This course builds on the themes covered in the prerequisite Core Studio 1, introducing more advanced digital production methods and themes. Students are encouraged to explore and develop personal working methods and interests through studio projects, fostering a self-directed practice that culminates in a final end-of-year critique.

Estimated Cost of Materials: $150.00

Major Requirement | BFA Art + Computation, BFA Sound

This 6-credit advanced elective studio centers around the Sustainability Lab, an initiative between LDAR and INTAR departments to explore creative material approaches to sustainability. Looking specifically at materials common to the New England region, this hands-on research studio asks students to question current attitudes towards exploitative land uses and material cultures and push the boundaries of material use and techniques in professional architecture and landscape architecture design practices.

This studio focuses on New England's material cultures' environmental, geological, and socio-cultural influences and the impact of current land use and manufacturing practices on the professional design industry. This studio will explore one selected material each year through three main components. First, students will study the histories and stories of the selected material and land use and how they have shaped different regions of New England and become entangled in power relations, value systems, and wider networks of material exchange. Second, they will explore the selected material’s behavior, its unique property dynamics, and how they have influenced its different uses. Finally, using both digital and analog fabrication, students will develop iterative creative processes that explore sustainable ways of drawing and making with the selected materials as modular and in-situ techniques.  

This is a co-requisite course. Students must register for LDAR/INTAR-500G - Sustainability Lab: Advanced Research Studio and LDAR/INTAR-501G - Sustainability Lab: Material Explorations.

Students are pre-registered for this course by the department. Enrollment is limited to Landscape Architecture and Interior Architecture Graduate Students.

Elective

Sophomore Sculpture: Studio I is a rigorous introduction to the practices and techniques of contemporary sculpture, with a focus on metal, wood, and various assembly techniques. In this course, students will move through material and time-based modules in order to develop a basis for a multi-dimensional practice. Sophomore Studio I, is coordinated with Sculptural Practices and Seminar I: Methods, Materials, Makers. Sculptural Practices I provides an introduction to shop tooling and accompanying technical skills. Seminar I provides an introduction to the discourses, histories, and methods that compose the expansive and transdisciplinary field of sculpture and its relationship to contemporary art practices and discourses. 

In the field of Sculpture, ideas and materials are inextricably bound together. With that in mind, this course is the fulcrum where students make things happen in physical space while thinking through the ramifications of critical and conceptual space. These physical, material, critical, and conceptual explorations serve as a foundation for project prompts, individual research, discourse, and readings. Ultimately this course will lay the foundation for students to develop their own voice to contribute meaningfully to ongoing conversations in our field.

Majors are pre-registered for this course by the department. Enrollment is limited to Sophomore Sculpture Students.

Major Requirement | BFA Sculpture

Sophomore Sculpture: Studio I is a rigorous introduction to the practices and techniques of contemporary sculpture, with a focus on metal, wood, and various assembly techniques. In this course, students will move through material and time-based modules in order to develop a basis for a multi-dimensional practice. Sophomore Studio I, is coordinated with Sculptural Practices and Seminar I: Methods, Materials, Makers. Sculptural Practices I provides an introduction to shop tooling and accompanying technical skills. Seminar I provides an introduction to the discourses, histories, and methods that compose the expansive and transdisciplinary field of sculpture and its relationship to contemporary art practices and discourses. 

In the field of Sculpture, ideas and materials are inextricably bound together. With that in mind, this course is the fulcrum where students make things happen in physical space while thinking through the ramifications of critical and conceptual space. These physical, material, critical, and conceptual explorations serve as a foundation for project prompts, individual research, discourse, and readings. Ultimately this course will lay the foundation for students to develop their own voice to contribute meaningfully to ongoing conversations in our field.

Majors are pre-registered for this course by the department. Enrollment is limited to Sophomore Sculpture Students.

Major Requirement | BFA Sculpture

This period is designed for the student to evaluate and analyze and pursue the directions he/she established in Grad Paint Studio Critique I. Group and individual critiques will occur by resident faculty and visiting artists and critics during the semester.

