1. news

schedule on-line & updates at: miad.edu/spring2015
Academic Calendar: 2014–2015
All dates subject to change
2014 • Fall Semester
August 20
August 20
August 20-22
August 23
August 25
August 29
September 1
October 13-14
October 31
November 26-28
December 12
December 16
Residence Hall Move-In (New students)
Parent Orientation
New Student Orientation
Residence Hall Move-In (Returning students)
Fall Classes Begin
Open Enrollment Ends 2:00 PM
Labor Day Holiday - No Classes
Fall Break - No Classes
Last Day to Withdraw From Fall Courses
Thanksgiving Break - No Classes
Last Day of Fall Classes
Grades Due 2:00 PM
2015 • Spring Semester
January 7
January 8
January 8-9
January 12
January 16
January 19
March 9-13
March 20
May 1
May 5
May 9
Residence Hall Move-In (New students)
New Student Registration & Placement Essay
New Student Orientation
Spring Classes Begin
Open Enrollment Ends 2:00 PM
Martin Luther King Jr. Day – No Classes
Spring Break - No Classes
Last Day to Withdraw From Spring Courses
Last Day of Spring Classes
Grades Due
Graduation Ceremony
2015 • Summer Semester
May 11
May 25
July 4
July 31
August 4
Summer Class Sessions Begin
Memorial Day Holiday - No Classes
Independence Day Holiday - No Classes
Last Day of Summer Classes
All Grades Due (Grades will be due after each session)
SPRING 2015 REGISTRATION
FRIDAY, NOVEMBER 7TH: 1:45 – 4:30PM
BY LOTTERY
Your registration lottery time is listed on your registration planner.
Your advisor has your registration planner and must sign your planner before registration.
• Registration will be held in the computer labs, rooms 235 & 245.
• You MUST have your registration form signed by your advisor prior to
registration.
• A $35.00 late fee will be assessed to anyone who registers after the
official registration days.
• All Foundations courses must be completed before registering for Junior
Level courses!
The number of completed credits determines your class (refer to your registration form for
# of completed credits). You may be taking junior level major classes but may only have
completed enough credits for sophomore standing (unfinished liberal studies,
foundations, or studio electives will affect class standing).
Senior – 89.1+ credits
Junior – 59.1-89 credits
Sophomore – 29.1-59 credits
Foundtions – 0-29 credits
If you do not register on your designated registration day, bring your signed registration
planner to RL45D or E. If you are not available on the day of registration, you may bring
your signed registration planner to the Registrar’s Office. Registrations will be entered on
the Monday after the assigned registration time. Please provide second options in case
classes are closed.
The Milwaukee Institute of Art & Design reserves the right to cancel a course due to insufficient enrollment or
to change scheduled class times and faculty assignments if deemed necessary. If this occurs, registrants will
be notified via email by the Registrar’s Office.
Due to specific size/equipment limitations in some studio courses, majors will have the priority registration
privileges for these classes. A waiting list will be established for other students wishing to take these courses.
If you are on the waiting list and space becomes available in the class, you will be notified via email by the
Registrar’s Office prior to the start of classes so that you may register for the course.
Once a semester begins, the use of the waiting list is terminated. It becomes the responsibility of the student
to check with the Registrar’s Office to see if space has become available.
SPRING 2015 SCHEDULE OF CLASSES
FOUNDATIONS
first-year (foundations)
Course
sophomore
junior
Day(s)/Time
Instructor
senior
elective
#CR Prerequisites
F100A
Observational Drawing
M W 8:00AM - 10:40AM
Horvath, Steve
3.0 None
F110A
Visual & Color Dynamics
TU TH 8:00AM - 10:40AM
Horvath, Steve
3.0 None
F113A
Image & Drawing Concepts
M W 10:50AM - 1:30PM
Feldhausen, Jan
3.0 F100 & F110
F113B
Image & Drawing Concepts
M W 1:40PM - 4:20PM
Toomsen, Corbett
3.0 F100 & F110
F113C
Image & Drawing Concepts
TU TH 8:00AM - 10:40AM
Feldhausen, Jan
3.0 F100 & F110
F113D
Image & Drawing Concepts
TU TH 1:40PM - 4:20PM
Boblick, Joe
3.0 F100 & F110
F113E
Image & Drawing Concepts
TU TH 4:30PM - 7:10PM
Yi, Jason
3.0 F100 & F110
F113F
Image & Drawing Concepts
TU TH 8:00AM - 10:40AM
Long, Carolyn
3.0 F100 & F110
F115A
Spatial Concepts
M W 8:00AM - 10:40AM
Grudzinski, Bruce
3.0 F130
F115D
Spatial Concepts
TU TH 10:50AM - 1:30PM
Yi, Jason
3.0 F130
F121A
RPM: Visual Metaphor, Wit & Wordplay
M W 8:00AM - 10:40AM
Feldhausen, Jan
3.0 None
F121B
RPM: Visual Voice Through Water-Based Media
M W 10:50AM - 1:30PM
Horvath, Steve
3.0 None
F121C
RPM: Collage & the Contemporary Condition
M W 1:40PM - 4:20PM
Buie, Tyanna
3.0 None
F121D
RPM: Pop-Up: 3D Design for a 2D Material
M W 1:40PM - 4:20PM
Grauert, Christiane
3.0 None
F121E
RPM: Picturing People: Diverse Approaches to
Painting the Human Form
TU TH 8:00AM - 10:40AM
Noffsinger, Tom
3.0 None
F121F
RPM: Blemished Beauty
TU TH 10:50AM - 1:30PM
Long, Carolyn
3.0 None
F121G
RPM: Glass - Expression in Form, Color & Light
TU TH 1:40PM - 4:20PM
Grudzinski, Bruce
3.0 None
F121H
RPM: Fabulism Now
F 8:00AM - 1:30PM
Long, Carolyn
3.0 None
F121I
RPM: The Intersection of 2D & 3D: Materials &
Meaning
F 8:00AM - 1:30PM
Noffsinger, Tom
3.0 None
F121J
RPM: DIY (Do-it-yourself): Multiples &
Communication
M W 4:30PM - 7:10PM
Matthes, Colin
3.0 None
F130A
Space Form Materials
M W 10:50AM - 1:30PM
Grudzinski, Bruce
3.0 None
F132A
Space Form Materials Tutorial
F 10:50AM - 1:30PM
Peck, Annushka
0.0 F130 in Transfer
F140A
Understanding the Visual I & II
TU TH 10:50AM - 12:05PM
Yi, Jason
3.0 None
F141A
Understanding the Visual II
M W 10:50AM - 12:05PM
Toomsen, Corbett
1.5 F140
F141B
Understanding the Visual II
M W 12:15PM - 1:30PM
Miller, Kimberly
1.5 F140
F141C
Understanding the Visual II
TU TH 1:40PM - 2:55PM
Darling, Zoe
1.5 F140
F141D
Understanding the Visual II
M W 4:30PM - 5:45PM
Morgan, Ashley
1.5 F140
F141E
Understanding the Visual II
TU TH 9:25AM - 10:40AM
Henke, Brooklyn
1.5 F140
F141F
Understanding the Visual II
TU TH 12:15PM - 1:30PM
Darling, Zoe
1.5 F140
F141G
Understanding the Visual II
TU TH 3:05PM - 4:20PM
Buie, Tyanna
1.5 F140
F141H
Understanding the Visual II
F 10:50AM - 1:30PM
Humphries, Bruce
1.5 F140
F199A
IAS: Drawing the Human Form
M W 8:00AM - 10:40AM
Ewens-Caster, Polly
3.0 F100 & F110
F199B
IAS: Experiments in Painting Foundations
M W 10:50AM - 1:30PM
Galling, Richard
3.0 F100 & F110
F199C
IAS: Illustration Media
M W 1:40PM - 4:20PM
Schwartz, Carol
3.0 F100 & F110
F199D
IAS: Illustration Media
M W 4:30PM - 7:10PM
Schwartz, Carol
3.0 F100 & F110
F199E
IAS: 3D Design - ID
TU TH 8:00AM - 10:40AM
Caruso, John
3.0 F100, F110 & F130
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
F199F
IAS: Integrated Imaging
TU TH 10:50AM - 1:30PM
Currie, Jamal
3.0 F100 & F110
F199G
IAS: Sculpture, Object & Environment
M W 10:50AM - 1:30PM
Belknap, Emily
3.0 F100, F110 & F130
F199H
IAS: Printmaking
TU TH 4:30PM - 7:10PM
Yoon, Rina
3.0 F100 & F110
F199I
IAS: Computer Studio I
M W 8:00AM - 10:40AM
Setala, Adam
3.0 F100 & F110
F199J
IAS: Communication Design I
TU TH 8:00AM - 10:40AM
Setala, Adam
3.0 F100 & F110
F199K
IAS: Communication Design I
TU TH 10:50AM - 1:30PM
Setala, Adam
3.0 F100 & F110
F199L
IAS: Elements of Digital Photography
M W 8:00AM - 10:40AM
Chatman, Larry
3.0 F100 & F110
F199M
IAS: Elements of Digital Photography
TU TH 10:50AM - 1:30PM
Chatman, Larry
3.0 F100 & F110
F199N
IAS: TBM
TU TH 10:50AM - 1:30PM
Barany / Noffsinger
3.0 F100 & F110
F199O
IAS: Architecture/Interior Design/Furniture
TU TH 8:00AM - 10:40AM
Lynch, Bob
3.0 F100, F110 & F130
All Foundations courses must be completed before registering for Junior level courses.
Division of Liberal Studies Prerequisite Chart
**Please refer to this chart for prerequisites when choosing your liberal studies courses**
AH151
Historical Art: Pre-History to 1900
No prerequisite
AH212
AH213
AH217
AH318
WR400
Senior Writing Seminar
Prerequisites: WR300 The Creative Professional in Context
and Senior Standing
History of Modernism / 20th Century Fine Art
Prerequisites: AH151 or equivalent
HU121
Human Thought and Action
No Prerequisite
History of Modernism / 20th Century Design
Prerequisites: AH151 or equivalent
SC220
Introduction to Biology
No Prerequisite
SC270
NS Field & Applied Research
No Prerequisite
Contemporary Issues in Time Based Art & Design
Prerequisites: AH151 or equivalent
and WR120 or equivalent
Topics in Art History
Prerequisites: 200-level Art History & WR200
SC320/321/350 Topics in Natural Sciences
WR110/111
Writing Studio I/II
Registration through Writing Placement Essay
HU360
Topics in Cultural Studies
Prerequisites: HU121 Human Thought and Action and
WR200 Critical and Creative Forms
WR120
The Word and the World
Registration through Writing Placement Essay
HU340
Critical and Creative Forms
Prerequisite: WR120 The Word and the World
or equivalent
Topics in the Humanities
Prerequisites: HU121 Human Thought and Action and
WR200 Critical and Creative Forms
HU380
Topics in Social Sciences (Service Learning)
Prerequisites: HU121 Human Thought and Action and
WR200 Critical and Creative Forms & Junior Standing
WR200
WR300
The Creative Professional in Context
Prerequisites: WR200 Critical and Creative Forms &
Junior Standing.
Prerequisites: SC220 Introduction to Biology
Typical Sequence of Liberal Studies Requirements
Writing
WR110/111
WR120
WR200
WR300
WR400
Art History
Writing Studio I/II - equivalent to WR120
The Word and the World
Critical and Creative Forms
The Creative Professional in Context
Senior Writing Seminar
AH151 Historical Art: Prehistory to 1900
AH212 History of Modernism: Fine Art
AH213 History of Modernism: Design
AH217 Contemporary Issues in TBM - no longer offered
AH318 Art History Elective
Humanities and Sciences Requirement
Equivalents
HU121
SC220
SC270
AH110 & AH111 = AH151
WR100 = WR120
WR110 & WR111 = WR120
SC220 = SC270
Human Thought and Action
Introduction to Biology or
NS Field & Applied Research
SC320/321/350 Topic in Natural Science Elective
HU380
Topic in Social Science (Service Learning)
HU340
Topic in Humanities Elective
HU360
Topic in Cultural Studies Elective - no longer offered
SPRING 2015 SCHEDULE OF CLASSES
ART HISTORY
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
AH151A Historical Art: Prehistory - 1900
M W 8:00AM - 9:15AM
Holton, Chelsea
3.0 None
AH151B Historical Art: Prehistory - 1900
M W 10:50AM - 12:05PM
Holton, Chelsea
3.0 None
AH151C Historical Art: Prehistory - 1900
M W 3:05PM - 4:20PM
Murrell, Katherine
3.0 None
AH151D Historical Art: Prehistory - 1900
TU TH 9:25AM - 10:40AM
Szczesny-Adams, Chris
3.0 None
AH151E Historical Art: Prehistory - 1900
TU TH 10:50AM - 12:05PM
Szczesny-Adams, Chris
3.0 None
AH151F Historical Art: Prehistory - 1900
TU TH 1:40PM - 2:55PM
Slauson, Jim
3.0 None
AH151G Historical Art: Prehistory - 1900
TU TH 4:30PM - 5:45PM
TBA
3.0 None
AH212A History of Modernism: Fine Art
W 1:40PM - 4:20PM
Bohannon, Elaine
3.0 AH151 or equivalent
AH212B History of Modernism: Fine Art
TH 10:50AM - 1:30PM
Johnston, Tamara
3.0 AH151 or equivalent
AH213A History of Modernism: Design
TU 10:50AM - 1:30PM
Slauson, Jim
3.0 AH151 or equivalent
AH213B History of Modernism: Design
W 8:00AM - 10:40AM
Slauson, Jim
3.0 AH151 or equivalent
AH213C History of Modernism: Design
F 10:50AM - 1:30PM
Johnston, Tamara
3.0 AH151 or equivalent
AH318A AH Elect: Design, Creativity & Conscience
M 10:50AM - 1:30PM
Szczesny-Adams, Chris
3.0 AH213 & WR200
AH318B AH Elect: American Illustration: 1850-1950
TU 1:40PM - 4:20PM
Aschenbrenner, Michael
3.0 200-level Art History & WR200
AH318C AH Elect: How Minimal Art Destroyed the
Modernist Aesthetic and Totally Changed
Everything!
W 4:30PM - 7:10PM
Bohannon, Elaine
3.0 200-level Art History & WR200
AH318D AH Elect: Visual Language: Artists' Writings in
Historical and Contemporary Art
TH 8:00AM - 10:40AM
Murrell, Katherine
3.0 200-level Art History & WR200
AH318E AH Elect: What’s Up?
