Summer 2022

  1. The professional internship provides valuable exposure to a professional setting, enabling students to better establish a career path and define practical aspirations. Enrollment in an internship requires approval of the student's Department Head, using the online form available through the RISD Career Center website. Internship proposals are carefully vetted to determine legitimacy and must meet the contact hour requirements listed in the RISD Course Announcement and must involve immersion in a professional setting under supervision. Grading is Pass/Fail only. Major elective; restricted to Illustration juniors and seniors; permission of Illustration Professional Development Advisor required; registration only allowed through RISD Career Center website by posted deadlines. All internships must be approved in advance.

Fall 2022

  1. While most illustrations are flat, working in three dimensions allows for the engagement of a whole new range of material and conceptual possibilities. Whether using traditional materials or digital technologies, sculpture is enormously nuanced in what it can suggest. In this class we will examine how objects and various sculptural strategies can be used to convey complex concepts and ideas. A survey of contemporary sculpture and 3D illustration will provide plenty of conceptual, process and material exploration. The class is offered in conjunction with RISD CoWorks to promote experimentation, interdisciplinarity, and access to advanced technologies. Projects are structured to introduce you to a variety of materials and methods of working, including paper manipulation, box making, character design, model-making, 3D printing, and laser-cutting. Additionally students will learn how to light and photograph three-dimensional work for reproduction or portfolio. The class promotes development of personal expression, strong conceptual solutions, excellent craftsmanship and good design. Estimated Materials Cost: $100.00 Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  2. How does one artfully navigate a creative landscape in CG character and environment design despite the deluge of derivative art and industry homogeneity? This class challenges students to swim against the current, to create a character and setting design that is unique and amazing. Sessions will be a balance of critical thinking, through ZBrush instruction, studio work and class critique. Critiques will focus on the inventiveness of the character and environment, the credibility of essential form, legibility of the designs and their suitability to the narrative outline. Estimated Materials Cost: $25.00 Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  3. This course will build on the skills established in Sophomore Painting, while broadening the students' understanding of options available to the painter. The primary work of the semester will be on individually directed projects, worked on both in and out of class. Overall, a goal of establishing a personal visual vocabulary of facture and image will be emphasized. Students will be encouraged to particularize their use of the painting medium and their approach to subject and statement through color, painterly touch, format, use of materials, drawing and compositional decisions, stylistic reference and implied narrative. The core medium of the class will be oil paint, but this may be augmented or extended by other media. The course will include group exercises designed to solidify a basic understanding of drawing, the use of the medium and the principles of color. Periodic outside assignments will extend this practice while emphasizing personal choice and expressive adjustment based on individual priorities. A flexible format for in-class work on personal projects will allow group interaction to coexist with individually directed work. The semester's goal for each student will be to define a direction for future work in painting. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  4. Animals have enjoyed a prominent place in art for as long as humans have been creating it, beginning with the caves in Lascaux. Along the way they have figured prominently in myths fables and allegories, fulfilling symbolic roles in a wealth of picture books, and appeared as frequent players in visual metaphors employed by editorial illustrators. This course will provide opportunities for students to work within a variety of illustration genres, finding their own approach to working with representations of animal life. There will be in-depth exploration of creature anthropomorphism and its uses- from social and political satire to its capabilities in a wide range of storytelling methods. From JJ Granville to Spiegelman's Maus, to children's book greats like Richard Scarry and Arthur Geisert, the human-animal/animal-human is an enduring motif that will continue to be reinvented and expanded upon. Students will have the ability to channel projects and assignments towards formats of their choosing - including painting and other gallery-based practices, children's publishing, artist books, comics and zines. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  5. In this course students explore the fundamentals of animated movement, timing, and materials through various animation techniques, including working directly on film, drawing on paper, pixilation, cut-out animation, and modified-base processes. Over the course of the semester, students will create six short animations and a wide range of animated films will be studied to augment the student's understanding of the field. Major elective Permission of Instructor required. Course not available via web registration. Restricted to Illustration and FAV majors; contact FAV Department Coordinator to register.
  6. Students in this course will investigate the specific physical structure of the human body, with the aim of producing drawings of greater structural and visual integrity and more fluid descriptions of movement and weight in the figure. We will proceed through the skeletal and muscular systems at a brisk but reasonable pace, learning names, points of articulation and the dynamic functions of each component of the body. Each weekly assignment will consist of a careful, descriptive drawing of an element of the skeletal or muscular system, and a 'dynamic' drawing in which that same element is shown in action in the living figure. We will also review the work of artists, both contemporary and historical, who have made vital artistic use of the elements of anatomical study. The course includes an optional field trip to the Brown University Evolutionary Biology Lab to draw from cadavers. There will be at least one written test on anatomical facts and terminology. The course culminates in a final project on the theme of 'A Human Ideal', exploring past concepts of idealized form in the figure in relation to anatomical reality and contemporary cultural perspectives. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  7. This course introduces students to the creative possibilities of Virtual Reality (VR) and related design strategies as they apply modeling, drawing and animation. Emphasis will be placed on VR-based professional tools such as Tiltbrush, Quill and Gravity Sketch currently used in the fields of illustration, animation, interactive arts and game design. Students will learn the professional game engine Unity 3D and will be introduced to the fundamentals of designing assets, multimedia components and interactive strategies. Oculus and HTC Vive platforms will be accessible to students through the semester. Although not mandatory, knowledge of modeling and basic coding is strongly recommended. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  8. A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of independent study. Usually, a CSP is supervised by two faculty members, but with approval it may be supervised by one faculty member. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses, though it is not a substitute for a course if that course is regularly offered.
  9. Sequential art is a thriving global art form whose recent history is grounded in three artistic, linguistic and publishing traditions: Comics, Manga, and Bande Dessinée. This course offers an intensive introduction to their creative possibilities. It will present storytelling and technical approaches that will enhance your ability to work as a writer and artist in the comics industry, as well as in other narrative driven fields. Assignments will take the shape of short form comics (1-8 pages) but students will also learn about writing, developing and pitching longer works such as graphic novels. During class discussions, we will engage in comparative study, identifying unexpected connections with other arts (literature, music, film, animation) while revealing the unique expressive potential of this medium. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  10. What is it like to make a living creating imagery for the numerous printed outlets of American culture in contemporary times? This course will emphasize problem-solving in a commercial situation while steadfastly holding on to your personal integrity. In addition to responding to editorial-based assignments, the student will be exposed, through slide lectures to the work of artists and illustrators who are burning a path right through the past and into the future of illustration. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  11. This class is designed to train students in the art of creature creation/design. Students will study animal anatomy and physiology with a focus on adaptions to meet specific environments. Following a structured process to design beasts for a variety of genres, the class will explore the genres of fantasy, science fiction and horror. Also featured will be class discussion regarding the psychological implications of different aesthetic choices using existing creatures from film and literature as case studies. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  12. Each of us are walking, talking, living stories. From the time we wake up in the morning to tell ourselves what our day will be like to the moment we remember who we've been and who we want to be, we are telling ourselves the stories of our life. Storytelling is a fundamental human act that crosses cultures, ages, ethnicities and genders. Artists often think in pictures, so this course will explore the act of storytelling through the exploration of the visuals in concert with the creation of the words. This course will start with an exercise in multiple iteration of character ideas, story development from the visual, and an investigation of additional characters who provide the foundation for environments and a series of illustrations for a story concept. Ideation, composition, color, discussion of media, style, format, expression of narrative and materials will be reviewed through lecture, guest lecturers in the field, and discussion-both individual and group centered. The format of the course will explore research, mood boards, character development, facial expressions, turn arounds, character interactions, asset creation, thumbnails, color studies and finished illustrations. The focus of the course will be a "deep dive" into stories that resonate and reflect idiosyncratic and personal interests expressed in any medium that best suits the storytelling. Major elective; restricted to Illustration seniors; open to non-majors pending seat availability and permission of instructor.
  13. With the wave of new technology, it's easy to forget what we can do with our hands, putting pencil to paper and utilizing traditional materials. There is no question that digital tools are integral to the illustrator, but in addition to mastering the technical functions of a program and using it directly to create images, they can open up new possibilities in what we already do with traditional materials. This course will create a dialogue between the handmade and the digital through in class exercises combining age old techniques, including linocut, collage, drawing/painting, with modern tools such as the risograph and photoshop. We will explore different ways digital methods can help with workflow and use the computer to facilitate the steps involved in creating an illustration. This course will challenge students to think beyond the realm of digital brushes and filters, with projects touching on the ways image making can be applied in the real world of design, advertising and publishing. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability. This course fulfills the Illustration Computer Literacy requirement for Illustration majors.