Open to Graduate Painting Students.

Major Requirement | MFA Painting

Manufacture: from Latin manu factus, literally, made by hand (Merriam Webster online)

This studio explores the objects and possibilities that arise from using additive manufacturing as a method for serial production. Working intensively with FDM, both as a medium and a method, and learning about other forms of additive manufacturing, the studio asks some of the most quintessential questions of Industrial Design: What does it mean to design for a particular method of fabrication? What kind of potentials do these technologies offer? How can they be employed to make objects different than the ones possible in traditional manufacturing? How can they be combined with other materials and methods of making to expand the range of object potentials?

This is an intense making studio, one would even say an ultra-making studio, which includes experimenting with the mediums, modeling forms for production and culminates with actually producing them. In order to do this, we will be testing materials, learning about AM technologies, speculating about the future of these technologies, learning to use slicers and printers, and learning to write our own gcode. Results of this studio are first and foremost enticing material objects, which might be looking at the present, near-future or far future of these technologies as object-making means. Outcomes could include full-scale furniture pieces, consumer products, Grasshopper scripts, printer prototypes, business models and more.

Note: This is a CAD intensive course however it is not a CAD class, and there will be few software demos. Fluency in 3d modeling software (Solidworks, Rhino or the like) is necessary to succeed in this course. Advanced CAD is preferable, but not required.

Major Requirement | BFA Industrial Design, MID (2.5yr): Industrial Design

As a culmination of the MFA program, this intensive studio challenges students to design and craft a significant, topically-focused body of work. Although students may choose creative formats and media according to their own interests, they must publish thesis work produced in class. Publication through digital platforms (podcasts, websites, apps, etc.) will be coordinated with analog forms when possible and appropriate to the project. Together with the research and writing produced in ILLUS 606G Paradigms and Contexts: Publishing the Thesis and Beyond, a comprehensive body of work and a written thesis document will be produced.

Estimated Cost of Materials: $100.00 - $1,500.00

Major Requirement | MFA Illustration

This course introduces the core themes of computational art and design, including interaction, networks, and simulation. Students will engage with these topics through modern digital production techniques, examining them from formal, material, historical, and social perspectives.

Estimated Cost of Materials: $150.00

Major Requirement | BFA Art + Computation, BFA Sound

This course deepens the exploration of computational art and design, pushing students to experiment with more complex methods. Emphasizing independent inquiry, students will refine their creative process and technical skills, developing a cohesive body of work. The course encourages critical engagement with emerging technologies and their social, cultural, and artistic implications. This course also provides guidance for students to articulate and present their body of work, engage in discussions about the field, and explore various directions to position their practice.

Major Requirement | BFA Art + Computation, BFA Sound

This course deepens the exploration of computational art and design, pushing students to experiment with more complex methods. Emphasizing independent inquiry, students will refine their creative process and technical skills, developing a cohesive body of work. The course encourages critical engagement with emerging technologies and their social, cultural, and artistic implications. This course also provides guidance for students to articulate and present their body of work, engage in discussions about the field, and explore various directions to position their practice.

Major Requirement | BFA Art + Computation, BFA Sound

In the first semester, graduate students begin their investigation and produce clay works that allow the faculty to assess their approach and capabilities. Students are available and pursue active contact with the faculty. Students also attend supplemental department presentations.Majors are pre-registered for this course by the department.

Enrollment is limited to Graduate Ceramics Students.

Major Requirement | MFA Ceramics

The second semester is a development of the ideas and work begun in the first. Students are available and pursue active contact with the faculty. Students also attend supplemental department presentations.

Major Requirement | MFA Ceramics

Continued exploration begun during the first year leads to the presentation of a thesis project. Students work during class hours to ensure daily contact with faculty.

Major Requirement | MFA Ceramics

This period is designed as an advanced critique course which involves visits by resident faculty, visiting artists and critics, with special reference to current issues and concerns in contemporary art.

