This is a comprehensive course designed to test the student's ability to create, complete, and document a Degree Project of his or her choosing. The Degree Project should be a distinct, carefully conceived, exhibition-ready body of work which reflects the issues and objectives of your art. The Senior Degree Project is distinct from your Woods-Gerry Gallery exhibition, although its work can overlap with that exhibition.

Open to Senior Painting Students.

Major Requirement | BFA Painting

This is a comprehensive course designed to test the student's ability to create, complete, and document a Degree Project of his or her choosing. The Degree Project should be a distinct, carefully conceived, exhibition-ready body of work which reflects the issues and objectives of your art. The Senior Degree Project is distinct from your Woods-Gerry Gallery exhibition, although its work can overlap with that exhibition.

Open to Senior Painting Students.

Major Requirement | BFA Painting

This course will introduce students to the fundamentals of motion graphics, as well as the implementation of video, and sound design. Students will learn a variety of motion graphics software, such as Adobe After Effects and Premier, as well as studio tools like Ableton Live, and/or other audio-visual programs. Students will learn how to capture, manipulate, mix and optimize audio visual material for final production and implementation. Through a series of in-class and multi-week assignments, students will create animated projects that include motion design real-world assignments, as well as experimental exercises, with the goal of exploring intersections between graphic design, story telling, visual composition, and the realms of rhythm and sound. Adobe After Effects will be the primary production tool for this class. Each student will propose a long term project, this project will be developed throughout the semester and presented as the final project for the class. In addition to our software tutorials, there will be a series of short weekly lectures to review specific histories, and also current practitioners who are using motion graphics and sound to create works in the worlds of design, fine art, and performance.

Elective

Practitioners in the Environmental Humanities (EH) engage in disciplinary and cross-disciplinary research in the humanities to think about representation, meaning, value, ethics, and power in relation to environmental questions, issues, and crises. EH offers a capacious umbrella under which to gather inquiry in anthropology, art and design, critical animal studies, cultural studies, film studies, history, literary studies, philosophy, and visual studies, among other disciplines, methodologies, and modes. In this course, Environmental Humanities Research Seminar, students will engage in independent, liberal arts-based research in the environmental humanities in order to contextualize, extend, and/or refine an existing project or to develop a new project. The work under development could be either a liberal-arts based project or a studio-based project that would be deepened through liberal-arts based research. In addition to deep curiosity about one's subject matter, receptivity to the messiness of the research process, and a willingness to support other classmates in their research, this class requires excellent time management skills. Assignments will include: an annotated bibliography, reflective writing, a final paper, and a final presentation.

Elective

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.

This course fulfills either the Illustration Concepts elective requirement OR the Computer Literacy requirement (not both) for Illustration Students.

Elective

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.

Elective

This advanced studio is a collaborative partnership with the furniture brand Blu Dot. Drawing from Blu Dot’s archives, the course invites students to engage deeply with the brand’s design ethos–clarity, accessibility, and formal innovation–while proposing new work that extends or challenges these principles. Using Blu Dot’s iconic 2D3D Collection as precedent and prompt, students will examine the translation between two-dimensional form and three-dimensional object, exploring structure and fabrication as generative design strategies. Investigations into flatness, line, volume, the history of DIY furniture, and the expressive potential of minimal means will be integral to course content.

Over the course of the semester, students will work with Blu Dot’s senior creative team through critiques, presentations, and a visit to their NYC showroom, receiving direct feedback throughout the design process from the company’s Creative Director. Emphasizing rigor, experimentation, and professional-level output, the studio requires iterative prototyping, material testing, research, and critical reflection. 

This course will be of particular relevance to students interested in design for industry. Students should be prepared for a high level of intensity and independence, producing refined, exhibition-ready work that bridges conceptual inquiry with manufacturable design.

Estimated Cost of Materials: $100.00

Elective

The degree project is an independent project in graphic design subject to the department's explicit approval, as the final requirement for graduation for the BFA Degree. Visiting critics will be invited to review the completed project. Students are only eligible to enroll in this course if all credit requirements for the degree are complete in this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standing who wish to be considered for Degree project in the Fall of their senior year must apply to the department head.

Majors are pre-registered for this course by the department. Enrollment is limited to Senior Graphic Design Students.

Major Requirement | BFA Graphic Design

The degree project is an independent project in graphic design subject to the department's explicit approval, as the final requirement for graduation for the BFA Degree. Visiting critics will be invited to review the completed project. Students are only eligible to enroll in this course if all credit requirements for the degree are complete in this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standing who wish to be considered for Degree project in the Fall of their senior year must apply to the department head.

Majors are pre-registered for this course by the department. Enrollment is limited to Senior Graphic Design Students.

Major Requirement | BFA Graphic Design

The degree project is an independent project in graphic design subject to the department's explicit approval, as the final requirement for graduation for the BFA Degree. Visiting critics will be invited to review the completed project. Students are only eligible to enroll in this course if all credit requirements for the degree are complete in this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standing who wish to be considered for Degree project in the Fall of their senior year must apply to the department head.

Majors are pre-registered for this course by the department. Enrollment is limited to Senior Graphic Design Students.

Major Requirement | BFA Graphic Design

The degree project is an independent project in graphic design subject to the department's explicit approval, as the final requirement for graduation for the BFA Degree. Visiting critics will be invited to review the completed project. Students are only eligible to enroll in this course if all credit requirements for the degree are complete in this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standing who wish to be considered for Degree project in the Fall of their senior year must apply to the department head.