  14. This course serves as an introduction to the ways 3D imagery can be used by illustrators, both directly and indirectly. Using the software Blender (open source) and Zbrush, we will examine the ways to create and use forms and textures both realistic and imaginary to produce images and solve problems common to many forms of illustration, both digital and traditional. Animation will be covered, but only in the most limited sense: such as for looping animated GIFs and for the creation of simulated physical effects. Major elective; restricted to Illustration juniors, seniors and graduate-level students; second preference given to FAV majors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  15. The convincing depiction of form in three-dimensional space is one of the great conceptual and philosophic breakthroughs of Western art. In this class, the first half of the sophomore drawing sequence, our main focus will be the study of form in a spatial context. We will use observational and projected systems of perspective in construction of our images. Emphasis will be placed on exploration of conceptual and physical viewpoint, effective composition and convincing light and shadow to shape expression, engage the viewer and create a unified pictorial image. The class will promote acute observation of existing spatial situations, the invention of convincing imagery from imagination, and the successful integration of the two. Exposure to traditional and contemporary drawing masters and practices will provide inspiration for experimentation, personal expression and artistic growth. A series of perspectival studies will build into longer projects integrating observation and invention and concerns for figure and ground. Students will come to grasp the elegance and power of perspective as an approach to drawing, tempered with an awareness of its limitation and alternatives. Several black and white media in addition to charcoal (mixed media, collage, monoprint, caran d"ache, pastel, etc) and various ways of working (line weight, cross-hatching, additive, subtractive) may be explored. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  16. Magazines, newspapers and other publications rely heavily on pictures to illuminate messages initiated by writers, and unlike any other genre of illustration, the editorial field gives voice to the artist. In this alternately reactive and expressive line of work, the illustrator engages in a powerful partnership with the written word, effectively becoming an author of opinions and ideas. This class will approach several editorial assignments, all of which involve an illustrated response to written text. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  17. From the disturbingly exotic pictures of the Underworld by Hieronymus Bosch and the twisted visual puzzles of M.C. Escher, to the mid-20th Century comic characters of Stan Lee and classic 1950's science fiction films, fantasy images provide a rich source of inspiration for the contemporary artist/illustrator. In this course, we will study the art of Surrealist artists such as Magritte and Max Ernst, the unique fruit and vegetable portraits of Archimboldo, investigate the abstract dream imagery of Hilma Af Klint and Carl Jung, and the seminal graphic novels of Sue Coe (Porkopolis) and Art Spiegelman (Maus). We will interpret text and film as we create our own fantasy paintings working with appropriated imagery, collage, and painting mediums such as oil, acrylic, gouache and watercolor. Major elective; open to non-majors juniors, seniors and graduate-level students as a non-major elective. Open to sophomores pending seat availability and permission of Instructor.
  18. Done well, respectful, original, and inventive adaptations can deliver fresh interpretations of original sources that are themselves new works of art that stand on their own merits. In this course, students will adapt written works from a variety of source materials into multi-page comics stories - demonstrating how form, narrative arc, cultural context, character, and emotion can be translated faithfully and artfully from one medium to another. In the process of doing the work, students will master the language of comics, a medium with its own vernacular, using unique combinations of words and pictures to form meaning - and will gain insights into shared principles of story-telling that apply both to prose and to visual narrative. After deep reading of the texts, to understand structure, story, and meaning, students will interpret and visually amplify the adapted texts, taking the new work from thumbnail, to full sketch, to final art, to self-published mini-comics. Estimated Materials Cost: $50.00 Major elective; Restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  19. The first core studio in the program is centered on an investigation of the mechanics of articulating meaning in an image. Through a variety of projects, students will investigate the efficacy of various strategies in traditional and new media, and engage in perceptual experiments in order to study the intersection of art and visual psychology. Estimated Materials Cost: $25.00 - $150.00 Open to Illustration graduate students only; permission of instructor required for non-majors.
  20. This course surveys the history of illustration from prehistory through approximately 2000 AD. The work shown is culled from a vast cache of artistic production for its power to convey ideas and ideals, report and editorialize events or serve as an enhancement to literature. We consider how evolving technologies in printing and communication have influenced artistic processes, shaped aesthetics and facilitated the distribution of illustration. Emphasis is placed on Illustration's role in reflecting and influencing culture, and its variable relationship to its sister arts. The required class includes lectures, critical writing and discussions, weekly readings, a research project involving museum or special collections objects, quizzes and a final exam. Textbook required. Textbooks will be on reserve at the RISD Library and available for purchase at a student discount. Study images are made available on Canvas. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  21. One commonality amongst all illustrators is the ability to draw. This course builds on principles of traditional drawing, color theory, composition, and with a focus on observational drawing using digital tablet devices. Students will expand on techniques learned at the introductory level to broaden their use of digital mark making tools. Weekly classroom exercise in the first two-thirds of the semester range from careful studies of objects and figures in space, to capturing landscape settings; with the last third engaged in exploring painting from imagination. More involved homework assignments will challenge students to adapt previously acquired drawing skills translated into the digital medium. The main computer application to be used in the course is Photoshop, with an introduction to Painter toward the end of the semester. The goal of the class is to give students a strong foundation in digital painting that can be adapted to their future professional Illustration practice. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  22. This course introduces digital media for Illustrators using computer applications: image drawing, painting and editing in Photoshop, and vector graphics using Illustrator. While orienting students to the technical aspects of digital media, the class also provides an essential link to the Illustration Department's drawing, painting and conceptual curriculum. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor in Fall and Spring; open to all during Wintersession. This course fulfills the Computer Literacy requirement for Illustration majors.
  23. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty-supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.00 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration
  24. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.0 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration.
  25. In this course, students take on the role of the reportage illustrator and visual essayist by developing a series of images in a sketchbook journal, on site, with emphasis on observation, documentation and investigation of non-fiction subject matter. Finished art will be created for a number of the investigative assignments as well as a completed stand-alone visual essay of a self-generated topic. The long tradition of reportage (illustrative reporting) will be examined and discussed, as will the contemporary manifestations of journalistic art in print and in digital formats. Emphasis is placed on authorship, concept, and drawing skill development afforded by working on site are also a focus. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  26. There is something magical about opening a seemingly ordinary book only to see a gloriously three dimensional structure burst forth from its pages. Upon closing the book, the large, complex sculptural form folds seamlessly back into flatness. In this studio students will learn to create such structures: movable artists books that pop up, unfold, transform into sculptures, theaters, installations, interactive experiences. Students will learn the basics of paper engineering and experiment with various pop-up structures as they create their own original, movable artists books. Even though our exploration will begin with structural, material, and formal investigation, students will be encouraged to treat form and content as an interdependent whole, as they envision their increasingly complex independent projects. Demonstrations, hands-on in-class work and homework, independent projects, discussions, research, introduction to digital fabrication; historic and contemporary examples in the expanded field from movable books to large scale art installations; artists talks, visits to RISD CoWorks, Nature Lab, and the Special Collections of Fleet Library will be part of our inquiry. Restricted to Illustration juniors and seniors, open to non-majors pending seat availability
  27. The New Yorker is among the most respected periodicals in America, and it is one of the few publications that features an illustrated cover for every issue. This is an introduction to editorial illustration, as seen through the lens of this magazine. The content of this publication spans a wide spectrum, including investigative reporting, humorous pieces, and short fiction. Articulate and influential, these dense articles are offset by imagery that is just as thought provoking. Students will be challenged to develop a body of work consisting of covers, spots, and full/half page illustrations related to topics of cultural interest, literature, science, the seasons, and current events. This course is for those with a keen interest in translating the written word into visible form with wit and style. Major elective, juniors, seniors and graduate-level students. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  28. Students will gain an understanding of basic color characteristics and relationships through observational painting and color mixing exercises. Perceptual phenomena of space and light are directly connected with principles of color organization on the palette, color mixing procedures and adjustment of color interaction in compositions according to properties of hue, value and chromatic intensity. The associative properties of color rooted both in the natural world and in cultural precedent are explored in relation to expressive priorities. Students learn the use of the physical properties of the medium, gaining sensitivity to qualities of volume and depth, the textural character of the artwork and the sense of artistic facture. Painterly precedent from the history of art and contemporary practice will be studied for inspiration and technical insight. The primary medium for the course is oil paint, and students will be introduced to the complex layering and manipulations the medium makes possible. Water-based media such as casein or gouache will play a supporting role as vehicles for color studies and exercises in abstract color theory. The semester ends with an extended project allowing the combination of observed and invented elements and emphasizing compositional color adjustment in connection with the artist's expressive priorities. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  29. In this class, we will explore the children's picture book as a medium of artistic expression. During the first half of the semester, we will experiment with a number of storytelling techniques and principles while also focusing on different approaches to the format, illustration, and design of picture books. The second half of the semester will be dedicated to the creation of the final project: each student will complete a book dummy for an original children's picture book accompanied by several finished Illustrations. Major elective; restricted to Illustration seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. Students must plan and register for both LAS-E416 and ILLUS-3612 and will receive 3 studio credits and 3 liberal arts credits.
