COURSE ANNOUNCEMENT

Founded 1877

2009 FALL & 2010 SPRING SEMESTERS

2 Course Announcement 2009 - 2010

The Course AnnouncementThe Course Announcement is part of a set of materials providing information about Rhode Island School of Design. Otherimportant publications include the Catalogue, the Fall and Spring semesters’ Schedule of Classes, the WintersessionCatalog/Schedule, the Student Handbook, the Brown/RISD Student Handbook, and the Continuing Education Summer SessionCatalog.

AccreditationRhode Island School of Design is accredited by the New England Association of Schools and Colleges, which accredits schoolsand colleges in the six New England states. Accreditation by the Association indicates that the institution has been carefullyevaluated and found to meet standards agreed upon by qualified educators.

RISD is also accredited by the National Association of Schools of Art and Design (NASAD) and the Association ofIndependent Colleges of Art and Design (AICAD). Particular programs in Rhode Island School of Design are accredited by theiroversight agency. These agencies are:

American Society of Landscape ArchitectsNational Association of State Directors of Teacher Education and CertificationNational Architectural Accrediting Board

Information by Phone Inquiries about specific issues may be addressed to the following offices: (401) 454-

Main Switchboard 6100Continuing Education 6203Admissions Office 6300Student Accounts 6445Registrar’s Office 6151Financial Aid Office 6635Student Affairs 6600Academic Affairs 6591Academic Departments: phone numbers are in the course listing section

CopiesThe Course Announcement is published annually in April. Enrolled students are provided one copy free of charge. The book isstored electronically as a .pdf on the Registrar’s Office page of the RISD Intranet at <http://intranet.risd.edu >The intranet isavailable only to RISD students, staff and faculty. The general public may find it at <http://wa.risd.edu> .

Copies may be purchased from the RISD Store for $5.00. Prospective degree program students and college counselors shouldcontact the Admissions Office. Special Students (non-degree) and others should contact the Office of the Registrar. Contact theContinuing Education Office for Summer Session and Continuing Education offerings.

2009 - 2010 Table of Contents 3

From the Provost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Academic Standards and Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Graduation Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Registration Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Wintersession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Special Academic Programs/General Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Degree Requirements and Course Descriptions

Apparel Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Digital + Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Film/Animation/Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Fine Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65First-Year Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Foundation Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Furniture Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Graduate Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Graphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91History of Art + Visual Culture (formerly Art + Architectural History) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103History, Philosophy and the Social Sciences (HPSS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Industrial Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Interior Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Jewelry + Metalsmithing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Landscape Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Liberal Arts Division . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Additional Electives in Liberal Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187Printmaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205Teaching + Learning in Art + Design (formerly Art + Design Education) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211Textiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Academic Calendar 2009-2010 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

The Course Announcement is not intended to constitute an agreement, contract, or offer to enter into a contract between any student and RhodeIsland School of Design. The School reserves the right, at any time without notice, to delete, adjust, reschedule, or replace any course(s)published herein due to insufficient enrollment, faculty changes, budgetary restrictions, or unforeseen circumstances.

RISD does not discriminate on the basis of race, color, sex, religion, creed, disability, national or ethnic origin, sexual orientation, ancestry orage.

From the Provost 4

The 2009-10 Course Announcement is designed to provide you with the information you need to plan your upcomingsemester. Please review the graduation requirements and the academic policies of your department, as well as thepolicies of the School, before making your selection of courses.

Offerings for the upcoming academic year provide an exciting array of courses that have been designed to help youdevelop your skills and increase your knowledge and capacity to think and work critically.

Registration for Fall classes takes place in May. We hope you will take advantage of the online registration system forselecting classes. If you need advice before putting together your schedule of classes, please seek out your departmentadvisor, department head, or stop by or make an appointment at the RISD Advising Office on the 2nd floor of CollegeBuilding. Keep in mind as you put together a prospective schedule that some classes are in high demand. It isimportant to have alternative courses in mind in case your top choices fill before you are able to enroll.

I hope your educational program this coming year is exciting and challenging.

Jessie ShefrinProvost

2009 - 2010 Academic Policies 5Absence from ClassThe policy on absences assumes student maturity andresponsibility for their own behavior, but also assumes thatstudents will communicate their intentions and circumstancesto their instructor. Unexcused absences are considered “cuts.”A student who “cuts” the first class meeting, or any two ormore class meetings, may be removed from the course by theRegistrar, if the instructor so requests.

The student is dropped from a course, given a grade of“W,” or a grade of “F,” depending upon when the instructormade the request. Requests received during the Add/Dropperiod will result in a class drop; receipt during the CourseWithdrawal Period will result in the posting of a final grade of“W” to the student’s record and receipt after the Withdrawaldeadline will cause a final grade of “F” to be posted.

Students are cautioned that the instructor may or may notchoose to request removal for unexcused absence(s). It isessential that students act immediately on their decision toleave a course to ensure that, through delay, a Drop does notbecome a Withdrawal or a Withdrawal a Failure.

See the Student Handbook for additional information.

Absence For Religious Holy DaysRISD affirms the right of students to observe significantreligious holy days. Concerned students should inform theirinstructor in advance of such circumstances, if class attendancewill be affected.

Academic AppealsStudents may request of the Academic Standing Committee anexception, for cause, to any academic standard or regulation.In order to process a student’s academic appeal, the Committeerequires the following:

* An appeal statement (petition) from the student whichincludes an explanation of grounds for the exception.Blank forms are available in the Office of the Registrar.

* A recommendation from a course instructor, whenapplicable.

* A recommendation from the student’s Department Head.* A recommendation from the student’s Division Dean.* A recommendation from the Dean of Liberal Arts when the

request is in regard to Liberal Arts, or from the Dean ofthe division offering the course if the course is outside thestudent’s major division.

After the Department Head and Dean(s) have reviewedthe student’s appeal and written their recommendation, thesigned petition should be delivered to the Office of StudentAffairs where it will be brought before the Academic StandingCommittee for final action. The student will be notified of theCommittee’s decision promptly.

Academic Year and Course/Credit LoadThe academic year consists of two 13 week semesters,including finals and critical reviews (Fall, Spring), and a 6

week Wintersession term. Summer internships are consideredcredits taken for the upcoming year.

The normal credit load is 12 to 15 credits per semester,and three credits during Wintersession. Twelve credits persemester is the minimum requirement for full-time enrollment.Students with less than 12 credits may be placed on academicprobation and run the risk of jeopardizing financial aid and, inthe case of international students, visa status. Completion ofless than 12 credits per semester or 3 credits duringWintersession will place a student on academic probation forthat term. No student may register for more than 18 creditsduring the Fall or Spring semesters, or six credits inWintersession. This semester limit includes any courses takensimultaneously at another institution, including BrownUniversity.

Students will be charged per credit for credits taken inexcess of a yearly total of 36 credits. Courses taken and gradedfor audit (grade of “AU”) and courses which are withdrawn(grade of “W”) count toward the yearly total, as do internshipstaken for credit during the summer prior to the beginning of theacademic year. Refer to the section on “Tuition and Fees” forinformation on how these charges are assessed.

Academic StandingGood academic standing is maintained by attempting aminimum of 12 credits in the Fall and Spring semesters and 3credits each Wintersession and by earning a semester grade-point average which meets the following minimum standard:

2.00 Undergraduate Degree Candidates, First-year M. Arch. candidates, and First-semesterM.L.A. candidates

3.00 Graduate Degree Candidates, includingsecond and third year M. Arch. candidates,and M.L.A. candidates in their secondsemester or higher

The minimum cumulative grade-point average required forgraduation is the same as above, except for M. Arch.candidates who need a minimum cumulative GPA of 2.75.

Courses graded Audit (AU) and Withdrawn (W) do notcount toward the attempted minimum credit loads.

Academic DishonestyAcademic Dishonesty is defined as follows:A) The copying of another student’s work or the use of

unauthorized notes and materials during examinations,B) The presentation of either written or visual work of others,

including that of other students, as one’s own (plagiarism),C) The theft, destruction, or defacement of work of other

students. Such actions are taken as offenses against the College and mayresult in penalties assessed by the faculty member teaching acourse and the Academic Standing Committee, up to andincluding expulsion.

Any member of the RISD community who suspectsacademic dishonesty should report such suspicions to theappropriate faculty member or another faculty member or

6 Academic Policies 2009 - 2010administrator of the College.

When a faculty member has reason to believe that an act ofacademic dishonesty has occurred, he or she will inform thestudent(s) involved, the head of the department (or dean, ifapplicable) in which the student is majoring, and the head ofthe department (or dean, if applicable) in which the course isoffered. The faculty member will forward a report in writing tothe Associate Provost for Student Affairs for presentationbefore the Academic Standing Committee. The AcademicStanding Committee will interview and/or receive writtenstatements from the student accused of academic dishonestyprior to making any determination. Once a determination hasbeen made that an offense did occur, faculty membersmaintain the right to assign a failing grade to the student.Additional penalties, up to and including expulsion, may bedetermined by the Academic Standing Committee.

The Academic Standing Committee is chaired by theAssociate Provost for Student Affairs and consists of onefaculty member elected by the Instruction Committee from itsmembership, one faculty member elected by the Faculty, theRegistrar, the Director of Student Development, and theCoordinator of Academic Advising.

Academic Probation and Withdrawal Any student attempting fewer than the required minimumnumber of credits, or earning a grade-point average of less thanthe published standard, will be subject to Academic Probation.Two successive semesters or three non-consecutive semestersof substandard performance will normally result in withdrawalof the student from the College.

In addition, the Academic Standing Committee may decideat any time that a student should be withdrawn from theCollege for academic reasons. This decision may be madeupon the recommendation of the student’s Division Dean andDepartment Head.

Once a student is placed on probation, he or she willremain in that status until the end of the next semester, atwhich time the Academic Standing Committee will review thestudent’s academic record.

For purposes of academic review by the AcademicStanding Committee, a grade of I (for incomplete) is computedin the grade point average as an F. Students may be subject toconditional academic probation until the I grade is made up bycompletion of required work.

Foundation Evaluation: At the end of the first semesterand at any time during the second semester of the student’sFoundation year, there may be a review of any student whoseperformance indicates a probable inability to meet therequirements of the College. After review by the Foundationfaculty, Foundation Dean, and the Academic StandingCommittee, the student may be asked to withdraw. A studentwho desires to return to RISD after being withdrawn fromFoundation Studies must apply through the Admissions Officefor readmittance.

A freshman student in Foundation Studies who receives anF or W in 2-D Design, 3-D Design, or Drawing must make up

that course in one of the following ways: (a) SummerFoundation Studies at RISD or (b) retake the course in theDivision of Foundation Studies within 12 months. FoundationStudies studio requirements and substitutions must be approvedby the Dean of Foundation Studies in order for a student tomove on to sophomore status. Such a provisional approval willbe given if an I, F or W is present, with a final approvalnecessary once the course is completed.

Any other student who fails a required Foundation Studiescourse must repeat that course within 12 months after the endof the academic year in which the failure was recorded.

Advanced Standing - Credits Earned in TransferTransfer students wishing advanced standing must requestconsideration during the first semester of their entering year.Advanced standing is awarded on the basis of credits earned ata regionally accredited college or university and approved fortransfer by the student’s Department Head, provided a grade of“C” or better was earned and that the course is consideredequivalent in subject matter to professional/nonmajor electives(for studio course credit) or liberal arts subjects (for liberal artscredit) offered or approved by Rhode Island School of Design.Formal written approval for advanced standing must besubmitted to the Registrar’s Office with supporting transcriptsor credit evaluations.

Credits for transfer courses will be adjusted to match thecredit system in effect at Rhode Island School of Design.Grades from transferred courses are not recorded on astudent’s RISD transcript nor are they included in thecalculation of the RISD GPA.

The College’s policy on the transferability of credits afterten years allows such credits to be accepted by the Collegeprovided that: a) the institution from which credits are to betransferred was regionally accredited at the time the creditswere earned, and b) the credit transfer is approved by theappropriate Rhode Island School of Design Department Head.

In limited circumstances, and in some departments,advanced standing may be granted on the basis of a portfolioreview done by the student’s department head at the student’srequest. The portfolio review usually occurs at the end of thefirst semester of study at RISD.

Auditing of ClassesAuditing is a privilege extended to full-time RISD studentswho wish to attend classes or other regular activities of acourse, but not to receive grades or credit or to submit work tothe instructor for criticism. Instructor’s permission is required.Instructors will accept auditors only if class size and facilitiespermit doing so.

Auditors may change to regular enrollment (i.e. for creditand a grade) only during the Add/Drop period. Auditing is notcounted toward the student’s required minimum credit load.There is an attendance requirement of a minimum of two-thirdsof the class meetings. The student’s satisfactory participationas an auditor will be indicated by “AU” on his or her transcript.There will be a maximum of three audits in a student’s career.

2009 - 2010 Academic Policies 7Registration for audit status is by Add form during theAdd/Drop period only. Audit status must be specificallyapproved on the form by the instructor.

Audited courses are included in extra credit feecalculations.

Grades and Grading Evaluation of a student’s performance in a RISD course maybe presented in two forms: a letter grade and the writtenFaculty Report of Student Progress/Performance form. A lettergrade is awarded to indicate the level of performance andbecomes a part of the student’s permanent academic record. Inaddition, faculty (except in Liberal Arts) write commentsdescribing and analyzing each student’s performance in his orher course. The following grading scale is used:A = 4.00 C = 2.00A- = 3.70 C- = 1.70B+ = 3.30 D+= 1.30B = 3.00 D = 1.00B- = 2.70 F = 0.00 (Failure)

I = 0.00 (Incomplete)NC = no credit (used only for P = 0.00 (Pass)

courses taken at Brown)S and U (Satisfactory/Unsatisfactory) are used only as midtermgrades.

A permanent grade of “W” is assigned when the studentwithdraws from a course during the Course Withdrawal Period(see the Academic Calendar for the Withdrawal deadline).This grade has no effect upon the grade point average.

Grade of IncompleteA grade of incomplete ( “I”) is assigned to signify temporarydeferment of a regular final letter grade and may be grantedwith permission of faculty under unavoidable and legitimateextenuating circumstances. All incomplete grades must beaccompanied by instructor comments which specify the reasonfor giving the “I” and the nature of the outstanding work to bemade up by the student.

Incompletes must be completed within the deadlinesestablished by the faculty, as listed below, or earlier if soestablished by the course instructor or the grade willautomatically revert to an “IF.” The grade of “I” remains onthe transcript followed by the earned grade, e.g. “IB+”.May 1---the deadline for incomplete grades awarded in theprevious Fall Semester or Wintersession;December 1---the deadline for incomplete grades awarded inthe previous Spring semester or Summer.

Instructors are urged to submit grades promptly--within aweek--to the Registrar so that the student’s record may beadjusted accordingly.

Incomplete grades are averaged into a student’s semesterGPA with a grade point value of 0.00. However, whenreviewing a student’s record and determining his or heracademic status with respect to good standing, probation, oracademic withdrawal, the Academic Standing Committee will

take note that this may be a temporary situation. Normally, ifa student would otherwise be in good standing, a singleincomplete grade will not be interpreted as justifying probationor academic withdrawal.