TH 1:40PM - 4:20PM
Anderson, Mark
3.0 200-level Art History & WR200
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
HUMANITIES
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
HU121A Human Thought and Action
M W 9:25AM - 10:40AM
Dworschack-Kinter, Paul
3.0 none
HU121B Human Thought and Action
M W 12:15PM - 1:30PM
Kirchner, Julia
3.0 none
HU121C Human Thought and Action
M W 1:40PM - 2:55PM
Wrench, Janna
3.0 none
HU121D Human Thought and Action
M W 4:30PM - 5:45PM
Wulff, Sherry
3.0 none
HU121E Human Thought and Action
TU TH 8:00AM - 9:15AM
Anderson, Mark
3.0 none
HU121F Human Thought and Action
TU TH 12:15PM - 1:30PM
TBA
3.0 none
HU121G Human Thought and Action
TU TH 3:05PM - 4:20PM
Sobol, Prescott
3.0 none
HU340A Topic in Humanities: The F Word & Queer Theory M W 1:40PM - 4:20PM
Miller, Kimberly
3.0 HU121 & WR200
HU340B Topic in Humanities: The Critical Vocabulary of
Rap
TU 10:50AM - 1:30PM
Lindsay, Andrew
3.0 HU121 & WR200
HU340C Topic in Humanities: Literature & Mysticism
M 4:30PM - 7:10PM
Ripley, Debra
3.0 HU121 & WR200
HU340D Topic in Humanities: Creativity, Change, &
Chance: Poetry in Practice
TH 4:30PM - 7:10PM
Harway, Judith
3.0 HU121 & WR200
HU340E Topic in Humanities: Evolution
M 8:00AM - 10:40AM
Murru, Maurizio
3.0 HU121 & WR200 & SC220
HU340F Topic in Humanities: Evolution
W 10:50AM - 1:30PM
Murru, Maurizio
3.0 HU121 & WR200 & SC220
HU380A SS: Building Community
M 8:00AM - 10:40AM
Kirchner, Julia
4.0 JR, HU121 & WR200
HU380B SS: Poverty in America Today
TU 4:30PM - 7:10PM
Caldwell, Mark
4.0 JR, HU121 & WR200
HU380C SS: The Lost Child
W 1:40PM - 4:20PM
Tanzer, Donna
4.0 JR, HU121 & WR200
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
SCIENCES
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
SC220A Intro to Biology
M 4:30PM - 7:10PM
Engevold, Paul
3.0 none
SC220B Intro to Biology
TU 10:50AM - 1:30PM
Murru, Maurizio
3.0 none
SC220C Intro to Biology
F 8:00AM - 10:40AM
Neelon, Danny
3.0 none
SC320A Topic in Science: Critters
TU 4:30PM - 7:10PM
Engevold, Paul
3.0 SC220 or equivalent
SC350A Topic in Science: Evolution
M 8:00AM - 10:40AM
Murru, Maurizio
3.0 SC220 or equivalent
SC350B Topic in Science: Evolution
W 10:50AM - 1:30PM
Murru, Maurizio
3.0 SC220 or equivalent
SC350C Topic in Science: Everybody Talks: The World of
Animal Communication
F 10:50AM - 1:30PM
Neelon, Danny
3.0 SC220 or equivalent
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
WRITING
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
WR111A Writing Studio II
TU TH 12:15PM - 1:30PM
Griggs Brevvaxling, Royal
1.5 WR110
WR120A The Word and the World
M W 3:05PM - 4:20PM
Ripley, Debra
3.0 Placement Essay
WR200A Critical and Creative Forms
M W 10:50AM - 12:05PM
Tanzer, Donna
3.0 WR120 or equivalent
WR200B Critical and Creative Forms
TU TH 9:25AM - 10:40AM
Maloney, Courtney
3.0 WR120 or equivalent
WR200C Critical and Creative Forms
TU TH 1:40PM - 2:55PM
Lindsay, Andrew
3.0 WR120 or equivalent
WR300A The Creative Professional in Context
M 1:40PM - 4:20PM
McLaughlin, Barbara
3.0 JR & WR200
WR300B The Creative Professional in Context
TH 1:40PM - 4:20PM
McLaughlin, Barbara
3.0 JR & WR200
WR300C The Creative Professional in Context
W 10:50AM - 1:30PM
Harway, Judith
3.0 JR & WR200
WR340B WR Elect: The Critical Vocabulary of Rap
TU 10:50AM - 1:30PM
Lindsay, Andrew
3.0 HU121 & WR200, declared writing minor
WR340C WR Elect: Literature and Mysticism
M 4:30PM - 7:10PM
Ripley, Debra
3.0 HU121 & WR200, declared writing minor
WR340D WR Elect: Creativity, Change, & Chance
TH 4:30PM - 7:10PM
Harway, Judith
3.0 HU121 & WR200, declared writing minor
WR400A Senior Writing Seminar: Writing from Life:
Explorations in Creative Nonfiction
M 4:30PM - 7:10PM
McLaughlin, Barbara
3.0 SR & WR300
WR400B Senior Writing Seminar: Critical Writing in Art & TU 1:40PM - 4:20PM
Design
Brehmer / Maloney
3.0 SR & WR300
WR400C Senior Writing Seminar: Making Meaning Through TH 10:50AM - 1:30PM
Narrative
Harway, Judith
3.0 SR & WR300
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
COMMUNICATION DESIGN
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
DS200A Communication Design I
TU TH 8:00AM - 10:40AM
Setala, Adam
3.0 F110 and Sophomore Standing
DS200B Communication Design I
TU TH 10:50AM - 1:30PM
Setala, Adam
3.0 F110 and Sophomore Standing
DS201A Communication Design II
TU TH 1:40PM - 4:20PM
TBA
3.0 DS200
DS201B Communication Design II
M W 4:30PM - 7:10PM
Stultz, Ric
3.0 DS200
DS201C Communication Design II
TU TH 10:50AM - 1:30PM
Hauch, Nicole
3.0 DS200
DS202A Typography I
F 10:50AM - 4:20PM
Gagliano, Danielle
3.0 F113 or F115 and Sophomore Standing
DS203A Typography II
M W 10:50AM - 1:30PM
Simmons, Shawn
3.0 DS202
DS203B Typography II
TU TH 8:00AM - 10:40AM
Hauch, Nicole
3.0 DS202
DS203C Typography II
TU TH 10:50AM - 1:30PM
Simmons, Shawn
3.0 DS202
DS230A Computer Studio I
M W 8:00AM - 10:40AM
Setala, Adam
3.0 F110 and Sophomore Standing
DS231A Computer Studio II
M W 1:40PM - 4:20PM
Frank, Bill
3.0 DS230
DS231B Computer Studio II
M W 4:30PM - 7:10PM
Frank, Bill
3.0 DS230
DS231C Computer Studio II
TU TH 1:40PM - 4:20PM
Kaminski, Bill
3.0 DS230
DS231D Computer Studio II
TU TH 4:30PM - 7:10PM
Kaminski, Bill
3.0 DS230
DS303A Packaging Design
M W 8:00AM - 10:40AM
Belair, Phil
3.0 JR, DS201
DS303B Packaging Design
TU TH 8:00AM - 10:40AM
Belair, Phil
3.0 JR, DS201
DS305A Advertising Design
TU TH 10:50AM - 1:30PM
Belair, Phil
3.0 JR, DS201, DS231
DS305B Advertising Design
TU TH 4:30PM - 7:10PM
Seaman, Tony
3.0 JR, DS201, DS231
DS331A Adv Computer Studio
M W 1:40PM - 4:20PM
Macari, Mario
3.0 JR, DS330
DS331B Adv Computer Studio
TU TH 1:40PM - 4:20PM
Macari, Mario
3.0 JR, DS330
DS401A Communication Design Thesis
F 10:50AM - 4:20PM
Shidler, Dale
3.0 SR, DS400
DS405A Professional Portfolio/Practice
M W 7:20PM - 10:00PM
Bowles, Brian
3.0 SR, DS400
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
DRAWING
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
FA201A Drawing II
TU TH 8:00AM - 10:40AM
TBA
3.0 FA200 or permission of instructor
FA211A Figure Drawing II
TU TH 10:50AM - 1:30PM
Ewens-Caster, Polly
3.0 FA210 or permission of instructor
FA301A Drawing IV
M W 10:50AM - 1:30PM
Ewens-Caster, Polly
3.0 JR, FA300 or permission of instructor
FA311A Figure Drawing IV
M W 8:00AM - 10:40AM
Caster, Paul
3.0 JR, FA310 or permission of instructor
FA411A Figure Drawing VI
M W 10:50AM - 1:30PM
Caster, Paul
3.0 SR, FA410 or permission of instructor
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
ILLUSTRATION
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
DS202A Typography I
F 10:50AM - 4:20PM
Gagliano, Danielle
3.0 F113 or F115 and Sophomore Standing
DS211A Illustration II
M W 10:50AM - 1:30PM
Kwas, Susan
3.0 DS210
DS211B Illustration II
M W 8:00AM - 10:40AM
Beetow, Christine
3.0 DS210
DS211C Illustration II
TU TH 1:40PM - 4:20PM
Beetow, Christine
3.0 DS210
DS212A Illustration Media
M W 4:30PM - 7:10PM
Schwartz, Carol
3.0 F110 and Sophomore Standing
DS212B Illustration Media
M W 1:40PM - 4:20PM
Schwartz, Carol
3.0 F110 and Sophomore Standing
DS215A Adv Fig Drawing for Illustrators
M W 8:00AM - 10:40AM
Bernier, Andrew
3.0 DS214
DS215B Adv Fig Drawing for Illustrators
TU TH 8:00AM - 10:40AM
Bernier, Andrew
3.0 DS214
DS230A Computer Studio I
M W 8:00AM - 10:40AM
Setala, Adam
3.0 F110 and Sophomore Standing
DS231A Computer Studio II
M W 1:40PM - 4:20PM
Frank, Bill
3.0 DS230
DS231B Computer Studio II
M W 4:30PM - 7:10PM
Frank, Bill
3.0 DS230
DS231C Computer Studio II
TU TH 1:40PM - 4:20PM
Kaminski, Bill
3.0 DS230
DS231D Computer Studio II
TU TH 4:30PM - 7:10PM
Kaminski, Bill
3.0 DS230
DS311A Illustration IV
M W 1:40PM - 4:20PM
Kwas, Susan
3.0 JR, DS310
DS311B Illustration IV
TU TH 1:40PM - 4:20PM
Grauert, Christiane
3.0 JR, DS310
DS411A Illustration Thesis
TU TH 10:50AM - 1:30PM
Beetow / Grauert
3.0 SR, DS410 & DS412
DS411B Illustration Thesis
TU TH 10:50AM - 1:30PM
Beetow / Grauert
3.0 SR, DS410 & DS412
DS413A Illustration Seminar II
M W 7:20PM - 10:00PM
Stultz, Ric
3.0 SR, DS410 & DS412
DS413B Illustration Seminar II
TU TH 7:20PM - 10:00PM
Matson, John
3.0 SR, DS410 & DS412
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
INDUSTRIAL DESIGN
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
DS241A Materials & Methods II
M W 1:40PM - 4:20PM
Peck, Annushka
3.0 DS240
DS241B Materials & Methods II
TU TH 1:40PM - 4:20PM
Lothrop, Thornton
3.0 DS240
DS251A Industrial Design II
M W 10:50AM - 1:30PM
Richmond, Jacob
3.0 DS250 & DS252
DS251B Industrial Design II
TU TH 10:50AM - 1:30PM
Lothrop, Thornton
3.0 DS250 & DS252
DS253A Visualization Techniques I
M W 4:30PM - 7:10PM
Caruso, John
3.0 DS252
DS253B Visualization Techniques I
TU TH 4:30PM - 7:10PM
Stevens, Scott
3.0 DS252
DS341A Industrial Design IV
M W 10:50AM - 1:30PM
Malassigné, Pascal
3.0 JR, DS241, DS251, DS253, DS340
DS341B Industrial Design IV
TU TH 1:40PM - 4:20PM
Malassigné, Pascal
3.0 JR, DS241, DS251, DS253, DS340
DS345A CAID II
M W 7:20PM - 10:00PM
West, Quintin
3.0 JR, DS344
DS345B CAID II
TU TH 7:20PM - 10:00PM
Eastlick, Brett
3.0 JR, DS344
DS359A Human Factors
TU 8:00AM - 1:30PM
Malassigné, Pascal
3.0 JR, DS340
DS441A Industrial Design VI
M W 1:40PM - 4:20PM
Lothrop, Thornton
3.0 SR, DS440
DS441B Industrial Design VI
TU TH 1:40PM - 4:20PM
Caruso, John
3.0 SR, DS440
DS451A Display & Exhibition Design
W 4:30PM - 10:00PM
Wiemer, Jim
3.0 SR, DS440
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
INTEGRATED STUDIO ARTS
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
ISA241A Integration and Intersection II
M W 1:40PM - 4:20PM
TBA
3.0 ISA240
ISA241B Integration and Intersection II
TU TH 10:50AM - 1:30PM
Miller, Kimberly
3.0 ISA240
ISA307A ISA Elect: Intangible Presence: 21st Century Art
TU TH 4:30PM - 7:10PM
Druecke, Paul
3.0 F113/115 and sophomore standing
ISA307B ISA Elect: The F Word & Queer Theory
M W 1:40PM - 4:20PM
Miller, Kimberly
3.0 HU121 & WR200
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
INTERIOR ARCHITECTURE + DESIGN
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
DS221A IAD II: Work Space/Office Design
M W 1:40PM - 4:20PM
Lynch, Bob
3.0 Sophomore, DS220
DS223A IAD Drawing/CAD II: Adv Auto CAD & REVIT
M 4:30PM - 7:10PM
Milaeger, Elsa
1.5 Sophomore, DS220 & DS222
DS225A IAD Systems II: Materials & Finishes
W 4:30PM - 7:10PM
Raabe, Amanda
1.5 Sophomore, DS220 & DS224
DS227A IAD Theory/Practice: Furniture: Design & Build
TU TH 10:50AM - 1:30PM
Ivens / Lynch
3.0 Sophomore, DS220
DS321A IAD IV: Collaborative Exhibit Design/Build
M W 8:00AM - 10:40AM
Lynch, Bob
3.0 JR, DS320
DS323A IAD Drawing/CAD IV: 3DS MAX
TH 4:30PM - 7:10PM
TBA
1.5 JR, DS320 & DS322
DS325A IAD Systems IV: Wall Types & Building Systems W 10:50AM - 1:30PM
(Inter)
Erven, David
1.5 JR, DS320 & DS324
DS327A IAD Theory/Practice: Contemporary Theory &
Practice
F 8:00AM - 1:30PM
Vogel, Eric
3.0 JR, DS320
DS421A IAD VI: Design Development & Presentation
TU TH 1:40PM - 4:20PM
Vogel, Eric
3.0 SR, DS420
DS423A IAD Drawing/CAD VI: Architectural Graphics & E- TU 4:30PM - 7:10PM
Portfolio
Erven, David
1.5 SR, DS420 & DS422
DS425A IAD Systems VI: Acoustics, Structures & Building TH 10:50AM - 1:30PM
Systems
Vogel, Eric
1.5 SR, DS420 & DS424
DS427A IAD Theory/Practice: Design Details & Working
Drawings
Vogel / Milaeger
3.0 SR, DS420
M W 8:00AM - 10:40AM
#CR Prerequisites
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
PAINTING
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
FA221A Painting - Indirect Method
M W 1:40PM - 4:20PM
Davidson, Michael
3.0 Sophomore & F113 or F115 completed or permission of
instructor
FA225A Watermedia II
TU TH 1:40PM - 4:20PM
Barrickman, Peter
3.0 FA224 or permission of instructor
FA321A Painting IV
M W 8:00AM - 10:40AM
Galling, Richard
3.0 JR, FA320 or permission of instructor
FA421A Painting VI
TU TH 8:00AM - 10:40AM
Barrickman, Peter
3.0 SR, FA420 or permission of instructor
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
PHOTOGRAPHY
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
FA281A Elements of Digital Photography
M W 8:00AM - 10:40AM
Chatman, Larry
3.0 F110 or permission of instructor
FA281B Elements of Digital Photography
TU TH 10:50AM - 1:30PM
Chatman, Larry
3.0 F110 or permission of instructor
FA290A Lighting
M W 4:30PM - 7:10PM
Smith, Robert
3.0 FA281 or permission of instructor
FA291A Printing Processes
M W 10:50AM - 1:30PM
Horvath, Jon
3.0 FA280, FA281 or permission of instructor
FA391A Photographic Voice
M W 10:50AM - 1:30PM
Chatman / TBA
3.0 JR, FA280, FA390 or permission of instructor
Miyazaki, Kevin
3.0 24 credits completed in Photo or permission of instructor
Smith, Robert
3.0 SR, FA480 or permission of instructor
FA470A Photo Internship
FA481A Photography Thesis
F 9:00AM - 2:00PM
#CR Prerequisites
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
PRINTMAKING
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
FA231A Principles of Relief Print
TU TH 1:40PM - 4:20PM
Matthes, Colin
3.0 Sophomore & F113/115
FA261A Non-Traditional Intaglio
M W 1:40PM - 4:20PM
Yoon, Rina
3.0 Sophomore & F113/115
FA271A Principles of Photo & Plate Litho
M W 8:00AM - 10:40AM
Brinich-Langlois, Cynthia
3.0 Sophomore & F113/115
FA369A Adv Printmaking II: Intrdscplnry Apprch
M W 10:50AM - 1:30PM
Yoon, Rina
3.0 JR, FA368 or permission of instructor
