How might we design healing spaces to support emotional, mental and physical well.being for people who are facing isolation, due to the current global crisis or a range of circumstances?

Opportunity for Design to Make an Impact: Social Inclusion
With 1.5 billion+ people worldwide living under a ‘stay at home’ order, this pandemic has thrown a spotlight on challenges and inequities faced by people who are homebound or experiencing isolation. How might we as designers respond to this global challenge?

Co-Design Approach: Rooted in Empathy
You will define your own area of opportunity to make an impact, through empathy-based design. Co-create with audiences across a wide spectrum of perspectives: elders living alone, caretakers, families with young children, and digital natives. Apply your first-hand experience. Engage with guest experts from medical, well-being & design fields.

At the heart of entertainment design there is one thing that all aspects of development serve: the story. It is our job to be able to command the fundamental principles of design (e.g. perspective, composition, visual communication, etc.) in order to tell a compelling narrative. This course strives to emulate the collaborative and dynamic storytelling and concept design process using tabletop roleplaying games as a backdrop for narrative development. Students will create dynamic options for their characters to experience and roll the dice to see where they go and what they do. The dynamic nature of multiple possibilities seeks to creatively parallel the curve balls we experience in the field on a daily basis. It is the goal of this course to teach our students how to strengthen their technical skills alongside their narrative ability. Through research, iteration, and critique, students will design characters and environments and show where they intersect and interact in their story. Students will be given the tools necessary to take an audience on a heroic journey.

This course is designed to help students draw better dynamic characters both from life and from their imagination. Students will learn from a series of exercises emphasizing various approaches and materials to achieve expressive, compelling characters. Different storytelling considerations will be explored leading to a deeper personal understanding and point of view.

The Graphic novel is one of the most complex yet efficient storytelling tools in the world. In this course, students will write, design, layout, letter, pencil, ink and color an eight-page story, creating characters and worlds of their own in the process. In addition, students will learn how the storyboarding process for film and television is analogous to comics and use that skill to help layout their original story. Individuality rules, yet much hard work will result in a newfound skill invaluable in the workplace.

Split into three sections, students will focus on storyboarding for the first four weeks, then design elements in their sequence the next four, and follow that up with keyframe assignments for the rest of the semester.

This course focuses on quick sketching, editing, and pitching ideas geared towards entertainment design. The primary goal of this class is to provide students with a clearly directed methodology to facilitate the generation of non-derivative work and to familiarize students with the creative process as it specifically applies to the entertainment industry.

"Intro to Zbrush" will explore all aspects of the program including User Interface, Sculpting Brushes, Alphas, Subtools, 3D Layers, Poly Painting, Spotlight, LightBox, ShadowBox, Zspheres, Zsketch, and Transpose Master. This course will also go over the many amazing plug-ins inside of Zbrush including Decimation Master, UV Master, Multi Map Exporter, Subtool Master, and Maya Blend Shapes. This course will give you all knowledge needed to create a final project for your portfolio whether it be character or environmental.

ZBrush in Production is an advance class focused on how ZBrush is used within multiple industries today. The course will focus on the various ZBrush techniques in film, game, toy/collectible and rapid prototype industries. It covers many aspects of a pipeline, including, how to use scan data, render a final image in an industry standard application, building models that will be manufactured and much more. Students will pick from one of the five focused industries and complete one project that meets all of the necessary requirements any studio would ask of an artist.

Brief: The goal of this studio is to create a heightened awareness in sustainability and ecological issues and to create innovative solutions for present and forward thinking scenarios. This studio will consider issues of sustainability through the exploration and design of: [public] + private spatial experiences, interactive installations, objects, furnishings that have us re-thinking our fragile and current relationship with nature, in this new age of social distancing. A critical component will be to redefine our proxemics (distancing) factors in our New Nature environment. This online mixed-reality studio will consider issues of sustainability through the exploration and design of: [public] nomadic furnishings, objects, interactive installations, experiences that have us re-thinking our fragile relationship with nature in the urban-global context.

With 75% of the U.S. population living in the urban environment, our contact with the natural world has become increasingly minimal, particularly from the vantage point of our urban city centers. Students will be asked to re-examine and re-define our symbiosis with nature, in this current age of environmental crisis and impact, as well as defining our new proxemics with each other. The context of our exploration will be the urban private nature condition. As we become more nomadic less structured we tend to spend more time in what is known as the contemporary agora. The goal of the exploration and outcomes is to continue the dialogue about the juxtaposition of open space and urban space, their ecosystem and infra-structure, and how design can be the catalyst for the creation of meaningful experiences and places that are ecologically conscious and can facilitate community engagement and dialogue. Ultimately, we are seeking to define the emerging new relationships between nature and the city, between nature and humankind and an emerging co-evolution.