  30. Illustration, along with painting, printmaking and many other visual art practices, is continually intertwined with music. From illustrators collaborating on videos, packaging and promotion, to creating graphic novels and picture biographies of musicians and musical movements, the tradition of connecting the visual to the acoustic has a rich history. Music is often celebrated in larger and in a more tactile ways than on a screen-and we are seeing the enduring inventiveness of the gig poster, and even the 12 inch LP cover is still alive as a canvas. Projects in this class will explore promotional, interpretive, and investigative approaches as they relate to musicians, lyrics and titles, as well as parallels between music and visual art. Students will have the chance to interpret musical works in a number of ways, including through narrative approaches, using sculpture, animation and GIFs, and other less conventional means. There will be exploration of analogous aspects of music and visual art-sound and color, time based works, performative aspects and related ideas (e.g.: the movements of the hand while drawing/painting as analogous to playing an instrument). There will be some focus too, on genres and movements where music and art have close relationships, ie: psychedelia, pop and op art, comics and set design. Lectures and discussion will also be devoted to learning about artists who create both visual and musical work. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  31. This course surveys a wide range of effects possible through versatile printmaking methods including monotype, relief printing and drypoint. The emphasis is on experimentation rather than editioning prints. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  32. The professional internship provides valuable exposure to a professional setting, enabling students to better establish a career path and define practical aspirations. Enrollment in an internship requires approval of the student's Department Head, using the online form available through the RISD Career Center website. Internship proposals are carefully vetted to determine legitimacy and must meet the contact hour requirements listed in the RISD Course Announcement and must involve immersion in a professional setting under supervision. Grading is Pass/Fail only. Major elective; restricted to Illustration juniors and seniors; permission of Illustration Professional Development Advisor required; registration only allowed through RISD Career Center website by posted deadlines. All internships must be approved in advance.
  33. This course will be a short introduction to Science Fiction and Fantasy illustration in the form they are most frequently seen--book covers. Subjects will include (besides the usual aliens, futuristic looking machinery, and dragons) materials and techniques, reference gathering, working with a manuscript, working with the paperback format, etc . . . The goal of the course is to familiarize the interested student with the means and methods of producing a realistic illustration of an unreal scene. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  34. This seminar addresses key critical theory and socio-political aspects of illustration practices from a historical perspective. Reading, discussion, and meaningful integration of ideas into studio writing and activity are goals of the course. Class will meet two times per week including supported research times in various special collections and the library. Faculty determine the content of the seminar each term, balancing attention to issues defined by the expertise and interests of the graduate cohort and subjects of relevance to the field and professional practice. Theorists of special concern to contemporary illustration practice will be highlighted; statistics and technical information about communication media will illuminate how art objects have circulated in their own eras. Critical reading, writing, and presentation will be assessed. Estimated Materials Cost: $50.00 - $75.00 Open to Illustration graduate students only; permission of instructor required for non-majors.
  35. The student's project, designed in consultation with the faculty will be evaluated by the faculty and visting critics and the end of the semester. The levels of concepts, skills and commitment constitute a mjor part of the criteria in the evaluation fo the work. Permission of instructor required Senior Illustration majors only
  36. This studio elective-open to all RISD graduate students regardless of departmental affiliation-will address rotating topics and modes of making, thinking and discourse every semester. The structure and content of this course is designed to shift, enabling different topical investigations and a variety of expert faculty teaching special content in fall and spring of each year. This enables the flexibility for studio consideration of an ever-changing range of both topics and studio engagement. The following topics have been selected for Academic Year 2022-23: Fall-"Visual Poetry Studio" taught by Mairead Byrne, Professor, LAS. Spring-"Making as Research" taught by Andrea Dezso, Associate Professor, ILLUS. Estimated Materials Cost: $0.00 - $150.00 Open to all graduate-level students This course may be repeated for elective credit with permission of a student's graduate program director (GPD).
  37. Illustration is an art of visual communication. Style is simply the illustrator's vocabulary. Substance is what the illustrator has chosen to express. The success of an illustration depends on the seamless connection of these two entities. In this course students encounter a wide variety of subject matter drawn from a variety of fields. They are asked to create illustrations with a particular emphasis on the development of a personal vision as well as the successful communication of wisely chosen ideas. Style, its strengths and limitations, is examined in the light of its importance in the marketplace. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  38. At their very core, all books convey a sequence of ideas, but the execution varies widely from one volume to another. In this course, juniors and seniors strive to extend this concept outside of traditional book parameters to achieve their own creative interpretation. Working from their own themes, students mold an innovative presentation of images and concepts in two dimensions or three, using concrete depictions or abstract forms in the construction of their own unique artist's book. Assignments include the study of different folds, narrative problems, poetic counting, lost and found, and a free project of the student's choice. Students are encouraged to continue their own media that might include painting, construction, printmaking, etc. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  39. This course combines the business of art and design, transforming the creative impulse to a marketable deliverable. Students are encouraged to think beyond the confines of traditional markets, working collaboratively toward the goal of employing inventive thinking in the workplace with the goal of an independently owned and operated enterprise. A fundamental objective of this class is for students to understand a basic business vocabulary, to explore how design-driven business and creative studio thinking overlap, and to understand how creative skills can be used to identify and execute business opportunities. Students will be introduced to business concepts through lectures, case studies, assignments and class discussion. Assignments will work off the classroom pedagogy and topics covered will be business models, marketing, finance, and strategy as they relate to studio activity. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  40. This typography course is specifically designed for Illustration majors. We will study the fundamentals of typography including its history, theory and contemporary practical application. Lectures and exercises will build in complexity from the study of letter forms and the effective use of typography in single page design. A significant part of the course will be dedicated to understanding page dynamics including proportion, grid systems and color. The final project will be a poster design for a local non- profit organization. Students will use Adobe Illustrator and InDesign throughout this course; so some basic computer experience will be helpful but not absolutely necessary. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. Statement of Intent required; Permission of instructor required. This course fulfills the Computer Literacy requirement for Illustration majors.
  41. Scientific data and research methodology can be intimidating to the layperson. Yet science is also a powerful tool for any visual artist interested in studying ecological change. In this course, we explore how to break down the barriers between science and art, using visual storytelling to study the impact of human society on natural systems in two places with very different landscapes and cultural histories-Rhode Island and Namibia. We will examine what stories are told about each place, by whom, and to what end. How does science shape our understanding of pertinent ecological issues such as deforestation, emerging diseases, extreme weather due to climate change, over fishing and hunting, pollution of air, soil, and water, and loss of bio diversity. In the studio we will find ways to pull narrative threads from scientific data and weave them together to create visual stories that call for and inspire meaningful ecological change. After a series of assignments, students will choose an ecological problem and begin a major project that is personally meaningful. Students will research their topic in depth, including relevant scientific research, and present a summary of their findings to the class. The major projects will move from sketches to finished renderings, paintings, books, sculptures, animations, etc. that effectively present a compelling visual narrative. For inspiration, we will examine various artists who address human impacts on nature, including renowned artist and RISD alum, Walton Ford who is beginning a commission for the American Embassy in Namibia. We will visit his studio in NYC and learn about the process he uses to construct his remarkable narrative ecological imagery. Additionally, Walton will participate in class critique of the major project. We will also use resources in the Nature Lab and take several walking tours of Providence. This course is co-taught by Illustration Professor Jean Blackburn and HPSS-Science Senior Lecturer Lucy Spelman. Course credit: ILLUS or IDISC (3) Open to juniors, seniors and graduate-level students. Also offered as IDISC-3058; Register in the course for which credit is desired. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  42. Illustration is visual communication: meaning made visible. Visual thinking, the creative process by which all successful illustration is developed, constitutes the development of an articulate images through thorough, iterative exploration of ideas. This class emphasizes process over finish, idea over application and significance over style-exploring both ways of seeing and ways of showing. Coursework will encourage conceptual invention and application fundamental to an understanding of what the practice of illustration is and can be. The object of the course is to strengthen the students' inventive talents and interpretive skills - and thereby to augment their ability to articulate complex ideas with clarity, eloquence and power. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  43. This course will present the transparent watercolor medium to students in a manner both logical and painless. Students will explore the broad uses for watercolor through still life, figure painting, and outdoor landscape painting. Guest critics and demonstrations may augment class discussions. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  44. When we read, retell, or illustrate, a story, we reveal something about ourselves. What motivates an artist to explore one particular theme over another? Whether it is a political issue, a personal obsession, or of "purely aesthetic" interest, this course will require students to find personal meaning in the narrative sources they select for class projects. Assignments will include the creation of a visual development project that culminates in a singular narrative illustration, as well as a series of sequential images for a text, and a final project that may be formatted as book, comic, toy, game or other translation of visual narrative. Discussions will include the integration of text and image, POV, composition for storytelling, character turn-arounds, media usage, and style concerns in the service of communicating the essential meaning of a story. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  45. This course is a short introduction to the use of game engines for the production of realistic interactive environments-- whether for architecture, industrial design, VR, or animation. The class is intended for people who are already comfortable with 3D modeling and texturing and will cover the basics of scene creation, modeling, the particular requirements of PBR texturing, animation, and simple interactivity through the use of blueprints. Topics will include basic setup; import of 3D assets, including materials, animations, polygonal models, and custom hit-detection meshes; setup of input methods, lighting, sky-boxes, and atmospherics; and output to various devices. Professional workflow considerations and naming conventions will be covered, as well as an overview of useful third-party software for modeling and texturing. Major elective; priority given to Illustration juniors and seniors; open to non-majors pending seat availability and permission of department. Students must register for workshops during the registration period and add/drop regardless of start date of class.
