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

This course considers the fiction of the Japanese British Nobel Prize-winning author Kazuo Ishiguro in a world literary context. Based on a selection of his short stories and novels we will discuss, among other things, the different critical perspectives relevant to reading globally in terms of which both the author and his work have often been read, including the manner in which putative signs of Englishness and "Japaneseness" have been attributed especially to his early texts. At the same time, we will consider the intriguing ways in which the author's fiction comments implicitly on its own reading as well as ways of reading world literature. The course also has a film component in that we will view and discuss a film adaptation of one of Ishiguro's novels as well as two other relevant films as a basis for examining how the author's adaptive use of certain narrative techniques has helped shape his style and fictional worlds. In this way, the course engages questions related to ethics, knowledge, cultural translation, narrative and cultural representation, as well as interpretation and critique central to both Ishiguro's fiction and the reading of world literature.

Elective

UI/UX design is the backbone of digital experiences. It shapes how we interact with screens, transforms innovative ideas into intuitive interfaces, guides navigation through complex systems, and creates aesthetic coherence that makes technology accessible and engaging. At its core, UI/UX design bridges creativity and usability, ensuring that digital products are not only functional but also meaningful and enjoyable to use.

This workshop introduces students to the workflow and foundational knowledge of UI/UX design for smartphone applications. Using Figma as the primary tool, students will learn methodologies and tools central to app design, including researching existing forms and functionalities, translating concepts into wireframes, and developing visual aesthetics and navigation systems. In the initial sessions, students will analyze the intuitiveness and patterns of existing apps, critically assess and redefine their functionalities, and explore alternative modes of use. Subsequent sessions focus on redesigning an app by addressing existing frustrations or repurposing its intended use, creating prototypes that challenge standard user expectations, and developing high-fidelity interactive prototypes that integrate navigation and interaction design. No prior experience in UI/UX or coding is required, and coding will not be taught in this course.

Estimated Cost of Materials: $25.00

Elective

UI/UX design is the backbone of digital experiences. It shapes how we interact with screens, transforms innovative ideas into intuitive interfaces, guides navigation through complex systems, and creates aesthetic coherence that makes technology accessible and engaging. At its core, UI/UX design bridges creativity and usability, ensuring that digital products are not only functional but also meaningful and enjoyable to use.

This workshop introduces students to the workflow and foundational knowledge of UI/UX design for smartphone applications. Using Figma as the primary tool, students will learn methodologies and tools central to app design, including researching existing forms and functionalities, translating concepts into wireframes, and developing visual aesthetics and navigation systems. In the initial sessions, students will analyze the intuitiveness and patterns of existing apps, critically assess and redefine their functionalities, and explore alternative modes of use. Subsequent sessions focus on redesigning an app by addressing existing frustrations or repurposing its intended use, creating prototypes that challenge standard user expectations, and developing high-fidelity interactive prototypes that integrate navigation and interaction design. No prior experience in UI/UX or coding is required, and coding will not be taught in this course.

Estimated Cost of Materials: $25.00

Elective

UI/UX design is the backbone of digital experiences. It shapes how we interact with screens, transforms innovative ideas into intuitive interfaces, guides navigation through complex systems, and creates aesthetic coherence that makes technology accessible and engaging. At its core, UI/UX design bridges creativity and usability, ensuring that digital products are not only functional but also meaningful and enjoyable to use.

This workshop introduces students to the workflow and foundational knowledge of UI/UX design for smartphone applications. Using Figma as the primary tool, students will learn methodologies and tools central to app design, including researching existing forms and functionalities, translating concepts into wireframes, and developing visual aesthetics and navigation systems. In the initial sessions, students will analyze the intuitiveness and patterns of existing apps, critically assess and redefine their functionalities, and explore alternative modes of use. Subsequent sessions focus on redesigning an app by addressing existing frustrations or repurposing its intended use, creating prototypes that challenge standard user expectations, and developing high-fidelity interactive prototypes that integrate navigation and interaction design. No prior experience in UI/UX or coding is required, and coding will not be taught in this course.