FA469A Adv Prntmkng IV: Intrdscplnry Apprch
M W 10:50AM - 1:30PM
Yoon, Rina
3.0 SR, FA468 or permission of instructor
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
SCULPTURE
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
FA250A Material & Metaphor: Wood
M W 8:00AM - 10:40AM
Pergl, Will
3.0 F130 or permission of instructor
FA253A Alternative Media: Object & Environment
M W 10:50AM - 1:30PM
Belknap, Emily
3.0 F130, Sophomore standing or permission of instructor
FA254A Material Aesthetic: Translations in Casting &
Foundry
TU TH 10:50AM - 1:30PM
Sebastian, Jill
3.0 FA251 or FA252 or FA256
FA351A Integrated Sculpture Studio
TU TH 8:00AM - 10:40AM
Sebastian, Jill
3.0 6 cr of Sculpture or ISA completed; or FA256 or permission of
instructor
FA353A Topic in Figure: The Body
TU TH 4:30PM - 7:10PM
Sebastian, Jill
3.0 3cr of figure studies completed or sculpture or TBM & Junior
standing or permission of instructor
FA354A Material Aesthetic: Translations in Casting &
Casting
TU TH 10:50AM - 1:30PM
Sebastian, Jill
3.0 9cr completed in Sculpture
FA359A Topics in the Expanded Field: Crossroads Between M W 1:40PM - 4:20PM
Sculpture & Photography
Pergl / Bogart
3.0 FA253, FA256 or ISA240 and junior standing
FA451A Advanced Integrated Sculpture Studio
TU TH 8:00AM - 10:40AM
Sebastian, Jill
3.0 SR, 18 cr of Sculpture or ISA completed; or FA356 or
permission of instructor
FA453A Topic in Figure: The Body
TU TH 4:30PM - 7:10PM
Sebastian, Jill
3.0 SR & 6cr of figure studies completed or permission of
instructor
FA454A Material Aesthetic: Translations in Casting &
Foundry
TU TH 10:50AM - 1:30PM
Sebastian, Jill
3.0 Senior standing, 15cr completed in Sculpture
Pergl / Bogart
3.0 FA358 or Senior Status and FA253, FA256 or ISA240
FA459A Topics in the Expanded Field: Crossroads Between M W 1:40PM - 4:20PM
Sculpture & Photography
#CR Prerequisites
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
TIME-BASED MEDIA
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
TB201A Animation II
M W 7:20PM - 10:00PM
Drake, Sam
3.0 TB200
TB203A Pre-Production Design
M W 8:00AM - 10:40AM
Currie, Jamal
3.0 TB202
TB301A Animation Production Studio
TU TH 7:20PM - 10:00PM
Drake, Sam
3.0 JR, TB300
TB307A TBM Elective: Kinetic Typography
M W 4:30PM - 7:10PM
Whitty, Travis
3.0 DS202
TBA
3.0 TB202 and prefer TB204 and/or Photo/Video Intersection or
instructor permission
TB307B
TBM Elective: Our Historical Record: Documentary TU TH 4:30PM - 7:10PM
Filmmaking Practices
#CR Prerequisites
TB309A Figure Drawing for Animation
TU TH 10:50AM - 1:30PM
Barany / Noffsinger
3.0 TB200
TB401A Time Based Media Thesis
F 10:50AM - 4:20PM
Maxwell, Drew
3.0
SR, TB400
TB403A Time Based Media Professional Practice
M W 10:50AM - 1:30PM
Currie, Jamal
3.0
SR, TB400
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
DESIGN DIVISION ELECTIVES
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
DS307A DS Elect: Artists’ Books: Thinking & Making
TU TH 1:40PM - 4:20PM
Simmons, Shawn
3.0 F113/115 completed and Sophomore Standing
DS307B DS Elect: Pop-Up: 3D Design for a 2D Material
M W 1:40PM - 4:20PM
Grauert, Christiane
3.0 None
DS307C DS Elect: Pattern Design & Licensing
TU TH 7:20PM - 10:00PM
TBA
3.0 DS202 or DS210 and Junior standing
DS307D DS Elect: Kinetic Typography
M W 4:30PM - 7:10PM
TBA
3.0 DS202
DS307E DS Elect: Fantasy Art for Illustrators
TU TH 4:30PM - 7:10PM
Matson, John
3.0 DS210
DS307F
TU TH 7:20PM - 10:00PM
Ellice, Joe
3.0 JR standing, ID major or instructor permission
DS Elect: PowerSports
#CR Prerequisites
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 SCHEDULE OF CLASSES
FINE ARTS DIVISION ELECTIVES
first-year (foundations)
sophomore
junior
senior
elective
Course
Day(s)/Time
Instructor
#CR Prerequisites
FA207A RPM: Glass - Expression in Form, Color & Light
TU TH 1:40PM - 4:20PM
Grudzinski, Bruce
3.0 F100, F110, 6cr F120/121 & F130
FA307A FA Elect: Video Explorations
TU TH 8:00AM - 10:40AM
Caster, Paul
3.0 F113/115 and sophomore standing
FA307B FA Elect: The F Word & Queer Theory
M W 1:40PM - 4:20PM
Miller, Kimberly
3.0 HU121 & WR200
FA307C FA Elect: Figuration at the Intersection of Painting TU TH 10:50AM - 1:30PM
& Printmaking
Mulhern, Mark
3.0 F113/115 and sophomore standing or instructor’s permission
FA307D FA Elect: Intangible Presence: 21st Century Art
TU TH 4:30PM - 7:10PM
Druecke, Paul
3.0 F113/115 and sophomore standing
FA307E
FA Elect: Art in Design
M W 4:30PM - 7:10PM
TBA
3.0 F113/115 and sophomore standing
FA307F
FA Elect: The Ubiquitous Eye
M W 1:40PM - 4:20PM
Smith, Robert
3.0 F113/115 and sophomore standing or instructor’s permission
FA307G FA: Elect: Drawing Strategies
M W 4:30PM - 7:10PM
Henke, Brooklyn
3.0 F113/115 and sophomore standing
FA441A Multidisciplinary Thesis
F 9:00AM - 2:00PM
Pergl / Smith / Barrickman
3.0 SR, junior level major classes completed
FA491A Senior Fine Arts Seminar
F 2:00PM - 4:00PM
Frank, Nicholas
1.5 SR, FA490 or permission of instructor
All Foundations courses must be completed before registering for Junior level courses.
/ comments
SPRING 2015 COURSE DESCRIPTIONS
DESIGN
DS307A DS Elect: Artists’ Books: Thinking & Making
TU TH 1:40PM - 4:20PM | 3 credits | Simmons, Shawn
Prerequisites: F113/115 completed and Sophomore Standing
Comments:
Do you love traditional books, or want to be on the forefront of redefining
‘book’ for the future? This class will give you the opportunity to think
‘outside the book’ by developing your concepts and building them into
both traditional and non-traditional book bindings and media. Through
folding and binding workshops, assignments focused on the marriage of
form and concept, and lectures on the history and future of book art, you
will pursue ideas and gain inspiration to enhance your artistic and design
explorations in print and beyond.
DS307B DS Elect: Pop-Up: 3D Design for a 2D Material
M W 1:40PM - 4:20PM | 3 credits | Grauert, Christiane
Prerequisites: None
Comments:
Pop-Up: 3D design for a 2D material introduces students to the mechanics
behind the unique art form of the pop-up book. Students will explore and
experiment with different paper engineering techniques and investigate
the interdependency of the pictorial and the mechanical. Students will use
image, text, 3-dimensional and movable components to propose and
create a pop-up book based on a topic of their choice. Emphasis will be on
innovative solutions and professional craft and production skills.
DS307C DS Elect: Pattern Design & Licensing
TU TH 7:20PM - 10:00PM | 3 credits | TBA
Prerequisites: DS202 or DS210 and Junior standing
Comments:
Pattern Design and Licensing.
This course will introduce an understanding of technical processes
associated with pattern creation and what pattern can be applied to.
Students will learn the fundamentals of creating patterns and apply these
fundamentals to their work. We will cover techniques and processes of
pattern printing, which constantly evolve to satisfy the growing demands
of many businesses. Students will create patterns with specific parameters,
including demographics and clientele. Pattern repeats will be created in
traditional media, Illustrator & Photoshop. These projects will have the
opportunity to show sufficient value and breadth within student’s
portfolios.
DS307D DS Elect: Kinetic Typography
M W 4:30PM - 7:10PM | 3 credits | TBA
Prerequisites: DS202
Comments:
Kinetic Typography
In this class students will be introduced to strategies of communication
design through kinetic elements focusing on form, speed, rhythm,
orientation, sound, color, texture, and quality of motion. Students will
explore the expressive potential of letterforms in a variety of exercises
dealing with dynamic typography and motion graphics. Through analyzing
contemporary and historical examples, such as film and TV titles, music
videos, commercials, as well as exemplary typography work in print
design, students will develop their own potential for expression through
dynamic typography.
FINE ARTS
FA207A RPM: Glass - Expression in Form, Color & Light
TU TH 1:40PM - 4:20PM | 3 credits | Grudzinski, Bruce
Prerequisites: F100, F110, 6cr F120/121 & F130
Comments:
This course will focus on the aesthetic possibilities of glass as an expressive
medium. The course will provide the opportunity for students to explore
the unique qualities that glass possesses. Focus will be on form, color and
the interaction that glass has with light. The students in the creation of
their aesthetic will use a variety of processes: Fusing, slumping, paté
verre, and kiln-casting. They will consider the effective and appropriate
use of the unique expressive characteristics of glass and it’s material
relationship with content, method, technique and form.
DS307E DS Elect: Fantasy Art for Illustrators
TU TH 4:30PM - 7:10PM | 3 credits | Matson, John
Prerequisites: DS210
Comments:
FA250A Material & Metaphor: Wood
M W 8:00AM - 10:40AM | 3 credits | Pergl, Will
Prerequisites: F130 or permission of instructor
Comments:
Strong storytelling and design principles seen exclusively thru the lens of
the fantasy/science fiction genres, and the unique challenges encountered
therein, including a focus on believable physiology/anatomy, lighting, and
environment. Course coverage will include exposure to the history of the
genre, and assignments geared towards current outlets in the
entertainment industry.
This course focuses on the meaning of materials discovered through
thoughtful and skillful approaches to wood sculpture. Students will
investigate specific wood working techniques, methods, philosophical
concerns, and ways of seeing/working that give personal expression to
material form. Intermediate woodworking techniques such as joining,
bending, shaping and finishing are introduced in conjunction with
subtractive methods of woodcarving and woodturning.
Woodworking has a rich history and a strong presence in contemporary
art and culture. Lectures, field trips, readings and critiques will develop the
students’ awareness of historical precedents and examples of the use of
wood in contemporary art.
DS307F DS Elect: PowerSports
TU TH 7:20PM - 10:00PM | 3 credits | Ellice, Joe
Prerequisites: JR standing, ID major or instructor permission
Comments:
Power sports explores the special realm of vehicle design (motorcycles,
personal water craft, atv’s, cars, etc.) Each semester a particular niche
vehicle is chosen as the subject matter as the students learn about the
subtle nuances of combining both function and style as applied to vehicle
design. The course covers three phases in one semester: ideation
sketching, tape drawings and finally a three dimensional model of their
design.
FA253A Alternative Media: Object & Environment
M W 10:50AM - 1:30PM | 3 credits | Belknap, Emily
Prerequisites: F130, Sophomore standing or permission of
instructor
Comments:
The student will explore assemblage, installation, light, multi-media, time
and new genre as embraced in contemporary sculptural language. The
potential in discrete object making as well as the effect of place and
context, material and immaterial aspects will give a clear foundation for
working expressively in 3-4 dimensions. Specific problems are preceded
by readings, demonstrations of materials/processes, perceptual
workshops, and experimental exercises. Acquisition of technical skills will
be driven by the student’s personal vision and guidance from the
instructor. Conceptual understanding will emerge from the production of
the student’s own work, in conjunction with the application of a range of
critical models.
SPRING 2015 COURSE DESCRIPTIONS
FA254A Material Aesthetic: Translations in Casting & Foundry
TU TH 10:50AM - 1:30PM | 3 credits | Sebastian, Jill
Prerequisites: FA251 or FA252 or FA256
Comments:
FA307B FA Elect: The F Word & Queer Theory
M W 1:40PM - 4:20PM | 3 credits | Miller, Kimberly
Prerequisites: HU121 & WR200
Comments:
FA307D FA Elect: Intangible Presence: 21st Century Art
TU TH 4:30PM - 7:10PM | 3 credits | Druecke, Paul
Prerequisites: F113/115 and sophomore standing
Comments:
In this studio art course students will examine the dynamics between
singularity and multiplicity as it relates to sculptural expression. In-depth
processes of mold making and casting artworks will introduce meaningful
uses of reproduction as we translate from one material to another such as
from wax to bronze. This course includes: practicing methods of moldmaking (draft and parting lines, separable part ridged molds,
shelled/pourable molds, unshelled/brushable molds), understanding
appropriate application of molding materials (alginate, plaster, silicone
and polyurethane rubbers), model-making (hand-building, shaping,
casting, constructing) and understanding casting materials (wax, plastic,
candy, porcelain, bronze, aluminum, fiberglass). Appropriate finishing
treatments will be used. Foundry practices will be folded into the larger
concern for the aura of individual objects and cultural distribution through
industrial reproduction. Historical and contemporary subjects such as the
significance of object/material relationship, the ideal of the one-of-a-kind,
and the complex relationship between the authentic, the surrogate, and
the copy will be explored.