Grade Appeals/Grade ChangesGrade Appeals: A student who wishes to challenge a coursegrade should follow the procedure described in the StudentHandbook. Grade appeals must be initiated within six (6)weeks of the start of the semester immediately following thesemester in which the course was taken.

Grade Changes: If a grade change is requested by aninstructor, the following policy applies:

A. The acceptable reasons for a grade change on astudent’s record include:1. Clerical error (the grade as reported was not

the grade which the student had earned andwhich the instructor intended to give).

2. Incomplete or misleading information (thegrade as reported was based on informationwhich later proved to be misleading orincomplete).

B. In the event that a grade change is requested by aninstructor, a Grade Change Form must be forwardedto the Registrar. When an incomplete grade isreplaced by a regular final letter grade theinstructor’s signature alone is sufficient. When aregular final letter grade is replaced by another, thesignature of the instructor’s department head mustaccompany the instructor’s signature.

C. No regular letter grade may be changed more than60 days after the last day of the semester for whichit was awarded without the approval of the instructorand the head of the department and the Dean of thedivision within which the course was offered.

Once the six week grade appeal deadline has passed (seeabove), a student may still request a reevaluation of a finalgrade, but the instructor must support the change of grade, forthe student no longer has recourse to the grade appealprocedure. The deadline for a student to request a re-evaluationof a final grade is six months after the final grade is due in theRegistrar's Office.

Repetition of Courses for CreditStudents may not take and receive credit for the same coursetwice, unless the entry in the Course Announcement states"may be repeated for credit". In rare cases, exceptions to thispolicy are considered under the following conditions: (1) thecourse content must be different; (2) the students obtain priorapproval, using the Academic Petition Form, from the course'sinstructor and the course's department head."

8 Academic Policies 2009 - 2010Semester Honors and Graduation HonorsStudents who achieve a semester grade-point average of atleast 3.75 with a minimum of 12 credits will be considered forhonors at the end of each semester.

Students who graduate with a cumulative grade-pointaverage of at least 3.75 will have their degree conferred withhonors.

Transfer Credit LimitationFor undergraduate degree candidates at RISD, up to 12semester credits from an accredited institution may be acceptedin transfer to the RISD record subsequent to the student’s firstmatriculation at RISD.

2009 - 2010 Graduation Requirements 9Graduation Requirements--UndergraduatesFor undergraduates, Rhode Island School of Design offers theBachelor of Fine Arts degree (BFA), which is usuallycompleted in four years of study.

In addition, professional baccalaureate degrees are offeredwhich require thirty credits beyond the BFA and are usuallycompleted in an additional year of full time study. These are asfollows: Bachelor of Architecture (B.ARCH.), Bachelor ofInterior Architecture (BIA), Bachelor of Industrial Design(BID), and Bachelor of Graphic Design (BGD). Students maypursue the BFA and the professional baccalaureatesimultaneously and may choose to receive both degrees at theend of the fifth year.

Students may also choose a concentration in History of Artand Visual Culture, or in English, or in HPSS (History,Philosophy, Social Science). These concentrations aredescribed in a separate section of this book.

Students are governed by the college-wide anddepartmental graduation policies in place and published whenthey enter RISD. Readmitted students who have been awayfrom RISD for four years or more will be required to satisfy thegraduation requirements that are in effect at the time of theirreadmission.

Academic Evaluations, also known as Degree Audits,show progress toward the degree. This form is availableelectronically to each student as well as to their departmentaladvisor at all times via the web. Paper copies of the AcademicEvaluation are available on request from the Office of theRegistrar.

An Application for Degree should be filed by eachgraduation candidate at the start of the senior year. A studentwho expects to receive the BFA and a professionalbaccalaureate simultaneously at the end of the fifth year shoulddeclare this on the Application for Degree filed at the start ofthe senior year.

Bachelor of Fine Arts Degree Requirements1) A minimum of a two years’ residency at the College in a

program leading to a Bachelor of Fine Arts degree

2) Completion of a minimum of 126 credits, including: 1a. Foundation Studies Studios 2 18 credits

b. Liberal Arts 42 creditsHistory of Art + Visual Culture 12 credits(Including ARTH H101 and ARTH H102 3)

English Literature and/or Composition 9 credits(Including Literature Seminar: Design inWords, E101. E101 is a prerequisite for allfurther study in the liberal arts and must becompleted satisfactorily during the freshmanyear)

History, Philosophy and Social Sciences 9 credits(Including S101. S101 is a prerequisite for further study in the department of HPSS). 4

Additional Electives in Liberal Arts 12 credits(The remaining four courses may be taken aselectives in any of the above areas (ARTH,ENGL, HPSS) or from a pool of other courseswhich carry Liberal Arts credit (LAEL). LAEL courses include studies in mathematics, thenatural sciences, theater, and the history ofspecific studio disciplines, among others)

c. Nonmajor Studio Electives 5 12 credits

1 Changes, substitutions, or waivers to any of theserequirements or within these requirements must be approvedin writing, using the “Degree Requirement Waiver/ Sub-stitution Form”

2 Transfer students fulfill this eighteen (18) creditrequirement by transfer of credit from another institution orby completion of the RISD Foundation Studies SummerTransfer Program (9 credits) along with transfer of credit. In a situation in which the student does not have sufficientFoundation credit even after transfer of credit andcompletion of the Summer Transfer Program, the Foundation

Studies Office may grant permission to substitutecomparable or equivalent courses earned through extra RISDcourse work in any studio area of the College. The totalcredit requirement for the degree (126/156) is neverreduced.

3 Transfer students who entered between Fall 2003and Spring 2008 will substitute any elective course in ArtHistory (ARTH) for Art History H102. Transfer studentswho enter Fall 2008 or after who have adequate academicexperience in art history may be waived from ARTH H102and substitute an elective ARTH course. “Adequateacademic experience” is defined as one of the following:passing the AP Art History exam with a grade of 4 or 5;passing (with a C or better) any 3 credit course in ArtHistory at an accredited college or university; or taking anart history course as part of the International Baccalaureatedegree.

4 S101 is a new requirement for students entering inFall 2008 or after. Entering transfer students admitted withcredits in history, philosophy, or the social sciences may bepermitted to substitute these credits for S101.

5 Typically, studio courses taken outside of one’smajor. However, up to six of the twelve credits may be innonmajor electives that are neither Liberal Arts nor visual artor design studio, such as engineering or music or theater.Students must get the approval of their department.headbefore registering for a course in the latter category.

10 Graduation Requirements 2009 - 2010

d. Major Field 6 54 creditsTotal Credits for BFA 126 credits

3) An accumulative grade-point average of not less than 2.00

4) Satisfactory completion of the final semester and degreeproject as a full-time student at the College--normally inthe second semester of the senior or fifth year. 7

5) The academic year at RISD consists of the Fall and SpringSemesters and Wintersession. The minimum tuitionrequirement is four academic years (B.F.A.) or fiveacademic years (professional degrees), or the equivalent.This tuition requirement is separate from and in additionto any other degree requirements. Tuition charges for thebaccalaureate degree are based on full-time status duringthe academic year. An academic year includes a minimumof 27 credits and a maximum of 36 credits.

6) Payment of all financial obligations to the College orsatisfactory arrangements for such payment.

Professional Baccalaureate degree requirements1. Satisfactory completion of all requirements for the RISD

BFA degree, with not less than 126 credits.

2. Completion of an additional 30 credits as specified in thecurriculum outline at the beginning of each department’ssection of this book.

3. A minimum residency requirement of five years of full-time study at an accredited college. Up to two years maybe transferred to RISD from another accredited college.Students with at least three years of study at an accreditedschool of architecture or program in graphic design maybe granted a maximum of two-and-one-half years’ credittoward residence. Participation in the European HonorsProgram, or any independent study away from theProvidence campus of RISD, is not construed to be a partof the RISD residency requirement for transfer students.For a student who entered as a freshman, up to one year ofstudy away from the Providence campus may counttoward the total five-year residency requirement.

4. Payment of all financial obligations to the College orsatisfactory arrangements for such payment.

Graduation Requirements--Graduate DegreesRhode Island School of Design offers several graduate degreesat the Masters Degree level, including the Master of Fine Arts(MFA), Master of Architecture (M.ARCH.), Master ofIndustrial Design (MID), Master of Interior Architecture(MIA), Master of Landscape Architecture (MLA), Master ofArts in Teaching (MAT), and Master of Arts in Art Education(MA).

Students are governed by college-wide and departmentalgraduation policies in place and published when they enterRISD. Readmitted students who have been away from RISDfor four years or more will be required to satisfy graduationrequirements that are in effect at the time of their readmission.

General eligibility requirements are listed below but seethe relevant department section for specific course and degreerequirements. An Application for Degree should be filed byeach graduation candidate at the start of the final year.

Master’s Degree Requirements1. Satisfactory completion of all published course credit

requirements with a cumulative grade-point average of notless than 3.00, except for M. ARCH. candidates who needa cumulative GPA of 2.75 or higher.

2. Fulfillment of the minimum on-campus residencyrequirements.MAT One yearMFA,MID, MIA and MLA(2 yr) Two yearsM. ARCH, MIA and MLA (3 yr) Three yearsMA in Art Ed 8 One year

3. Successful completion of the following (minimum) coursecredit requirements: MFA, MID 66 creditsMID (2.5 year) 84 creditsMIA (2 year) 75 creditsMLA (2 year) 72 creditsMAT 33 creditsMA 36 creditsM. ARCH, MIA, MLA 111 credits

4. Payment of all financial obligations to the College, orarrangements for such payment satisfactory to the College.

6 Refer to the curriculum outline at the beginning ofeach department’s section of the Course Announcement.

7 European Honors Program (EHP) students, whilein Rome, pursue course work equivalent to that inProvidence, but those EHP participants from professionaldegree programs in the Division of Architecture and Designshould see their department head regarding certainrestrictions that may apply

8 The year on campus is followed by a year of off-campus independent thesis research.

2009 - 2010 Registration Policies 11Adding/Dropping CoursesStudents, other than freshmen, may add a course(s) to theirprogram, or drop a course without penalty, until the end of theAdd/Drop period. In order to be official, the adding anddropping of courses must be confirmed with the Registrar’sOffice no later than the end of the Add/Drop period. Refer tothe Academic Calendar for exact dates. The add/drop deadlineis not extended except upon successful petition to theAcademic Standing Committee.

Freshmen may not change their class schedules withoutspecial permission from the Dean of Foundation Studies,except during Wintersession.

Once classes begin, adding a class requires the writtenpermission of the instructor on the official Add/Drop Formavailable from the Registrar. On rare occasions, an instructor,with the prior approval of his/her department head and divisiondean, may deny students permission to add a class after its firstmeeting even when there is an opening.

It is essential to note that unofficial drops, those in whicha registered student does not file a drop or withdrawal with theRegistrar, will be graded as failures (F grade). Students shouldbe certain that they officially drop classes they are notattending and should not rely on the instructor to officiallyremove them from a class since the instructor may not chooseto exercise that option. Unofficial adds, in which anunregistered student sits in on a class, will not be graded orcredited on the academic record.

Foundation Course Work and First-Year ExperienceFirst-time freshmen at RISD take the First-Year Program ofFoundation Studies studios and Liberal Arts courses. The yearlong curriculum is outlined in the “Freshman-YearExperience” section of this book. If you are a new freshman,including new freshman in the Brown/RISD Dual DegreeProgram, review this section now.

Freshmen are not allowed on their own to drop a course,whether it be studio or liberal arts. These courses are requiredof all first-year students. A student must see the Dean ofFoundation Studies if they are considering a drop. The Deanwill, after discussion with the student, disapprove or approvethe request

Transfer students fulfill the Foundation course workrequirement by transfer of credit from another institution or bycompletion of the RISD Summer Foundation Studies alongwith transfer of credit. The Summer Foundation Studies is nine(9) credits and usually taken in the Summer before admission.In a situation in which the student does not have sufficientFoundation credit even after transfer of credit and completionof the Summer Foundation Studies, the student must see theDean of Foundation Studies. The total credit requirement forthe degree (126/156) is never reduced. See the AdmissionCatalog for additional information.

Cross-registration Arrangement with Brown UniversityThrough a long-standing agreement between the twoinstitutions, RISD degree candidates may enroll for courses atBrown University and vice versa. The courses at Brown mustbe applicable toward RISD degree requirements or they willnot be approved. Brown University is the only college oruniversity with which RISD has a reciprocal cross-registrationagreement.

RISD students may register for Brown courses no earlierthan the first day of Brown’s classes. This policy is consistentwith RISD’s requirements for Brown students who wish to takecourses at RISD. Classes for Fall 2009 begin at Brown onSeptember 9; Spring 2010 classes begin on January 27. Brown University courses taken by RISD students will berecorded by RISD as three credit courses, and will becalculated with that value in all RISD credit load and extracourse calculations.

For more information, pick up the brochure on this topicavailable in the RISD Office of the Registrar where blankregistration forms are available as well.

Grading System Options for RISD students taking coursesat Brown

Grade recorded on RISD Grade earned at Brown Academic Record Option 1: Pass/FailA or B or C or S P (Credit earned but not calculated in

GPA)No Credit NC Incomplete I (must be completed following RISD

deadlines)

Option 2: LettersA or B or C or

No Credit A,B,C or NCIncomplete I (must be completed following RISD

deadlines)

In selecting a grading option, students are reminded that creditsgraded “P” do not apply toward the minimum of 12 requiredfor consideration for semester Honors. The grade optionselection will not be changed after the RISD Add/Dropdeadline or the Brown deadline, whichever is earlier.

Brown/RISD Dual Degree ProgramThe first class of Brown/RISD Dual Degree students began inFall 2008. The Program is open to new freshmen who havebeen admitted to both RISD and Brown, and who have appliedand been accepted to the Dual Degree Program through theregular admissions process. Current students, readmits, andnew transfer students are not eligible. The grading optionslisted above apply to students in this program. Acomprehensive handbook for students in the Program isavailable at: http://risd.brown.edu/handbook/

12 Registration Policies 2009 - 2010 Independent Study Projects (ISP) / Collaborative StudyProjects (CSP)Independent Study Projects (ISP) allow undergraduate andgraduate students to complete a supervised project for creditin a specific area of interest to supplement the establishedcurriculum. The project requires independent study but alsoincludes tutorial supervision; its purpose is to meet individualstudent needs by providing an alternative to regularly offeredcourses.

A Collaborative Study Project (CSP) allows twoundergraduate or two graduate students to work collaborativelyto complete a faculty supervised project of independent study.Usually, a CSP is supervised by two faculty members, but withapproval it may be supervised by one faculty member.