Estimated Cost of Materials: $25.00

Elective

Entrepreneurship--the imagining, building and sustaining of socially impactful organizations--is a creative art. It requires insights and knowledge from the humanities and the social and physical sciences, and demands self-awareness and purpose. The premise of this lecture course is that designers and artists are uniquely gifted with critical entrepreneurial qualities. This course will allow students to better understand how and where their skills and perspectives fit into the world of entrepreneurship and business. The objective of Design and Entrepreneurial Thinking is for students to understand a basic business vocabulary, to explore how design vocabulary and design processes overlap, complement and enhance business vocabulary, and to understand how design thinking skills can be used to identify and execute business opportunities. This course seeks to educate students to recognize business as a critical design factor--a defining constraint or liberating perspective-along the same lines that other design principles are taught. This course will use Harvard Business School case notes, case studies, and recent business books to highlight this thinking. Students will be introduced to basic business concepts through lectures, case studies, assignments and class discussion. Homework assignments will work off the classroom pedagogy. Topics covered will be business models, marketing, finance, and strategy.

Elective

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

Did you know that the red signals of traffic lights are inspired by the warning colors found in red species in nature? Nature is rich with messages conveyed through visual, auditory, olfactory, tactile, and even chemical signals; yet humans often overlook them. This interdisciplinary course invites art and design students to explore how understanding these natural messages can inspire more regenerative creative practices.

Through discussions, readings, and observational experiments, we will investigate the evolution of communication and ecological interactions in nature and their influence on art and design. Hands-on activities at the Nature Lab and in natural environments around Providence will provide opportunities to engage directly with the world’s inherent systems of communication. Students will also explore how cultural ecological perspectives shape interpretations of nature’s signals and synthesize their learning into a final visual and written project.

This course encourages curiosity and openness to observing and interpreting nature’s messages, fostering creative practices rooted in sustainability, cultural understanding, and scientific principles. No prior science background is required. Whether you’re sketching patterns, designing systems, or crafting narratives, this course will help you bridge the gap between art, design, and the natural world.

Elective

Furniture design is concerned with meeting the needs of a body in the context of its environment, but must that body and environment belong to a human? Homo sapiens compose 0.01% of the Earth’s biomass. In this class we will explore the other 99.99%, the nonhuman world. Drawing upon the concept of umwelt, the unique sensory experience of a particular organism, students will deeply interrogate the life history and sensory world of nonhuman organisms in order to explore what it means to design as an animal. Through lectures, readings, discussions, and guest speakers, topics in biology will be introduced and their relevance to design discussed and analyzed. Students will develop their own intuitive approach to making and undertake a research and design project centered around an organism of their choice, culminating in a final presentation with accompanying visuals, diagrams, and models. The concepts of design and furniture will be explored beyond the purview of humanity in order to expand our circle of consideration when making. Students will be introduced to basic biological concepts like evolution, metabolism, development, and genetics. Contact with scientific literature and guest researchers will expose students to how science works in the real world and how they can use it effectively in their own creative practice. No prior knowledge of biology is required, only curiosity.

Estimated Cost of Materials: $150.00

Elective

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 Cost of Materials: $100.00 - $150.00

Elective

What if buildings could breathe, furniture could grow, and materials could heal themselves? What if the future of design wasn’t plastic or concrete—but alive? This hands-on, immersive course explores the fascinating world of bio-materials, pushing the boundaries of what is possible in sustainable design.

Students will delve into natural materials like bamboo, mycelium-based products, algae-based substances, and hempcrete—materials that not only reduce ecological footprints but also offer innovative structural and aesthetic potential. Through field visits, lab experiments, real-time material testing, and design challenges, they will explore how these materials evolve, decay, and adapt in response to different conditions.

A key component of this course is hands-on experimentation. Students will cultivate mycelium, mix and pour hempcrete, and bend bamboo to its limits. They will analyze the origins, properties, and life cycle impacts of these materials, gaining a deeper understanding of their role in environmental sustainability and innovation.

