work. The course is capped by a semester-long, collaborative project to design and build a flexible bridge. A larger goal of the class is to compare and contrast methods of evaluation in visual art, engineering, design, and ergonomics.

This class concentrates on the editing process. Students will re-edit samples from narrative and documentary films and analyze the results. We will also critique ongoing edits of your own thesis films. Guest speakers will come to talk about rough-and fine-cut editing, sound design, and sound mixing. Editing is about shaping the story through image, dialogue, additional sound and music. No matter how well (or badly) a film is directed and shot, its final result depends profoundly on the artfulness of its editing. This course will give you a better understanding of how many ways there are to approach and solve the puzzle of editing a film.

This sculpture class will engage contemporary approaches to the figure with an emphasis on the figure as body. With the advent of postmodernism, the singular forms of classical and modern sculpture have fractured into composite, disjointed figures-even cyborgs-in keeping with the era of the "post human." Students will take a multivalent approach to the historical precedents from which current representations have emerged and explore the limits of what constitutes the body and figuration in contemporary sculpture through the process of class discussions and making sculpture.

This seminar examines the radical possibilities of collaboration as fundamentally a process of radical composition through which collaborators bridge different modalities of creative expression - textual composition, artistic composition, speculative composition, among others - that span multiple media, forms and practices. By modeling and exploring collaboration as radical composition, this course seeks to reframe it as more than a dynamic of participation and coordination, and to recognize it as a generative methodology for producing critical scholarly and creative work.