Intermediate and advanced students pursue more complex challenges with
their mold making/casting practices, refining technical skills and aesthetic
expressivity. Performance at appropriate levels will be assessed through
rubrics.
What does feminism and/or queer theory mean? Are these interests
different, or do they overlap? When does a body become a political
subject? This class examines the F word - feminism - from Beyoncé to bell
hooks. Failures, problems, and stigmas associated with feminism are
discussed. Queer theory embraces the ‘non-normative’ – this goes beyond
sexuality to a way of interacting with the world, and the way the world
interacts with a subject. We look at queer theory in action across culture
and history, from a range of critical positions. The course involves research
and producing studio work. Students are asked to bring their own interests
and studio practice to the course.
Students investigate idea-driven practice through a series of projects that
emphasize the relationship between traditional mediums and immaterial
strategies. In this studio class, students build upon their current interests
by exploring contemporary practices such as Social Practice, Institutional
Critique, and Relational Aesthetics. These topical strategies focus on the
artistic exchange of ideas and experience. They use poetic, dialogical,
research-based, and ephemeral means to intervene in 21st Century
culture.
The class fosters critical examination of both alternative and traditional
materials/methodology. It challenges students to develop rigor and
methodical process in structuring and executing their work. Students
explore the intention, craft, criticality, expertise, and personal investment
that sustains conceptually rich art projects. Comprehensive consideration
of the above enables students to better understand potential audience for
their work as well as the work's relation to current art discourse. The class
will strengthen student’s personal goals and encourage critical thinking
that increases artistic confidence. Studio time is supplemented by readings,
lectures, guest speakers, and ongoing discussion of contemporary art
practices.
Students of the Intangible Presence course can also look forward to
extracurricular projects taking place in Milwaukee and beyond. Whenever
possible Druecke connects students to opportunities taking place beyond
class structure. Participation is not mandatory but helps build resumes and
offers valuable experience.
FA307A FA Elect: Video Explorations
TU TH 8:00AM - 10:40AM | 3 credits | Caster, Paul
Prerequisites: F113/115 and sophomore standing
Comments:
This is an elective that explores the idea of video as a purely visual
pursuit. Most projects will be determined by both the instructor and the
student. The class will be shaped somewhat like an independent study and
is aimed primarily at students who investigate video as a part of their
visual concerns rather than a primary involvement.
The basics of Final Cut will be taught along with the basics of a sound
program and After Effects. This would not be a course for people who
would be interested in a deep investigation of time based media
programs. The main goal of this elective is to focus on the visual aspect of
video. The course will be a free wheeling and unpredictable experience as
well as a course than can assist in finding a missing piece for a possible
multi-layered investigation. This is a video course that addresses both
idea and concept as a purely visual pursuit.
FA307C FA Elect: Figuration at the Intersection of Painting &
Printmaking
TU TH 10:50AM - 1:30PM | 3 credits | Mulhern, Mark
Prerequisites: F113/115 and sophomore standing or
instructor’s permission
Comments:
Figuration at the Intersection of Painting and Printmaking is a
printmaking process that incorporates drawing and painting techniques in
a fluid improvisational exchange of action/reaction. Marks are made on a
smooth surface such as Plexiglas, using printing inks or oil paint.
Monotype combines both additive and subtractive methods of mark
making, allowing both flexibility and change. The marks transferred onto
the paper from the printing process are clear, sensitive and fresh, but the
monotype also invites the reworking of images using direct media over
the print. This reworking can be done with pastel, oil crayons or paints,
which can lead to more developed images.
This course centers around the investigation of the figure through the
exploration of the monotype. The figure will be studied from observation
as well as from the imagination and photographs. The primary emphasis
of the course will be the construction of expressive figures, using the
figure to articulate the picture plane, and to create dynamic composition.
FA307E FA Elect: Art in Design
M W 4:30PM - 7:10PM | 3 credits | TBA
Prerequisites: F113/115 and sophomore standing
Comments:
This course is open to both Design and Fine Art majors, and will present
cross-over discourse and challenging projects based on communication
design principles and critical art theory. We will delve into how images
relate ideology with respect to their intent and purpose. Design majors
desiring to expand the conversation around their practice and Fine Art
majors interested in gaining experience with the language of 2D design
and visual culture in all media are encouraged to apply. Although the
fields of Fine Art and Design are specialized studies, they interrelate and
are in dialogue on the continuum of visual culture. 2D Design principles
guide our ability to understand visual information, from brand
transmission to experimental typography. All students can benefit from
scrutinizing the visual information that surrounds them every day: Our
perceptions are also led by our cultural contexts, whose agendas manifest
in Fine Art in ways that are often enigmatic and "extra-visual." The
conceptual space where these modes of comprehension overlap catalyzes
cultural identity.
SPRING 2015 COURSE DESCRIPTIONS
FA307F FA Elect: The Ubiquitous Eye
M W 1:40PM - 4:20PM | 3 credits | Smith, Robert
Prerequisites: F113/115 and sophomore standing or
instructor’s permission
Comments: Recommended equipment: cell phone camera, ideally
an iPhone camera but not a requirement.
Artists have often done remarkable work with commonly available
materials. Smart phones are certainly common and they are clearly being
used to make billions of photos a day. But can we create meaningful art
with cellphones or tablets? Embedded in in this question is another
question: how important is the equipment we use? Does it limit what we
can create? If so, can we work meaningfully within those limitations?
How does the ubiquity of cell phone imagery influence art making
possibilities? You will begin with a survey of: social media, mainstream
media, fine art applications and advertising. From there, you will explore
the artistic possibilities of cellphone photography (and videography).
There are no prescribed answers only questions.
FA353A Topic in Figure: The Body
TU TH 4:30PM - 7:10PM | 3 credits | Sebastian, Jill
Prerequisites: 3cr of figure studies completed or sculpture or
TBM & Junior standing or permission of instructor
Comments:
FA359A Topics in the Expanded Field: Crossroads Between
Sculpture & Photography
M W 1:40PM - 4:20PM | 3 credits | Pergl / Bogart
Prerequisites: FA253, FA256 or ISA240 and junior standing
Comments:
Aspects of human experience such as psychology and neurology, health
and disease, gender and identity are the subjects of exploration in this
figure-based, mixed media studio course. Students will be working in the
medium of their choice in 3-dimensional or virtual space. We will consider
how the video/film works by sculptors Mendietta, Hatoum, Jonas among
others and investigate psychological and spatial conundrums that circle
sculptural concerns of body, self, object, material, context, place,
dislocation and interactivity. The films and readings will serve as texts to
open expressive possibilities. Students will focus on self-directed work such
as an investigative series or a life size full figure with attendant studies or
a mixed media installation. Student proposals and exhibitions will provide
a basis for debate and reference for critiques. Performance at appropriate
levels will be assessed through rubrics.
This course examines the historical, aesthetic, and theoretical intersections
between photography and sculpture. Students in this course will produce
hybrid projects recognizing the variety of strategies contemporary artists
employ working with photography and sculpture simultaneously. We will
consider art historical figures such as Joseph Beuys, Jeff Wall and Cindy
Sherman as well as contemporary practitioners such as Gillian Wearing,
Tony Oursler and Amanda Ross Ho. Although this is a studio class, students
will encounter a number of critical texts. We will use theoretical
frameworks built by John Berger, Roland Barthes, Susan Sontag, Walter
Benjamin etc. Through reading, discussion, lecture, and critique, students
will become aware of the role theory and history can play in the art
making process.
FA307G FA: Elect: Drawing Strategies
M W 4:30PM - 7:10PM | 3 credits | Henke, Brooklyn
Prerequisites: F113/115 and sophomore standing
Comments:
Working in the simplicity of black and white, students will explore the
complexities of several drawing strategies in various media. Students will
discover various ways to empower ideas and images through allegory in
the alter-ego, deconstruction, perspective and space, systems, and
memory. Students will work with methods of constructing images from
elements of force with references to architecture and fragments, like the
works of Julie Hehretu. Artists such as Lee Bontecou will launch our studies
of imagined organisms and intermedia investigations. We will also look at
works like those of Giacometti to explore the interplay of narrative and
connections through space.
The course will be a rigorous exploration in the studio and out-including
gallery and museum visits, exploration of contemporary artists,
supplemental texts, artist talks, writings, and critical thinking discussion.
Students concentrating in integrated studio arts, print, sculpture, painting,
and design concentrations will find valuable ways to explore and depict
the visceral, formal, suggestive, and ephemeral in the drawing media. For
examples of the range of work we will be studying in form, concept, and
process, please take a look at the course Pinterest board: http://www.
pinterest.com/bhenke/drawing-strategies/
FA354A Material Aesthetic: Translations in Casting & Casting
TU TH 10:50AM - 1:30PM | 3 credits | Sebastian, Jill
Prerequisites: 9cr completed in Sculpture
Comments:
In this studio art course students will examine the dynamics between
singularity and multiplicity as it relates to sculptural expression. In-depth
processes of mold making and casting artworks will introduce meaningful
uses of reproduction as we translate from one material to another such as
from wax to bronze. This course includes: practicing methods of moldmaking (draft and parting lines, separable part ridged molds,
shelled/pourable molds, unshelled/brushable molds), understanding
appropriate application of molding materials (alginate, plaster, silicone
and polyurethane rubbers), model-making (hand-building, shaping,
casting, constructing) and understanding casting materials (wax, plastic,
candy, porcelain, bronze, aluminum, fiberglass). Appropriate finishing
treatments will be used. Foundry practices will be folded into the larger
concern for the aura of individual objects and cultural distribution through
industrial reproduction. Historical and contemporary subjects such as the
significance of object/material relationship, the ideal of the one-of-a-kind,
and the complex relationship between the authentic, the surrogate, and
the copy will be explored.
Intermediate and advanced students pursue more complex challenges with
their mold making/casting practices, refining technical skills and aesthetic
expressivity. Performance at appropriate levels will be assessed through
rubrics.
FA453A Topic in Figure: The Body
TU TH 4:30PM - 7:10PM | 3 credits | Sebastian, Jill
Prerequisites: SR & 6cr of figure studies completed or
permission of instructor
Comments:
Aspects of human experience such as psychology and neurology, health
and disease, gender and identity are the subjects of exploration in this
figure-based, mixed media studio course. Students will be working in the
medium of their choice in 3-dimensional or virtual space. We will consider
how the video/film works by sculptors Mendietta, Hatoum, Jonas among
others and investigate psychological and spatial conundrums that circle
sculptural concerns of body, self, object, material, context, place,
dislocation and interactivity. The films and readings will serve as texts to
open expressive possibilities. Students will focus on self-directed work such
as an investigative series or a life size full figure with attendant studies or
a mixed media installation. Student proposals and exhibitions will provide
a basis for debate and reference for critiques. Performance at appropriate
levels will be assessed through rubrics.
SPRING 2015 COURSE DESCRIPTIONS
FA454A Material Aesthetic: Translations in Casting & Foundry
TU TH 10:50AM - 1:30PM | 3 credits | Sebastian, Jill
Prerequisites: Senior standing, 15cr completed in Sculpture
Comments:
ISA307A ISA Elect: Intangible Presence: 21st Century Art
TU TH 4:30PM - 7:10PM | 3 credits | Druecke, Paul
Prerequisites: F113/115 and sophomore standing
Comments:
In this studio art course students will examine the dynamics between
singularity and multiplicity as it relates to sculptural expression. In-depth
processes of mold making and casting artworks will introduce meaningful
uses of reproduction as we translate from one material to another such as
from wax to bronze. This course includes: practicing methods of moldmaking (draft and parting lines, separable part ridged molds,
shelled/pourable molds, unshelled/brushable molds), understanding
appropriate application of molding materials (alginate, plaster, silicone
and polyurethane rubbers), model-making (hand-building, shaping,
casting, constructing) and understanding casting materials (wax, plastic,
candy, porcelain, bronze, aluminum, fiberglass). Appropriate finishing
treatments will be used. Foundry practices will be folded into the larger
concern for the aura of individual objects and cultural distribution through
industrial reproduction. Historical and contemporary subjects such as the
significance of object/material relationship, the ideal of the one-of-a-kind,
and the complex relationship between the authentic, the surrogate, and
the copy will be explored.
Students investigate idea-driven practice through a series of projects that
emphasize the relationship between traditional mediums and immaterial
strategies. In this studio class, students build upon their current interests
by exploring contemporary practices such as Social Practice, Institutional
Critique, and Relational Aesthetics. These topical strategies focus on the
artistic exchange of ideas and experience. They use poetic, dialogical,
research-based, and ephemeral means to intervene in 21st Century
culture.
The class fosters critical examination of both alternative and traditional
materials/methodology. It challenges students to develop rigor and
methodical process in structuring and executing their work. Students
explore the intention, craft, criticality, expertise, and personal investment
that sustains conceptually rich art projects. Comprehensive consideration
of the above enables students to better understand potential audience for
their work as well as the work's relation to current art discourse. The class
will strengthen student’s personal goals and encourage critical thinking
that increases artistic confidence. Studio time is supplemented by readings,
lectures, guest speakers, and ongoing discussion of contemporary art
practices.
Students of the Intangible Presence course can also look forward to
extracurricular projects taking place in Milwaukee and beyond. Whenever
possible Druecke connects students to opportunities taking place beyond
class structure. Participation is not mandatory but helps build resumes and
offers valuable experience.
Intermediate and advanced students pursue more complex challenges with
their mold making/casting practices, refining technical skills and aesthetic
expressivity. Performance at appropriate levels will be assessed through
rubrics.
FA459A Topics in the Expanded Field: Crossroads Between
Sculpture & Photography
M W 1:40PM - 4:20PM | 3 credits | Pergl / Bogart
Prerequisites: FA358 or Senior Status and FA253, FA256 or
ISA240
Comments:
This course examines the historical, aesthetic, and theoretical intersections
between photography and sculpture. Students in this course will produce
hybrid projects recognizing the variety of strategies contemporary artists
employ working with photography and sculpture simultaneously. We will
consider art historical figures such as Joseph Beuys, Jeff Wall and Cindy
Sherman as well as contemporary practitioners such as Gillian Wearing,
Tony Oursler and Amanda Ross Ho. Although this is a studio class, students
will encounter a number of critical texts. We will use theoretical
frameworks built by John Berger, Roland Barthes, Susan Sontag, Walter
Benjamin etc. Through reading, discussion, lecture, and critique, students
will become aware of the role theory and history can play in the art
making process
ISA307B ISA Elect: The F Word & Queer Theory
M W 1:40PM - 4:20PM | 3 credits | Miller, Kimberly
Prerequisites: HU121 & WR200
Comments:
What does feminism and/or queer theory mean? Are these interests
different, or do they overlap? When does a body become a political
subject? This class examines the F word - feminism - from Beyoncé to bell
hooks. Failures, problems, and stigmas associated with feminism are
discussed. Queer theory embraces the ‘non-normative’ – this goes beyond
sexuality to a way of interacting with the world, and the way the world
interacts with a subject. We look at queer theory in action across culture
and history, from a range of critical positions. The course involves research
and producing studio work. Students are asked to bring their own interests
and studio practice to the course.