Sophomores, juniors, seniors and graduate students with anaccumulative grade point average of 3.00 or above may registerfor a particular ISP/CSP by requesting the assistance of afaculty member with appropriate interests and competencies toserve as a tutor. With the consent and assistance of the facultymember, a student should prepare a proposal and an applicationfor the work to be accomplished (applications can be obtainedin the Registrar’s Office). The student will be properlyenrolled once the form is completed, signed and returned to theRegistrar’s Office. Approval for an ISP/CSP must besubmitted to the Registrar no later than the end of the secondweek after the start of the term. In order to meet this deadline,students are encouraged to meet with their chosen tutor as soonas they know they desire an ISP/CSP, preferably before thestart of the term. Each ISP/CSP may receive three credits. A total of ninecredits of Independent Study work may be credited toward anyfour- or five-year undergraduate degree.

InternshipsBeginning Summer 2008, a new policy is in place whichpermits three-credit internships in fall, spring, Wintersession,and summer. Undergraduates are eligible to take a fall, springor Wintersession internship once they have successfullycompleted their freshman year and may take their first summerinternship after their sophomore year. Undergraduates maytake a maximum of six internship credits toward their degree.Graduate students may take a maximum of three internshipcredits toward their graduate degree, except where exceeded bydepartmental requirements. Registration for an internshiprequires special forms and approvals. The forms are availablein the Registrar’s Office. Internships taken over the Summerfor three credits will be included in the cumulative credit countfor the upcoming year. Read the following section on Tuitionand extra credit charges for more information.

RegistrationInformation on registration procedures is contained in thesemesterly Schedule of Classes and is posted on the Registrar’sOffice page of the RISD Intranet. The Wintersession Catalog,also has registration procedures and it is provided to allstudents. In WebAdvisor, the information is in the “News and

Information” section of the registration menu. The Registrar’sOffice website on the RISD intranet contains electronicversions of these publications along with additionalinformation on registration. Most departments conduct theirown registration for courses offered to majors and informationon these activities are provided by the department.

Tuition, Fees, Extra Credit Charges, Payment PolicyInformation on tuition and fees is contained in the Cataloggiven to all incoming students and in mailings sent by theStudents Accounts Office each semester to students, parentsor other persons responsible for payment of assessed charges.

Full-time students in either Fall or Spring are not assessedseparate Wintersession tuition or room charges as it is includedin the charges for Fall and/or Spring terms. A student enrolledin Wintersession without full-time status during Fall or Springof that academic year is assessed per credit tuition charges.

Courses during Fall, Wintersession, or Spring may requirepayment of lab or material fees. Wintersession travel coursesrequire additional fees for travel expenses, which are dueduring the preceding fall term.

The minimum tuition requirement is four academic years(B.F.A.) or five academic years (professional degrees), or theequivalent. This tuition requirement is separate from and inaddition to any other degree require-ments. Tuition charges forthe baccalaureate degree are based on full-time status duringthe academic year. An academic year includes a minimum of27 credits and a maximum of 36 credits.

Extra credit charges are assessed for credits in excess of 36total attempted for the academic year. This total is based onthe student’s credit hour load at the conclusion of theAdd/Drop period for the Fall and Spring semesters andWintersession. Credits added subsequent to the Add deadline(through academic petition or special permission) will also beincluded in the total, as will courses taken as “audit” andcourses graded “W.” Internships taken over the Summer forthree credits (allowed for the first time in Summer 2008) willalso be included in the cumulative credit count for theupcoming year. The extra credit charge is the per credit ratemultiplied by the number of credits greater than 36

In several RISD Departments, incoming sophomore,first-year graduate and transfer students are obliged to participate ina 'laptop program', requiring the purchase of a portablecomputer, software applications, upgrades and personalinsurance as specified in the current 'Laptop ProgramRequirements and Policy Guidelines', a document distributedat the same time the laptops are distributed. At present, theparticipating departments are Architecture, Furniture Design,Graphic Design, Industrial Design, Interior Architecture, andLandscape Architecture.

Student accounts must be paid according to policies anddeadlines established by the Student Accounts Office. RISDreserves the right to withhold services from students whoseaccounts are delinquent, including, but not limited to,withholding grades, transcripts, registration and classattendance.

2009 - 2010 Registration Policies 13Waitlists and Closed CoursesThere is no formal procedure on course waitlists duringregistration. If a class is closed, keep checking WebAdvisor tosee if a seat has become available. After web registration closesfor the term, contact the instructor to ask if they keep a waitinglist.

After web registration closes--whether or not you havecontacted the professor--you must go to the first class (orsubsequent classes during the add/drop period) with anAdd/Drop Form to seek the instructor’s written permission tobe added to a class.

Withdrawing from a Course with a Grade of “W”With the approval of the instructor a student may withdrawfrom a course with a grade of “W” during the coursewithdrawal period.

The grade of “W” has no effect upon the grade pointaverage. Courses graded “W” do not count toward theminimum semester total of 12 credits required for goodacademic standing, but they do count for the computation ofmaximum yearly allowed credits (see previous section on“Tuition...”).

A course withdrawal is completed by filing theAdd/Drop/Withdrawal form, approved by the instructor, withthe Registrar’s Office by the deadline which appears in theAcademic Calendar.

14 Wintersession 2009 - 2010Wintersession TermPurpose: The central purpose of the Wintersession Program isto enrich the educational experience of Rhode Island School ofDesign students and faculty by providing a six-week period foroffering various opportunities which are not available in aregular semester. Courses are available to students regardlessof major, prior knowledge or experience 1. Exceptions to thisrule are indicated in the course descriptions contained in theWintersession Catalog which is printed each year in October.Opportunities abound for students to fulfill their nonmajorstudio requirements.

Enrollment Requirements: Every degree program student isrequired to enroll in one Wintersession course during eachWintersession period in order to retain full-time student statusat RISD and to remain in good academic standing. Dependingupon course availability, a second course may be added duringthe Add/Drop period. No more that six credits are permitted.

Meeting Times: On-campus courses meet for 6 contact hoursper week for seminar/lecture classes and 10 contact per weekfor studios. Refer to the Wintersession Catalog for courseofferings and scheduled meeting times.

Costs: Tuition for Wintersession is included in the semestercharges for Fall and Spring. Some courses require payment offees and/or purchase of materials. Off-campus study courseshave costs beyond tuition associated with travel and lodgingand this information is available from the departmentsponsoring the course.

Wintersession Course OptionsNote: Freshmen are not eligible for ISP, internships, or off-campus study/travel courses.< Wintersession Courses on-campus: Students are free to

request any Wintersession course for which they areeligible. Most courses do not require prior instructorapproval.

< Wintersession Courses off-campus: RISD offers a varietyof off-campus study courses in locations worldwide.Courses are developed by individual faculty who createitineraries, program costs, schedules and so on. Thesecourses require the instructor’s permission prior toenrollment.

< Independent Study Projects (ISP): ISPs are describedelsewhere in this book. Enrollment requires an overall 3.00GPA, a faculty tutor, and approval of the student’s and thetutor’s Department Head and Division Dean, using theform available from the Registrar. Liberal Arts ISP’srequire the signature of the Dean of Liberal Arts and the

appropriate Liberal Arts department head.

< Internship: Enrollment in a three credit internship (or in aselect few departments, a six credit internship) requiresapproval of the student’s Department Head and DivisionDean, using the form available from the Registrar. Theamount of course credit is linked to the content of theinternship and number of hours on the job, e.g. full-time forsix weeks is necessary for up to six credits, but may not, onits own, be sufficient to warrant six credits. Grading isPass/Fail only.

Wintersession Internships Internship programs are rigorous. Usually, the departmentidentifies sponsors, matches student’s capabilities and aimswith the sponsor’s requirements and opportunities, checks tosee that the student is getting the experience expected, and getsproper evaluation from both sponsor and the student at the endof the Wintersession internship. The six credit internshipallowed in select departments should offer the student greaterrange or depth of experience than a three credit internship.Undergraduates are eligible for a Wintersession internship oncethey have successfully completed their freshman year.

Only six internship credits may be counted toward BFAcredit requirements. Graduate students may take a maximum ofthree internship credits toward their graduate degree, exceptwhere departmental requirements require more.

Forms for evaluating the student’s work should be sent tothe sponsor and shown to the student in advance of the actualinternship period so that student and sponsor will know whatthe educational expectations are for the internship.

Students should submit a final report about their internshipwhich includes an evaluation of the education gained fromworking with a particular sponsor. That evaluation should besubmitted to their department head to aid faculty and studentsfor planning future internships.

1 An exception is the required program for transferstudents in the Division of Architecture and Design.

2009 - 2010 Special Academic Programs 15Special Academic ProgramsConcentration in History of Art and Visual Culture (HAVC)RISD offers courses in History of Art and Visual Culture thatspan a wide range of cultures, media and time from Pre-Columbian art to contemporary American sculpture toEuropean film. The College offers a 27 credit Undergraduateand a 36 credit Graduate Concentration in History of Art andVisual Culture designed for students who wish to complementtheir studio major with in-depth studies in art history, theoryand criticism, and museum studies. The undergraduate HAVCConcentration can be completed within a 4 or 5 year degreeprogram and requires a total of 51 credits in Liberal Arts. TheGraduate Concentration requires a year beyond the MFAstudies. All RISD BFA and MFA candidates are eligible toundertake an HAVC concentration. Contact the Liberal Artsoffice at 454-6570 to be put in touch with an advisor.

Undergraduate History of Art and Visual CultureConcentration Distribution Requirements:I. Two courses (6 credits):

Art & Architecture I (as of Fall 2007, renamed History ofArt & Visual Culture I)Art & Architecture II (as of Spring 2008, renamed Historyof Art & Visual Culture 2 (Topics)

II. Two courses (6 credits) from any of the following:1. Contemporary Art, History and Criticism2. Methodology and Historiography3. Philosophy of Art and/or Sociology of Art, Aesthetics

III. Three courses (9 credits) from any three of the followingcategories:1. Prehistory through Medieval2. Renaissance through 18003. 19th and 20th centuries4. Asian, African, Islamic, or Indigenous Arts of the

Americas

IV. Two courses (6 credits) from any of the followingcategories:1. Area courses or studio/art history team taught courses2. Museum studies, museum/art history3. Category II or III

Graduate Concentration in History of Art and Visual CultureDistribution Requirements:I. One course (3 credits), Methodology and Historiography

II. One course (3 credits), Philosophy of Art and Aesthetics

III. Three courses (9 credits) from any two of the following:1. Prehistory through Medieval2. Renaissance through 18003. 19th and 20th centuries4. Asian, African, Islamic, or Indigenous Arts of the

Americas

IV. Three courses (9 credits) from at least two of thefollowing:1. Contemporary art, history and criticism2. Area courses or studio/art history team taught courses3. Museum studies, Museum/art history team taught

courses4. Advanced area studies

V. Two courses (6 credits), any category

VI. Thesis (6 credits) supervised by a faculty member in theHistory of Art + Visual Culture Department.

Concentration in English: Literary Studies or Creative WritingThe English department offers students the opportunity toconcentrate in literature or in writing. Each program isindividually designed to meet a student's interests. Thefollowing requirements must be fulfilled:

Literature Seminar: Design in Words or an approvedequivalent

1 course (3 cr)Contemp. Critical Theory or an approved equivalent

1 course (3 cr)Seminar in Literature or Creative Writing

1 course (3 cr)English electives 6 courses (18 cr)

Total: 9 courses (27 cr)

Interested students should contact the Liberal Arts Office andmake an appointment with the English ConcentrationCoordinator.

Concentration in History, Philosophy, Social ScienceThe Department of History, Philosophy, and the SocialSciences (HPSS) is an interdisciplinary department wherefaculty teach and do research in a range of fields across thehumanities and social sciences. The Concentration in History,Philosophy, and the Social Sciences allows students with aspecial interest in the disciplines and critical methodologiesoffered by the Department to pursue their study in a more in-depth and focused fashion. Each student completing therequirements for a concentration in HPSS receives a certificatewith his or her chosen HPSS concentration track clearly noted.

There are eleven established concentration tracks in HPSSfrom which to choose: American Studies, Asian Studies,Belief Systems, Comparative Political Systems, ContemporaryIssues and Public Policy, Culture, Race, and Ethnicity,Environmental Studies, European Studies, Gender andSexuality, Media Studies, and the Self in Society. Studentsmay also devise their own concentration tracks in consultationwith the Concentration Coordinator; such an option will behandled on a case-by-case basis.

The HPSS Concentration requires the completion of 8courses (24 credits) prior to graduation. This includes one

16 Special Academic Programs 2009 - 2010 introductory course from any of the disciplines within thedepartment, and seven “track-oriented” courses. Reflecting theinterdisciplinary nature of the program, five of these must beHPSS courses drawn from at least two of the disciplines in thedepartment; and two additional courses must be taken in anyacademic department provided they are pertinent to the trackthe student is pursuing. Courses credited toward fulfillment ofthe Concentration must be part of a thematic interdisciplinarytrack to be determined by the Concentration Coordinator inconsultation with the student.

CONCENTRATION FORMAT: TOTAL CREDITSIntroductory-foundational HPSS course 3 credits 35 HPSS track-affiliated courses 15 credits 182 additional courses 6 credits 24(HPSS, LAEL, ENGL, ARTH, Studio, or non-RISD)

Students must continue to satisfy all Liberal Artsrequirements to graduate. The 9 HPSS credits currentlyrequired for graduation will count as part of the 24 comprisingthe Concentration. Additional courses taken for theconcentration count towards the 4 additional electiverequirements in Liberal Arts. Qualified transfer credits applytoward fulfillment of the concentration requirements as well.

A student initiates a concentration by completing the"Declaration to Concentrate in the Liberal Arts" form(available in the Liberal Arts Office.) The completed andsigned form, along with a copy of your current transcript andschedule of classes should be submitted to the HPSSConcentration Coordinator, Daniel Cavicchi (mailbox in theLiberal Arts Office, CB 418). You will be contacted to set upa meeting to discuss your concentration.

Interested students should contact the HPSS ConcentrationCoordinator, Daniel Cavicchi, at 401-454-6799 or email:dcavicchi@risd.edu. For further information on the HPSSC o n c e n t r a t i o n , v i s i t t h e i r w e b s i t e a t :http://departments.risd.edu/depts/hpps/hcon.htm.

European Honors Program (EHP)EHP enables a limited number of eligible students to undertakea supervised, but largely independent study program centeredin Rome, Italy during their study at Rhode Island School ofDesign. EHP offers an option to choose one of two sessions;each session consisting of a 21-week program in Rome (eitherJuly to December or January to June).

Eligibility: Candidacy for the program is competitive andrequires application to the EHP Committee in Providenceduring the spring term of the year preceding both sessions.

In order to participate in EHP, students accepted to EHPmust have completed their sophomore year and have a 3.0 orbetter cumulative GPA. Each student must consult with his orher department head and academic advisor prior to application.It is important to note that each student, including EHPstudents, must have two years residency at the Providencecampus for graduation from RISD, or three years of residencyfor the five-year programs. Applications and additional

information are available from the Office of InternationalPrograms.