Design for the mind + body.

In 1896, American Architect Luis Sullivan coined the maxim "Form Follows Function" and it has been a staple of design thinking ever since. But in today’s complex world, design must address much more than function and use. Designers need to understand how their creative choices impact human emotions and the physiological effects on the body. Emerging research at the intersection of design and the behavioral sciences is exploring the mind body connection. Aesthetics, light, sound, smell and touch are the tools in which designers must be attuned to the harness the power of empathic and sensorial design.

Empathic Senses will explore the psychology of form, space and materials through a series of explorations and exercises organized around the five senses.

How might we design healing spaces to support emotional, mental and physical well.being for people who are facing isolation, due to the current global crisis or a range of circumstances?

Opportunity for Design to Make an Impact: Social Inclusion

With 1.5 billion+ people worldwide living under a ‘stay at home’ order, this pandemic has thrown a spotlight on challenges and inequities faced by people who are homebound or experiencing isolation. How might we as designers respond to this global challenge?

Co-Design Approach: Rooted in Empathy

You will define your own area of opportunity to make an impact, through empathy-based design. Co-create with audiences across a wide spectrum of perspectives: elders living alone, caretakers, families with young children, and digital natives. Apply your first-hand experience. Engage with guest experts from medical, well-being & design fields.

The Summer 2020 version of “Studio Practice” will continue to address practical aspects of an ongoing studio, but with an emphasis on how to make art from home. Artists often face situations that are less than ideal, having inventive ways of dealing with a continuing studio practice at home are not only appropriate to the pandemic but to making in general—adapting to circumstances creatively is key. The class will be a combination of online class meeting held via Zoom, including online demos.

A fourth term class that gives Fine Art students the tools needed to develop a body of work that will foster success in the “Fifth Term Review.” Methods of critique and analysis, strategies of rigor and commitment in studio practice, and self-awareness in regards to personal and cultural histories are all addressed in this class, through readings, discussions, and critiques. For the Summer of 2020 this will be an online delivery via Zoom, with class sessions as well as one on one meetings.

One on One is a one unit required class for students in terms 1 though 3. It consists of 3 meetings that are intended to orient a student in navigating building an art practice across multiple classes, reflecting on art production, time management, skills in critique, and generally, mentoring. This class will be online for Summer 2020, as scheduled Zoom Meetings with faculty. This class is open to students in other programs who would like one on one meetings about art projects.

Summer 2020’s online printmaking course will be oriented towards works that can be made at home. Projects for the class will include: Woodblock carving and printing using water-based ukiyo-e (Japanese) style methods, Linoleum block relief printing, Pochoir: prints made with stencils, gouache or ink, Monoprints, Transfers & Collage techniques; and Alternative photographic processes. Extensive historical and visual print information will be presented. Instructor will give a materials list with costs for students to order. This will replace a lab fee. Class sessions will be online, with Zoom sessions that will include demonstrations and critiques.

Field is a class that explores and cultivates awareness of sites and their relationship to contemporary culture and art as they are situated in context and place. By investigating diverse environments through various medias from the vantage point of our current quarantined reality, students learn how cultural capital is produced and shared by considering various art institutions and their associated ecologies or communities. For Summer 2020, Field will be conducted as an online class using a variety of communication and media sharing platforms as follows: Week 1, students and faculty meet to layout the class plan and assignments; Weeks 2-7, using a variety of media, students work on projects with check-ins with faculty; Weeks 8-14, based on the research and projects developed in the prior weeks, students and faculty use various online platforms to experience journeys, examine a variety of geographies, communities and cultural institutions and the frames that shape our access to them.

Projects is geared towards a specific project from a student-initiated proposal, with input from faculty and group critiques. For Summer 2020, this will be conducted as an online class on the following calendar: Week 1, meet as a group and individually with instructor to establish project plan; Week 2-7, work independently with consultation by appointment, as needed; Week 8-14, Zoom meetings with Instructors as well as some collective class sessions. If facilities are open later in the semester, students will have access to assigned studios.

This class is open to students in any major who would like to work on art projects for the summer term.

