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.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

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.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

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.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

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.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

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.

Elective

Spring seminar focuses on research, writing, and presentation as essential skills for both studio and professional practices. Emphasis is placed on the students' ability to locate, examine, and discuss their work within contemporary and historical contexts. Jewelry, along with objects of our discipline, will be considered through a variety of theoretical frameworks and cross-cultural and historical perspectives. Research, and the language that evidences it, is the foundation of this seminar. Various modes of writing are employed to mine, develop, and articulate ideas, and to further refine this information into artist statements, grant proposals, and presentations. Reflective writing will be practiced throughout the term in order to make sense of past work, clarify current work, and to formulate questions and ideas for work in the future. The term builds towards and culminates with a formal artist presentation. This is an opportunity to carefully consider and craft the language and the photographic representation that supports your work. The goal is to bring all of these things into alignment and to explore the symbiotic and poetic relationships between them.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

The fall seminar concentrates on critical reading as an opportunity to locate, examine, and discuss your work within a broader field of inquiry. The additional objectives are to increase critical thinking, hone reading and writing skills, expand vocabulary, and build presentation skills. Woven into all of this is the understanding that research can be a valuable, if not essential, component of making - each informing and enriching the other. The focus of the spring seminar shifts to writing and presentation as an integral part of both studio and professional practice. Each spring brings a new team of guest instructors who introduce various modes of writing as a means to mine, develop and articulate ideas in a concise and authentic manner, and, to further hone that information into artist statements, written theses, and public presentations. Throughout the term writing will be the vehicle in which to move between private and public realms. This journey will begin with 'automatic writings' and culminate with your public artist presentations.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Jewelry + Metalsmithing Students.

Major Requirement | MFA Jewelry + Metalsmithing

This course is a practical and conceptual exploration into electronic sensors, processors and actuators in the context of interactive art and design. Students will turn everyday objects into ambient interfaces or "responsive systems" that respond to the conditions of the human body, data networks, and the environment. Contemporary works of art and design - from kinetic sculpture and sound art to installation, architecture and product design - will be examined through readings and presentations. Open source hardware (Arduino) and software (Processing) will be taught along with the fundamentals of electronic circuitry. Emphasis is given to the development of creative projects (individual or collaborative), followed by an iterative implementation process (planning, prototyping, testing, analyzing, and refining). The course is structured around a series of tutorials and exercises, culminating in a final project. Students also present work-in-progress and prototypes during class reviews to receive qualitative feedback from the class and the instructor. Participants will engage with physical computing conceptually and technically in their studio work and are encouraged to leverage their individual backgrounds to excel in the respective context. Prior experience with electronics and programming is recommended but not required.

Estimated Cost of Materials: $200.00

Major Requirement | BFA Art + Computation, BFA Sound

This course is a practical and conceptual exploration into electronic sensors, processors and actuators in the context of interactive art and design. Students will turn everyday objects into ambient interfaces or "responsive systems" that respond to the conditions of the human body, data networks, and the environment. Contemporary works of art and design - from kinetic sculpture and sound art to installation, architecture and product design - will be examined through readings and presentations. Open source hardware (Arduino) and software (Processing) will be taught along with the fundamentals of electronic circuitry. Emphasis is given to the development of creative projects (individual or collaborative), followed by an iterative implementation process (planning, prototyping, testing, analyzing, and refining). The course is structured around a series of tutorials and exercises, culminating in a final project. Students also present work-in-progress and prototypes during class reviews to receive qualitative feedback from the class and the instructor. Participants will engage with physical computing conceptually and technically in their studio work and are encouraged to leverage their individual backgrounds to excel in the respective context. Prior experience with electronics and programming is recommended but not required.

Estimated Cost of Materials: $200.00

Major Requirement | BFA Art + Computation, BFA Sound

This course is a practical and conceptual exploration into electronic sensors, processors and actuators in the context of interactive art and design. Students will turn everyday objects into ambient interfaces or "responsive systems" that respond to the conditions of the human body, data networks, and the environment. Contemporary works of art and design - from kinetic sculpture and sound art to installation, architecture and product design - will be examined through readings and presentations. Open source hardware (Arduino) and software (Processing) will be taught along with the fundamentals of electronic circuitry. Emphasis is given to the development of creative projects (individual or collaborative), followed by an iterative implementation process (planning, prototyping, testing, analyzing, and refining). The course is structured around a series of tutorials and exercises, culminating in a final project. Students also present work-in-progress and prototypes during class reviews to receive qualitative feedback from the class and the instructor. Participants will engage with physical computing conceptually and technically in their studio work and are encouraged to leverage their individual backgrounds to excel in the respective context. Prior experience with electronics and programming is recommended but not required.