  46. A one month basic introduction to Maya for 3D image-making. The class will introduce polygonal modeling, UV-mapping and normal-map generation, texturing, lighting, and advanced shader options, the Mental Ray renderer, and some particle, fluid and atmospheric simulators. Animation will not be taught beyond basics required for particle and other effects. Major elective; restricted to Illustration juniors and seniors during initial registration; open to Graphic Design and Industrial Design majors following initial registration period; open to other non-majors pending seat availability and permission of department. Students must register for workshops during the registration period and add/drop regardless of start date of class.
  47. This one-month workshop will explore the creative potential of ZBrush, the 3-D sculpting application from Pixologic. With so many uses, it's difficult to cover ZBrush completely, but by the end of the class you will have a solid understanding of the program, all its component tools and how to customize them and use them in your workflow, whether it's sculpting for game detail, animation, visualization, or rapid-prototyping. This workshop is a one-credit course that emphasizes skills and techniques. This class is part of a group of offerings by the departments of Illustration, Industrial Design and Graphic Design that are offered on Friday afternoons and are open to all students to facilitate cross-departmental enrollment. Major elective; restricted to Illustration juniors and seniors during initial registration; open to Graphic Design and Industrial Design majors following initial registration period; open to other non-majors pending seat availability and permission of department. Students must register for workshops during the registration period and add/drop regardless of start date of class.

Wintersession 2023

  1. This immersive interdisciplinary RISD Global studies course based on the island of Hawai'i gives students the opportunity to explore the historical and ccurrent connections between art, conservation, and local and Indigenous environmental practices. Students will practice the Hawaiian concept of "kilo" or place-based learning through careful and close observation and examination. The course is co-taught by Dr. Lucy Spelman and artist Professor Andrea Dezsö in partnership with a local (Holualoa) arts and environmental education organization, the Donkey Mill Art Center. Daily activities will include lectures and demonstrations, walks-in-nature, and art-making-in-nature. Students will learn traditional approaches to nature-based crafts, water use, and farming from local experts. They will visit various locations to observe Hawaii's "land division system" and explore several unique natural areas. They will also study the island's unique biodiversity, biogeography and ecology; learn about the forces that have driven many species to extinction and created opportunities for others (such as climate change, deforestation, invasive species, and pollution); and, consider solutions-both actual and potential. Guided by a "Hawaiian sense of place," students will make regular entries in their field notebooks and document their experiences through a combination of writing and art-making. For their major project, students will create an original work of art or design for "Art Exchange Day" at the Center. Also offered as IDISC-W422; Register in the course for which credit is desired. This is a co-requisite course. Students must also plan and register for SCI-W422. All students are required to remain in good academic standing in order to participate in the WS travel course/studio. Failure to remain in good academic standing can lead to removal from the course, either before or during the course. Also in cases where WS travel courses and studios do not reach student capacity, the course may be cancelled after the last day of Wintersession travel course registration. As such, all students are advised not to purchase flights for participation in Wintersession travel courses until the course is confirmed to run, which happens within the week after the final Wintersession travel course registration period. Registration begins in October at a time to be announced. Permission of Instructor required. 2023WS Estimated Travel Cost: TBD - airfare not included. ***Off-Campus Study***
  2. A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of independent study. Usually, a CSP is supervised by two faculty members, but with approval it may be supervised by one faculty member. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses, though it is not a substitute for a course if that course is regularly offered. Register by completing the Collaborative Study Application available on the Registrar's website.
  3. Students will investigate the mechanics of comics storytelling through a series of exercises designed to deconstruct the comics language. Clarity is key to engaging the reader, and this course emphasizes communication regardless of style. Discussion will include a concise history of the medium and the rise of manga and the graphic novel. This course is structured around a series of cumulative exercises introducing a new element of the comics language each week, designed to equip the student for further work in this important art form.
  4. In this studio class with art history content you will be focusing on self-development and concept development in a feminist context. Until very recently, illustrators were restricted to certain subjects and career paths according to their gender, and women historically and still receive less pay and recognition. Here, we develop an understanding of historical "women's work" and how to navigate contemporary opportunities and barriers through projects about historic and contemporary female and non-binary illustrators and cartoonists (and some designers and animators); traditionally female-gendered media; issues and ethics; and other relevant aspects using artistic and liberal-arts research to inform artistic expression. You will make exploratory things in-class and for homework, and complete 2-3 projects. Work is supported by readings/videos/audios that range from things written by the artists themselves to period commentary to theory and criticism concerning how gendering has impacted careers in illustration and visual culture at large. Budget allowing, we may have a guest. Projects that include writing integrated into them (such as a zine, comic, poster, story, website, etc) are encouraged. Topics expanding knowledge of global and BIPOC women are especially welcomed. Medium and approach are open.
  5. This course introduces digital media for Illustrators using computer applications: image drawing, painting and editing in Photoshop, and vector graphics using Illustrator. While orienting students to the technical aspects of digital media, the class also provides an essential link to the Illustration Department's drawing, painting and conceptual curriculum. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor in Fall and Spring; open to all during Wintersession. This course fulfills the Computer Literacy requirement for Illustration majors.
  6. This course will be a survey regarding the concepts, techniques and methodology of illustration specifically designed for Freshman students who are considering illustration as a major. Students will examine illustration genres, including book, editorial and corporate illustration, while working with a variety of methods and materials.
  7. Oil painting is one of the richest, most powerfully expressive mediums that exist. It offers a vast diversity of approaches and provides the most flexibility of all the painting materials. To take advantage of that variety, certain technical knowledge is essential. This class is geared as a thorough introduction to the newer oil painter. Our early class focus will be on understanding materials through a variety of life study exercises. Focus on color and composition will promote effectively orchestrated images. Our ultimate goal will be to make powerful images that marry appropriate approaches to oil painting with personal vision. The class emphasis will balance the technical mastery of materials with the clarity of effective visual communication.
  8. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty-supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.00 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration
  9. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.0 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration.
  10. Basic to all visual expression is the ability to articulate what one sees. Skill and sensitivity in drawing are the essence of such articulation. The object of this course will be to develop the student's skill as a draughtsman, to make the hand a more gifted servant of the eye. High competence is not a prerequisite for this course; commitment is.
  11. The ability to merge imagery from various sources is an essential skill for illustrators and fine artists alike. In a series of projects, students will gather sketches, drawings and photographs, and combine them to exist solidly and convincingly together in space. We will discuss the importance of lighting, color, and value in creating a believable scene, and explore the methods and techniques used by illustrators and painters past and present. Class time will be divided between the computer lab (where students will manipulate their images using Photoshop and other tools) and the studio, where illustrations and paintings will be completed using a variety of media, including pen and ink, watercolor, and acrylic paint. This course fulfills the Computer Literacy requirement for Illustration majors.
  12. A basic black-and-white course in photographic technique and visualization. Students learn to use the camera, process film, and make prints, as well as to apply creative aspects of the medium. No prior experience in photography is required, but students must have their own 35mm camera with manual aperture and shutter-speed controls. Estimated Materials Cost: $150.00 Deposit: $100 Refundable deposit for any equipment that is borrowed and returned in excellent condition.