Credits: One session participation in EHP will earn 18credit hours. Each session will begin with a structured 12-week block. During that twelve-week block, an EHP studentreceives 12 credits (3 Art History, 3 Liberal Arts for Italianlanguage and 6 Studio). The remaining weeks, six in total,each student receives 6 studio independent study credits for atotal of 18 credits during their EHP session.

Mobility ProgramRISD degree candidates interested in experiencing anotherschool during their tenure at RISD might consider the MobilityProgram. RISD participates in the Mobility Program of theAssociation of Independent Colleges of Art and Design(AICAD). This is an informal relationship through whichundergraduates from RISD may spend a semester at one of the33 participating member institutions. The mobility schools arelocated within the United States and Canada.

Mobility is open to students in their junior year who meetthe eligibility requirements of their specific programs, althoughsome seniors have participated. Students must apply onesemester in advance. The deadline for application for the Fallsemester is April 1. The deadline for application for the Springsemester is November 1.

For more information regarding the Mobility Program callRISD’s Office of International Programs at 454-6754.

International ExchangeInternational Exchange is open to all RISD degree candidates,giving them a unique foreign study opportunity. Studentsinterested in applying are encouraged to clearly formulate theirobjectives and discuss their academic and residencyrequirements with their parents and department head. Theprogram currently includes more than forty participatingschools located in more than twenty countries.

Exchange applications are available through the Office ofInternational Programs and must be filed at least one semesterin advance. The deadlines for submitting applications areOctober 15th for Spring semester and March 1 for Fallsemester.

For a listing of the exchange schools and additionalinformation about the program, go to the Office ofInternational Programs link on the RISD Intranet or go to<www.oiprisd.com> . Once information has been reviewedonline, the student should make an appointment with theDirector of International Programs at (401) 454-6725 or stopby the office located in Ewing House.

Interdisciplinary Study Option The Interdisciplinary Study Option (ISO) permitsundergraduate students with approved study plans to apply ISOcredits earned outside their major department toward theirmajor requirement by substituting those ISO credits for anequal number of credits normally earned in their homedepartment. Between three and twelve ISO credits may be

2009 - 2010 General Interest 17counted for major credit. The purpose of the ISO is to permitstudents to augment their study in their major discipline in ameaningful way. This option is open to juniors in goodstanding with a cumulative g.p.a. of 3.50 or higher. Applicantsmust submit a proposal in writing stating the reasons his/hermajor studies will be enhanced by study in another discipline.Application forms are available from the Registrar’s Office.

Brown/RISD Dual Degree ProgramThe first class of Brown/RISD Dual Degree students began inFall 2008. The Program is open to new freshmen who havebeen admitted to both RISD and Brown, and who have appliedand been accepted to the Dual Degree Program through theregular admissions process. Current students, readmits, andnew transfer students are not eligible. A comprehensivehandbook for students in the Program is available at:http://risd.brown.edu/handbook/

Visiting Student ProgramStudents enrolled in degree programs at accredited institutionswhich are not members of the Association of IndependentColleges or Art and Design, may apply through the RISDAdmissions Office to attend RISD on a full-time basis, for aperiod of up to one year, as a Visiting Student. Permission toattend RISD must also be granted by the student’s homeinstitution.

A student who has previously attained a bachelor’s degreemay apply as a Visiting Student, with the understanding thatthe program carries no graduate credit and does not apply inany way toward a RISD graduate degree.

Special Student StatusSpecial Students are students who are not RISD degreecandidates but who elect to register for courses to meetindividual needs. A formal application for admission is notrequired, but registration requires the approval and signature ofthe course instructor.

The form for Special Student registration is available inthe Registrar’s Office. Registration is on a space available basis on or after the first class day (once degree candidates havehad an opportunity to register for classes).

Payment of tuition to the Office of Student Accounts andfinal approval and registration by the Registrar must becompleted no later than the Add/Drop deadline. A maximumof six credit hours may be taken per semester. Audit status andindependent study options are not open to Special Students.

Building HoursThe schedule of available hours in academic buildings isavailable on the RISD intranet web site. Copies are availableat the beginning of each semester in the Office of Public Safetyand the Office of the Registrar. All academic buildings areaccessible during available hours via your RISD ID card.

Change of AddressStudents must promptly notify the Registrar’s Office and theirmajor department of changes in local address and telephone aswell as permanent (home) address and telephone. Changesmay be reported in person or via phone, fax or e-mail.

Most paper correspondences and notifications are sent tothe RISD mailbox, with the important exception of billinginformation which is mailed to the billing address on file withthe Student Accounts Office. A RISD box number is notsufficient for a local address, and all students who are notliving in RISD residence facilities should have their localaddress on file at all times.

Declaration of Majors/Change of MajorsFreshmen must declare a major before entering theirSophomore program. While freshmen may request any major,there may be limits imposed by physical space, equipment andstaff that make it impossible for a department to enroll allstudents declaring the major. Such limits will be consideredonly to ensure and maintain the quality of education for allstudents in the department.

Change of Major/Internal TransferStudents who elect to change their major should obtain theMajor Change petition and policy form at the Registrar’sOffice. Internal transfers are subject to availability of space inthe new department. Chances of transfer are increased ifapplication is made after freshmen declarations in February andbefore new transfer students are accepted in mid March. New incoming transfer students may not transfer from thedepartment to which they were admitted into anotherdepartment during their first year. Thereafter, iinternal transferis subject to review and space limitations.

Double MajorsA double major represents the completion of work in two areasbut for one degree. For example, a student who majors ingraphic design and industrial design will receive only oneBFA. It is very rare for a student to double-major at RISD, forreasons explained in the Student Handbook. It requires at leastone extra year of study. For additional information and theprocedure to follow to declare a double major, refer to thecurrent issue of the Student Handbook.

Notice of Student Rights with Respect to EducationRecords (FERPA)The Family Educational Rights and Privacy Act (FERPA)affords you certain rights with respect to your educationrecords. These rights include:

18 General Interest 2009 - 2010 1. The right to inspect and review your education records(with certain limited exceptions) within 45 days of the dayRISD receives your request for access. You should submit anysuch request to the Registrar’s Office in writing, identifying therecords you wish to inspect. The Registrar’s Office will makearrangements for access and notify you of the time and placewhere the records may be inspected. Records that arecustomarily open for student inspection will be accessiblewithout written request.

2. The right to request the amendment of your educationrecords if you believe them to be inaccurate. You shouldsubmit any such request to the Registrar’s Office in writing,clearly identifying the records that you want to have amendedand specifying the reasons you believe them to be inaccurate.The Registrar’s Office will notify you of its decision and, if thedecision is negative, of your right to a hearing regarding yourrequest for amendment. Additional information regarding thehearing procedures will be provided to you at that time.

3. The right to consent to disclosures of personally identifiableinformation contained in your education records, except to theextent that FERPA authorizes disclosure without consent.

One such exception permits disclosure to “schoolofficials” with “legitimate educational interests.” A “schoolofficial” is any person employed by RISD in anyadministrative, supervisory, academic or research, or supportstaff position (including public safety and health services staff);any person or company with whom RISD has contracted toprovide a service to or on behalf of RISD (such as an attorney,auditor, or collection agent); any person serving on RISD’sBoard of Trustees; or any student serving on an officialcommittee, such as a disciplinary or grievance committee, orassisting another school official in performing his or her tasks.A school official has a “legitimate educational interest” if theofficial needs to review an education record in order to fulfillthe official’s professional responsibility.

Another such exception permits RISD to disclose your“directory information”, consisting of your name; local, home,and e-mail addresses; local and home telephone number; majorfield of study; enrollment status/rank (e.g., undergraduate orgraduate; freshman, sophomore, junior, or senior; first-year,second-year, or third-year); dates of attendance; anticipateddegree and degree date; degrees, honors, and awards received;participation in officially recognized activities; student IDnumber, user ID, or other unique personal identifier used by thestudent for purposes of accessing or communicating inelectronic systems; most recent educational agency orinstitution attended; and photograph, to anyone within theRISD community and to the general public. Students whowish to have their directory information withheld must notifythe Registrar’s Office in writing. (Please note that such anotification will prevent RISD from providing your directoryinformation to your friends, prospective employers, artsorganizations, and others with whom you may wish us to sharesuch information, so make your decision carefully.) You may

give such notification at any time, but it will be effective onlyprospectively. Students who do not wish to have their address(or other information) published in the student directory mustnotify the Registrar’s Office annually by no later thanSeptember 30.

Upon request, RISD also discloses education recordswithout consent to officials of another school in which astudent seeks or intends to enroll or where the student isalready enrolled so long as the disclosure is for purposesrelated to the student's enrollment or transfer. .

Information on other such exceptions is available throughthe Registrar’s Office.

At or before the beginning of the Fall semester, each newstudent is sent a “Student Consent to Release Grades” form.By signing and returning this form to the Registrar’s Office,you may authorize RISD to release your grades and otherinformation from your education records to your parents. Thisconsent remains in effect until changed in writing with theRegistrar’s Office. Continuing students who did not fill out theform as a freshman may do so at any subsequent time. If youchoose not to file the form, you are urged to inform yourparents of your decision.

4. The right to file a complaint with the U.S. Department ofEducation concerning alleged failures by RISD to comply withthe requirements of FERPA. The name and address of theoffice that administers FERPA is: Family Policy ComplianceOffice, U.S. Department of Education, 400 Maryland Avenue,SW, Washington, DC 20202-4605.

Summer Studies and InternshipsStudents can pick up course credits during the Summer.Nonmajor studio electives and liberal arts courses intended fortransfer back to RISD must be approved by the student’sdepartment head (studios) or the Dean of Liberal Arts,respectively, before the course is taken. Summer courses atRISD are offered through the Office of Continuing Education.

RISD/CE summer courses taken for credit by degreeprogram RISD students are not recorded on the student’sdegree program transcript with grades and the grades do notcount in the overall gpa. Students must choose the credit optionbefore the class begins and may not decide to do thisretroactively.

Summer internships for undergraduates are permitted afterthe sophomore year; for graduate students, after their first year.All summer internships require the prior approval of thestudent’s department head and a minimum of six weeksinvolvement of thirty-five hours per week. The form forapproval of a Summer Internship is available from theRegistrar’s Office. Grading is Pass/Fail. Beginning in Summer2008, a summer internship may be taken for three academiccredits (formerly it was one credit).

TranscriptsStudents who need a copy of their academic record (called a“transcript”) may come to the Registrar’s Office and fill out a

2009 - 2010 General Interest 19“Request for Transcript” form. Transcript requests aregenerally processed within three business days, except duringregistration or certain times of the year when requests areespecially heavy. At those times (first two weeks of thesemester and the grading periods at the end of each term)transcript requests are generally processed within 5 days.Students are encouraged to plan transcript needs accordingly.

There are three transcript formats available:1) Official: There is a $4.00 charge per official

transcript payable at the time of the request. Theofficial transcript arranges the academic record interm sequence and contains the RISD seal andsignature of the Registrar;

2) Unofficial: The unofficial transcript arranges theacademic record in term sequence, but is not officialin any way. That is, it is printed on plain or blue-barcomputer paper and does not contain any verifyingsignatures or official seals. Unofficial transcripts aregenerally used by current or former students whodon’t need a certified, official copy.

3) Academic Evaluation/Advisement: The AcademicEvaluation is in the form of a graduation auditchecklist. It is used for academic advising anddegree auditing by students and advisors and isavailable electronically at all times. An alternative to the Academic Evaluation is theadvisement transcript which sorts courses by subject(e.g. ENGL, ARTH) rather than chronologically byterm the course was taken. This version, althoughstill available, has largely been supplanted by theAcademic Evaluation. It is available uponrequest.

Emergency requests for transcripts are accepted by theRegistrar and are processed the same business day if receivedprior to 2:00 p.m. There is a service fee of $10.00 whichincludes the cost of the transcript. U.S. Postal Express deliveryor use of a private carrier, such as Federal Express, will beaccommodated provided the student pays the fees or providesthe pre-paid package.

If time is of the essence, transcript requests may besubmitted by fax to (401) 454-6724. For billing, include yourVisa or MasterCard number, expiration date of the card, andfull billing address for the card.

Web Access to RecordsCurrent, degree-seeking students have electronic access via theRISD intranet to their grades, transcript, class schedule,account and other information. Go to website<http://intranet.risd.edu> and click on the button for“WebAdvisor.” Most information requires a user name andpassword which all students are assigned as they enter theCollege. A log-in account is not needed to search for classesfor registration. Students who need help logging in through thewebsite should contact the Office of Information TechnologyHelpdesk (454-6106 or helpdesk@risd.edu) or the Office of theRegistrar (454-6151 or registrar@risd.edu). Both offices arelocated on the first floor of 20 Washington Place. A studentwho forgets their password can get a temporary passworddirectly from WebAdvisor. Instructions are on the web site.Through WebAdvisor, faculty advisors also have web accessto the grades and transcripts of their advisees.

20 General Interest 2009 - 2010

Ø ÙCER 4113 IMAGE & IMAGINATION IN CLAY3 credits Instructor Name Here A course involving personal interpretations of our culture,organic imagery, ...

Ú Prerequisites: noneCourse Level: Senior, Grads; Elective

Û Permission of instructor required

Ü Fee: $50.00 Est. Cost of Materials $75.00

Ý Also offered as DM 7112.

Þ (SPRING)

Guide to RISD Courses for 2009 - 2010

Ø Subject and Course Number: In some departments, a fewcourse numbers have special meaning. These are:999G Graduate classLE99 Liberal Arts ElectiveC999 Choice of credit in ARTH or HPSS or ENGL, as noted in

course descriptionH999 History of Art and Visual Culture creditE999 English creditS999 HPSS creditW999 Wintersession course (some Wintersession courses, , but not

all, begin with a “W”)Used in the Architectures:99ST Studio class99JR Junior studio

Ù Course title, Credits, Instructor name, if known, andCourse descriptionÚ Prerequisites, Corequisites: Prerequisite courses or knowledgewhich must be completed prior to taking this class, or corequisitecourses which must be taken during the same semester. CourseLevel: The year the course is taken by majors or, for nonmajors orliberal arts courses, indicates other restrictions. Some courses arerequired by majors and others are electives. Some electives are opento nonmajors.

ÛPermission required: The department head or instructor mustprovide written approval (usually on the registration form) in orderfor a student to register in the course. Students may not register on theweb for courses requiring written approval

ÜFee: After registration is completed, students are billed for thisamount by the Student Accounts Office. Estimated Cost ofMaterials: Approximate out-of-pocket expenses the student shouldexpect for materials and supplies. Unlike fees, RISD does not billstudents for these costs.

Ý Also offered as: This course is cross-listed and may be takenthrough either of these departments. Register using the code for thedepartment in which credit is desired. In the example above, aCeramics major desiring nonmajor credit would sign up for DM 7112,and for major credit would sign up for CER 4113.

Þ(SPRING): The semester(s) in which the course is offered. If(Fall/Spring) is listed, the course will be offered in both semesters.Wintersession courses appear in a separate catalog.