Estimated Cost of Materials: $200.00

Major Requirement | BFA Art + Computation, BFA Sound

This is a hands-on course, designed for advanced painting students who are fascinated by color, surface, transformation and alchemy, DIY processes, craftmanship, invention, and the stuff of paint. It is for those who are eager to dive deep into all sorts of materials, methods and techniques. The objective of the class is to arm students with the tools and resources to figure out how to make what they imagine and to expand their practice through material exploration and information sharing. With an emphasis on experimentation, play, research and development; advanced students explore, problem solve and implement specific grounds, paints, supports, mediums and tools into their own practices. The level of specialization and expertise students may eventually desire for their work could require seeking the advice of paint manufacturers, conservators, fabricators, other artists or even experts in other fields. How to identify and acquire knowledge outside of one's comfort zone, approaching and finding a common terminology with peers and specialists is also a part of this course. Relevant art historical and contemporary methodologies, techniques and materials will be presented. Environmental Health and Safety guidelines that apply to painting practice and painting studio safety will be an integral part of this course.

Estimated Cost of Materials: $150.00

Elective

Critical Curating will offer an in-depth and immersive introduction to curatorial practice, examining the art of exhibition-making from cultural and theoretical perspectives. The course looks at current and historical exhibitions that engage a range of public platforms, as well as artist practices invested in exhibition-making. The course also has a practical component, which will be an opportunity for students to develop and implement a public exhibition. 

The first half of the course will introduce students to the critical analysis of the curatorial field. We will experiment with writing for various curatorial activities including exhibition reviews, curatorial proposals, and research presentations; as well as conduct site visits to different exhibition platforms. The second half of the course will focus on the production of an exhibition collectively conceived and managed by the student cohort, which will take place in the President’s House and Memorial Hall’s gallery. Coursework will involve workshopping curatorial proposals, soliciting an on-campus open call for work, and overseeing the installation and design of the exhibition. Additionally, visiting curators and artists will give lectures throughout the course, as well as activities such as studio visits, screenings, and research.

Open to non-majors pending seat availability and department permission.

Elective

For this Professional Practices course, we will look at the practical possibilities for your life after art school. Emphasis will be on balancing your artistic practice with the financial demands of everyday life, on integrating your career path(s) with your artistic values and integrity, and on developing “branching paths” that open new possibilities. 

We will explore various avenues, such as exhibiting in galleries and museums, starting a business, working on commissions, art writing, social practice, and forming a collective, a publication, or an independent gallery. We will look at the current financial, practical, and ethical ramifications of each of these avenues. We will explore what matters when deciding where, geographically, to begin your career. 

We will learn such skills as developing proposals, presentations, artists’ statements, and resumes; and of obtaining grants, residencies, commissions, art-related employment, studio space, and representation. We will also touch on art law, copyright, budgeting, and taxes for artists.

We will meet RISD alumni who are currently developing their careers as artists and designers, hearing about their paths from graduation to living as artists. There will be guest speakers from galleries, public art agencies, and design businesses. There will some readings and course resources. 
 

Elective

The second semester continues the development of typographic practice by exploring the conditions in which type operates: the systems needed to work with varying scales and narrative structures. Students will design large-scale and small-scale work simultaneously; understanding the trade-offs of various formats and contexts. The course also extends basic typesetting into more extended reading experiences. Students will learn to set the conditions for readability by creating order, expressing emotion and making meaning. Students will design and bind a book while understanding how the traditions of the codex relate to onscreen reading. Within the durable form of the book, lies centuries of conventions like indexical systems, footnotes, page matter and more. Students also will become better readers, by engaging with contemporary issues in the field of typography and type design. This is a studio course, so some class time will be used for discussions, most of the time we will be working in class, often on a computer. There is an expectation that students work both individually and in groups and be prepared to speak about their own work and the work of their peers in supportive and respectful ways. A laptop and relevant software are required.

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

Major Requirement | BFA Graphic Design

The second semester continues the development of typographic practice by exploring the conditions in which type operates: the systems needed to work with varying scales and narrative structures. Students will design large-scale and small-scale work simultaneously; understanding the trade-offs of various formats and contexts. The course also extends basic typesetting into more extended reading experiences. Students will learn to set the conditions for readability by creating order, expressing emotion and making meaning. Students will design and bind a book while understanding how the traditions of the codex relate to onscreen reading. Within the durable form of the book, lies centuries of conventions like indexical systems, footnotes, page matter and more. Students also will become better readers, by engaging with contemporary issues in the field of typography and type design. This is a studio course, so some class time will be used for discussions, most of the time we will be working in class, often on a computer. There is an expectation that students work both individually and in groups and be prepared to speak about their own work and the work of their peers in supportive and respectful ways. A laptop and relevant software are required.