Major Requirement | MFA Painting

Creative directors are often artists in disguise, with roles as fluid as myths. They could helm a magazine, a fashion house, or an art exhibition, devise strategies to link brands with people, or they could lead a media platform masquerading as a tech company, or vice versa. Bound by a scope of work, a creative director's work is a collective effort, not a standalone piece. They orchestrate behind the scenes, curating concepts and crafting communication strategies. Their role is essentially non-material—focused more on process than product—and is precise and covert, with the client seen as the 'author' of the work.

This studio course operates at the intersection of creative direction and artificial intelligence, investigating the evolving relationship between AI systems and creative practice. As AI systems evolve from tools into collaborators and potential competitors,  we must reconsider how human creative direction can evolve alongside—or in resistance to—artificial intelligence.

Through hands-on workshops, students will design and train AI models for creative tasks. Weekly projects focus on implementing machine learning models for specific creative direction tasks.  We will explore the possibility of training personalized AI agents that embody and extend individual creative methodologies. Students will develop their own AI creative director agent while critically examining the implications of delegating creative decisions to artificial systems. The course combines applied studio work with critical discussions about the future of creative direction and the ethical implications of automated creativity.

Estimated Cost of Materials: $100.00

Elective

Creative directors are often artists in disguise, with roles as fluid as myths. They could helm a magazine, a fashion house, or an art exhibition, devise strategies to link brands with people, or they could lead a media platform masquerading as a tech company, or vice versa. Bound by a scope of work, a creative director's work is a collective effort, not a standalone piece. They orchestrate behind the scenes, curating concepts and crafting communication strategies. Their role is essentially non-material—focused more on process than product—and is precise and covert, with the client seen as the 'author' of the work.

This studio course operates at the intersection of creative direction and artificial intelligence, investigating the evolving relationship between AI systems and creative practice. As AI systems evolve from tools into collaborators and potential competitors,  we must reconsider how human creative direction can evolve alongside—or in resistance to—artificial intelligence.

Through hands-on workshops, students will design and train AI models for creative tasks. Weekly projects focus on implementing machine learning models for specific creative direction tasks.  We will explore the possibility of training personalized AI agents that embody and extend individual creative methodologies. Students will develop their own AI creative director agent while critically examining the implications of delegating creative decisions to artificial systems. The course combines applied studio work with critical discussions about the future of creative direction and the ethical implications of automated creativity.

Estimated Cost of Materials: $100.00

Elective

This course is structured according the notion that artists can use what is on hand to research and craft simple solutions to the complex physical, mechanical, and technical problems that must be routinely addressed in their making practices. This material and process based, hands-on, research studio will be structured in response to the issues that the advanced fine arts student is grappling with on a regular basis. Many of the issues that arise in the process of making provide the opportunity to transcend perceived material-based boundaries and thinking. Some of the questions this course attends to include: How do you defy gravity? How do you generate the hidden components required to physicalize the thing we can see in our mind's eye? How is the magic we need to create our work scalable to the resources we have readily available? Example working processes include: mig welding, tig welding, casting for prototyping, woodworking, and mold making.

This course is open to junior, senior and graduate-level students. Please contact the instructor directly for permission to register.

Elective

This course is structured according the notion that artists can use what is on hand to research and craft simple solutions to the complex physical, mechanical, and technical problems that must be routinely addressed in their making practices. This material and process based, hands-on, research studio will be structured in response to the issues that the advanced fine arts student is grappling with on a regular basis. Many of the issues that arise in the process of making provide the opportunity to transcend perceived material-based boundaries and thinking. Some of the questions this course attends to include: How do you defy gravity? How do you generate the hidden components required to physicalize the thing we can see in our mind's eye? How is the magic we need to create our work scalable to the resources we have readily available? Example working processes include: mig welding, tig welding, casting for prototyping, woodworking, and mold making. This course is open to juniors, seniors and graduate-level students. Please contact the instructor directly for permission to register.

Elective

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 Cost of Materials: $25.00 - $150.00

Major Requirement | MFA Illustration

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 Cost of Materials: $25.00 - $150.00

Open to Graduate Illustration Students.

Major Requirement | MFA Illustration