2009 - 2010 Apparel Design 21

BFA Curriculum in Apparel DesignDivision of Architecture and DesignDepartment Office: Auditorium 5th Floor, telephone 454-6180

COURSE NO. CREDITSFall Spring Fall Winter Spring

First YearFirst-year Program—see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year3102 Sophomore Intro to Apparel Studio 6 0

3121 Sophomore Apparel Studio 0 6 3122 Sophomore Design/Draw 3 0

3123 Sophomore Design/Draw 0 3 Liberal Arts 3 6

Wintersession 3Year Total 12 3 15

Third Year3128 Junior Machine Knitwear Studio 3 0 3132 Junior Cut and Sew Studio 3 0

3133 Junior Tailoring Studio 0 6 3130 Junior Design/Draw 3 0

3135 Junior Design/Draw 0 3Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Fourth Year3140 Senior Collection Development 9 0

3141 Senior Thesis Collection Development 0 9 Liberal Arts 6 3

Wintersession 3Year Total 15 3 12

Curriculum noteElective courses are to be selected in consultation with department heads and faculty advisors.

22 Apparel Design 2009 - 2010

Courses in Apparel DesignAPPAR 3102 SOPHOMORE INTRO TO APPAREL

STUDIO6 credits Meg DeCubellis/Maha BarsomThis introductory course lays the foundation for the designprocess through draping, pattern drafting and construction.Students make basic patterns and proceed with variations todevelop pattern making skills and design concepts. Weeklytextile seminars introduce students to fibers and yarns, fabrictypes, properties and uses.Must also register for: APPAR 3122Requirement for sophomore majorsApparel Design majors onlyFee: $160.00Estimated cost of materials and text: $250.00(FALL)

APPAR 3121 SOPHOMORE APPAREL STUDIO6 credits Meg DeCubellis/Catherine AndreozziBuilding on basic techniques taught first semester, studentsproceed to more complex cuts for bodices, sleeves, skirts andpants through techniques of draping, drafting and construction.One finished garment is required.Must also register for: APPAR 3123 Requirement for sophomore majorsApparel Design majors onlyFee: $95.00 Estimated cost of materials: $125.00 (SPRING)

APPAR 3122 SOPHOMORE DESIGN/DRAW3 credits Suzanne Mancini/tbaThe design component introduces research methods andconceptual skills, to be used with the medium of fabric. Thedrawing class focuses on the development of fashion croquis,drawing from the model, technical flats and presentation platesto effectively communicate the visual language of their designintentions. Students develop research methods and learn theimportance of concepts, color and fabric stories. Must also register for: APPAR 3102Requirement for sophomore majorsApparel Design majors onlyFee: $25.00Estimated cost of materials: $250.00(FALL)

APPAR 3123 SOPHOMORE DESIGN/DRAW3 credits tbaThe design course builds on design process skills from the firstsemester through assignments that focus on research and itsapplication, conceptual development, and team dynamics.Varied facets of apparel design are explored through lectures,museum research, classroom discussion, and creativeexploration. The drawing component of the class focuses onprint and texture rendering, drawing the fashion figure, layoutdesign, and use of varied rendering media.Must also register for: APPAR 3121Requirement for sophomore majorsApparel Design majors onlyFee: $55.00 Estimated cost of materials: $150.00(SPRING)

APPAR 3128 JUNIOR MACHINE KNITWEAR STUDIO

3 credits Jeung-Hwa ParkThis course is an introduction to the creative and technicalpossibilities of the knitting machine. Through the developmentof knit swatches, the course will cover essentials of sweaterknit design including graphing, calculating gauge and tension,shaping of a knit body, exploration of a diverse range of knitstitches, professional finishing of a knit garment, and yarnselection. Students will also develop unique trims and finishesto enhance their designs.Must also register for: APPAR 3130/3132 Requirement for junior majorsApparel Design majors onlyFee: $80.00 Estimated cost of materials: $200.00(FALL)

APPAR 3130 JUNIOR DESIGN/DRAW3 credits Catherine AndreozzitbaIn Design/Drawing II, Junior students focus on designing forknitwear, experimenting three dimensionally as they explorethe unique properties of knit fabrics. Color, texture, yarn andstitch variations are examined as students also design using thediverse properties of machine knitwear. Student build onexisting drawing skills, learning new rendering techniques tocommunicate their knitwear designs. Students work withmodels to develop individual drawing styles while buildingeffective portfolios.Must also register for: APPAR 3128/3132Requirement for junior majorsApparel Design majors onlyFee: $40.00 Estimated cost of materials: $200.00(FALL)

2009 - 2010 Apparel Design 23APPAR 3132 JUNIOR CUT AND SEW STUDIO3 credits Mary KawenskiStudents concentrate on designing with “cut and sew” knitfabric. Through draping with knit fabrics on the form, studentslearn to utilize the inherent properties of knits. Instruction in“cut and sew” construction is combined with pattern makingand draping techniques, enabling students to execute theirconcepts as finished garments.Must also register for: APPAR 3128/3130 Requirement for junior majorsApparel Design majors only Fee: $20.00Estimated cost of materials and text: $250.00(FALL)

APPAR 3133 JUNIOR TAILORING STUDIO6 credits Maha Barsom/Hanna HohenbergStudents focus on tailoring techniques and the design oftailored apparel. Drafting and classic tailoring techniques aretaught and students explore shape and structure throughexperimentation on the form and creative pattern making.During this process, students use these technical skills todesign and execute a jacket and companion piece. Requirement for junior majorsApparel Design majors only Fee: $70.00 Estimated cost of materials: $400.00(SPRING)

APPAR 3135 JUNIOR DESIGN/DRAW3 credits Catherine AndreozziDuring the spring semester, Junior students focus on form andproportion as they explore the structural possibilities inherentin the art of tailoring. Students design multiple collections,examining the properties of cohesiveness and conceptualexpansion. Projects in men’s wear and children’s wear exposestudents to new directions for their creativity as they learn newcomputer techniques. Individual drawing skills arestrengthened as students refine their portfolios.Requirement for junior majorsApparel Design majors onlyFee: $40.00Estimated cost of materials: $200.00(SPRING)

APPAR 3140 SENIOR COLLECTIONDEVELOPMENT

9 credits K. Grevers/H. Hohenberg/S. Mancini M. Kawenski/D. Gustavsen

During three integrated studios, students learn to expand thedesign process by developing professional collections fromconcept to presentation. Portfolio assignments are aimed atstrengthening students’ established styles and experimentationin new areas. Studios build on their draping, drafting andconstruction skills through individual instruction as theycomplete a collection for final presentation to the visiting

critics. During studio, students also learn to use the computeras a design tool for product visualization and presentation.Requirement for senior majorsApparel Design majors only Fee: $70.00Estimated cost of materials: $1,000.00(FALL)

APPAR 3141 SENIOR THESIS COLLECTIONDEVELOPMENT

9 credits K.Grevers/D.GustavsenS. Mancini/M. Kawenski

This senior level course focuses on the design of collectionsand the development of each student’s unique interpretation ofapparel design. The senior thesis collections are a culminationof their skills and an exploration of their design vision.Originality, problem solving, and an organized design processare defined as essential elements of a successful thesiscollection. Seniors refine and build their portfolios. Projectsare aimed at enabling students to express a diverse butcohesive design vision. CAD instruction in U4ia softwaregives students an additional creative tool.Requirement for senior majorsApparel Design majors only Fee: $90.00 Estimated cost of materials $1,000.00(SPRING)

LAEL LE35 HISTORY OF DRESS3 credits Lorraine HowesThis course reviews world art and social history starting in theeighteenth century to illuminate the symbology and meaningbehind the aesthetic of each era, and the way in which theaesthetic finds universal expression in clothing. Examples fromthe collection of the RISD Museum are studied and slides areshown. Projects required are visually-based reports, writtenpapers/journals and group presentations.Estimated Cost of Text: $55.00Art History credit for Apparel Design majors; Elective creditin Liberal Arts for others. (FALL)

2009 - 2010 Architecture 25

Bachelor of Architecture--Five-Year ProgramDivision of Architecture and Design Department of Architecture, BEB 1st floor, telephone 454-6281

COURSE NO. CREDITSFall Spring Summer Fall Winter Spring

First YearFirst-year Program--see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year2101 Design Principles 6 0 2151 Materials and Methods of Construction 3 02141 Manual Representation 3 0Hxxx orelective Elective, or Architectural History Seminar 2 3 0

2142 Digital Representation 0 3 2102 Architectural Design 0 6 LE22 Modern Architecture 1 0 32152 Statics & Strength of Materials 0 3

Wintersession 3 Year Total 15 3 15

Third Year2108 Urban Design Principles 6 0 2156 Environmental Design I 3 0Hxxx orelective Architectural History Seminar 2, or elective 3 0

2158 Environmental Design II 0 3 21ST Advanced Studio 0 6

Electives 0 6Wintersession 3

2199 Summer--Professional Internship 7 0 or 3Year Total (0 or 3) 12 3 15

Fourth Year21ST 21ST Advanced Studio 3 6 6 2155 Concrete & Masonry 3 0

2154 Wood & Steel 0 3 2177 Integrated Building Systems I 0 3

Electives 6 3 Wintersession 3

Year Total 15 3 15

Fifth Year21ST Advanced Studio 3 6 0

Degree Project Seminar 4 3 02178 Integrated Building Systems II 3 0

2191 Principles of Professional Practice 0 3 2198 Degree Project 5 0 6

Elective 3 3 2197 Wintersession 6 3

Year Total 15 3 12

26 Architecture 2009 - 2010 Footnotes1Receives Art History credit and satisfies part of theArchitectural History requirement.

2 One of the following seminar Architectural History classes isrequired for the Architectural History sequence: ARTH H480,H513, H533, H549, H561, H566, H610, H631, H653, H693,H732. Prior to registration, contact the Department ofArchitecture for an updated list. These courses also partiallyfulfill the Liberal Arts degree requirement in the History of Artand Visual Culture. If you wish to take one of these class inFall of your sophomore year, you must have departmentpermission to do so, or you must have completed ModernArchitecture (LE22). A student who entered RISD as afreshman will generally take an elective at this time and takethe Hxxx class in the junior year. Transfer students willgenerally be give permission to take an Hxxx in theirsophomore year.

3 Three 21ST, “Advanced Studios” are required. One of thesemay be in an allied department (Landscape Architecture orInterior Architecture). A 6 credit transfer studio may also betaken during Wintersession of Junior or Senior year withdepartment permission. If the Architecture departmentrecommends a waiver of Degree Project Research and DegreeProject, then two additional advanced studios will be requiredfor the degree.

4 One of the degree project seminars, ARCH 2110, 2121, 2160,2173, 2175, 2180, 2181, 2182, 2183, 2184, 2185, 2186, 2188,2189 or 2190 must be taken in the Fall prior to taking DegreeProject Research in Wintersession.

5 For the final semester, a student may be asked by theirprofessor to take an additional Advanced Studio (21ST) in lieuof Degree Project, based on the student’s overall academicrecord as well as their performance in Wintersession DegreeProject Research.

6 ARCH 2197 is required during Wintersession

7 For students entering the B. Arch or M. Arch program in Fall2006 or after, an eight week internship is required. Theinternship is meant to be accomplished during a singlesummer, but may be taken over two Wintersessions, typicallybeginning after the third year for undergrads and after the firstyear for grads. Either way it is taken, only three credits in totalwill be granted, or the student may opt for zero credit forprofessional reasons. If taken for zero credit, then the studentmust take a three credit elective as well. See the coursedescription for details. For students who entered the programprior to 2006, the internship is an option, which can be used inplace of an elective.

Additional notesThe degree requirement of 42 credits in Liberal Arts must beearned by the end of the fourth year in order to earn theBachelor of Fine Arts degree at that time. Elective courses areto be selected in consultation with faculty advisors.

Students entering the Department of Architecture mustparticipate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified in theDepartment's "Laptop Program Requirements and PolicyGuidelines".

National Architectural Accrediting Board (NAAB)AccreditationIn the United States, most state registration boards require adegree from an accredited professional degree program as aprerequisite for licensure. The National ArchitecturalAccrediting Board (NAAB), which is the sole agencyauthorized to accredit U.S. professional degree programs inarchitecture, recognizes three types of degrees: the Bachelor ofArchitecture, the Master of Architecture, and the Doctor ofArchitecture. A program may be granted a 6-year, 3-year, or 2-year term of accreditation, depending on the extent of itsconformance with established educational standards.

Master’s degree programs may consist of a preprofessionalundergraduate degree and a professional graduate degree that,when earned sequentially, constitute an accredited professionaleducation. However, the preprofessional degree is not, byitself, recognized as an accredited degree.

MINIMUM CREDITS REQUIREDBFA B.ARCH

Department 54 81Nonmajor studio electives 12 12Foundation Studios 18 18Liberal Arts 42 42Department elective 0 3Total 126 156

2009 - 2010 Architecture 27

B. Arch/M. Arch Advanced 3.2 Year Curriculum Undergraduate Transfer Students and Master of Architecture I CandidatesDivision of Architecture & Design

COURSE NO. CREDITSFall Spring Summer Fall Winter Spring

First YearSummer Foundation Studies (9)

2101 Design Principles 6 0 2151 Materials and Methods of Construction 3 02141 Manual Representation 3 0Hxxx or elective Architectural History Seminar 2 3 0

2142 Digital Representation 0 3LE22 Modern Architecture 1 0 32152 Statics & Strength of Materials 0 3 2102 Architectural Design 0 6

Wintersession Term 3 Year Total (9) 15 3 15

Second Year2108 Urban Design Principles 6 0 2156 Environmental Design I 3 0Hxxx orelective Architectural History II Elective 3 0

2177 Integrated Building Systems I 0 321ST Advanced Studio 0 6 2154 Wood & Steel 0 3 2158 Environmental Design II 0 3

Wintersession--Advanced Design Studio 62199 Summer--Professional Internship 7 (0 or 3)

Year Total (0 or 3) 12 6 15

Third Year21ST Advanced Studio 3 6 0

Degree Project Seminar 4 3 02155 Concrete & Masonry 3 0 2178 Integrated Building Systems II 3 0

2191 Principles of Professional Practice 0 3 2198 Degree Project 5 0 6

Elective 0 3 Wintersession 6 (2197) 3

Year Total 15 3 15

Footnotes1 Receives Art History credit and satisfies part of the

Architectural History requirement.

2 One of the following seminar Architectural History classesis required to complete the Architectural History sequence:H480, H513, H533, H549, H561, H566, H610, H631, H653,H693, H732. Prior to registration, contact the Department ofArchitecture for an updated list. These courses also partiallyfulfill the Liberal Arts degree requirement in the History ofArt and Visual Culture. If you wish to take one of these

class in Fall of your sophomore year, you must havedepartment permission to do so, or you must have completedModern Architecture (LE22). A student who entered RISDas a freshman will generally take an elective at this time andtake the Hxxx class in the junior year. Transfer students willgenerally be give permission to take an Hxxx in theirsophomore year.