Majors are pre-registered for this course by the department. Enrollment is limited to Senior Graphic Design Students.

Major Requirement | BFA Graphic Design

The degree project is an independent project in graphic design subject to the department's explicit approval, as the final requirement for graduation for the BFA Degree. Visiting critics will be invited to review the completed project. Students are only eligible to enroll in this course if all credit requirements for the degree are complete in this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standing who wish to be considered for Degree project in the Fall of their senior year must apply to the department head.

Majors are pre-registered for this course by the department. Enrollment is limited to Senior Graphic Design Students.

Major Requirement | BFA Graphic Design

The degree project is an independent project in graphic design subject to the department's explicit approval, as the final requirement for graduation for the BFA Degree. Visiting critics will be invited to review the completed project. Students are only eligible to enroll in this course if all credit requirements for the degree are complete in this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standing who wish to be considered for Degree project in the Fall of their senior year must apply to the department head.

Majors are pre-registered for this course by the department. Enrollment is limited to Senior Graphic Design Students.

Major Requirement | BFA Graphic Design

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.

Elective

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.

Students must register for workshops during the registration period and add/drop regardless of start date of class.

Elective

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.

Students must register for workshops during the registration period and add/drop regardless of start date of class.

Elective

This seminar/studio course is centered around a series of invited artists, writers, scientists who work at the intersection of diverse identities and lived experiences to model their specific perspectives on making as a counterpoint to historically euro-centric and monolithic approaches that have burdened glass as a creative medium. Readings, discussions and class activities prioritize issues of identity, culture, gender, race, colonialism - questioning past cannons of making and proposing challenging alternatives. The participatory and collaborative work done for this class is fundamental to our thinking and making community; a willingness to share ideas and make earnest attempts to connect and support one another is central. Our lecturers and HotNights participants set a broad and challenging spectrum of topics which are built on by the research and perspectives of everyone in the class. In each case, we will strive to address topics, discussions and shop time problem solving in a manner that is respectful to all individuals.

Juniors register for GLASS-4316 (Fall) and GLASS-4318 (Spring).

Seniors register for GLASS-4320 (Fall) and GLASS-4322 (Spring).

Major Requirement | BFA Glass

This seminar/studio course is centered around a series of invited artists, writers, scientists who work at the intersection of diverse identities and lived experiences to model their specific perspectives on making as a counterpoint to historically euro-centric and monolithic approaches that have burdened glass as a creative medium. Readings, discussions and class activities prioritize issues of identity, culture, gender, race, colonialism - questioning past cannons of making and proposing challenging alternatives. The participatory and collaborative work done for this class is fundamental to our thinking and making community; a willingness to share ideas and make earnest attempts to connect and support one another is central. Our lecturers and HotNights participants set a broad and challenging spectrum of topics which are built on by the research and perspectives of everyone in the class. In each case, we will strive to address topics, discussions and shop time problem solving in a manner that is respectful to all individuals.

Juniors register for GLASS-4316 (Fall) and GLASS-4318 (Spring).

Seniors register for GLASS-4320 (Fall) and GLASS-4322 (Spring).

Major Requirement | BFA Glass

It is estimated that since the early 1600’s, North American land in the United States has lost half of the wetland habitat that provided essential areas for wildlife, held water on the land, hydrated soils, and supported vast areas of wetland vegetation. Wetlands provide essential fish and wildlife habitat, supporting rare plants, animals, and birds. Wetlands also store carbon, filter pollutants from water, and retain floodwaters. However, the legacy of viewing marshes and swamps as wasteland, continues to result in the degradation and destruction of many freshwater wetlands by human activity. In this field-oriented seminar students will spend class time within these important habitats, learning to understand them for their varied forms, their biodiversity, and their ability to store carbon and water with the potential of ameliorating on-going climate changes. Through field emersion, students will learn to see the landscape for the evidence it holds of what wetland habitat once was. They will identify the plant species that depend on wetlands for their survival, and will become intimately familiar with the water and soil that support these plant species. Extensive reading will support field observations and conversation in the field. The policies that brought about wetland destruction as well as protection, will be topics covered, along with wetland banking and restoration. Final projects for this class will offer students an opportunity to explore how their studio work can inform salient aspects of these watery worlds.  

Estimated Cost of Materials: $75.00

Elective

This course examines the form and function of the vertebrate body using a comparative approach. We will study the following anatomical structures and how they work by comparing them across vertebrate animals: eye/vision, ear/hearing, nose/smell, throat/taste, teeth and jaws/chewing, heart/circulation, lung/oxygen exchange, intestinal tract/digestion, kidneys/protein and electrolyte balance, musculoskeletal system/locomotion, lymph tissue/immune system, reproductive tract/reproduction, and the brain and spinal cord/nervous system. Reference animals will include those for which anatomy is best-known, including humans, dogs, cats, horses, cows, chickens, bullfrogs, and salmon. Each session will begin with an examination of the structure of an anatomical region followed by an exploration of its function, including movements and processes in example species. For their final project, students will be encouraged to explore a highly developed or specialized form and its function, such how kangaroos jump, how octopuses see, and how giant pandas digest bamboo. Through this course, we will demystify and develop an appreciation for the wondrous complexity of the vertebrate body and its role in art and design. This is a lecture-style course that includes in-class discussion, research and activities. Course work includes weekly readings and written responses, a series of completed anatomical sketches, and a final project.

Elective