FOUNDATIONS
F121A RPM: Visual Metaphor, Wit & Wordplay
M W 8:00AM - 10:40AM | 3 credits | Feldhausen, Jan
Prerequisites: None
Comments:
Through research and project development, students explore the
expressive potential that metaphor, language, wordplay, and humor have
as a means of communicating ideas. The work will be primarily 2D or
relief. Working in Photoshop and experimenting with other media will be
part of the problem-solving process. In most instances the students will
determine media selection as their concepts develop. Emphasis will be
placed on the conceptual process of creating visual narrative and
embedding language content within the image or to support the message.
The wide-ranging problems assigned may include visual metaphor, crosslanguage exploration, homonyms, graphic puns, homages, and satirical
representations. The student should have at least a working knowledge of
Photoshop, an eye for irony, and a good sense of humor.
F121B RPM: Visual Voice Through Water-Based Media
M W 10:50AM - 1:30PM | 3 credits | Horvath, Steve
Prerequisites: None
Comments:
Students will be encouraged to develop their imagery so that they may
reveal their personal and expressive personality within the framework of
the mediums explored. The purpose of the course is to give the student a
working knowledge of the use of water based media with primary
emphasis on watercolor, but also including gouache and acrylic.
Additionally, the course will cover the history of watercolor including the
use of various pigments and their history, the use of brush and pen, paper
differences, and techniques that can be used to create your work.
Examples of artists who use or have used water-based mediums will be
presented and discussed, such as Winslow Homer, Georgia O’Keefe, Larry
Rivers, Mardsen Hartley, and Robert Rauschenberg, and illustrators such
as Matt Zumbo, Falon, Alan Colber, and Milton Glaser.
F121C RPM: Collage & the Contemporary Condition
M W 1:40PM - 4:20PM | 3 credits | Buie, Tyanna
Prerequisites: None
Comments:
Students will explore and create works that amplify a particular insight
about the world in which we live through themes such as, Consumption,
Globalization and Internationalism, while researching imagery, as well as
the many artists who demonstrate collage and social realistic themes
through their work that together mirror a perspective on the
"contemporary condition.” Using Screen-printing as a primary method
with an emphasis in both research and traditional/non-traditional screenprinting techniques such as; monotypes, mono-printing, collage, mixedmedia, and the use of photo-based computer imaging.
SPRING 2015 COURSE DESCRIPTIONS
F121D RPM: Pop-Up: 3D Design for a 2D Material
M W 1:40PM - 4:20PM | 3 credits | Grauert, Christiane
Prerequisites: None
Comments:
F121F RPM: Blemished Beauty
TU TH 10:50AM - 1:30PM | 3 credits | Long, Carolyn
Prerequisites: None
Comments:
F121H RPM: Fabulism Now
F 8:00AM - 1:30PM | 3 credits | Long, Carolyn
Prerequisites: None
Comments:
Introduces students to the mechanics behind the unique art form of the
pop-up book. Students will explore and experiment with different paper
engineering techniques and investigate the interdependency of the
pictorial and the mechanical. Students will use image, text, 3-dimensional
and movable components to propose and create a pop-up book based on a
topic of their choice. Emphasis will be on innovative solutions and
professional craft and production skills.
This studio course will explore alternatives to traditional notions of beauty.
Students will look at contemporary visual pieces from artists showcased on
sites such as Beautiful/Decay and Empty Kingdom. Projects will frequently
require students to use techniques and media that may seem incompatible
but can actually work very well together. As inspiration for a portrait
assignment students will read the title piece from the 2013 debut
collection of short stories by Elizabeth Frankie Rollins, The Sin Eater &
Other Stories. Original 18th and 19th century tales of sin eating came
from the British Isles and described sin eaters as outcasts who became
disfigured as they consumed the sins of others. Students will also look at
some grotesque yet beautiful portraits by artists such as Storm Tharp and
Rachel Niffenegger prior to doing this project. Bernard Dumaine’s
collaborative drawings are updated variations of the exquisite corpse
works invented by the Surrealists. Dumaine’s work will be looked at as
stimulus for a similar collaborative assignment. Each of the student
collaborations will combine images described in written works such as
Kafka’s The Metamorphosis, and Carroll’s Through the Looking
Glass. Unsettling images of deteriorated abandoned places such as
asylums, burnt out buildings, and old car graveyards will also be included
in this assignment. Judith Schaechter’s contemporary stained glass work
will serve as inspiration for yet another project. Specifically we will look at
Schaechter’s recent 17-piece installation entitled The Battle of Carnival
and Lent. This work was inspired by and exhibited in what was once a
penitentiary. Bruegel’s 1559 painting using the same title will be another
visual resource for this project.
Students in this studio course will produce work based on themes similar to
those explored by various contemporary Fabulists. In April of 2011
Modern Fabulists opened at View Art Gallery in Bristol, UK. The work
on display was a celebration of the enduring relevance of storytelling.
Some of the artists represented were Dan Baldwin, Dee Dee Cheriel, Karen
Akester, David Stein, Kirsty Whiten, Lauren Bergman, and Pepa Prieto.
Gallery owner Nick Waugh said, “The artists featured in the show are all
creating new pieces around the theme of modern fabulists - composers of
fables, tellers of tales, liars…artists”. Another exhibit entitled Fabulism
was held in 2004 at the Joslyn Art Museum in Omaha, Nebraska. The
artists participating in this show displayed work exploring myth, allegory
and fable as a means of understanding human nature. Work by Matthew
Ritchie, Chris Ofili and Ellen Gallagher were included in this exhibit. In
addition we will look at some short written pieces such as selections from
The Thurber Carnival and Fables for Our Time, both written and
illustrated by James Thurber. Several recent short videos, some based on
Thurber’s work will also be viewed. Additionally we will look at some
images from the ongoing Fables comic series. These fables, written for
adults by Bill Willingham, began in 2002 and have been illustrated by
many different artists over the years. These stories tell of the adventures
of characters such as Snow White, Jack the beanstalk climber, Prince
Charming, Three Blind Mice, and many other storybook figures that are
now living together in exile in a section of New York City called Fabletown.
F121E RPM: Picturing People: Diverse Approaches to Painting
the Human Form
TU TH 8:00AM - 10:40AM | 3 credits | Noffsinger, Tom
Prerequisites: None
Comments:
This course will emphasize a non-observational approach to the figure.
Through a variety of media approaches including painting, students will
explore the use of photographic, digital, and collaged reference in their
work as well as working from imagination and memory. The figure will
serve as a vehicle for social/political commentary, narrative, expression of
the human condition, and observations of modern life. This course will be
student proposal based and will require the exploration of different
approaches while encouraging the development of their own “voice” in
their work. Working with live models to create reference, research of
contemporary figure painters, and critiques will augment studio
instruction.
F121G RPM: Glass - Expression in Form, Color & Light
TU TH 1:40PM - 4:20PM | 3 credits | Grudzinski, Bruce
Prerequisites: None
Comments:
This course will focus on the aesthetic possibilities of glass as an expressive
medium. The course will provide the opportunity for students to explore
the unique qualities that glass possesses. Focus will be on form, color and
the interaction that glass has with light. The students in the creation of
their aesthetic will use a variety of processes: Fusing, slumping, paté
verre, and kiln-casting. They will consider the effective and appropriate
use of the unique expressive characteristics of glass and it’s material
relationship with content, method, technique and form.
F121I RPM: The Intersection of 2D & 3D: Materials & Meaning
F 8:00AM - 1:30PM | 3 credits | Noffsinger, Tom
Prerequisites: None
Comments:
This course engages students in an investigation of the expressive qualities
of materials at the intersection of 2D and 3D applications. Students
explore how the combinations of materials impact meaning and become
powerful elements of visual communication. Using traditional media
approaches- drawing, painting, collage, and assemblage – students will
work to effectively combine 2D and 3D elements into a cohesive
meaningful statement.
F121J RPM: DIY (Do-it-yourself): Multiples & Communication
M W 4:30PM - 7:10PM | 3 credits | Matthes, Colin
Prerequisites: None
Comments:
In this course the student will learn low-tech, accessible, affordable
techniques to creating multiples. We will also address the importance of
considering what our work communicates and how it communicates with
the viewer. These projects will aim to guide a viewer in a specific direction
while still allowing the viewer to ask questions or draw their own
conclusions. This course will consider audience, material, location,
aesthetics, utility, and making multiples outside an institutional setting.
SPRING 2015 COURSE DESCRIPTIONS
F140A Understanding the Visual I & II
TU TH 10:50AM - 12:05PM | 3.0 credits | Yi, Jason
Prerequisites: None
Comments: These will run as a joint UV-1/UV-2 class and
students enrolling and successfully completing the course will
get credit for BOTH UV1 & UV2. The UV-1 section will be
conducted as a BLENDED (distance-learning) course. Substantial
work will need to be completed online.
In Understanding the Visual 1, students will explore topics that are
fundamental in all areas of art and design. Students will develop skills in
research, presentation, critique and discussion that will foster critical
thinking. Through initiating an historical
and contemporary context for art and design, students will develop the
ability to formulate arguments and defend positions relevant to today’s
culture.
We live in an increasingly visual culture: what we see shapes how we
think, and what we think shapes how we see. Understanding the Visual 2
will focus on how all images and objects comprise our visual culture, and
how everything in visual culture is encoded with meaning, not only in its
creation, but also from the context in which a viewer experiences it.
Students will develop an understanding of how
contemporary culture constructs, understands, and uses images and
objects through an examination of contemporary art and design.
F199A IAS: Drawing the Human Form
M W 8:00AM - 10:40AM | 3 credits | Ewens-Caster,
Polly
Prerequisites: F100 & F110
Comments:
This drawing course presents the human form as a complex source of
inspiration and wonder through the development of seeing with
understanding, fluent translation and deepening curiosity about drawing
as well as the figure. Engagement with the intellectual response in
combination with the intuitive response will guide the students toward
drawing with authority, empathy and passion.
F199B IAS: Experiments in Painting Foundations
M W 10:50AM - 1:30PM | 3 credits | Galling, Richard
Prerequisites: F100 & F110
Comments:
IAS Painting aims to introduce students to the open and diverse
possibilities of contemporary painting. Traditional and non-traditional
approaches to painting are explored through a series of assignments
designed to provoke an experimental mindset. Students work from
observation, explore abstraction, invent realities and create new tools to
paint with. Expanded Course Description This course will feature an
examination of fundamental painting issues and painting techniques in
acrylics and mixed media. At the same time, students will look at the
interesting areas of intersection between painting and other media.
Students are encouraged to play, entertain, work collaboratively, and
develop personal imagery. In-class painting, out-of-class assignments and
a further investigation into historical and contemporary painting will
support demonstrations, lectures, and critiques.
F199C IAS: Illustration Media
M W 1:40PM - 4:20PM | 3 credits | Schwartz, Carol
Prerequisites: F100 & F110
Comments:
F199F IAS: Integrated Imaging
TU TH 10:50AM - 1:30PM | 3 credits | Currie, Jamal
Prerequisites: F100 & F110
Comments:
Illustration Media is a comprehensive exploration of media and its
application to the process of illustration. Emphasis is placed on the
development of technical skills and the creative concepts related to
traditional and digital media. Students gain the ability to analyze
applications, media and techniques, assess and develop a working process
that will produce the desired effect and be able to execute the selected
technique to successfully solve the original problem. Attention is paid to
the sharpening of technique and conceptual skills. Media to be explored
are ink, watercolor, pastel, acrylic paint, digital media, in addition to other
selected media and various media substrates such as paper, canvas and
board.
Each new step in technology requires that fundamental technological
capabilities exist beforehand. High speed computer processors, high
resolution image sensors and small, fast, high capacity removable
memory systems have led to a convergence of technologies that see the
photographer and videographer using the same equipment to capture
moments and communicate ideas.
IAS: Integrated Imaging is an introductory-level course that explores
the technical, historic, aesthetic and conceptual overlap between
photography and video, equipping the student to enter the digital imaging
revolution with core computer, fine art, design and critical thinking skills
focused on the production of still and moving images.
More and more, photographers and videographers are expected to
become fluid in both disciplines. Starting with a review of major artists and
designers who ‘cross-the-line’ between photography and video, students
will be introduced to some major themes and questions shared by both
mediums, and to theoretical frameworks for approaching, analyzing and
critiquing work in photography, film and video art.
Students will be introduced to digital asset acquisition, management,
workflow and editing techniques and will then be challenged to
communicate the same messages and visual ideas through works in both
still and the moving images.., clarifying, intensifying, and interpreting
subject matter and events through the common device of the viewfinder.
Students will be encouraged to use their own personal imaging devices in
some projects and will have access to a basic level of digital still and video
cameras, through the TBM area’s equipment cage, for others. A laptop
and external back-up hard drive are required. Access to advanced
software will be provided through TBM imaged lab computers.
F199D IAS: Illustration Media
M W 4:30PM - 7:10PM | 3 credits | Schwartz, Carol
Prerequisites: F100 & F110
Comments:
Illustration Media is a comprehensive exploration of media and its
application to the process of illustration. Emphasis is placed on the
development of technical skills and the creative concepts related to
traditional and digital media. Students gain the ability to analyze
applications, media and techniques, assess and develop a working process
that will produce the desired effect and be able to execute the selected
technique to successfully solve the original problem. Attention is paid to
the sharpening of technique and conceptual skills. Media to be explored
are ink, watercolor, pastel, acrylic paint, digital media, in addition to other
selected media and various media substrates such as paper, canvas and
board.
F199E IAS: 3D Design - ID
TU TH 8:00AM - 10:40AM | 3 credits | Caruso, John
Prerequisites: F100, F110 & F130
Comments:
In this course each student will begin the process of learning how to
become a designer – how to re-invent the world. The designs produced by
industrial designers, architects and interior designers are largely
responsible for creating the world in which we live. This class will
introduce the student to the:
- Disciplines of industrial design:
- Products, objects, spaces and the structures for which these disciplines
are responsible;
- Design processes and methods for conceiving of and creating these
designs.
This course will call upon each student to actively engage and respond to
the world around him or her. Assignments will require that the student
become immersed in existing circumstances and environments as well as
to propose and create new ones. Projects will range from the design of a
small objects to larger objects and systems of objects.
F199G IAS: Sculpture, Object & Environment
M W 10:50AM - 1:30PM | 3 credits | Belknap, Emily
Prerequisites: F100, F110 & F130
Comments:
The student will explore assemblage, installation, light, multi-media, time
and new genre as embraced in contemporary sculptural language. The
potential in discrete object making as well as the effect of place and
context, material and immaterial aspects will give a clear foundation for
working expressively in 3-4 dimensions. Specific problems are preceded
by readings, demonstrations of materials/processes, perceptual
workshops, and experimental exercises. Acquisition of technical skills will
be driven by the student’s personal vision and guidance from the
instructor. Conceptual understanding will emerge from the production of
the student’s own work, in conjunction with the application of a range of
critical models.