3 Three 21ST, “Advanced Studios” are required. One of thesemay be in an allied department (Landscape Architecture or

28 Architecture 2009 - 2010 Interior Architecture). A 6 credit transfer studio must also betaken during Wintersession of the second year. If theArchitecture department recommends a waiver of DegreeProject Research and Degree Project, then two additionaladvanced studios will be required for the degree.

4 One of the degree project seminars, ARCH 2110, 2121,2160, 2173, 2175, 2180, 2181, 2182, 2183, 2184, 2185,2186, 2188, 2189 or 2190 must be taken in the Fall prior totaking Degree Project Research in Wintersession.

5 For the final semester, a student may be asked by theirprofessor to take an additional Advanced Studio (21ST) inlieu of Degree Project, based on the student’s overallacademic record as well as their performance inWintersession Degree Project Research.

6 ARCH 2197 is required during Wintersession

7 For students entering the program in or after Fall 2006, aneight-week internship is required for all B. Arch and M.Arch candidates. The internship is meant to beaccomplished during a single summer, but may be takenover two Wintersessions, typically beginning after the thirdyear for undergrads and after the first year for grads. Eitherway it is taken, only three credits in total will be granted, orthe student may opt for zero credit for professional reasons.If taken for zero credit, then the student must take a threecredit elective as well. See the course description for details.

Additional notesTransfer and M. Arch students are required to take oneadvanced design studio elective during the secondWintersession period. If transfer students have not received awaiver for ARTH H101 & H102, these courses must becompleted in order to receive the BFA degree.

Students entering the Department of Architecture mustparticipate in its required laptop program, purchasinghardware, software, upgrades and insurance, specified in theDepartment's "Laptop Program Requirements and PolicyGuidelines".

Total credits for degree: 156 (B. Arch)111 (M. Arch)

National Architectural Accrediting Board (NAAB)AccreditationIn the United States, most state registration boards require adegree from an accredited professional degree program as aprerequisite for licensure. The National ArchitecturalAccrediting Board (NAAB), which is the sole agencyauthorized to accredit U.S. professional degree programs inarchitecture, recognizes three types of degrees: the Bachelor ofArchitecture, the Master of Architecture, and the Doctor ofArchitecture. A program may be granted a 6-year, 3-year, or 2-

year term of accreditation, depending on the extent of itsconformance with established educational standards.

Master’s degree programs may consist of a preprofessionalundergraduate degree and a professional graduate degree that,when earned sequentially, constitute an accredited professionaleducation. However, the preprofessional degree is not, byitself, recognized as an accredited degree.

2009 - 2010 Architecture 29

Courses in Architecture

Design CoursesARCH 2101 DESIGN PRINCIPLES6 credits StaffThis course, the first in a two semester sequence, exploresdesign principles common to architecture, and landscapearchitecture. Projects are selected to provide a basis fordiscerning and investigating both the differences of focussuggested by the two disciplines and their common concerns.Two interrelated aspects of design are pursued: 1) the elementsof composition and their formal, spatial, and tectonicmanipulation and 2) meanings conveyed by formal choices andtransformations.Requirement for sophomore majors and first-year M. Arch.studentsARCH majors onlyFee: $130.00(FALL)

ARCH 2102 ARCHITECTURAL DESIGN6 credits StaffDesign principles presented in the first semester are furtherdeveloped through a series of projects involving actual siteswith their concomitant physical and historic-culturalconditions. Issues of context, methodology, program andconstruction are explored for their possible interrelatedmeanings and influences on the making of architectural form.Prerequisite: ARCH 2101Requirement for second semester sophomores and first-year M.Arch. studentsARCH majors onlyFee: $130.00(SPRING)

ARCH 2108 URBAN DESIGN PRINCIPLES6 credits StaffIn the first semester of the junior year, all architecture studentschoose one of a set of studios designed to confront issues ofhousing, public space and medium to large scale construction.

Prerequisites: ARCH 2101/2102Requirement for junior majors and second-year M. Arch.ARCH majors onlyFee: $55.00(FALL)

ARCH 21ST ADVANCED STUDIO6 credits StaffThese studios, three of which are required for graduation, areoffered by individual instructors to students who havesuccessfully completed the core curriculum. They are assignedby lottery on the first day of classes.Prerequisite: ARCH 2108Requirement for junior (second semester), senior, fifth-year,

and M. Arch.Fee: Some advanced studios have a fee for course supplies orfield trips. The fee is announced during the registration lotteryheld in the department. (FALL/SPRING)

ARCH 2197 DEGREE PROJECT RESEARCH3 credits StaffSerious research and a specific preparation begins in thiscourse, forming the theoretical basis for the creativedevelopment of the Degree Project (Spring 6 credits). This isa period in which the nature of the work is clarified, a processis developed, possibilities are examined, and research andinformation gathering completed. The work of this course actsas an armature, establishing the attitude, objectives, andsignificance of the thesis as an exploration of architecturalideas, and forming the underpinnings for the work of thecoming semester. The results of this work is gathered togetherand reflected in the DP Book; begun in the fall with work fromDP prep and completed in the spring as part of therequirements for completion of Degree Project. The work isreviewed at the end of Wintersession; satisfactory completionof this work is a prerequisite for the Degree Project in theSpring Semester.Permission of instructor required - Requirement for DegreeProjectSchedule to be determined with Advisor(WINTERSESSION)

ARCH 2198 DEGREE PROJECT 6 credits StaffUnder the supervision of a faculty advisor, students areresponsible for the preparation and completion of anindependent thesis project.Prerequisites: One of the degree project seminars. Seefootnotes on the curriculum sheet for a list of these classes orread the course descriptions in the “History and Theory”section which follows. Permission of department requiredRequirement for fifth-year majors, and Third-year M. Arch.Permission for this class is based on the student's overallacademic record as well as their performance in WintersessionDegree Project Research. If the department recommendsagainst a student undertaking the degree project, twoadvanced elective studios must be taken instead.(SPRING)

30 Architecture 2009 - 2010

Drawing CoursesARCH 2141 MANUAL REPRESENTATION3 credits StaffThis course provides a knowledge of orthographic,axonometric, oblique, and conical projection drawing. Itencourages disciplined attitudes towards drawing throughreasoning and develops the ability to present and explaincreative ideas.Requirement for sophomore majors and first-year M. Arch. (FALL)

ARCH 2142 DIGITAL REPRESENTATION3 credits H. Better/P. Riahi/A. PiermariniThis course is intended to provide students with initialexposure to the basic techniques of architectural representationusing computers. Throughout the semester, we will be learningthe tools of two-dimensional representations and learning tobuild three-dimensional models along with some specificrendering techniques. We will be using three widely acceptedsoftware platforms - AutoCad, Rhino and Autodesk Viz. Wewill cover a wide range of outputting programs such asPhotoshop, Powerpoint and InDesign/IllustratorPrerequisite: ARCH 2141 or INTAR 2341Requirement for sophomore Architecture majors and first-yearM. ArchARCH majors only(SPRING)

ARCH 2146 DIGITAL CONSTRUCTS3 credits Hansy BetterUsing a variety of digital softwares, students will learn thepractical and theoretical application of computer modeling:representation, simulation and fabrication. The computer willbe used to inform design ideas and explore various modes ofrepresentation, including analytical, algorithmic and perceptualmodels. Students will be asked to design and present theirdesign object using Flash, Autodesk Viz, Autocad, Rhino andIllustrator. The second half of the course will introducestudents to basic algorithmic design thinking and rapidprototyping CAD/CAM technologies (Wire EDM,Lasercutting, CNC Milling) covering nurb and surfacemodeling fabrication tools. Students will ultimately prototype'sheet samples' of their fabrication design research. Familiaritywith AutoCAD and Rhino modeling software required and thecourse is open to all departments at RISD and BrownUniversity. IBM PCS platforms will be used. Prerequisite: Basic familiarity with Windows bases programsNonmajor elective; Open to all levels and departments at RISDand Brown(FALL)

Technology CoursesARCH 2151 MATERIALS & METHODS OF

CONSTRUCTION3 credits James Barnes This course addresses the fundamental characteristics ofmaterials, their use in complex geometric assemblies asstructure, and as enclosures. A basic vocabulary ofconstruction terminology will be presented along with visualreferences of possible materials’ applications to establish abasic awareness of those determinants which effect theselection of materials when designing buildings and spaces.Readings, projects, and assignments will supplement lectures.Field trips complement case studies of important historic andcontemporary buildings presented during the lectures.Satisfies Architectural Technology I requirements.Requirement for sophomore majors and first-year M. Arch(FALL)

ARCH 2152 STATICS & STRENGTH OFMATERIALS

3 credits Wilbur YoderBasic content will be statics & strength of materials. The firstportion will deal with force vectors, trusses, cross-sectionalproperties, and shear/moment diagrams, followed by stresses,strains, material applications and the analysis proceduresnecessary to computer structural behaviors. Satisfies Architectural Technology II degree requirement.Requirement for sophomore majors and first-year M. Arch(SPRING)

ARCH 2154 WOOD & STEEL3 credits David TidwellBuilding on the base of structural principles introduced inStatics & Strength of Materials, the student will study in moredetail systems appropriate to the structural materials wood &steel, including timber systems consisting of conventionalframing trusses, laminates, built-up sections and connections,steel systems consisting of rolled sections, built-up sections,trusses, frames, composite design, connection, etc.Requirement for undergraduate majors and second-year M.Arch(SPRING)

ARCH 2155 CONCRETE & MASONRY3 credits Wilbur YoderThe analysis and design of concrete structures, includingreinforced and pre-stressed concrete members, concretefoundations and reinforced masonry. Working stress andultimate strength design methods will be presented.Requirement for fifth-year majors, third-year M. Arch(FALL)

ARCH 2156 ENVIRONMENTAL DESIGN I3 credits David TidwellThe study of basic concepts of Human EnvironmentalComforts. Inherent within ‘physio-environ’ considerations are

2009 - 2010 Architecture 31principles of temperature, humidity, heat transfer, airmovement, and hydrostatics. Conventionally defined, thecourse will deal with heating, ventilation, air-conditioning andplumbing, plus the building systems used to accommodate theenvironmental/technical requirements of the built space.Emphasis will be placed on the principles behind thetechnology, the behavioral characteristics and the qualities ofthe systems’ operation considered in making building designdecisions. Topics and principles to be included are: Energyand Alternate Energy; Solar/Orientation; Natural Ventilation,Co-Generation; Fire Protection and Conservation.Prerequisites: ARCH 2151/2152Requirement for junior majors and second-year M. Arch(FALL)

ARCH 2158 ENVIRONMENTAL DESIGN II3 credits Jonathan KnowlesThis equally distributed three part course will continue with theprinciples from “Physics”, the application of electric energy,lighting and sound to building environs. Building technologycontinues to demand a larger percentage of the building’sbudget and thus should receive a greater degree of time andunderstanding by the Architect. Topics and principles to beincluded are: Electronic generation, distribution, and buildingsystems; electronic and communication systems; Lightingfundamentals, design and control; and Enviro-acousticalfundamentals, sound transmission, amplification, andabsorption principles.Requirement for junior majors and second-year M. Arch (SPRING)

ARCH 2168 HIGH PERFORMANCESTRUCTURES

3 credits Erik Nelson/David OdehThis class is designed for students of RISD and Brown whowant a broader understanding of structural behavior andmaterial science without the mathematical complexity of anengineering course. What types of geometry, structuralsystems, or materials shall we consider for a certain designproblem and why? Where does innovation lie in buildingmaterials and structural forms? How can we optimize forms tocreate elegant, efficient and economical architecture? We willreview geometry, environmental forces, and materialmechanics to understand the design of towers, long-span roofs,bridges, cable and fabric structures, tensegrity sculptures,arches, hypars, and domes. We will investigate innovation intraditional building materials (wood, steel, concrete) as well asintroduce new materials (micromechanics of nanotubes, FRPs,and biomaterials). Guest lectures, drawn from both researchand professional practice will discuss applied and conceptualdesign ideas of high performance systems. Prerequisite: ARCH 2151, 2152Open to senior, fifth-year, graduate; Elective(SPRING)

ARCH 2177 INTEGRATED BUILDING SYSTEMS I

3 credits Peter Tagiuri/Andrew TowerThe course teaches a basis for understanding buildings asbalanced constructs of physical forces in constant flux, asopposed to the more traditional idea that they are perfect onlyat the moment of their completion and then do little more thanfend off the inevitable decaying effects of time, climate andoccupation. Taught as a series of lectures/seminars in the fieldsof building physics, material sciences, forensic diagnosis ofbuilding failures, and the architectural detailing implications ofthese small-scale studies, the course aims to school thestudents' powers of observation and deduction through a seriesof closely observed case studies. The primary instructor willenlist the assistance of guest lecturers and other faculty forspecialty lectures, field trips and discussion groups.Prerequisites: ARCH 2156/2158 Requirement for fourth-year majors and second-year M.Arch(SPRING)

ARCH 2178 INTEGRATED BUILDING SYSTEMS II

3 credits Jonathan Knowles/Wilbur YoderConceived as the culmination of the technologies sequence ofcourses, this course allows students to choose amongst thethree instructor’s differing approaches to the problem ofconceiving technology holistically, in relation to a set ofarchitectural criteria. The conceptual and technical aspects ofbuilding systems are considered, and emergentenvironmentally-conscious technologies are emphasized forresearch and application.Prerequisites: ARCH 2177 and all technologies courses.Requirement for fifth-year majors and third-year M. Arch(FALL)

ARCH 2191 PRINCIPLES OF PROFESSIONALPRACTICE

3 credits James BarnesThis is a course about becoming a licensed architect, a businessprofessional and an active, engaged and responsible citizen. Itis intended to help prepare students for the challenges andopportunities confronted by a life in Architecture. Lectures areorganized around four themes: The architect as a trained andcertified “Professional” in traditional and alternative careers; the architect as an operative in the world of business andcommerce; the origins of architectural projects; and thedetailed work performed through professional ArchitecturalContracts. Regular panels, composed of RISD alums andother allied professionals provide an external perspective on allelements of the course, and allow students the opportunity todirect discussion in ways appropriate to their needs. Requirement for fourth or fifth-year majors and third-year M.Arch(SPRING)

32 Architecture 2009 - 2010 ARCH 2199 PROFESSIONAL INTERNSHIP0-3 credits StaffFor students entering the program in Fall 2006 or thereafter, aneight-week internship is required for all B. Arch and M. Archcandidates. The internship is meant to be accomplished duringa single summer. IDP (Internship Development Program), therequired internship towards professional licensure, stipulatesthat internships cannot begin until after the completion of thethird year for undergrads and the first year for grads. Studentsmust decide to count this internship either towards IDP oracademic credit. Those who choose IDP will receive zerocredits (0) but must substitute any three credit elective coursein order to earn adequate credits towards graduation. Thosewho wish to receive academic credit will receive three credits(3) but should be aware that any credits amounting to morethan 36 credits annually will be billed in addition to basetuition. Summertime internship credit is awarded in thesubsequent fall semester. All students must register for theinternship in the spring with the departmental internshipcoordinator. International students must contact the Office ofInternational Programs to deal with immigration requirements.Credits: Student chooses either zero credits or three credits asabove; grades are Pass or Fail.(SUMMER)