  13. This course delves into Illustration as a contextualized practice through study and analysis of illustrated exemplars held in the Special Collections at RISD Fleet Library, the Hay and the John Carter Brown Libraries at Brown University, and the Providence Athenæum. First-hand encounters with these materials and subsequent secondary research into the causes and conditions of their publication will help to illuminate the role of illustration in influencing opinion, and ultimately the shaping of societies. Seminar discussions will center on the nature of publishing in historic and contemporary contexts and consider the diverse ways that visual rhetoric circulates in culture, and is further mediated in institutional and cultural settings. Expository writing practice is key to this research seminar. Facilitated through our object-based study and under the guidance of faculty and Special Collections research librarians, students will develop several short essays and a final project in the form of a research document or format suitable for display. A final work summary will be part of a self-assessment prepared by the student. This assessment will be helpful in preparing documentation for the final Thesis required in this MFA program. Estimated Materials Cost: $0.00 - $25.00 Open to Illustration graduate students only; permission of instructor required for non-majors.
  14. This course will focus on the creation of expressive imagery through the combination of collage and mixed media. Students will work with a wide range of materials and collage elements, including their own drawings and paintings, photographic images and found objects. Techniques used for developing layers of both texture and meaning will be explored and later applied to specific illustration problems.
  15. This course is meant to give students an understanding of the process of serigraphy. Using the basic T-shirt as the format, emphasis will be on creating and developing a concept: learning and implementing the techniques of silk-screen in order to produce wearable illustration. The course will also include historical and contemporary issues on the phenomenon of the printed shirt, including uses ranging from social protest to advertising and the use of the body as a substrate for images. A variety of techniques will explore everything from simple handmade stencils to the use of photo/computer technology to create individual designs. Assignments will be given through the developmental phase, and in-class critiques will play an important role in determining the final product. By the end of the semester, students will also investigate the business/commercial side of silk-screening, including at-home studio setup, recordkeeping and selling the product.
  16. In this course, we examine gender -- not your biologically assigned equipment, but those social constructs that shape and define what is male, what is female and what is that less absolute space between and beyond. Weekly assignments often begin by reviewing the traditional role of women and men in American culture but through a contemporary lens, examining the astoundingly colorful range of gender and sex identities that cannot be limited to simply pink and blue. We'll turn stereotypes inside out, flip popular icons upside down, and rework familiar images from hallowed museums. We'll search for fresh depictions of abstract concepts like conception, contraception, relationships, power, etc. This course offers equal opportunity for XX's, XY's and those outside the binary.. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  17. An all encompassing visual autobiography won't happen in five weeks but Wintersession does give us the exceptional opportunity to embrace the spirit of memoir, here brought to life as illustrations. Your personal stories undoubtedly touch on universal themes : childhood, coming of age, cultural identity, navigating the unfamiliar, overcoming obstacles, among countless others. We'll use journals to recollect the past and examine the present as part of the creative process - transforming raw material into reworked sketches that ultimately become polished illustrations with you at their center.

Spring 2023

  1. This course is designed to allow students to develop high-concept, semester long projects with a focus on digital media. Group or individual projects can be based on, but not limited to, narratives, production art, interactive media, installation, concept design, or work in series. The course will be structured with a professional schedule in mind including three important critique milestones to ensure a substantial end product is delivered at the end of the semester. Special emphasis will be placed on presentation, originality, and clarity of ideas as pivotal to overall quality of this culminating project. The course is very demanding, and research intensive; special consideration with regards to time commitment should be taken before signing up. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  2. In this course students explore the fundamentals of animated movement, timing, and materials through various animation techniques, including working directly on film, drawing on paper, pixilation, cut-out animation, and modified-base processes. Over the course of the semester, students will create six short animations and a wide range of animated films will be studied to augment the student's understanding of the field. Major elective Permission of Instructor required. Course not available via web registration. Restricted to Illustration and FAV majors; contact FAV Department Coordinator to register.
  3. Children have an underestimated capacity to process complex stories, and are often misunderstood as an audience. Their hungry minds depend on imagery to make sense of life and to navigate through their evolving worlds. In this course, students will explore a variety of art forms destined to educate, stimulate and delight children-books, displays, characters, games. Assignments will include works for a variety of industries including publishing, advertising, gift/novelty, and focus on a range of age groups: toddlers to teens. Students will be challenged to create opportunities for discovery that are worthy of this curious and gracious audience. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  4. Students in this course will investigate the specific physical structure of the human body, with the aim of producing drawings of greater structural and visual integrity and more fluid descriptions of movement and weight in the figure. We will proceed through the skeletal and muscular systems at a brisk but reasonable pace, learning names, points of articulation and the dynamic functions of each component of the body. Each weekly assignment will consist of a careful, descriptive drawing of an element of the skeletal or muscular system, and a 'dynamic' drawing in which that same element is shown in action in the living figure. We will also review the work of artists, both contemporary and historical, who have made vital artistic use of the elements of anatomical study. The course includes an optional field trip to the Brown University Evolutionary Biology Lab to draw from cadavers. There will be at least one written test on anatomical facts and terminology. The course culminates in a final project on the theme of 'A Human Ideal', exploring past concepts of idealized form in the figure in relation to anatomical reality and contemporary cultural perspectives. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  5. In his 1909 "An Essay in Aesthetics", Roger Fry talks about the moral purpose of art-to offer viewers the opportunity to experience emotion with objectivity. Rather than actually witnessing a terrible accident in a train station, in a film we are able to experience the event and its associated emotions without the urgency of response required if it were truly happening before us. We are able to feel and to observe ourselves feeling. While Fry was focusing on the experience of visual art, his description of purpose is precisely applicable to the writing of narrative fiction. The ultimate goal of storytelling is to share an experience or another world with a reader, and the focal point of that experience is the conjuring of emotion. This course will focus on the development of understanding and facility in the creation of emotion in fiction. We will address the basic structures of plot and conflict and move directly to the creation of work that will be presented in workshop. The discussion will focus on the writer's intent: their goals for the emotional and narrative experience for the reader. Open to Illustration graduate students only; permission of instructor required for non-majors.
  6. This course offers an introduction to the many artistic and technical aspects of designing and producing characters, environments and props for 3D games. Among the topics we will explore are the design of effective low-polygon characters and scenes, texturing and UV mapping, simple character rigging and effective collaborative design and execution. Software used: Photoshop and Maya (PLE). Knowledge of Photoshop, basic computer skills. Some familiarity with 3D computer modeling is helpful, but not essential. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  7. In this course we will explore the process of designing characters as well as the objects they possess and the environments they inhabit. Through a series of projects that emphasize conceptual thinking and functional design, students will learn the problem solving skills used in design as a means of supporting a narrative. Full color works in variety of media will be critiqued on their clarity of vision and strength of presentation. This course is a continuation of the ideas presented in Character Design, and will serve both students who have taken that class and students new to this subject matter. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  8. Previsualization is an essential tool in both animation and live action filmmaking. Whether it is a feature film or a commercial, a television show or a short film, it's critical that storyboarding is the first directorial step of translating the written word to the screen. In a medium where collaboration is the norm, a story artist inherently becomes one of the most influential figures in a film's production, as every department builds upon the foundation of their work. In this course, we will go over the building blocks of visual storytelling and traditional filmmaking, culminating in a final project at the end of the semester. Lectures and screenings will explore the tenets of story structure, visual language, film grammar, and performance, all of which will be integrated into weekly assignments that exercise tried and true techniques of storyboarding method. The lessons in this course will give you a firm understanding of the art of storyboardinging as it applies to the film and animation industry, and also a greater understanding of how to visually communicate with a level of clarity that you had not known before. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  9. A Collaborative Study Project (CSP) allows two students to work collaboratively to complete a faculty supervised project of independent study. Usually, a CSP is supervised by two faculty members, but with approval it may be supervised by one faculty member. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses, though it is not a substitute for a course if that course is regularly offered. Register by completing the Collaborative Study Application available on the Registrar's website.
  10. This course is intended to help students design with color through the use of acrylics, watercolor, mixed media and a medium of their choice including digital. We will explore ways of creating harmony, contrast, hierarchy, focus, color as an element of expression, for composition and for developing an illusion of space in a work of art. By developing an understanding of opacity, transparency, temperature, value, complementary relationships, saturation and how all work differently depending on the medium, students will gain an understanding of how to create delicious color without fear. Students will be expected to experiment with various color grounds as well as a variety of limited palettes. Assignments will be working from models in costume, include color charts, color studies and culminate in a final series of the students choice. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  11. Sequential art is a thriving global art form whose recent history is grounded in three artistic, linguistic and publishing traditions: Comics, Manga, and Bande Dessinée. This course offers an intensive introduction to their creative possibilities. It will present storytelling and technical approaches that will enhance your ability to work as a writer and artist in the comics industry, as well as in other narrative driven fields. Assignments will take the shape of short form comics (1-8 pages) but students will also learn about writing, developing and pitching longer works such as graphic novels. During class discussions, we will engage in comparative study, identifying unexpected connections with other arts (literature, music, film, animation) while revealing the unique expressive potential of this medium. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor.