SPRING 2015 COURSE DESCRIPTIONS
F199H IAS: Printmaking
TU TH 4:30PM - 7:10PM | 3 credits | Yoon, Rina
Prerequisites: F100 & F110
Comments:
F199L IAS: Elements of Digital Photography
M W 8:00AM - 10:40AM | 3 credits | Chatman, Larry
Prerequisites: F100 & F110
Comments:
F199O IAS: Architecture/Interior Design/Furniture
TU TH 8:00AM - 10:40AM | 3 credits | Lynch, Bob
Prerequisites: F100, F110 & F130
Comments:
Printmaking is a time-honored discipline, with a long tradition of
established rules of protocol. An artist studying printmaking must learn it ,
but cannot remain unaware of the contemporary context in which the
artist’s work is done. This course provide the students with opportunities to
accomplish these two important goals. The projects for this course are
designed to introduce students to rudimentary concepts behind
printmaking media, with all the technical aspect of making a successful
print. At the same time the course projects will engage the students with
contemporary issues in art and society. This will create a proper context in
which to place the art of printmaking on the contemporary art scene.
Elements of Digital Photography is a computer-based class for
photographers. Beginning with the basics of image acquisition,
manipulation and output, the course will progress to an in-depth
exploration of image manipulation software and the aesthetics. The course
provides essential skills for those anticipating a career in photography.
Elements of Digital Photography introduces students to contemporary
photographic imagery. One hour of lecture covering contemporary
photography and photographers is required. At the same time it provides
an opportunity to use the computer as a fine art tool.
Consequently, individual creative pursuits are emphasized.
F199I IAS: Computer Studio I
M W 8:00AM - 10:40AM | 3 credits | Setala, Adam
Prerequisites: F100 & F110
Comments:
F199M IAS: Elements of Digital Photography
TU TH 10:50AM - 1:30PM | 3 credits | Chatman, Larry
Prerequisites: F100 & F110
Comments:
In this course each student will begin the process of learning how to
become a designer – how to re-invent the world. The designs produced by
architects, interior designers, and furniture designers are largely
responsible for creating the world in which we live. This class will
introduce the student to:
- the disciplines of architecture, interior design, and furniture design;
- inhabited space and its enclosure; and
- design processes and methods for conceiving of and creating designs.
This course will call upon each student to actively engage and respond to
the world around him or her. Assignments will require that the student
become immersed in existing circumstances and environments as well as
to propose and create new ones. Projects will range from the design of a
furniture object to the design of a small-scale environment.
This course is an introduction to the use of the computer and essential
software as tools for the visual communicator. In IAS Computer Studio I,
students become acquainted with the Mac computing platform by
engaging in an intensive and thorough exploration of the
software/hardware commonly used by designers and artists. Through
demonstrations and experimentation, students will learn the fundamentals
of Adobe Illustrator, InDesign and Photoshop (as well as other
design/utility applications) and their role in a variety of media. This
course is designed to introduce students to basic file management,
terminology, and document structuring methods.
Elements of Digital Photography is a computer-based class for
photographers. Beginning with the basics of image acquisition,
manipulation and output, the course will progress to an in-depth
exploration of image manipulation software and the aesthetics. The course
provides essential skills for those anticipating a career in photography.
Elements of Digital Photography introduces students to contemporary
photographic imagery. One hour of lecture covering contemporary
photography and photographers is required. At the same time it provides
an opportunity to use the computer as a fine art tool.
Consequently, individual creative pursuits are emphasized.
F199J IAS: Communication Design I
TU TH 8:00AM - 10:40AM | 3 credits | Setala, Adam
Prerequisites: F100 & F110
Comments:
This course is an overview of the field of communication design. Students
will gain experience in, and exposure to, the relationship of type and
image and how they can use this relationship to communicate information
and ideas through creative problem-solving. Students will also gain an
historical framework of graphic design, learn about career possibilities and
requirements, and gain a beginning understanding of technology used
within the discipline (students must have a laptop and current versions of
Adobe Photoshop and Illustrator).
F199K IAS: Communication Design I
TU TH 10:50AM - 1:30PM | 3 credits | Setala, Adam
Prerequisites: F100 & F110
Comments:
This course is an overview of the field of communication design. Students
will gain experience in, and exposure to, the relationship of type and
image and how they can use this relationship to communicate information
and ideas through creative problem-solving. Students will also gain an
historical framework of graphic design, learn about career possibilities and
requirements, and gain a beginning understanding of technology used
within the discipline (students must have a laptop and current versions of
Adobe Photoshop and Illustrator).
F199N IAS: TBM
TU TH 10:50AM - 1:30PM
Noffsinger
Prerequisites: F100 & F110
Comments:
| 3 credits | Barany /
IAS: TBM (Figure Drawing for Animation) will focus on the anatomical,
structural, and kinematic qualities of the human body in an animated
form. Daily practice will reinforce the need for gestural accuracy and
applied kinetics, while deepening the participants empathy and emotional
understanding of human movement. A wide variety of work will be
produced, including figurative studies, character design, storyboards,
animatics, key animations, pixelation and experimental kinematic
investigations. Drawing and animated work will vary between traditional
and digital means, as participants create a digital eportfolio and demo reel
upon completion of the course.
SPRING 2015 COURSE DESCRIPTIONS
LIBERAL STUDIES
AH318A AH Elect: Design, Creativity & Conscience
M 10:50AM - 1:30PM | 3 credits | Szczesny-Adams,
Chris
Prerequisites: AH213 & WR200
Comments:
This upper level art history seminar will address contemporary issues and
theory in design history. Using key concerns such as social responsibility,
design reform, consumerism, chemical sensitivity, design safety, quality,
technology, upcycling, and sustainability, this seminar will explore
principles and theoretical issues that impact contemporary design in twoand three-dimensions. Through selected readings, discussions, and guest
lectures, students will broaden their awareness of these critical topics and
demonstrate that understanding through extensive critical writing,
discussion, research, and presentation. The material and ideas in this
course demand a critical understanding and interest in contemporary
design. Select students interested in this course without design
background will need to meet with the instructor prior to registration for
consideration.
AH318B AH Elect: American Illustration: 1850-1950
TU 1:40PM - 4:20PM | 3 credits | Aschenbrenner, Michael
Prerequisites: 200-level Art History & WR200
Comments:
American Illustration: 1850-1950 will be a comprehensive examination of
the development of American Illustration from its roots in genre painting,
Civil War journalism and political cartoons to its growth as a dominant
form of popular image making in magazines and literary sources of the
first half of the 20th century. From Winslow Homer and Thomas Nast to
N. C. Wyeth and Norman Rockwell, students will engage with a century of
artists whose iconic work defined contemporary American ideals and
popular sentiment. Specific focus will be given to the interaction between
artwork and literary sources as well as the relationship between artist and
patron. In addition, students will be challenged to compare the work of
American Illustrators with that of contemporary “fine artists” to address
the place of illustration in the canon of art history.
AH318C AH Elect: How Minimal Art Destroyed the Modernist
Aesthetic and Totally Changed Everything!
W 4:30PM - 7:10PM | 3 credits | Bohannon, Elaine
Prerequisites: 200-level Art History & WR200
Comments:
To the casual observer of Art History, the first Minimalist forms exhibited
in the 1960s seemed in many ways similar to Modernist works, but, upon
closer scrutiny, we discover that several artists positioned themselves not
only in blatant defiance of the Modernist aesthetic, but also as the
founders of an unofficial movement that totally revolutionized the terms
and conditions of contemporary art. Minimalism is a well-documented
movement, and we will consider the theoretical positions put forth by both
its advocates and its detractors. We will also look at a range of artworks
that follow in its wake, including works that focus on site specificity, earth
works, conceptual art, and a range of new photographic practices. Course
content will include an extensive reading list that reflects the theoretical
positions of artists and critics who were integral to the discourse as
Minimalism emerged, as well as the changes that it inspired in the decades
that followed. Class will follow a seminar format, with weekly reading
assignments, discussion groups, and viewing of artworks. Students will be
asked to write critiques of selected readings, as well as a research paper
that will include an in-class presentation. There will be two exams, both
open-book with essay questions.
AH318D AH Elect: Visual Language: Artists' Writings in
Historical and Contemporary Art
TH 8:00AM - 10:40AM | 3 credits | Murrell, Katherine
Prerequisites: 200-level Art History & WR200
Comments:
We may be familiar with the paintings of Leonardo da Vinci, but what
about his fascinating notebooks? Van Gogh's paintings are known
worldwide, but what additional insights are offered in his personal letters?
What can Rosa Bonheur tell us about being a renowned female painter in
the 19th centurey? How do contemporary artists use the possibilities of
public language offered through street art, the digital environment, and
social media as a forum for visual exploration and debate?
The way we speak can affect the way we see. This course explores various
types of writings by artists from the Renaissance through the 21st century,
both through private journals and public art, as a means of investigating
perceptions of art, social issues, and what it means to be a creator of
words and images.
AH318E AH Elect: What’s Up?
TH 1:40PM - 4:20PM | 3 credits | Anderson, Mark
Prerequisites: 200-level Art History & WR200
Comments:
What’s Up? is an upper level Art History elective focused on select issues
and trends in contemporary art and current exhibitions. “What’s Up?” will
look at both what’s on display, and what’s on the minds of contemporary
artists.
There will be two distinct components of this course, one being
reading/lecture material on contemporary art and artists; the other,
attending current gallery and museum exhibitions. The course will balance
research and discussion with measured application, in the form of critical
writing and curatorial assignments.
While the course is centered on art practices, it is available to students in
both art and design, and indeed the course will benefit from such crossfertilization.
HU340A Topic in Humanities: The F Word & Queer Theory
M W 1:40PM - 4:20PM | 3 credits | Miller, Kimberly
Prerequisites: HU121 & WR200
Comments:
What does feminism and/or queer theory mean? Are these interests
different, or do they overlap? When does a body become a political
subject? This class examines the F word - feminism - from Beyoncé to bell
hooks. Failures, problems, and stigmas associated with feminism are
discussed. Queer theory embraces the ‘non-normative’ – this goes beyond
sexuality to a way of interacting with the world, and the way the world
interacts with a subject. We look at queer theory in action across culture
and history, from a range of critical positions. The course involves research
and producing studio work. Students are asked to bring their own interests
and studio practice to the course.
HU340B Topic in Humanities: The Critical Vocabulary of Rap
TU 10:50AM - 1:30PM | 3 credits | Lindsay, Andrew
Prerequisites: HU121 & WR200
Comments:
Rap, and arguably hip-hop in general, may be the most poorly critically
evaluated human endeavor of all time. We are going to listen to a
tremendous amount of rap music and collaboratively identify a critical
vocabulary of hip-hop (a more refined one, I should say). We will
separate our analysis into general categories of form (hardly evaluated at
all) and content (poorly evaluated, at times offensively evaluated,) and
try to collaboratively create a classification system. Fundamentally, we
are going to practice how to argue. A good argument, almost by
definition, is subjective. When we argue, most often we are dealing with
matters that are not easily “provable.” Personal taste in music is an
extraordinarily subjective position, and often involves preferences and
inclinations that we are not fully aware of ourselves. Uncovering our own
assumptions and inclinations, and learning how to argue for something
“unprovable” is the fundamental goal of rhetoric; in doing so we aim to
strengthen our writing skills across all subject matter.
HU340C Topic in Humanities: Literature & Mysticism
M 4:30PM - 7:10PM | 3 credits | Ripley, Debra
Prerequisites: HU121 & WR200
Comments:
This course engages very diverse texts in an attempt to investigate the
qualities that are common to texts widely considered to be of the mystical
tradition and subsequently generate questions about various authors’
attempts to portray their visions of the mystical in writing. We will,
necessarily, investigate not only the literary but the philosophical,
historical, and religious contexts for notions of Truth, Skepticism, and
Belief; as well as the Mystical, the Pseudo-Mystical, and the QuasiMystical.
HU340D Topic in Humanities: Creativity, Change, & Chance:
Poetry in Practice
TH 4:30PM - 7:10PM | 3 credits | Harway, Judith
Prerequisites: HU121 & WR200
Comments:
All too often students are introduced to poetry with a straight spine and an
unsmiling countenance. This course is designed to unlock creativity by
tapping into a grand tradition of playfulness in poetry, while still
considering the serious purposes that playful language may support.
Readings from contemporary poets and writing assignments will invite
exploration and experimentation with form, content, and creative
commitment. Writing exercises will invite students to explore the elements
of prosody; examine the relationship of poetry to contemporary social and
environmental issues; develop creative thinking skills by challenging
students to respond to aleatoric stimuli; and enact critical engagement with
literature. This will be an experiential course, in which students will learn
to read as writers, and to directly apply their reading to the resolution of
formal and thematic challenges faced by poets.
SPRING 2015 COURSE DESCRIPTIONS
HU340E Topic in Humanities: Evolution
M 8:00AM - 10:40AM | 3 credits | Murru, Maurizio
Prerequisites: HU121 & WR200 & SC220
Comments:
HU380B SS: Poverty in America Today
TU 4:30PM - 7:10PM | 4 credits | Caldwell, Mark
Prerequisites: JR, HU121 & WR200
Comments:
SC220B Intro to Biology
TU 10:50AM - 1:30PM
Prerequisites: none
Comments:
This course concentrates on the scientific principles of evolutionary biology
and on the historical and sociological implications of the theory of
evolution. The course is not based upon laboratory activities, but it
engages students in a dynamic and fruitful learning environment where
active discussion, critical thinking and independent inquiry are
predominant. The course runs as a seminar, and the students become
active participants in discussions, presentations, and lecturing. Direct
inquiry on different aspects of evolution will lead to sharing diverse
opinions, learning about actual facts and becoming aware of cultural and
societal perspectives, and scientific evidence on evolution. A key
characteristic of this seminar is that students will be exposed to different
viewpoints, cultural, societal and scientific, independently from how they
choose to fulfill their credit requirements.
HU380 is a 4-credit interdisciplinary course with a service-learning
component. This section of the course engages the issue of poverty in our
country. Who are the poor people in society today? The “near-poor”?
How is this related to issues of social, cultural and economic poverty? This
issue has become central in American society today as the number of
citizens falling into poverty is growing. This course will explore the
structural causes that have led to this increase in poor people in the United
States, and solutions that have been proposed by local and federal
governments to remedy these issues. The stigma of poverty will also be
discussed in relation to American ideals about prosperity, work ethic and
individual rights. Students will use critical thinking skills to explain how
these American ideals influence social policies created around helping poor
and impoverished people.
The Introduction to NS is based upon first hand investigations and
discoveries in the field on Natural Sciences. In this course students will
deepen the nature of the scientific method, its theoretical challenges and
pursue a series of empirical applications in the lab and in the field. This
practical knowledge will be broadened through intensive reading,
discussions, critiques and oral assignments in general. This is an intensive,
practical approach that uses the scientific method as a tool for
investigation, problem solving and critical thinking. Challenging and
demanding, but rewarding. Excellence in analytical and critical thinking
skills are of uttermost importance.
HU380C SS: The Lost Child
W 1:40PM - 4:20PM | 4 credits | Tanzer, Donna
Prerequisites: JR, HU121 & WR200
Comments:
The Introduction to NS is based upon first hand investigations and
discoveries in the field on Natural Sciences. In this course students will
deepen the nature of the scientific method, its theoretical challenges and
pursue a series of empirical applications in the lab and in the field. This
practical knowledge will be broadened through intensive reading,
discussions, critiques and oral assignments in general. This is an intensive,
practical approach that uses the scientific method as a tool for
investigation, problem solving and critical thinking. Challenging and
demanding, but rewarding. Excellence in analytical and critical thinking
skills are of uttermost importance.