History and Theory CoursesARCH 100G ANOTHER CITY FOR ANOTHER

LIFE3 credits Brian GoldbergThe history of architecture and urbanism has conventionallyunderstood the modern city as an accumulation ofarchitectures: buildings, public spaces, monuments,institutions, and infrastructures. The seminar will reconsiderthe modern city by developing another version of this history,not of the city's construction, but of its annihilation (both realand imaginary). A desire to start anew (on cleared ground, atyear zero) informs a range of urbanistic practices – from themore or less spontaneous acts of vengeful mobs, to thecarefully modulated destructions carried out by the state and itsagents; from ecstatic, revolutionary violence to the mostelaborately detailed utopian visions. Through this investigationthe seminar will address a number of questions about the statusof the architectural sign, its relationship to networks of power,its mutability and relative permanence.Open to graduate students; senior or fifth-year majors bypermission(SPRING)

ARCH 2121 DEGREE PROJECT SEMINAR:INCIPIENT EMANCIPATION:WORK, LABOR, ACTION

3 credits Matthew Miller/Thomas GardnerThrough examination and analysis of three arenas of theculture of building - tectonic, social / economic, and urban -this seminar seeks to develop an awareness for the complexity

of built form, a capacity for criticism in the process of design,and an understanding of the relationship between the traditionaland the innovative. We will work toward developing asensitivity to the multiple levels at which the built environmentconveys cultural significance and shares a common structuraland ethical approach, a process which is open-ended andattuned to human needs, neither scriptive nor prescriptive.Through lectures, readings, discourse, debate and hands-onworkshops, this course is a pointed examination ofarchitectural space, an intimate inquiry on making, onengagement, and on finding real, working solutions whilebeing challenged by intellectual and practical intensity,challenged by experimentation, dialogue and critique,providing a platform for students to establish their own specificagenda and clarify their personal direction of work inarchitecture. The next step for the work is implementation.Open to fifth-year, graduate, or permission of instructor;ARCH majors onlyPre-Registration by DepartmentThis course satisfies the prerequisite requirement for DegreeProject(FALL)

ARCH 2123 ALVAR AALTO AND THEARCHITECTURE OF THE NORDICNORTH

3 credits Henry Dietrich FernándezAlvar Aalto’s ability to confront and engage the natural worldearned him a position among the ranks of the great architectsof the twentieth century, and his influence is still greatly felt intwenty-first-century design. In this History of Architecturecourse, students will become familiar with Aalto’s built works(as well as his theoretical writings, furniture and paintings) andwill study the relationship of his ideas to those of his Finnishcompatriots such as Gottlieb Eliel Saarinen and ErikBryggman. In conjunction with an examination of Finnishdesign culture, we will explore the work of Scandinaviandesigners in Sweden: Ragnar Östberg, Sigurd Lewerentz andErik Gunnar Asplund; and Danish designers Arne EmilJacobsen and Jørn Utzon. The course will be enhancedby visiting local modern buildings which include WalterGropius’s House, Alvar Aalto’s Baker House, Eero Saarinen’sKresge Chapel and Auditorium and Louis I. Kahn’s ExeterLibrary. Also, during Spring Break, there will be an “OptionalField Trip” to visit works in Finland, Sweden and Denmark.Open to junior and above (SPRING)

ARCH 2173 DEGREE PROJECT SEMINAR:LOVE OF BEGINNINGS

3 credits Brian GoldbergThis course will address directly its place within the DegreeProject course sequence, as the beginning of what thecurriculum understands to be the students' first independentwork. However, it will develop this condition, not for its placein the normative, deterministic teleology of a project, but as the

2009 - 2010 Architecture 33site of becoming, invention, and desire. We will look atbeginnings in order to excavate and expand on their radicality,partiality, openness, and ambiguous relationship to form. Theattenuation of this idea of beginning is not simply the deferralof an inevitable and predictable closure, but a means ofreconceptualizing our relationship to making and to the rolesarchitecture plays within the complex social formations thatcondition its creation and use.The course requirements will include completion of assignedreadings, several brief essays, a series of conceptual projectsrelated to the Degree Project, and active participation in classdiscussions. Instructor will also collect and evaluate all DegreeProject requirements (portfolios, board, and book).Open to fifth-year, graduate, or permission of instructor;ARCH majors onlyPre-Registration by DepartmentThis course satisfies the prerequisite requirement for DegreeProject(FALL)

ARCH 2175 DEGREE PROJECT SEMINAR:READING THE CITY

3 credits Gabriel FeldCities are complex artifacts shaped by powerful forces such ashistory, geography, culture, building and landscape. In turn,they become a stage for human drama, shaping the very life ofpeople connected with them. This course understands cities asboth physical and cultural constructions that can be subject toa variety of readings. Lectures, presentations, assignments anddiscussions will focus on individual cities--such as Havana,Vienna, Lisbon, Istanbul and Beijing--looking at their physicalform and history, as well as some of their major culturalfigures, materials, including maps, aerials, historic documents,fiction and non-fiction readings, theater, film, visual arts,music, dance and food.Open to fifth-year, graduate or Permission of instructor;ARCH majors only for registration as ARCH 2175Pre-registration by department This course satisfies the prerequisite requirement for DegreeProject. Also offered as GRAD 098G for students not takingthe class as a prerequisite for the Architecture Degree Project.Register in the course for which credit is desired.(FALL)

ARCH 2188 DEGREE PROJECT SEMINAR:AMERICAN COMMUNITIES

3 credits Anne TateThis course examines the complex relationships betweencommunities and design. This subject will be approached intwo ways: first, by tracing the historical development ofcommunities and community design in North America,highlight case studies as well as general trends: second, bylooking at present-day issues and efforts to designcommunities. These contemporary debates and designs aremost often characterized as “sustainable development” and“new urbanism.” The issues surrounding these two movements

raise important questions about the possibilities for usingdesign as a tool of social change. The goal of the course is todevelop a critical understanding of “sustainability” and “newurbanism” as common threads of debate, and to envision theroles of designers in (re) weaving the social, economic,political, environmental and built fabrics of contemporarycommunities.Open to fifth-year, graduate, or permission of instructor;ARCH majors onlyPre-Registration by DepartmentThis course satisfies the prerequisite requirement for DegreeProject(FALL)

ARTH H480 SEMINAR: THE ARCHITECTURE OFMICHELANGELO

3 credits Henry FernandezThis course will examine the major architectural projects byMichelangelo in Rome and Florence in the fifty-year period1514 to 1564. It will examine his work within the context ofthe social, political, technological, economic and spiritualcircumstances of the renaissance. Each student will work witha building designed by Michelangelo, that due to a variety ofreasons was never built or completed according to its originaldesign prescriptions. Using surviving evidence, drawings,modeling, or computer drawings that best resolves theirproject.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H513 SEMINAR: ARCHITECTURE ANDTHE CITY IN THE PRE-MODERNMUSLIM WORLD

3 credits Elizabeth Dean HermannIs there an “Islamic architecture” or an “Islamic city?”Through an examination of three capital cities from the late-medieval to pre-modern period (Mamluk Cairo, OttomanConstantinople-Istanbul, and Safavud Isfahan) this course willfocus on what is unique about the architectural expressions ofa particular society, time and place, as well as what aspects ofurban and architectural form, and its related use and inscribedmeaning, are universal within the Muslim world. Questions ofdynastic legitimacy and ideology, patronage trends, social andpolitical structure, ceremonial practices, cultural and politicalrivalry, cross-cultural exchange, and the impact of each on theevolving urban landscape and its monuments will be explored.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

34 Architecture 2009 - 2010 ARTH H653 SEMINAR: INDIGENOUS

ARCHITECTURE OF THEAMERICAS

3 credits Michele SmithThis course will attempt to identify, analyze, and understandnon-western architectural traditions of Native people in NorthAmerica, Mesoamerica, and South America. An attempt will bemade to understand both environmental and culturalcomponents people integrated into their choices of constructionmaterials, spatial arrangements, and in some cases urbanplanning. Particular emphasis will be placed on theappropriation and socialization of landscapes througharchitecture and how landscape was used to express greatercultural concerns. The following cultures will be discussed:Mound Builders and the Mississippians; the Iroquois; CoastalNorthwest coast cultures; the Arctic; the Southwest; the Maya;and Ancient Peru.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H631 SEMINAR: THE GOTHICCATHEDRAL

3 credits Susan WardThis course will study the architecture, sculpture, stained glass,and treasury objects (metalwork and manuscripts) which werethe Gothic cathedral. Our study will begin with anexamination of the reasons such work was created and explorethe stylistic origins of the cathedral in northern France in theearly 12th century. We will then look at the cathedral’ssubsequent development and modification in England, southernFrance, Italy, and Germany during the twelfth through fifteenthcenturies.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H732 SEMINAR: WEST-NONWEST:REORIENTING MODERNISM

3 credits Tulay AtakContemporary architecture culture is marked by globalization.While it is no longer possible to think of architectural practiceas it is limited to the west architectural commissions,competitions, conferences, collaborative design practices,digital media have crosses beyond geographical boundaries thenew geopolitics of architecture may also provide a challengefor thinking about architecture, enforcing a revision ofarchitectural history as well as the emergence of newconceptual categories.

This course is a survey of modern and contemporary

architecture considering architecture as a cultural productsituated in a geopolitical world. We will focus on a point ofcrossings, exchanges translations: the case of Istanbul andTurkey between Orientalism, modernism and globalization.Taking Said s critical Orientalism as our starting point, we willattempt to re-Orient modernism and place modern andcontemporary architecture on a world map shifting its focusfrom the West. Re-Orienting modernism looks at the points oflinkage, intersection and translation between the West and thenon-West in order to view current phenomena in a historicalperspective and situate architecture in the contemporarygeopolitical world.Architecture majors and M.Arch’s will have preference, withothers on first come-first serve basis; 3 spots will be held fornonmajors.Art History credit(FALL)

LAEL LE22 MODERN ARCHITECTURE3 credits tbaThe course will focus on the diverse new roles encountered bythe architect in the 20th century: form maker, administrator ofurban development, social theorist, cultural interpreter,ideologue. Emphasis will be placed upon the increasinginterdependence of architecture and the city, and the recurrentconflicts between mind and hand, modernity and locality,expressionism and universality. Requirement for sophomore majors Art History credit for Architecture majorsLiberal Arts elective credit for nonmajors(SPRING)

LAEL LE68 HISTORY SEMINAR:MICHELANGELO

3 credits Henry FernandezThis course will examine the major architectural projects byMichelangelo in Rome and Florence in the fifty-year period1514 to 1564. It will examine his work within the context ofthe social, political, technological, economic and spiritualcircumstances of the renaissance. Each student will work witha building designed by Michelangelo, that due to a variety ofreasons was never built or completed according to its originaldesign prescriptions. Using surviving evidence, drawings,modeling, or computer drawings that best resolves theirproject.This course is open to all students from all RISD departments.A general background in the history of Italian Art is desirablebut not mandatory.(FALL)

2009 - 2010 Ceramics 35

BFA Curriculum in Ceramics Division of Fine Arts Department office: Metcalf Building Phone x6190

COURSE NO. CREDITSFall Spring Fall Winter Spring

First YearFirst-year Program-- see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4103 Slipcast Clay Object 3 0 4121 Object as Idea in Clay 3 0

4108 Pottery 0 6Elective 3 3 Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Third Year4115 Topics in Ceramic History 3 04129 Ceramic Sculpture 6 0

4106 Clay in Context 0 64114 Topics in Ceramic Material Science 0 3

Electives 3 3 Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Fourth Year4116 Senior Tutorial Studio 6 0 4197 Seminar: Source Presentation 3 0

4198 Senior Thesis 0 12 Liberal Arts 3 0 Wintersession 3

Year Total 12 3 12

Notes The Liberal Arts component of the BFA degree is 42 credits,of which only 33 (assuming 12 in the first year) are detailedabove. The remaining nine credits may be taken during Fall,Spring or Wintersession. You may choose to take additionalLiberal Arts credit in Fall or Spring and take nonmajorelectives during Wintersession. For help, consult with youradvisor, the Liberal Arts Office, or the Registrar.

Two studio elective (six credits) must be in drawing. Consultwith your advisor when selecting studio electives.

36 Ceramics 2009 - 2010

Courses in CeramicsCER 4102 ARCHAEOLOGY OF THE PRESENT:

ANCIENT AND CONTEMPORARYAPPROACHES IN CERAMICS

6 credits Paola Demattè/Linda SorminIn this cross-disciplinary, team-taught studio/liberal artsapproach to ancient and contemporary art practices, we willexplore intellectual exchanges between East and West.Ceramics will provide a common ground to examine andinterrogate relationships between ancient Eastern art andcontemporary art practice. Students will attend lectures,participate in discussions and engage in hands-on making. Wewill explore past and culturally distant practices in a rigorousenvironment that will challenge the uncritical or simplisticappropriation of forms and imagery in contemporary artproduction. Students will be invited to regard ancient objectsand processes in their original context, supported through theact of making three-dimensional objects. Traditional andexperimental approaches to hand-building in clay, vessel andobject making, as well as pit-firing at the RISD Beach, will beexplored through the lenses of ethnographic practices andcontemporary discourse.Open to junior and aboveStudents must also register into ARTH H475. Students willreceive 3 Ceramic and 3 Art History creditsFee: $75.00(SPRING)

CER 4103 SLIPCAST CLAY OBJECT3 credits Frank BoscoIntroduction to the techniques of model and mold making forslipcasting, exploring the sculptural potentials of process.Requirement for sophomore Ceramic majorsAvailable to nonmajors as electiveFee: $100.00(FALL)

CER 4104 HANDBUILDING ELECTIVE3 credits Graduate AssistantIntroduction to the techniques and variety of sculpturalexpression in handbuilt clay.Nonmajor electiveFee: $75.00(FALL/SPRING)

CER 4105 WHEEL POTTERY ELECTIVE3 credits Graduate AssistantIntroduction to the techniques and potentials of wheel thrownpottery. Nonmajor electiveFee: $75.00(FALL/SPRING)

CER 4106 CLAY IN CONTEXT6 credits Larry BushIn this class you will find a site, a venue, a place from whichyour investigations will spring. Working from the tradition andneed of tableware; or architectural ornamentation; or public art,you will attach your personal expressive needs and vision touses outside of the studio. Creative and inventive individualsolutions are stressed. All ceramic techniques and processesappropriate may be used. Collaboration is encouraged. Thisis for advanced students.Prerequisite: A RISD ceramic classRequirement for junior Ceramic majors for 6 creditsAvailable to nonmajors as advanced elective for 6 credits or 3credits with permissionFee: $75.00(SPRING)