  12. The finest illustrated book covers from graphic novels to literary classics captivate the reader both emotionally and intellectually, reflecting the essence of narrative content through potent imagery. This course explores the generative process of making illustrations for book covers from sketch to finish, from comprehensive image to final revisions. Students will be engaged in analysis of narrative content, preparatory drawings and finished work and requires the student to construct a portfolio of solutions in various genres of publishing and other media packaging: Mystery, Science Fiction, Literature, Non-Fiction, Biography, products etc. Particular attention will be given to the successful integration of type and image essential to each genre. Such work may serve as the nucleus of a larger portfolio requisite for freelance work in this field, or as an adjunct to a professional portfolio of editorial illustration. Weekly demonstrations will provide an intensive look at how an illustrator approaches formal material and aesthetic decisions in support of content, helping students gain confidence in the use of processes and materials. Major elective; open to non-majors, juniors and above as a non-major elective. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  13. Design For Good sits at the intersection of illustration, graphic design, and brand identity, with a focus on non-profits and social issues. Working across print and digital media, this course will challenge students to create innovative visual communication that motivates people around a social cause. Students will learn what makes a compelling visual identity, as well as a compelling story. Throughout the course of the semester, students will create brand identities based in illustration, along with visual and typographic guidelines, and apply it to creative campaigns, packaging design, and social media platforms. Through a series of weekly & bi-weekly assignments, students will build a portfolio of pieces that tie together as a unified, illustrated brand identity. Students are encouraged to conduct their own research & interviews with non-profit organizations as part of this course. Group work in class, research, individual presentations & group critiques are an essential part of this course. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  14. The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  15. This course will be a forum for the interchange of ideas on personal fine art practice, extending the discussion and direction of Advanced Painting (ILLUS-3216) and other fine arts media practice. The principle goal of the course is to strengthen the understanding and the creative work of the participants in relation to the visual arts, as it is understood in our culture at this time, including painting, drawing and 3-D media. through study of the history of art, and through concerted work on individual projects, and group discussion. The 20th and 21st century have witnessed a far-reaching series of revolutions in the visual arts during which all components of art media were dissected, analyzed and reassembled in radically different form. Through an awareness of these developments, students in the Illustration Department can gain an advanced understanding of painting, drawing and 3-D media beyond our traditional emphasis on classical realism, though not exclusive of realistic practice. Students specifically interested in a career as a fine artist, making work for exhibition as an expression of personal vision, will find a thorough examination of this path at it existed in the past, and as it exists now, both in terms of philosophical and expressive ambition, critical expectations and in terms of the practicalities of the marketplace. Students who are primarily interested in illustration will find new ways of thinking about concept and innovative methods for giving an idea visual form. The primary vehicle for our discussions will be weekly reviews of work generated by the students in the class. We will alternate between group critiques every two weeks, and one on one discussions between myself and each participant in the class every other week. Each student will be responsible for conceiving and executing an open-ended project in painting that they will develop during the course. The course will also include slide lectures on various aspects of contemporary and historical practice in painting, readings from various texts, brief writing assignments based on those texts and a field trip to New York or another professional venue for contemporary art. Evaluation of individual participation in the course will also be based on vocal participation in group critiques, thoughtful response to assigned readings, and the quality of verbal and written artist's statements. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  16. A defining aspect of human consciousness is creation of meaning through the construction of narrative- a particularly potent mode of communication because it conveys information in a way that allows us to empathetically imagine the lives of others. Beyond the limitations of facts, polemic or data narrative entrances, narrative entertains and enriches us. As such, it is a basic element of Illustration. This class seeks to examine why and how stories matter in the context of traditional and contemporary world culture. We will explore how story construction, narrative voice, imagery, and choice of media intersect to create meaning and reach various audiences. We will look a broad scope of narrative strategies (linear, symbolic, interactive, etc.) from the revelations of the handmade artist's book to cutting-edge technology that is shaping narrative and its reception. Estimated Materials Cost: $25.00 - $150.00 Open to Illustration graduate students only; permission of instructor required for non-majors.
  17. This course surveys the history of illustration from prehistory through approximately 2000 AD. The work shown is culled from a vast cache of artistic production for its power to convey ideas and ideals, report and editorialize events or serve as an enhancement to literature. We consider how evolving technologies in printing and communication have influenced artistic processes, shaped aesthetics and facilitated the distribution of illustration. Emphasis is placed on Illustration's role in reflecting and influencing culture, and its variable relationship to its sister arts. The required class includes lectures, critical writing and discussions, weekly readings, a research project involving museum or special collections objects, quizzes and a final exam. Textbook required. Textbooks will be on reserve at the RISD Library and available for purchase at a student discount. Study images are made available on Canvas. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  18. Illustrated typography and hand lettering are enjoying a wonderfully prominent place in the visual landscape of design, publishing and illustration, and have become an increasingly vital part of many illustrator's professional portfolios. What can illustrated type and it's particular characteristics provide as an alternative to established typefaces? How does an illustrator find the right balance between form and function, expression and readability? This course will provide the opportunity to employ drawing, painting, collage, printmaking, photography, digital tools and other media in the creation of unique letterforms. Students will be encouraged to experiment with non-traditional materials -including three-dimensional ones. Beginning with an introduction to basic typographic elements, terminology, and font families, students will move into creating their own unique lettering for projects including posters, book covers, and packaging. Typography will be the central focus, but students will have leeway as to the degree with which it is integrated with other illustrative imagery. Along with these projects students will create a complete unique typeface over the course of the semester. Relevant issues related to hand drawn text-type for comics, picture books, and graphic novels - including appropriateness, readability and voice, will also be covered. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  19. This course explores the role of illustrator as graphic designer, with a focus on the fundamentals of designing with imagery, the relationship between verbal and visual communication, and the complementary partnership between graphic design and illustration. Students are encouraged to have some fundamental experience with computers before enrolling in this course. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  20. This course will approach visual problems within the context of creating goods for sale. Some of the projects we will work on include coming up with a brand identity, producing limited edition risograph zines, prints, and other handmade tangible goods. A guest artist will be invited to present case studies will provide real world insights into starting a small business. The work produced in the class will be sold at the ISB Spring Art Sale (happening in late April/early May) and all students in the class will participate in order to gain a hands-on understanding of the business side of illustration, including pricing, promotion, and market research. Class time will be divided between group critique and exercises introducing new techniques and design principles. The assignments will provide opportunities to apply these principles in real world scenarios. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts. Elective requirement for Illustration majors.
  21. One commonality amongst all illustrators is the ability to draw. This course builds on principles of traditional drawing, color theory, composition, and with a focus on observational drawing using digital tablet devices. Students will expand on techniques learned at the introductory level to broaden their use of digital mark making tools. Weekly classroom exercise in the first two-thirds of the semester range from careful studies of objects and figures in space, to capturing landscape settings; with the last third engaged in exploring painting from imagination. More involved homework assignments will challenge students to adapt previously acquired drawing skills translated into the digital medium. The main computer application to be used in the course is Photoshop, with an introduction to Painter toward the end of the semester. The goal of the class is to give students a strong foundation in digital painting that can be adapted to their future professional Illustration practice. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  22. This course introduces digital media for Illustrators using computer applications: image drawing, painting and editing in Photoshop, and vector graphics using Illustrator. While orienting students to the technical aspects of digital media, the class also provides an essential link to the Illustration Department's drawing, painting and conceptual curriculum. Major elective; restricted to Illustration juniors, seniors and graduate-level students; open to non-majors pending seat availability and permission of instructor in Fall and Spring; open to all during Wintersession. This course fulfills the Computer Literacy requirement for Illustration majors.
  23. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty-supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.00 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration
  24. The Independent Study Project (ISP) allows students to supplement the established curriculum by completing a faculty supervised project for credit in a specific area of interest. Its purpose is to meet individual student needs by providing an alternative to regularly offered courses. Permission of Instructor and GPA of 3.0 or higher is required. Register by completing the Independent Study Application available on the Registrar's website; the course is not available via web registration.
  25. In the words of Joseph Campbell, "Myth is metaphor." Just as the world's most enduring stories and significant cultural traditions spring from collective human experience and are given compelling shape by imagination, so is art a metaphor for collective consciousness. This class brings together the study of myths, legends and folklore with the visual rhetoric of the illustrator, as we seek a variety of forms of expression and visual narrative in telling great stories from mythology, legend and folklore. Whether in the form of contemporary urban legends or ancient mythic themes shared across cultures and time, we will examine the phenomenon of myth as metaphor for the human experience and art as a vital element in its expression. Major elective; restricted to Illustration juniors and seniors. Open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Requirement for Illustration majors.