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

Major Requirement | BFA Graphic Design

The second semester continues the development of typographic practice by exploring the conditions in which type operates: the systems needed to work with varying scales and narrative structures. Students will design large-scale and small-scale work simultaneously; understanding the trade-offs of various formats and contexts. The course also extends basic typesetting into more extended reading experiences. Students will learn to set the conditions for readability by creating order, expressing emotion and making meaning. Students will design and bind a book while understanding how the traditions of the codex relate to onscreen reading. Within the durable form of the book, lies centuries of conventions like indexical systems, footnotes, page matter and more. Students also will become better readers, by engaging with contemporary issues in the field of typography and type design. This is a studio course, so some class time will be used for discussions, most of the time we will be working in class, often on a computer. There is an expectation that students work both individually and in groups and be prepared to speak about their own work and the work of their peers in supportive and respectful ways. A laptop and relevant software are required.

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

Major Requirement | BFA Graphic Design

The second semester continues the development of typographic practice by exploring the conditions in which type operates: the systems needed to work with varying scales and narrative structures. Students will design large-scale and small-scale work simultaneously; understanding the trade-offs of various formats and contexts. The course also extends basic typesetting into more extended reading experiences. Students will learn to set the conditions for readability by creating order, expressing emotion and making meaning. Students will design and bind a book while understanding how the traditions of the codex relate to onscreen reading. Within the durable form of the book, lies centuries of conventions like indexical systems, footnotes, page matter and more. Students also will become better readers, by engaging with contemporary issues in the field of typography and type design. This is a studio course, so some class time will be used for discussions, most of the time we will be working in class, often on a computer. There is an expectation that students work both individually and in groups and be prepared to speak about their own work and the work of their peers in supportive and respectful ways. A laptop and relevant software are required.

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

Major Requirement | BFA Graphic Design

The second semester continues the development of typographic practice by exploring the conditions in which type operates: the systems needed to work with varying scales and narrative structures. Students will design large-scale and small-scale work simultaneously; understanding the trade-offs of various formats and contexts. The course also extends basic typesetting into more extended reading experiences. Students will learn to set the conditions for readability by creating order, expressing emotion and making meaning. Students will design and bind a book while understanding how the traditions of the codex relate to onscreen reading. Within the durable form of the book, lies centuries of conventions like indexical systems, footnotes, page matter and more. Students also will become better readers, by engaging with contemporary issues in the field of typography and type design. This is a studio course, so some class time will be used for discussions, most of the time we will be working in class, often on a computer. There is an expectation that students work both individually and in groups and be prepared to speak about their own work and the work of their peers in supportive and respectful ways. A laptop and relevant software are required.

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

Major Requirement | BFA Graphic Design

Graduate Communication Introduction is a studio course about writing and speaking as design tools. We think about writing and speaking in two ways. First as a communication tool and second as a design tool. On the communication side, we address the many ways that writing and speaking surrounds a designed object (as a proposal, as sales copy, as instructions to users, as specs for manufacture, as criticism, etc.). We think about the audiences for those various kinds of communication and how to think about what they want and need. We look at examples of great design communication and we develop and practice our own skills for succinctly explaining our ideas. On the design tool side, we think about the many ways that writing can help clarify and quickly test out ideas. We think about writing as a form of rapid prototyping alongside sketching, model making, etc. We talk about what writing is good at, when other methods might be more useful, and when to combine methods. We explore techniques such as design fiction, scenario planning, and other narrative methodologies that are used in industrial design and related fields.

Enrollment is limited to Graduate Industrial Design Students.

Major Requirement | MID Industrial Design

Graduate Sculpture Critique II/IV builds upon topics discussed in the previous semesters during graduate critique I/III. It continues its form as a discussion-based, collaborative critique seminar that makes space for multiple voices and ways of being in community; foregrounding and supporting the burgeoning artistic practices represented in and across the grad cohorts. This course builds upon the intellectual and artistic intimacy among cohort mates and between cohorts established in the first semester of each year. The risk-taking, question-asking, and reimagining of predetermined boundaries in the second semesters yields new critique and research methodologies that in the case of first year grads supports the lead up to their summer studio intensive or residencies. In the case of second year grads, this semester of intensive critiques supports their capstone thesis presentation and the group critiques and final thesis committee meetings that characterize the end of their work at RISD. As a practice in need of continual commitment, students are asked with great intention to continue to expand the discussion around intersectionality, interstitially, and interdisciplinarity and how the space between things comes to bear on the method of critique.

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

Major Requirement | MFA Sculpture