HU340F Topic in Humanities: Evolution
W 10:50AM - 1:30PM | 3 credits | Murru, Maurizio
Prerequisites: HU121 & WR200 & SC220
Comments:
This course concentrates on the scientific principles of evolutionary biology
and on the historical and sociological implications of the theory of
evolution. The course is not based upon laboratory activities, but it
engages students in a dynamic and fruitful learning environment where
active discussion, critical thinking and independent inquiry are
predominant. The course runs as a seminar, and the students become
active participants in discussions, presentations, and lecturing. Direct
inquiry on different aspects of evolution will lead to sharing diverse
opinions, learning about actual facts and becoming aware of cultural and
societal perspectives, and scientific evidence on evolution. A key
characteristic of this seminar is that students will be exposed to different
viewpoints, cultural, societal and scientific, independently from how they
choose to fulfill their credit requirements.
HU380A SS: Building Community
M 8:00AM - 10:40AM | 4 credits | Kirchner, Julia
Prerequisites: JR, HU121 & WR200
Comments:
In this section of HU380 we will be examining how communities are
constructed in different ways. Like urban anthropologists, we will consider
the three perspectives of physical structure, systems of social organization,
and collections of attitudes and ideas. Our primary focus will be on how
different spatial and cultural locations could be positively constructed as
“diversity” or negatively constructed as inequality. Through our service
learning component each student will use participant observation to
research and discover how one non-profit agency tries to reinforce the
idea of active community building.
In this section of HS380 students will perform community service and will
also study the topic of children’s well-being in depth. The course will offer
weekly opportunities for students to draw connections between their
service work and the needs of children even in cases where the service
does not directly relate to work with children. Students will engage in
intensive reading of fiction and nonfiction related to children’s and
adolescents’ needs, including an exploration of children’s literature
designed to guide children through trauma. They will also engage in
writing, research and oral assignments related to children’s needs and will
discuss current issues in the news related to this topic. The course will
culminate with individual presentations in which students discuss and
reflect upon their service work and its connections to the needs of children
and adolescents in the community.
SC220A Intro to Biology
M 4:30PM - 7:10PM | 3 credits | Engevold, Paul
Prerequisites: none
Comments:
The Introduction to NS is based upon first hand investigations and
discoveries in the field on Natural Sciences. In this course students will
deepen the nature of the scientific method, its theoretical challenges and
pursue a series of empirical applications in the lab and in the field. This
practical knowledge will be broadened through intensive reading,
discussions, critiques and oral assignments in general. This is an intensive,
practical approach that uses the scientific method as a tool for
investigation, problem solving and critical thinking. Challenging and
demanding, but rewarding. Excellence in analytical and critical thinking
skills are of uttermost importance.
| 3 credits | Murru, Maurizio
SC220C Intro to Biology
F 8:00AM - 10:40AM | 3 credits | Neelon, Danny
Prerequisites: none
Comments:
SC320A Topic in Science: Critters
TU 4:30PM - 7:10PM | 3 credits | Engevold, Paul
Prerequisites: SC220 or equivalent
Comments:
Are you excited by the diversity of life parasites, creepy crawlies, slimy
frogs and furry beasts?
If so, this course will introduce the diverse array of animals that you may
never have seen before and at present cannot even imagine! This course
will survey the animal kingdom covering principles of biodiversity and
includes the origin, evolution, and ecology of major animal groups from
the protozoa to charismatic megafauna. You will learn and compare
amongst the major groups of critters their characteristics, sensory organs,
body systems, locomotion, feeding strategies and digestion, reproduction,
ecological notes, and human interactions.
SPRING 2015 COURSE DESCRIPTIONS
SC350A Topic in Science: Evolution
M 8:00AM - 10:40AM | 3 credits | Murru, Maurizio
Prerequisites: SC220 or equivalent
Comments:
WR340B WR Elect: The Critical Vocabulary of Rap
TU 10:50AM - 1:30PM | 3 credits | Lindsay, Andrew
Prerequisites: HU121 & WR200, declared writing minor
Comments:
This course concentrates on the scientific principles of evolutionary biology
and on the historical and sociological implications of the theory of
evolution. The course is not based upon laboratory activities, but it
engages students in a dynamic and fruitful learning environment where
active discussion, critical thinking and independent inquiry are
predominant. The course runs as a seminar, and the students become
active participants in discussions, presentations, and lecturing. Direct
inquiry on different aspects of evolution will lead to sharing diverse
opinions, learning about actual facts and becoming aware of cultural and
societal perspectives, and scientific evidence on evolution. A key
characteristic of this seminar is that students will be exposed to different
viewpoints, cultural, societal and scientific, independently from how they
choose to fulfill their credit requirements.
Rap, and arguably hip-hop in general, may be the most poorly critically
evaluated human endeavor of all time. We are going to listen to a
tremendous amount of rap music and collaboratively identify a critical
vocabulary of hip-hop (a more refined one, I should say). We will
separate our analysis into general categories of form (hardly evaluated at
all) and content (poorly evaluated, at times offensively evaluated,) and
try to collaboratively create a classification system. Fundamentally, we
are going to practice how to argue. A good argument, almost by
definition, is subjective. When we argue, most often we are dealing with
matters that are not easily “provable.” Personal taste in music is an
extraordinarily subjective position, and often involves preferences and
inclinations that we are not fully aware of ourselves. Uncovering our own
assumptions and inclinations, and learning how to argue for something
“unprovable” is the fundamental goal of rhetoric; in doing so we aim to
strengthen our writing skills across all subject matter.
SC350B Topic in Science: Evolution
W 10:50AM - 1:30PM | 3 credits | Murru, Maurizio
Prerequisites: SC220 or equivalent
Comments:
This course concentrates on the scientific principles of evolutionary biology
and on the historical and sociological implications of the theory of
evolution. The course is not based upon laboratory activities, but it
engages students in a dynamic and fruitful learning environment where
active discussion, critical thinking and independent inquiry are
predominant. The course runs as a seminar, and the students become
active participants in discussions, presentations, and lecturing. Direct
inquiry on different aspects of evolution will lead to sharing diverse
opinions, learning about actual facts and becoming aware of cultural and
societal perspectives, and scientific evidence on evolution. A key
characteristic of this seminar is that students will be exposed to different
viewpoints, cultural, societal and scientific, independently from how they
choose to fulfill their credit requirements.
SC350C Topic in Science: Everybody Talks: The World of Animal
Communication
F 10:50AM - 1:30PM | 3 credits | Neelon, Danny
Prerequisites: SC220 or equivalent
Comments:
Students will explore current research in animal communication from an
evolutionary perspective, with an emphasis on communication theory and
how nature handles barriers to communication. The first half of the course
will focus on laying the foundations for understanding the goals of animal
communication followed by student presentations and discussions of recent
publications in scientific literature. The course aims to cover
communication across multiple contexts and will include an exploration of
multiple animal systems including fish, birds, insects, reptiles, amphibians,
and mammals.
WR340C WR Elect: Literature and Mysticism
M 4:30PM - 7:10PM | 3 credits | Ripley, Debra
Prerequisites: HU121 & WR200, declared writing minor
Comments:
This course engages very diverse texts in an attempt to investigate the
qualities that are common to texts widely considered to be of the mystical
tradition and subsequently generate questions about various authors’
attempts to portray their visions of the mystical in writing. We will,
necessarily, investigate not only the literary but the philosophical,
historical, and religious contexts for notions of Truth, Skepticism, and
Belief; as well as the Mystical, the Pseudo-Mystical, and the QuasiMystical.
WR340D WR Elect: Creativity, Change, & Chance
TH 4:30PM - 7:10PM | 3 credits | Harway, Judith
Prerequisites: HU121 & WR200, declared writing minor
Comments:
All too often students are introduced to poetry with a straight spine and an
unsmiling countenance. This course is designed to unlock creativity by
tapping into a grand tradition of playfulness in poetry, while still
considering the serious purposes that playful language may support.
Readings from contemporary poets and writing assignments will invite
exploration and experimentation with form, content, and creative
commitment. Writing exercises will invite students to explore the elements
of prosody; examine the relationship of poetry to contemporary social and
environmental issues; develop creative thinking skills by challenging
students to respond to aleatoric stimuli; and enact critical engagement with
literature. This will be an experiential course, in which students will learn
to read as writers, and to directly apply their reading to the resolution of
formal and thematic challenges faced by poets.
WR400A Senior Writing Seminar: Writing from Life:
Explorations in Creative Nonfiction
M 4:30PM - 7:10PM | 3 credits | McLaughlin, Barbara
Prerequisites: SR & WR300
Comments:
This version of the Senior Writing Seminar is an intensive capstone writing
course in which students will explore forms of “life writing” including:
autobiography, memoir and other forms of creative nonfiction. Writing in
this form challenges authors to explore relationships between the past and
present experiences, the self and others, truth and fiction, history and
memory, cultural identity, and the public and the private. Through
reading, self-directed research and ongoing writing, students will explore
and practice the different forms that the genre of “life writing” may take.
Within the context of growing popularity of autobiographical writing and
memoir, students will explore possible social, political and rhetorical
purposes for writing from life and will compose a final, capstone life
writing project.
WR400B Senior Writing Seminar: Critical Writing in Art &
Design
TU 1:40PM - 4:20PM | 3 credits | Brehmer / Maloney
Prerequisites: SR & WR300
Comments:
This section of Senior Writing Seminar will explore the role of art and
design writing in contemporary culture. We will investigate a variety of
traditional and experimental approaches to critical writing, crossing
boundaries between art, design, architecture, and social phenomena. We
will spend time getting out of the classroom, privileging the act of seeing
and describing what we see, and using that as the basis for expression
about our environment and what matters to us. You will develop the skills
to do this effectively—tools that can be applied perpetually in your postMIAD career. For the capstone project, you will create your own critical
writing platform, focused on an issue, theme, or approach of your choice.
Where does art and design writing stand today? How does it fit in the
worlds of creative endeavor? What makes good critical writing good? What
new forms might it take via audio, video or performance? Has it lost its
power or is it more necessary than ever? What do you have to say about
the creative phenomena in the world around you—and by extension,
about the world itself?
WR400C Senior Writing Seminar: Making Meaning Through
Narrative
TH 10:50AM - 1:30PM | 3 credits | Harway, Judith
Prerequisites: SR & WR300
Comments:
The twin impulses to make meaning and to shape stories are fundamental
to much human endeavor, including the work of artists and designers.
Through a variety of reading and writing experiences this course will
explore narrative as a means to understand the breadth of human
experience and creativity. As a spine, we'll examine the genre of creative
non-fiction, building outwards to experiment with multiple forms and
purposes of narrative. The final capstone project will be a sustained,
substantial, and thoughtful work of narrative, or a blend of narrative,
expository, and /or critical writing.
SPRING 2015 COURSE DESCRIPTIONS
TIME-BASED
TB307A TBM Elective: Kinetic Typography
M W 4:30PM - 7:10PM | 3 credits | Whitty, Travis
Prerequisites: DS202
Comments:
In this class students will be introduced to strategies of communication
design through kinetic elements focusing on form, speed, rhythm,
orientation, sound, color, texture, and quality of motion. Students will
explore the expressive potential of letterforms in a variety of exercises
dealing with dynamic typography and motion graphics. Through analyzing
contemporary and historical examples, such as film and TV titles, music
videos, commercials, as well as exemplary typography work in print
design, students will develop their own potential for expression through
dynamic typography.
TB307B TBM Elective: Our Historical Record: Documentary
Filmmaking Practices
TU TH 4:30PM - 7:10PM | 3 credits | TBA
Prerequisites: TB202 and prefer TB204 and/or Photo/Video
Intersection or instructor permission
Comments: PRE-REQUISITES: Required: Video 1. Suggested:
Intro to Sound and/or Photo/Video Intersection or instructor
permission.
"Our Historical Record" is a studio-based, team-focused video & sound
elective that will examine the diverse facets of documentary filmmaking &
videography, ranging from the macabre to the outright humorous.
Example projects include a single-shot documentary, community-minded
featurette, and collaborative music video. Students can expect to dedicate
the first third of the semester working on projects independently and in
small groups, and then come together as a production team for the
remainder of the course. We will also supplement our studio work with the
occasional screening and short audio/video exercise. This is your
opportunity to redefine what the word "documentary" means to you, and
to learn how to navigate your personal practices within the construct of a
larger group.
TB309A Figure Drawing for Animation
TU TH 10:50AM - 1:30PM | 3 credits | Barany /
Noffsinger
Prerequisites: TB200
Comments:
Figure Drawing for Animation will focus on the anatomical, structural, and
kinematic qualities of the human body in an animated form. Daily practice
will reinforce the need for gestural accuracy and applied kinetics, while
deepening the participants empathy and emotional understanding of
human movement. A wide variety of work will be produced, including
figurative studies, character design, storyboards, animatics, key
animations, pixelation and experimental kinematic investigations.
Drawing and animated work will vary between traditional and digital
means, as participants create a digital eportfolio and demo reel upon
completion of the course.
Independent Study, Internship, and Off Campus Courses
Independent studies and Internships will be added to your schedule once the paperwork is received with all signatures.
Independent Study (Eligibility: Junior or Senior Standing)
Form available in Registrar's office (RL45D/E)
Course #
AH495A
DS495A
WR495A
FA495A
HU495A
TB495A
SC495A
Course Title
Art History Independent Study
Design Independent Study
Advanced Writing Independent Study
Fine Arts Independent Study
Humanities Independent Study
Time Based Media Independent Study
Science Independent Study
Days
Times
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
Credits
3.0
3.0
3.0
3.0
3.0
3.0
3.0
Instructor
TBA
TBA
TBA
TBA
TBA
TBA
TBA
Independent Study Guidelines:
1.)
2.)
3.)
Students must consult with the instructor who will supervise the independent study before registering.
As a part of this consultation, the student will write the independent study proposal.
The proposal must be attached to the Independent Study Form which is available in the Registrar's
Registrar's Office
Office (RL45D/E)
(R45D/R45J).
This form must be signed by the instructor, the Chair of the department and the Vice President of Academic Affairs before the student
may register for the independent study course.
Students may not register for an independent study after open enrollment. This is consistent with the policy on all
other schedule changes.
Students may not register for an independent study solely as a means of reconciling schedule conflicts or to make up a missed
class in one's program.
Internships:
Course #
DS488A
FA488A
TB490A
AH488A
WR488A
HU488A
SC488A
Course Title
Design Internship
Fine Arts Internship
Time Based Media Internship
Art History Internship
Writing Internship
Humanities Internship
Science Internship
Days
Times
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
To Be Arranged
Credits
Instructor
3.0
3.0
3.0
3.0
3.0
3.0
3.0
TBA
TBA
TBA
TBA
TBA
TBA
TBA
An internship is a learning experience usually occurring off-campus that provides students with the opportunity to apply knowledge, skills, techniques
and theories learned in the classroom in the working environment.
Internship credits are studio elective credits. Professional experiences are most often applied as design, fine arts, and time-based media studio
elective credit. It is rare for professional experiences to qualify for art history, writing, humanities, or science credit. There are additional requirements
and often additional assignments to qualify for art history, writing, humanities, and science for internship credit.