  26. Appropriation is a way to recontextualize pre-existing imagery or objects and skew their intended meaning. This course will engage students in understanding the power and perils of employing appropriation in one's work. We will pay particular attention to underrepresented cultures and groups whose artistic and cultural contributions are often exploited and appropriated -- as well as the artists who are challenging, redefining, and creating space to speak for themselves. Students will develop a sharper understanding of this evolving and controversial area in image-making through class assignments, discussions, and case studies. Using various tools and media, students find pre-existing imagery/objects, text, and more, from various cultures, political and historical references and alter their intended meaning by adding, subtracting, multiplying, layering, and remixing. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  27. This course will continue the study of color organization and use of the oil medium begun in the fall semester, with increased emphasis on compositional structure and adjustment. Assignments will feature imaginative or hybrid compositions, combining observed and invented components. Using principles of color, directional light and spatial structure to solidify atmospheric unity, we will explore the implication and construction of narrative. Work in class will solidify the student's ability to evoke volume, space and light. We will examine the breadth of creative choice in representational color use to illuminate the expressive qualities of various options. Students will study the role for color in directing the viewer's navigation of a composite subject, or imbuing a simple image with depth and complexity. Color design is introduced as an abstract structure that underlies figurative imagery, providing an important expressive subtext. Quick compositional studies in casein or gouache of a work in progress will be used to focus atmospheric and spatial effect. The historical development of color use in painting and cultural associations of style will be explored in slide lectures and experimentation. A capstone assignment will tie the principles of color and composition to a large narrative painting combining diverse imagery from reference and imagination, and emphasizing clarity and subtlety of structure in service of personally determined content. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  28. This course introduces students to a variety of pen and scratchboard styles through a series of assignments which include drawing from life and executing well-defined illustrative problems. A variety of pen tips and their effect on pen handling are explored. Other aspects of pen drawing to be considered: Intelligent design of page with subject, the compositional impact of the arrangement of tone, and the sensitive selection of appropriate pen and scratchboard styles for a given problem. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  29. This is an introductory course in digital photography. It covers all the basic techniques of digital workflow: capture, photo editing, and inkjet printing. You will learn how your camera works and how to control it to get the results you want. You will also learn how to download and manage your image files, edit them for best results, backup them religiously, and make excellent inkjet (digital) prints. Beyond technique, there will be at least one visiting artist, regular lectures covering the history of photography, an optional weekend field trip to Boston, and regular group and individual crits geared toward developing your style, focusing your ideas, and making better pictures. Most students use a DSLR (digital single-lens-reflex) camera, which you must provide, but other types are also OK, such as a good point-and-shoot or an ILC (interchangeable lens compact) model. We will discuss cell and tablet phones, but a dedicated camera such as one of the above models, will give you better results and more control. While this course is an introduction to photography, and assumes no prior knowledge, students with some photography background or those with analog-only experience may also benefit. Estimated Materials Cost: $100.00 - $150.00 Major elective; open to non-majors sophomore and above as a non-major elective.
  30. In their brevity and concentrated potency, short stories are compelling material for illustration. This course invites students to illustrate short fiction authored by a variety of voices and in several genres, while allowing for formal and conceptual development and the cultivation of distinctive visual character (or style) along the way. Reading, analysis, ideation and execution are central to course content. Estimated Materials Cost: $10.00 - $50.00 Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  31. From Leonardo's rich notebook studies to Audubon's great horned owl, to NASA's Mars Rover simulations, scientific illustration derives from rich traditions stressing scientific investigation, good design, close observation and technical mastery. We will begin with a study of the structuring strategies nature uses to create its enormous diversity of forms. Scientific drawing conventions, interesting drawing techniques and tools will be presented. Students will produce a variety of black and white, color and digital solutions exploring aspects of this broad field. The class will culminate with a final project allowing each student to explore a scientific area of interest. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  32. This course will deal with critical understandings of visual culture, narrative, and the melding of written and visual languages in contemporary graphic texts. We will begin with a study of visual culture, and some of the key issues, ideas, and questions that underlie thinking about visuality: its spaces and places; the politics of representation; theories of the spectator/audience; modes of reproduction and circulation of texts in the era of digitization and globalization. We will then consider theories of narratology, as they are particularly useful to a study of the graphic medium. For the final weeks of the semester, we will move to a consideration of some of the rich and varied criticism from within the field of comics studies. Estimated Materials Cost: $260.00 Open to Illustration graduate students only; permission of instructor required for non-majors.
  33. The student's project, designed in consultation with the faculty will be evaluated by the faculty and visting critics and the end of the semester. The levels of concepts, skills and commitment constitute a mjor part of the criteria in the evaluation fo the work. Permission of instructor required Senior Illustration majors only
  34. This course is designed to help students find their way to the professional marketplace utilizing the best tool available - the portfolio. Be it the freelance advertising, editorial or children's book markets, an animation or gaming studio, a publishing house, gallery or other venue, this course will introduce the components of the portfolio necessary for success. It includes development of both a traditional and on-line presence, discussions on specific industries, copyright issues, client contracts and pricing guidelines. Each student will create new work to augment their existing portfolio, as well as business cards, a resume, a contact list, invoice and letterhead. The course will also include visiting guest lecturers from a variety of industries. The focus will be to complete a portfolio that serves as a professional tool most suited to each individual's talent and aspirations. Major elective; restricted to Illustration seniors only.
  35. This studio elective-open to all RISD graduate students regardless of departmental affiliation-will address rotating topics and modes of making, thinking and discourse every semester. The structure and content of this course is designed to shift, enabling different topical investigations and a variety of expert faculty teaching special content in fall and spring of each year. This enables the flexibility for studio consideration of an ever-changing range of both topics and studio engagement. The following topics have been selected for Academic Year 2022-23: Fall-"Visual Poetry Studio" taught by Mairead Byrne, Professor, LAS. Spring-"Making as Research" taught by Andrea Dezso, Associate Professor, ILLUS. Estimated Materials Cost: $0.00 - $150.00 Open to all graduate-level students This course may be repeated for elective credit with permission of a student's graduate program director (GPD).
  36. The Changing Narrative will explore the challenges and possibilities of innovative storytelling structure: non-linear, interactive, multimedia. In this class, students will create inventive work at the intersection of physical and digital media, the old and the new. Students will be introduced to classic dramatic structures across cultures-Asian Kishotenketsu, Freytag's pyramid, Shakespearean tragedy-and learn fundamental digital skills via class demonstrations and exercises. Drawing from these patterns and tools, students will then seek to unveil new storytelling possibilities granted by modern technology (computer animation, touch screen interaction, hypermedia) to traditional artforms (illustration, comics, gaming). What happens when a comic's panel starts to move? Where does a story go if the reader is allowed to make decisions? Students will investigate these creative avenues and create playful, hybrid stories. Along the course of the semester, assignments will notably include short-form animated illustrations, experiments with gamebooks and cartoon strips, culminating in a final, long-form narrative project. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills EITHER the Illustration Concepts Elective requirement OR the Computer Literacy requirement, not both, for Illustration majors.
  37. This course is a comics writing and artmaking workshop with an emphasis on professional production finishing techniques, culminating in a comic or graphic novel pitch.. Assignments will introduce students to both traditional methods (thumbnailing, inking) and state of the art technical processes (digital coloring, art preparation, file format and delivery, and processing for press quality publication). Students will develop their visual storytelling abilities by creating comics from existing scripts-exploring various literary genres, among which sci-fi, mystery or nonfiction-as well as original stories. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  38. In this course students will learn to depict the human figure more effectively within a spatial and compositional context. The classical principles of pictorial design emphasized in the course will enable students to create compelling and visually dynamic work. These principles strengthen visual unity by strategically repeating various formal elements within an image while contrasting those elements in order to provide a sense of balance. Master works by Diebenkorn, Cassatt, Sorolla, Hopper, Degas, and Vermeer, among others, will be analyzed in order to gain insight from their compositions and use of color. Students will execute several small-- scale master studies to assimilate those lessons more deeply. Students will also explore the narrative potential of the human figure in context as they develop personal imagery. Sources for such imagery will be chosen by each student and may include observation, imagination, memory, photo reference or any combination thereof. Students may work in any color or monochromatic 2-D medium - drawing, painting, collage, mixed media, or digital - based on individual preference and expressive need. During each class, students will have the option to work from direct observation of human figures placed in environments. The models will be set in long poses to allow time for compositional and narrative ideas to develop. Students may also use class time to develop their own imagery from non-observational sources. Major elective. Open to all students; sophomore and above.