By the end of this course, students will have developed foundational knowledge of bio-materials and their applications, equipping them with the skills to rethink materiality in design. Whether creating artworks, products, or structures, students will be encouraged to use imagination to break boundaries and design for a future where nature and innovation collide.

Estimated Cost of Materials: $100.00

Elective

The development of new biodegradable materials is a crucial step in creating a sustainable future, but what processes are involved in making these materials and what role can fine artists play in their creation? In this hands-on course, we will delve into the essential techniques for producing biomaterials while emphasizing play and experimentation. Within the context of the lab and the studio, we explore three specific biomaterials: algae (sodium alginate), kombucha leather, and bioconcrete. Students will explore these materials through sculptural processes including but not limited to moldmaking, slipcasting, and wet forming. This class will familiarize students with established techniques while emphasizing experimentation, creating opportunities to develop new methods and materials. This class will visit the Edna W. Lawrence Nature Lab and the Materials Collection within the Visual + Material Resource Center to gain an understanding of natural materials and existing biomaterial innovations. As an important and growing field in both regenerative design and contemporary art, students will be prompted to consider sustainability, environmental stewardship, and material sourcing within their practice. Through practical hands-on instruction, this course will demystify biomaterial processes. By the end of the course, students will be equipped with the knowledge needed to continue biomaterial experimentation with confidence.

Estimated Cost of Materials: $30.00

Elective

Few practices are more central to art school education than critique. Yet in recent years, critique itself has become the target of a growing critique. Critique, its detractors argue, seeks only to discredit, to reveal what others fail to see, to prove its adversaries wrong. Yet is this really what defines critique? Has critique, in Bruno Latour’s famous phrase, indeed run out of steam? Is our present moment “post-critical”? Foregrounding these questions, this course will examine both the changing landscape of twentieth-century critique (Frankfurt School critical theory, anticolonial critique, poststructuralism, feminist and queer theoretical critique) and twenty-first-century challenges to and reinventions of critique (post-critique, critical race theory, post-Autonomist Marxism). As we proceed, we will consider the debates that unfold in this context in relation to different aesthetic practices—visual art, film, new media, architecture—with the aim both of reconceptualizing critique and of understanding its role in contemporary culture. In turn, we will attempt to develop a theoretical and historical framework through which members of the class, whatever their distinct concerns or projects, can think through and reassess their own activities in relation to the question of critique and of what constitutes critical cultural production today.

Elective

This course has two primary goals: cultivating an in-depth, hands-on knowledge of a topic in indigenous art history and developing a diverse set of writing tools for documenting lived experience. First, this course will explore the history, anthropology, and overall context of the development of traditional indigenous American textile production methods. Our examination of these textiles will involve critical readings of key texts, lectures and discussions. However, above all, we will be employing a hands-on approach to reproduce the process involved in making these textiles. Focusing on the specific example of Navajo blanket and rug weaving, together we will create our own woven tapestries, replicating traditional methods from cleaning wool straight off the sheep, to dyeing with natural dyes, to building and weaving on our own traditional-style Navajo tapestry looms. The second goal of this course is to explore a variety of approaches toward documenting through writing students' own experiences in the field - ranging from more creative and artistic approaches to more formal or technical descriptions. The intention is to expose students to a variety of writing methods that may come in handy in their professional careers, be they artists' statements or grant applications. To this end, students will be keeping a semester-long field journal detailing their hands-on experiences in this course, culminating in the production of a final presentation of their work.

Elective

What does it mean to create art and design in a moment when technological systems are rapidly reshaping culture and society? Transformative systems such as artificial intelligence are reconfiguring how information is produced, circulated, and consumed, sometimes creating destabilizing forces such as deepfakes that threaten our shared realities while also offering novel materials for experimentation. In parallel, approaches such as speculative design and critical making allow artists and designers to probe these systems, imagine alternative technological futures, and test possibilities that extend beyond existing paradigms. How artists respond to this cultural inflection point will be decisive in shaping our technological future.