To formally receive credit for an internship, the student must have a completed and approved MIAD Internship Proposal / Agreement form and an
Evaluation form on file in the Career Services Office in conjunction with the Registrar's Office. Students approved for internships are usually junior or
senior standing. For more information about internships, to determine eligibility, and to start the approval process, please contact the MIAD Career
Services Office (rooms 275 C/D).
Off-Campus Courses/Study
Course #
MARQ
Course Title
Marquette Cross-Registration
Days
Times
To Be Arranged
Credits
Instructor
3.0
TBA
MIAD students are able to take undergraduate courses at Marquette as part of a cross-registration agreement. Course may be taken in
two minor areas, Business or Advertising, or in any other area in which the prerequisites are met. Courses must be pre-approved by
the Registrar and/or the chair of the department in which you would like the Marquette course to apply. You may also take courses for
personal enrichment, including band, choir, language, etc. To register for a course at Marquette University, write MARQ as the course
number on your MIAD registration form.
YOU MUST THEN SELECT A CLASS FROM THE MARQUETTE SCHEDULE OF CLASSES and complete the
Marquette registration form (attached & available in the Registrar's Office, RL45D) and turn in at registration.
FA496A
Study Abroad Program
TBA
Weimer
You must have a completed Foreign Exchange Application on file in the International Programs Coordinator's Office and you
must be accepted into the program before you may register to study abroad. For further information about the Study
Abroad Program, please see Jean Weimer in RL45D.
FA498A
AICAD Mobility Program
15.0
Weimer
You must have a completed Mobility Application on file in the Registrar's Office and you must be accepted into the program
before you may register for the mobility program.
FA499A
New York Studio Program
Fall semester only
15.0
Weimer
Application and acceptance into this program is required before a student may include it on his/her registration form.
Advertising, Business, and Copywriting Minor The Milwaukee Institute of Art & Design offers three minors through our cross registration program with Marquette
University. This collaboration has the ability to both enrich and expand a student’s time here at MIAD. To complete a
minor in Advertising, Business, or Copywriting, a student must complete 15 credit hours in that minor. 6 credits may
double count towards Humanities Elective Requirements (HU340). To begin one of these minors, the minimum
requirement of WR200 must be completed. You can find the descriptions of the minor offerings below:
Advertising Minor is primarily targeted (but not limited) to students in the Communication Design program to augment
their degree. The main focus is on advertising and best serves students whose goal is to work in an advertising agency.
Business Minor provides a unique opportunity to explore a variety of business theory and practice areas. This minor is
equally useful to designers or fine artists who intend to begin their own business or work in an established organization.
Copywriting Minor blends a rigorous study of brand strategy with creative practice. Students learn to write across all
media and create a portfolio showcasing their copywriting talents. This is a great minor for CD students who wish to
strengthen their portfolios. It is also an excellent choice for students who want to hone their creative writing skills
inspired by brands.
Registration Process At registration, add the course “MARQ” (a place holder), to your MIAD courses, for each Marquette course.
Example Registration Entry:
Course Number MARQ
Course Title Day (s) Time Marquette Cross-Registration
Credits 3
Turn in the completed MIAD/MU cross-registration form at registration. The form is included in registration packet.
The actual course will be added to your schedule once the course(s) is approved.
How to fill out MIAD/MU Cross-Registration Form:
Course 1:
Subject: LEOR
Catalog Number: 3320
Alt. Section 1: 822
Alt. Section 2: ___
Advertising Minor (15 credits total): Required: ADVE 1400 Select One: ADVE 3000 ADVE 3400 Electives, Select Three: LEOR 4931 ADVE 3000 ADVE 3400 ADVE 4100 ADPR 4300 ADVE 4400 ADVE 4500 ADPR 4600 ADVE 4953 ADVE4997 Preferred Section: 801
Credits: 3
Minor Requirements Business Minor Copywriting Minor (15 credits total): Required: MATH 1100 (not counted towards minor) LEOR 2050 LEOR 4931 Accounting, Select One: LEOR 2210 BUAD 2100 Electives, Select Two: LEOR 2220 LEOR 2280 LEOR 3320 (15 credits total): Required: ADVE 1400 ADVE 3400 ADVE 4400 Electives, Select Two: DGMD 2335 ENGL 3210 ENGL 3220 ENGL 4250 JOUR 4953 Spring 2015 Marquette Minor Offerings Sessions:
Session 1: January 12, 2015 – May 9, 2015
Session 2: January 12, 2015 – March 7, 2015
Session 3: March 9, 2015 – May 9, 2015
COURSE DAYS/TIMES ARE SUBJECT TO CHANGE – go to
http://www.marquette.edu/mucentral/registrar/snapshot/spring15/bysubject.shtml for current information
Advertising Minor Course Offerings Required Course(s)
Course
Section
Advertising Principles: Prerequisite - WR200
Day/Time
ADVE 1400
101
TTH 12:30-1:45pm
ADVE 1400
701
MW 4:00-5:15pm
ADVE 1400
702
T 5:30-8:10pm
Elective Options
Intro to Entrepreneurship: Prerequisite - WR200; Combined in-class/on-line course offered at MIAD
LEOR 4931
801
TTH 5:30-7:30pm
Advertising Research & Account Planning: Prerequisite -WR200, ADVE 1400 or concurrent
ADVE 3000
701
M 5:00-8:15pm
Advertising Copywriting: Prerequisite - WR200, ADVE 1400 or concurrent
ADVE 3400
701
MW 5:30-6:45pm
ADVE 3400
702
TTH 4:00-5:15pm
Advertising Media Planning: Prerequisite - WR200, ADVE 1400 & ADVE 3000 or instructor consent
ADVE 4100
701
MW 5:30-6:45pm
Emerging & Social Media in a Dynamic Marketplace: Prerequisite - WR200, ADVE 1400 or instructor consent
ADPR 4300
701
MW 4:00-5:15pm
Advertising Campaigns: Prerequisite - WR200, ADVE 3000, ADVE 3400 & ADVE 4100 or instructor consent
ADVE 4997
701
T 5:30-8:10pm
Business Minor Course Offerings Required Course(s)
Course
Section
Day/Time
College Algebra: Prerequisite - WR200; this class is a prerequisite for the business minor but doesn't not count towards 15cr
MATH 1100
801
TTH 5:30-7:30pm - Session 2
Leading Teams & Groups: Prerequisite - WR200
LEOR 2050
801
TH 5:30-9:30pm - Session 2
Intro to Entrepreneurship: Prerequisite - WR200; Combined in-class/on-line course offered at MIAD
LEOR 4631
801
TTH 5:30-7:30pm - Session 2
Accounting Elective Options
Accounting Principles & Applications: Prerequisites - WR200 & MATH 1100
LEOR 2210
801
Sat 8:00-12:00pm - Session 2
Accounting & Finance Fundamentals for Non-Business Majors: Prerequisite - WR200
BUAD 2100
101
MWF 1:00-1:50pm - Session 3
Elective Options
Economic Theory & Practice: Prerequisites - WR200 & MATH 1100
LEOR 2220
801
TBA - Session 3
Marketing Concepts & E-Commerce: Prerequisite - WR200; Combined in-class/on-line course offered at MIAD
LEOR 2280
801
W 5:30-9:30pm - Session 3
Organizational Process: Prerequisites - WR200, LEOR 2050 & Junior standing
LEOR 3320
801
Sat 8:00-12:00pm - Session 3
Copywriting Minor Course Offerings Required Course(s)
Course
Section
Advertising Copywriting: Prerequisites - WR200, ADVE 1400
Day/Time
ADVE 3400
701
MW 5:30-6:45pm - Session 1
ADVE 3400
702
Elective Options
Introduction to Scriptwriting: Prerequisites - WR200
TTH 4:00-5:15pm - Session 1
DGMD 2335
101
TTH 11:00-12:15pm - Session 1
DGMD 2335
102
TTH 12:30-1:45pm - Session 1
DGMD 2335
103
Writing Practices & Processes: Prerequisites - WR200
TTH 2:00-3:15pm - Session 1
ENGL 3210
101
MWF 9:00-9:50am - Session 1
ENGL 3210
Writing for Workplaces: Prerequisites - WR200
102
MWF 12:00-12:50pm - Session 1
ENGL 3220
Creative Writing: Fiction: Prerequisites - WR200
101
MWF 1:00-1:50pm - Session 1
ENGL 4250
101
TTH 2:00-3:15pm - Session 1
Lucky 13
Cool Classes at Marquette
Spring 2015
Go to http://www.marquette.edu/mucentral/registrar/snapshot/spring15/bysubject.shtml to view descriptions and
prerequisites. WR200 is required for all classes.
ADPR 4300: Emerging and Social Media in a Dynamic Marketplace
MW 5:30pm - 6:45pm
ADPR 4953: Multiplatform Content Strategy
TuTh 9:30am - 10:45am
ADPR 4953: Exploration of Gender in Advertising for the Indise/Out
TuTh 9:30am - 10:45am
CRLS 3640: Domestic Violence in the United States
TuTh 12:30pm - 1:45pm
DGMD 2565: The Business of Entertainment
M 5:30pm - 8:10pm
DGMD 3700: Global Television
TuTh 12:30pm - 1:45pm
ENGL 5250: Creative Writing Fiction
TuTh 2:00pm - 3:15pm
HIST 3165: History of Rock and Roll
TuTh 2:00pm - 3:15pm & discussion section
MANA 3035: Diversity in Organizations
TuTh 3:30pm - 4:45pm
PSYC 3550: Psychology of Gender Roles
TuTh 9:30am -10:45am & prereq. PSYC 2001 (General PSYC)
SOCI 3250: Race and Ethnic Relations
MWF 9:00am - 9:50am
SOWJ 2200: Human Behavior in the Social Environment
MW 3:30pm - 4:45pm
SOWJ 4700: Global Aid and Humanitarianism
MWF 1:00pm - 1:50pm
MIAD / MARQUETTE UNDERGRADUATE CROSS-REGISTRATION
Instructions for MIAD Undergraduate Students:
1. Enter all requested information. This information will be shared with Marquette University.
2. The completed application and all required documents must be received by the Office of the Registrar no later than one week prior to the start of the session in
which you wish to enroll.
3. Bring this form, along with your MIAD Class Registration form, to registration.
4. If you have any questions about registering for a class at Marquette University, please contact the MIAD Registrar's office (R45D) prior
to registration.
STUDENT INFORMATION.
Name
Last
First
Hometown Address
Middle
Street
City
Phone
State
Email
Date of Birth
@miad.edu
SSN
Citizenship
U.S. Citizen
Race / Ethnic Background
Gender
U.S. Visa Holder. Specify:
Hispanic
American Indian / Native Alaskan
No
Emergency Contact: Name
Reason for Marquette Registration:
Advertising Minor
Female
Black / Non-Hispanic
White / Non-Hispanic
Yes. Please attach an explanation.
Phone
Have you registered for Marquette courses in the past?
Male
Other. Specify:
Asian / Pacific Islander
Have you ever been convicted of a felony?
Zip
Yes
Relationship to You
No
Business Minor
Liberal Studies
Other
COURSE INFORMATION. Indicate the courses in which you wish to enroll. Please list acceptable alternate sections in case your preferred
section is full. Courses available at Marquette University can be found at www.marquette.edu/registrar/snapshot. Note that undergraduate
students are not eligible to take 200-level (or higher) courses.
Course 1:
Course 2:
Subject:
Catalog Number:
Alt. Section 1:
Alt. Section 2:
Subject:
Catalog Number:
Alt. Section 1:
Alt. Section 2:
Signature
Preferred Section:
Credits:
Preferred Section:
Credits:
Date
Do Not Write in This Space - For Office Use Only
Rev. 2/2011
Registered in:
Signature
Date
Tentative Summer 2015 Class Offerings Second Semester Foundations Classes: F113: Image & Drawing Concepts F121: RPM HU121: Human Thought & Action AH151: Prehistory -­‐ 1900 Liberal Studies Classes: AH212: History of Modernism: Fine Arts AH213: History of Modernism: Design AH318: Art History Elective SC220: Intro to Biology SC320: Science Elective HU340: Topic in Humanities HU380: Service Learning WR200: Critical & Creative Forms WR300: The Creative Professional in Context WR400: Senior Writing Seminar FA307: Fine Arts Electives: Various topics DS307: Design Electives: Various topics The summer schedule will be available with the Fall 2015 schedule of classes (March/April). All classes listed above are subject to change. SUMMER 2015 MIAD-LED STUDY ABROAD PROGRAMS
IRELAND’S BURREN: Voices of the Land
6 credits, Summer Term 2015
(3 Studio Elective credits and 3 Humanities Elective credits OR 3 Writing Elective credits)
Instructors: Judith Harway and Bruce Grudzinski
The Burren of Ireland is one of the largest limestone karst landscapes in Europe. Bounded by the Atlantic Ocean and Galway Bay, this wild and unforgiving topography is characterized by subterranean caverns, rugged hills, and dramatic seascapes. This course will utilize both the human and natural environment of the Burren as classroom, studio, resource and subject, inviting students to explore the relationships between identity, collective memory, creative expression, and a sense of place. Students will examine the connections between landscape and the Irish literary forms of poetry, storytelling and balladry. The studio component of the course will guide students to consider how place and history shape an artist’s creative work, culminating in an individual project that incorporates mew experiences with Irish landscapes and culture into the conceptual and physical creation of student work. The Burren College of Art, which will serve as the base for 4 weeks of on-­‐site study, is an the site of a 16th century Norman castle. FLORENCE, ITALY: Through the Eyes of Its Masters
6 credits, Summer Term 2015
(3 Studio Elective credits and 3 Humanities Elective credits OR 3 Art History Elective credits)
Instructors: Phil Belair and Michael Aschenbrenner
Florence has long been considered the birthplace of the Italian Renaissance, the place where master artists like Giotto, Michelangelo, Leonardo, and Masaccio, made some of their most valued contributions. This course will focus on the role of the artist in the promotion and advancement of the important cultural, religious and political ideas that developed in Florence during the Renaissance. Students will gain greater understanding of the relationships between the church, guilds, political powers and other influencers during this time and learn how artists used art and architecture to advance messages of faith, propaganda, ambition and new cultural ideas to its citizens. The writings of Dante, Machiavelli, Vasari and Cellini will add to this understanding. Students will also compare and contrast past and present Florence, and consider the different ways contemporary art and design exert messages within a city so uniquely steeped in history. Students’ studio explorations will be based on analyzing the pictorial and written messages surrounding them and using this research to develop a strong, individual creative response in the media of their choosing. Students will spend 4-­‐weeks on-­‐site in Florence and complete their studio and research projects upon return. Contact Jenny Krantz, Director of Creative Learning Opportunities & Research ([email protected]) in
Office 450B for more information and application materials.
APPLICATION DEADLINE FOR BOTH PROGRAMS IS DECEMBER 1, 2014.
(NOVEMBER 17th IF APPLYING FOR NEED-BASED GRANT)
Spring 2015 Schedule Worksheet
Mon
8:00 - 9:15
9:25 - 10:40
10:50 - 12:05
12:15 - 1:30
1:40 - 2:55
3:05 - 4:20
4:30 - 5:45
5:55 - 7:10
7:20 - 10:00
Tue
Wed
Thu
Fri