This is a gatepost class for the fine Art student that takes them through the steps of contextualizing their work via historical and contemporary examples, develops appropriate writing methods and genres for communicating the Artists’ distinctive point of view in an artist’s statement, and develops presentation skills, for a productive review. Passing this class is a prerequisite for continued matriculation through the Fine Art program. For the Summer of 2020, class sessions and formal review will happen via Zoom class sessions and individual meetings.

Summer Studio is geared towards developing either a new body of work, or continuing a line of work that has been previously established. For Summer 2020, this will be conducted as an online class on the following calendar: Week 1, meet as a group, and individually with the instructor, to establish the trajectory of the body of work; Week 2-7, work independently with consultation by appointment, as needed; Week 8-14, Zoom meetings with Instructors as well as some collective class sessions. If facilities are open later in the semester, students will have access to assigned studios.

This class is open to students in any major who would like to work on developing a body of art or hybrid art/design work for the summer term.

Seminar is a class that brings the Fine Art community together via guest artists and group critiques of student work. For Summer 2020 these will be attended in an online format. Class calendar: Week 1, meet as a group to establish class plan and introduce readings. Week 2-7, work independently with consultation by appointment, as needed; Week 8-14, Zoom class sessions, and visiting artists presentations.

This class is open to all majors who are interested in learning more about contemporary artists and artmaking.

A sixth term course for students to review their progress and orient their developing body of work towards their senior solo shows, after the gatepost of “Fifth Term Review.” For Summer of 2020, this course will be run in an online format via Zoom class sessions, critiques and individual and group meetings. As this class has always been geared towards tailoring an individualized program towards artists’ specific bodies of work, the online format will not be a significant shift.

This two-semester capstone course prepares students for introducing their work, in a professional manner, to the world via an exhibition. During Summer 2020 this course will be adapted to online learning in the following ways: Week 1, Zoom class session: group and individual meetings will determine calendar for solo shows and critiques. Week 2-7, students will be creating the work for their exhibitions with online guidance from their faculty. Week 8-14, if restrictions are lifted, students will be holding their shows and final critiques on campus. If restrictions stay in place, the graduating artist will share their installed exhibition on campus through a zoom critique with the rest of the class.

This is a requirement of the Senior Projects course. The thesis, a 7-10 page paper, addresses the content of the student’s work and is a unique opportunity for students to gain further insight into their art and its importance. During Summer 2020, the thesis portion of Senior Projects will be adapted to remote learning in the following ways: Week 1, via Zoom or phone, students schedule meetings and establish goals for the term with the thesis advisor. Weeks 2-12, students write and meet individually with the thesis advisor (via phone or Zoom.) Week 13 + 14 students share their drafts and final thesis with their peers. and the Senior Projects faculty.

Illustrate and design a custom Butterfly Chair sling seat cover! The original Butterfly Chair was designed in Argentina in 1938 by architects working in Le Corbusier's studio. Its curved frame forms a shape like butterfly wings. The cover was originally handmade in leather by a saddle maker. Your Butterfly seat cover will be made from upholstery grade canvas fabric and printed with your illustrated image or narrative pattern design. Class projects will require research, brand analysis and the final creation of original stylized artwork for application to a line-up of products including the iconic Butterfly Chair cover, a tote and an iPad cover. All tracks and departments are welcome. Prerequisites: Class entry level 5th term and above < or portfolio.

This class explores the concept of improvised communication during times of disruption. Through a series of presentations and research, students will explore the history of low-tech and ingenious communication techniques devised and used internationally and throughout history, especially during strife. Students will adopt this as a theme for content and as inspiration for creative design solutions. The class output will reflect adaptive strategies in presentation.

A project-based collaborative studio on the subject of food, as seen, made, and recorded from as many angles as possible. We wish to: 1) Use this far-reaching subject to inspire work that draws on and departs from skills, processes, and value systems you have developed in previous terms, and 2) Explore how a broader and deeper awareness of the food we put in our mouths affects and enhances the experience of the eater. Students will be asked to at least research, read, write, draw, take pictures, cook, and shop regularly and mindfully, and to watch films about food, be fed by others. This class has an open outcome—we're going to make something (possibly public/shared outside of our class population) by the end of the term, possibly as a group or in small groups, that uses the skills and perspectives we collectively bring to the class, but we don't know yet what that will be. We're going to figure it out as we go.

Painting Practicum is an intermediate workshop that explores traditional oil painting techniques and their application for the contemporary painter. Students will also investigate approaches to pictorial and narrative composition through a series of lectures, exercises, and field trips. Observational skills and conceptual approaches to image-making will be emphasized. Students must speak to the professor beforehand to reserve a spot (18 will be accepted) and about committing to the course.