This course will unfold in two parts each week: a seminar-style discussion followed by a conversation with a visiting artist, designer, or technologist. In the first session, students will engage with readings and case studies related to the upcoming guest, situating their work in broader cultural, technological, and historical contexts. In the second session, students will meet the guest lecturer, who will provide a unique perspective on how artists and designers are actively producing work that both critiques current conditions and proposes new directions for rethinking the relationship between culture and technology. Our cultural reality is increasingly constructed through the technological interfaces we inhabit, so how will the artists of today and the students of this course choose to shape it?

Estimated Cost of Materials: $100.00

Elective

This seminar focuses on exploring technological textile practices to challenge and disrupt the hegemonic conceptions on art and technology, specifically on e-textile field. This seminar seeks to question the hegemonic technological tools, and the paradigms they involve, in order to create e-textile projects from a radical, critical, situated, and anticolonial perspective. Articulating textile techniques (embroidery, patchwork and sewing in general) with simple and low tech analogical electronic mechanisms (LED lights, motors, DIY loudspeakers, etc.), each student will create a e-textile piece. Electronics then will become part of the tissue: threads that conductive threads, batteries, LEDs, motors and speakers will invade the fabrics like a thread, a buttonhole or a button. The interactive and haptic aspect of the textiles, based on tactile stimuli, sonic devices, and light, will make visible political thoughts, actions and feelings. Going beyond the dominant and non-neutral narratives implies seeking into other forms of art practices to question the epistemological foundation itself. The goal of this seminar is to work from scratch in order to develop DIY, e-textile poetics, activism, techno-feminism, craftivism and social practices rooted in the territories themselves, interweaving with their own traditions, cultures and idiosyncrasies, in order to nurture resistant forms of conceiving digital and e-textile projects.

Estimated Cost of Materials: $100.00

Elective

Human society evolves through our interactions with the natural environment. Many of the environmental challenges today derive from the industrialization and urbanization process around the globe in the past three millennia. Focusing on the region of East Asia, this course examines key environmental issues in both historical and contemporary contexts. We will start with discussing people's perception of nature in pre-industry East Asia and its relevance today. Then we will take a closer look at major disasters in recent history, such as draught, flood, earthquake, and plague, and examine how civil societies and state powers responded to those challenges. On infrastructure enthusiasm, we will study the proliferation of mega concrete dams and their environmental and human tolls. On industrial pollution and health, we will focus on the tragedies of mercury poisoning and black lung cancer. In the rapid urbanization process, how the changes of land use and our life style have reshaped our relations with the environment. In the battle with climate change and environmental injustice, how do we evaluate the role of bottom-up environmental activism and authoritarian environmentalism? Exploring those issues would help us contextualize the intimate connections between nature, culture, economy, and political powers in East Asia and thus deepen our understanding of this region's role in global sustainability. This course requires students to do weekly assigned readings, engaging in class discussions, writing short reflection essays, and doing a final research project.

Elective

This seminar presents a history of modern natural and physical sciences from the 15th to 20th centuries, by looking at the development of modern astronomy, physics, chemistry, geology, and biology. By looking at the history of science through the scientists and their ideas, the course examines how the methodological, technological, and experimental systems that underpin the scientific fields led to the development of techniques still used today. The course uses conflicts in scientific inquiry, the development of a culture of science, and the scientists over time. Examples of thematic topics include the development of the heliocentric planetary view, the quest for a theory of everything, the age of the earth and its distance from the sun, the search for a means of calculating longitude, and how the Darwinian synthesis compares to 19th century evolutionary theories.

The course includes brief weekly readings and discussion that result in a journal of the readings – there will be three collections of the journals over the course of the semester, three brief presentations on elements of the various themes we look at, a book review of a history of Science book of the student’s choosing and a final summary in-class discussion on the exam day. There will be two to three field trips near campus to see some of the history of modern science around us. Finally, due to the importance of class participation in the course, a significant portion of the grade relies on participation not only in discussions but also in class activities as well as attendance in each class.

Elective