  39. This course celebrates books of all kinds, for readers of all ages. We start by studying picture books for children and make our way through graphic novels (comics), the young adult novel, poetry, fiction for adults, etc. The last part of the semester is spent creating a book of your own choosing from one of these genres. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  40. For half a millennium, posters (or "broadsides" as they were called) have attracted the attention and sparked the imagination of viewers through much of the world. The best posters are both visually striking and communicative. Designs usually incorporate image and text; but are often effective with either text or image alone. In this class we will learn the essentials of silkscreen printing in the context of studying a bit of the history of serigraph poster design: from historic fine artists such as Toulouse-Lautrec and Alphonse Mucha, to more contemporary illustrators like Seymour Chwast and Shephard Fairey. Students will be designing and printing several editions, experimenting with hand- drawn and digitally produced art and typography. The nature of the silkscreened image allows for investigation of various color palettes or structures for a single image. No printmaking or digital experience required. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  41. In this course, students will create a comprehensive visual essay on a topic that they propose. Participants will engage in extensive investigation and create a series of images that explore, reveal, and/or explain a particular subject or concept. Emphasis will be placed on the development of content through research, and the organization of consistent refined works through presentations that synthesize ideas as pictorial or graphic imagery that may include or refer to textual information. Final presentations may be printed, digital, exhibited as originals or include cross-platform or time-based imagery. A wide range of commercial applications and opportunities will be explored. The semester will begin with short projects that introduce useful skills and approaches. The remainder of the term will focus on a single conceptual endeavor. Contemporary and historic examples of visual essay will be examined and discussed. Student research may lead beyond campus. Major elective; restricted to Illustration seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  42. Virtual Reality Design for Palliative Care is a pilot course designed to allow students to experiment purposefully in the creation of virtual reality environments. We will measure the success of our work against a goal of providing comforting and liberating experiences for hospital patients with limited mobility, psychological or pain-management problems. The course proceeds from the assumption that the life experiences of the students, reinforced or modified by directed readings, can provide empathetic insight into visual, spatial and narrative elements that will prove positively reinforcing, uplifting and exciting to others, including those who might be facing significant medical challenges. Through learning about the medium of immersive virtual reality (3D computer graphics viewed through a head mounted display) the course will address the limitations of this medium as well as its exciting possibilities. We will seek to understand the nature of virtual space, points of similarity and difference with everyday experience. Various themes and templates will be the basis of our projects, exploring design metaphors and seeking insight and connection with the imagined experience of our prospective users. Major elective; restricted to Illustration to juniors and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Computer Literacy requirement for Illustration majors.
  43. A society's history is written in its stones. From the dystopias of Gotham City or Grand Theft Auto, the hive mind of the Borg and the ecstatic asceticism of the Shakers, to the suburban conformity of Levittown and the Sphinx half buried in sand, every city, every society, is an embodiment of ideas, history, geography, and beliefs. Each built environment has its own logic, both architectural and cultural. With some provocative writings about the phenomenon of the city as inspiration, you will be asked to conceptualize a place and bring it to life visually. The essence of a city - its buildings, pathways, public and private spaces - depends on how you define the character of its people, its government, its history, its geographic siting and even its language. After defining a back-story in broad strokes, you will begin researching the implications of those choices visually. Working from thumbnails and sketches to finished conceptualization, you will explore compelling physical and conceptual viewpoints, with a variety of possibilities in the use of media and technique. Rather than limiting ourselves to purely pragmatic architecture, the class will be searching for imaginative visualizations, where form becomes poetic metaphor suggestive of narrative. Major elective; restricted to Illustration juniors, and seniors; open to non-majors pending seat availability and permission of instructor. This course fulfills the Illustration Concepts Elective requirement for Illustration majors.
  44. Building on the skills and sensibilities developed in ILLUS 2000: Visual Thinking, this course will address a range of strategic considerations important for the articulation of ideas. While emphasis will remain on methods for encouraging conceptual aptitude and innovation, there will be greater focus on specific forms of communication. Practical issues such as the nature of audience and the context for interpretation will be matters of concern, as will vehicles for communication and the handling of media. The basic aim of this course is to enable the student to discover a creative identity and develop an itinerary for upperclass study; its larger goal is to wed communicative purpose to artistic voice. Major requirement; restricted to sophomore Illustration majors; open to non-majors pending seat availability and permission of instructor. Registration by Illustration Department, course not available via web registration.
  45. This course is a short introduction to the use of game engines for the production of realistic interactive environments-- whether for architecture, industrial design, VR, or animation. The class is intended for people who are already comfortable with 3D modeling and texturing and will cover the basics of scene creation, modeling, the particular requirements of PBR texturing, animation, and simple interactivity through the use of blueprints. Topics will include basic setup; import of 3D assets, including materials, animations, polygonal models, and custom hit-detection meshes; setup of input methods, lighting, sky-boxes, and atmospherics; and output to various devices. Professional workflow considerations and naming conventions will be covered, as well as an overview of useful third-party software for modeling and texturing. Major elective; priority given to Illustration juniors and seniors; open to non-majors pending seat availability and permission of department. Students must register for workshops during the registration period and add/drop regardless of start date of class.
  46. A one month basic introduction to Maya for 3D image-making. The class will introduce polygonal modeling, UV-mapping and normal-map generation, texturing, lighting, and advanced shader options, the Mental Ray renderer, and some particle, fluid and atmospheric simulators. Animation will not be taught beyond basics required for particle and other effects. Major elective; restricted to Illustration juniors and seniors during initial registration; open to Graphic Design and Industrial Design majors following initial registration period; open to other non-majors pending seat availability and permission of department. Students must register for workshops during the registration period and add/drop regardless of start date of class.
  47. This one-month workshop will explore the creative potential of ZBrush, the 3-D sculpting application from Pixologic. With so many uses, it's difficult to cover ZBrush completely, but by the end of the class you will have a solid understanding of the program, all its component tools and how to customize them and use them in your workflow, whether it's sculpting for game detail, animation, visualization, or rapid-prototyping. This workshop is a one-credit course that emphasizes skills and techniques. This class is part of a group of offerings by the departments of Illustration, Industrial Design and Graphic Design that are offered on Friday afternoons and are open to all students to facilitate cross-departmental enrollment. Major elective; restricted to Illustration juniors and seniors during initial registration; open to Graphic Design and Industrial Design majors following initial registration period; open to other non-majors pending seat availability and permission of department. Students must register for workshops during the registration period and add/drop regardless of start date of class.
  48. This is a survey course designed to enable students to develop a wide body of work in three-dimensional moving art pieces. Students are exposed to a large range of types of movement and the challenges inherent in getting those movements to operate smoothly. The pieces are made from a wide range of materials, including but not limited to wood, cardboard, wire, metal, plastic, Sculpey, and paint. There are three elements in each project: the idea, mechanism and surface treatment. Assignments will be given based on the mechanism. Students bring the subject and story to the piece. The mechanisms covered include: action/ reaction, balance/ counter balance, whirlygig, cams and cranks, motion-triggered lights and sound. Molds will be incorporated into the assignments. All projects are painted. This course requires students to develop a working knowledge of a range of tools, from simple hand tools to more complex tools available in our wood shop. Exercises and focused workshops on tool usage will be a fundamental part of the class. Prior experience with tools is helpful but not necessary. The class culminates with a "Come Play With Us" show of students' completed projects. Elementary school children and the RISD Community are invited to play with the pieces, with an emphasis on fun. The projects have to work; they need to be built to withstand all types of child's play. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.
  49. As visual artists, we all have a story to tell. One of the keys to creating a convincing narrative is persuading your viewers of the believability of the world into which you invite them. The creation of graphic novels, games, animations, movies and theater sets often start with a world guide - a document that fully describes the setting. Sometimes these are simply textual or visual references and sometimes they are books in their own right; but regardless of form, their purpose is to make sure that all the creative people working on a project will build a consistent "reality". This course is intended to familiarize students with the process of generating and illustrating the visual parameters of an invented environment in which a story happens - defining first the umbrella under which the story unfolds, then establishing a more particular space/time/habitat that includes anything relevant to the story: environment, history, culture, clothing styles, architecture, animals, etc. Beyond the invention of a setting for a visual narrative, in this course students will also learn how to design a style guide for intellectual property worlds (IP). Each will create a visual "bible" for envisioning their IP world-a document that clearly defines and describes the world within which the narrative unfolds. Major elective; restricted to Illustration juniors and seniors; open to non-majors pending seat availability and permission of instructor.