This course is designed to ensure digital literacy through the use of vector and bitmapped applications. Topics include but are not limited to: the basics of composition and layout, output in various forms of publishing, color correction and photo manipulation, as well as digital painting and drawing. These topics are based on an introductory to developmental level of skill in Photoshop, and Illustrator. Assignments encourage creative thought processes with digital tools while investigating cultural and contextual relevance for digital work. On completion of this course students will be able to develop a comfort level with these programs applicable to any type of project in the future.

Type 1 is a design studio introducing typography, its terms and history. Students study typographic structure with multiple exercises and projects: anatomy, typeface classifications, kerning, proportion/weight, letter spacing, nomenclature and understanding the differences between display type and text. Additional projects include explorations of body copy tone, legibility, meaning, and hierarchy. Type 1 serves as the primary typographic course fundamental to all future design courses.

This class combines 3D printing technologies with material explorations. Artist and Designers from all disciplines are encouraged to explore opportunities for integrating digital forms and abstraction of craft. This class includes a basic introduction to 3D modeling software, Solidworks and various rapid prototyping technologies, 3D printing. The goal is to integrate traditional methods with the technological, mediating the influence between form and material, manual and machine procedures to invent a compelling new way of constructing form.

Projects will range from packaging to sculpture, vessels to jewelry, lamp construction to tiling. Fabrication methods include: casting/mold making, vacuum forming, ceramics, model making, as well as natural and synthetic polymers allowing art and design students to blend technology with craft through the constrains of their disciplines.

This class offers students insight into contemporary methods for design and manufacture. This gives the student a better understanding of how data drives form and, in turn, drives production. Course material is structured around hardware and software integration and how this applies to form. The syllabus covers rapid/advanced visualization, 3D modeling, and prototyping.

This is a drawing and design class introducing typography. Students learn to draw letterforms with accuracy beginning with calligraphy to develop their spatial perceptual skills and their understanding of positive and negative space. Once initial hand drawings are complete students may finish their projects digitally. Students learn typographic families and history while studying typographic structure (anatomy, proportion/weight, nomenclature, and understanding the differences between display type and text). Students will be able to select, modify and design individual, creative and narrative typographic solutions and to integrate typography into their illustrative projects.

This class offers students the opportunity to learn and develop in class basic and advanced surfacing as well as solid modeling techniques. Rhino will be used as the main tool to create 3D models that will be ready to be rendered realistically for quick or detailed presentations as well as ready for rapid prototyping. Projects will range from product design to soft goods, footwear, furniture, and packaging. Class is open to all majors; it is recommended students have 3D background experience if applicable.

Course material covers the properties and effects of light and color during different times of day and under various lighting conditions, as well as complex color properties such as luminosity, iridescence and transparent overlay.

Teaches the language and mechanics of color theory, and applies those principles to narrative form. The first half of the term is concerned with building color usage skills in weekly exercises, which will all have a narrative component. The second half of the term is devoted to applying them to a shared story which will include characters, four production scenes and a color script.

Prerequisite is Digital Design 1 or passing Digital waive test

This course will teach students a strategic approach to creativity that will stimulate, encourage and liberate their own creative potential. A total of up to 10 different strategies will be covered followed by a final project that includes a process book. Through in-class exercises, they will learn how to break patterns, reframe problems and apply new conceptual thinking into their work. The homework assignments are designed to explore the theoretical components of creativity further and to discover their individual unchartered territories for new methods of problem solving. With the use of cross disciplinary evaluation techniques students will better understand their own learning process and be able to apply them to expand their range of creative thinking skills. This class is appropriate for all majors.

This course is an introduction transportation design class with focus on teaching the basic stages for an Automotive CMF design presentation. Students will create (3) CMF Colorways/Concepts based on a buyer, brand and interior design by going through the process of user research, concept development and CMF investigation. The final presentation consists of (3) high quality CG renderings with many angles, final colorways per grade and materials applied with buyer profile, mood/color/material boards for each colorway per grade and a bound CMF Workbook (tech drawings).

Prerequisite: Transportation Studio 3B (TRAN-202) and/or CMF Design (PRD-211)

What is the future of Power Sports?

-The industry is looking for answers -you are the key! -Round out your portfolio -Challenge yourself

Concept development Dynamic systems Ergonomics and safety Recreational mobility Practical, utility applications Competition models Drive-train development