CER 4108 POTTERY6 credits Linda SorminStudents explore the pottery making processes of throwing,jiggering, extruding, casting, and pressing. They test andexperiment creating the ceramic surfaces from a variety of hightemperature glaze and firing techniques. They establish andchallenge the creative and expressive potentials of utility.Requirement for sophomore Ceramic majorsAvailable to nonmajors as electiveFee: $75.00(SPRING)

CER 4114 TOPICS IN CERAMIC MATERIALSCIENCE

3 credits Frank BoscoA seminar exploring ceramic idea, method, and expression inceramic art from the technical perspective. Raw materials, claybodies, glazes and glaze calculation are studied. The potentialconnection between technical understanding and the fulfillmentof your vision and aesthetic expression is examined.Independent research is required.Required for Junior Ceramic majorsAvailable to nonmajors as elective(SPRING)

CER 4115 TOPICS IN CERAMIC HISTORY3 credits Larry BushA seminar exploring idea, method, and expression as found inthe history of ceramic art. The focus is the potentialconnection between historical awareness and the developmentof your own work. Independent research is required.Requirement for Junior Ceramic majorsAvailable to nonmajors as elective(FALL)

2009 - 2010 Ceramics 37

CER 4116 SENIOR TUTORIAL STUDIO6 credits Larry BushIn the beginning of your fourth year you work independentlywith a ceramic faculty tutor to develop your individual degreeproject. Your project is expected to be a body of ceramic workthat is unified in direction, significant in its degree of growth,innovative in its resolution, and personal in its expression. Allfaculty in Ceramics are available to you.Requirement for senior Ceramic majorsFee: $75.00(FALL)

CER 4121 OBJECT AS IDEA IN CLAY3 credits Shannon GoffAn exploration and development of personal ideas and visionwith their materialization in clay. An introduction to thetechniques of handbuilding focusing on clay as a sculpturalmedium.Requirement for sophomore Ceramic majorsAvailable to nonmajors as electiveDepartment permission requiredFee: $75.00(FALL)

CER 4129 CERAMIC SCULPTURE6 credits Shannon GoffThe course explores an extensive range of sculpturalpossibilities for ceramics through the theme of sampling.Students transform found shapes, images or objects, borrowand mix cultural information and contemporary art. Theemphasis is on experimentation and development of personalideas. Designed for students at an advanced level, using clayas a primary material and involving a variety of processes andforming methods.Prerequisite: A RISD ceramic classRequirement for junior Ceramic majorsAvailable to nonmajors as electiveDepartment permission requiredFee: $150.00(FALL)

CER 4197 SEMINAR: SOURCEPRESENTATION

3 credits Jan HolcombThis class helps you to develop the vocabulary of conceptsrelating your work to your sources. A number of exercises areundertaken culminating in a presentation of your ideas.Requirement for senior Ceramic majors only(FALL)

CER 4198 SENIOR THESIS12 credits Jan HolcombThe second semester is a continuation of the senior degreeproject begun in the Fall. The work and ideas are furtherdeveloped and refined for final presentation at the Woods-Gerry Gallery. All faculty in Ceramics are available to you.Requirement for senior Ceramic majors Ceramics department majors onlyFee: $75.00(SPRING)

38 Ceramics 2009 - 2010

MFA in CeramicsDivision of Graduate Studies

COURSE NO. CREDITSFall Spring Fall Winter Spring

First Year410G 411G First-Year Graduate Studio Ceramics 9 9

416G Topics in Ceramic Material Science 0 3 417G Topics in Ceramic History 3 0 03xG 03xG Graduate Seminar 3 3

Wintersession 3Year Total 15 3 15

Second Year412G Second-Year Graduate Studio Ceramics 6 0 413G Seminar: Source Presentation 3 0

415G Graduate Studio Thesis 0 1203xG Graduate Seminar 3 0

Nonmajor Elective 3 3 Wintersession 3

Year Total 15 3 15

NoteGeneral eligibility requirements for the master’s degree arelisted in the front section of the book.

2009 - 2010 Ceramics 39

Graduate CoursesCER 410G FIRST-YEAR GRAD STUDIO

CERAMICS9 credits Larry BushIn the first semester, graduate students begin their investigationand produce clay works that allow the faculty to assess theirapproach and capabilities. Students are available and pursueactive contact with the faculty. Students also attendsupplemental department presentations. All faculty in Ceramicsare available to you.Open to first- year graduateRequirement for Ceramic majors onlyFee: $75.00(FALL)

CER 411G FIRST-YEAR GRAD STUDIOCERAMICS

6 credits Jan HolcombThe second semester is a development of the ideas and workbegun in the first. Students are available and pursue activecontact with the faculty. Students also attend supplementaldepartment presentations. All faculty in Ceramics are availableto you.Open to first-year graduateRequirement for Ceramic majors onlyFee: $75.00(SPRING)

CER 412G SECOND-YEAR GRAD STUDIOCERAMICS

6 credits Larry BushContinued exploration begun during the first year leads to thepresentation of a thesis project. Students work during classhours to ensure daily contact with faculty. All faculty inCeramics are available to you.Open to second-year graduateRequirement for Ceramic majors onlyFee: $75.00(FALL)

CER 413G SEMINAR: SOURCEPRESENTATION

3 credits Jan HolcombThis course helps the graduate student develop a vocabulary ofconcepts concerning their works in clay. A slide presentationis made by each student concerning the relationship between anartist’s resources, historical precedent and works in clay forclass discussion.Requirement for first and second-year graduate Ceramicmajors only(FALL)

CER 415G SECOND-YEAR GRAD THESISCERAMICS

12 credits Jan HolcombContinued exploration begun during the first year leads to thepresentation of a thesis project. Students work during classhours to ensure daily contact with faculty. All faculty inCeramics are available to you.Open to second-year graduateRequirement for Ceramic majors onlyFee: $75.00(SPRING)

CER 416G TOPICS IN CERAMIC MATERIALSCIENCE-GRAD

3 credits Frank BoscoA seminar exploring ceramic method and expression fromtechnical perspectives. A study of raw materials includingclay, clay bodies, and glaze calculation. The focus is theconnection between technical development, and aestheticexpression. In-depth independent research required. Amaterials diary kept.Open to first-year graduateRequirement for Ceramic majors only(SPRING)

CER 417G TOPICS IN CERAMIC HISTORY-GRAD

3 credits Larry BushA seminar exploring ceramic method and expression fromhistorical and contemporary perspectives. The focus is theconnection between historical awareness, and aestheticexpression in the student’s work. In-depth independentresearch required.Open to first-year graduateRequirement for Ceramic majors only(FALL)

2009 - 2010 Digital + Media 41

MFA Curriculum in Digital + Media Division of Graduate Studies Department Office: Mason Building, 4th floor, telephone 454-6139

Digital + Media DescriptionExpanding on a media art focus, the vision of the program is to provide a diverse environment for interdisciplinary andtransdisciplinary exploration of digital media. The program includes a central curriculum and facilitates bridges to other existingdepartments at RISD, enabling individual inquiry, high level collaboration, and team-based media production. The program unfoldsover a highly engaging two year course of study.

The goal of the department is to provide a resonant environment for leading edge artistic research and practice, focusing on thecreative, expressive potentials of digital media. The department has an emergent focus--hybridizing, redefining and re-articulatingthe digital arts as an ongoing pursuit. It fosters exploratory work which seeks to exhibit a high degree of innovative visual, sonic,and/or textual expression, conceptual clarity, and technological skill. The continuum between physical space and digital space isalso emphasized. The student draws from a number of potential study areas to define their own personal and/or team orientedpractice.

COURSE NO. CREDITSFall Spring Fall Winter Spring

First Year7100 Digital + Media Continuum - Studio 1 3 0

Digital + Media Studio Nodes 1 3 6 or 97103 Digital Media Perspectives 3 07104 Lecture Series Seminar 3 0

7538 Digital + Media Theory 0 37102 7102 Digital + Media Grad Seminar/Tutorial 3 3

Elective* 0 3 or 0Wintersession** 3

Year Total 15 3 15

Second YearDigital + Media Studio Nodes 2 6 or 9 3

7199 Thesis Project 3 3 6 7198 Written Thesis 0 3 7102 Digital + Media Grad Seminar/Tutorial 3 0

Elective* 2 3 or 0 3 Wintersession** 3

Year Total 15 3 15Footnotes1 First-year Digital + Media grads are required to take one ofthe interdisciplinary Node classes (each class is 3 credits) listedbelow in the Fall semester. In the Spring semester, they arerequired to take two or three of the Node classes. If two Nodeclasses are taken, the student takes one additional elective; ifthree Node classes are taken, no additional elective is required.In the Node classes, students work either alone or in teams ona variety of media related interdisciplinary projects. Part of thebrief of each class is to articulate a bridging language thatexplores the goals of each discipline. The focus is on leadingedge projects that bridge media arts practice with that of thebridging discipline to explore creative/expressive approachesto contemporary media oriented production.

2 Second-year Digital + Media grads are required to take twoor three interdisciplinary Node classes in the Fall semester. Iftwo Node classes are taken, the student takes an additional

elective. If three node classes are taken, the student does nottake an elective.

3 In the Fall semester, second-year D + M grads are requiredto take Thesis Project for three credits. In the Spring, theThesis Project is taken for six credits. The total maximumcredit for Thesis Project is nine.*Electives may be chosen from any department in the Collegeat RISD, or from courses offered at Brown. Node classes mayalso be taken as electives.**Options include a Wintersession elective, an Internship, oradditional Node course by permission of the Department Head.International study is also possible.

42 Digital + Media 2009 - 2010NODE ClassesAll NODE classes can be taken by the graduate community asan elective or if cross-listed, as a studio in the correspondingdepartment.D+M 7001 Interactive Text-Interactive Sound and

Image EmphasisD+M 7009 Experiments in OpticsD+M 7012 Emergent DigitalD+M 7019 Network LandscapesD+M 7021 Introduction to Creative Programming

ConceptsD+M 7023 Digital + Media Technology WorkshopD+M 7026 Physical ComputingD+M 7028 Soundmarks: Sound Design for Visual

MediaD+M 7032 Mobile Technology WorkshopD+M 7034 Advanced Programming for Digital Art +

LiteratureD+M 7035 3-D Modeling for Artists + DesignersD+M 7037 Sound, Media, Urban Space: Playful

InteractionsD+M 7039 Outer Space, Inner SpaceD+M 7101 Body ElectricD+M 7150 Interactive and Reactive Media

Environments

Brown University courses offered by the Modern Cultureand Media Department and the Music Department for Fall2009 and Spring 2010. Classes are open to RISD graduate students in Digital + Media.Register using the RISD/Brown Cross-Registration procedure.Use Brown’s site at <http://selfservice.brown.edu/menu> forcourse descriptions and other information.

Note: A Waiver Substitution form must be completed if aDigital+Media grad elects to take a Brown class for Nodecredit.

For additional Brown course information:Modern Culture + Mediahttp://www.brown.edu/Departments/MCM/courses/

Multimedia + Electronic Music Experimentshttp://www.brown.edu/Departments/Music/sites/meme//

2009 - 2010 Digital + Media 43

Required Courses In Digital +Media

D+M 7100 DIGITAL + MEDIA CONTINUUMSTUDIO I

3 credits Peter SegerstromThis is an introductory course to ground incoming Digital +Media students in the vocabulary of multiple practices withindigital media. A core component of the Digital+Mediacurriculum is that students achieve a high level of dexterity inbridging physical and computational media, enabling andfostering cross-disciplinary dialogue and collaboration. Thiscourse involves a rigorous, hands-on approach to developinga thorough understanding of computational media as it appliesto individual creative practice. Students are introduced to acore set of methodologies and technologies from basicelectronics and programming to interaction design toinstallation, and are encouraged to break comfort zones andpractice through experimentation.Open to first-year graduate; RequiredDigital+Media majors onlyFee: $75.00(FALL)

D+M 7102 DIGITAL + MEDIA GRADSEMINAR|TUTORIAL

3 credits (Fall) Kelly Dobson(Spring) Catherine D’Ignazio

This course explores the theoretical issues surrounding newmedia arts practice. Students conceptualize and discuss theirstudio-based work produced in other classes and their ongoingpractice. Readings in critical cultural theory, media art theory,semiotics and other areas further ground the conceptualapproach of students in the Digital+Media department toadvanced digital arts practice. Students develop a paper thatdiscusses a series of artists works related to their own artpractice as well as observe other related works anddocumentation/URLs. The course also provides a space tobuild a context for the student’s work in terms of other mediaart practice. The class is a mix of individual meetings andgroup critiques. Some lecturers from Liberal Arts, and/orvisiting critics may also become involved with this class interms of critical/research aspects. This class also helps informthe development of the written thesis.Open to graduate; RequiredDigital+ Media majors only(FALL/SPRING)

D+M 7103 DIGITAL + MEDIA PERSPECTIVES: HISTORY OF MEDIA ART

3 credits George FifieldIn this historical survey, we analyze the aesthetic conventions,narratives, and formats of works in new media. We examinethe impact digital technologies and new media have had onexisting media, as well as the ways in which new mediafunction as a unique system of communication. While

investigating the aesthetic conventions, economic conditionsand infrastructures that affect the production of new media, weaddress the social and political contexts in which new mediaare disseminated, interpreted and privileged. We makeconnections across decades by focusing on the recurringthemes of language, futurism, simulation, hyper-reality,transnationality and information.Open to first-year graduate; RequiredDigital+Media majors only(FALL)

D+M 7104 LECTURE SERIES SEMINAR3 credits Christiane Paul This series presents a set of lectures by prominent individualsexploring Digital+Media as a creative, expressive tool. Everyother week the class meets and talks about the lectures anddiscusses additional related readings. Students write a paper ona related topic and/or put into context their own work inrelation to one of the visiting lecturer’s talks. This short writtenpaper is to be 2400 words + references and is expected toarticulate the salient issues discussed in one of the lecturesand/or is to articulate some important aspect of the lecturer’swork. Individual meetings are also facilitated that providefeedback on student work. The class meets in a wiredclassroom and views additional work via the internet. Inaddition to the written paper, each student introduces adiscussion related to a specific lecturer by presenting an oralreport on a related reading or website material. Approximately3 students present these reports each week (when the classmeets outside of the RISD Auditorium). The class thendiscusses the presentation of the visiting artist/critic.Open to first-year graduate; RequiredDigital+Media majors onlyMay be repeated for credit Lectures are open to the public(FALL)

D+M 7198 DIGITAL + MEDIA: GRADUATEWRITTEN THESIS

3 credits Frauke BehrendtThis seminar includes intensive group writing sessions.Individual meetings also will be conducted to support eachstudent in assembling a comprehensive written thesis.Centrally our task together is to understand and evaluate actualstudio work and to communicate this clearly and effectivelywithin a comprehensive document. To accomplish this we willaddress: thesis rationale, development of concepts, sourcematerial, context relevant philosophical, aesthetic andtheoretical issues as well as working process. Structure,

44 Digital + Media 2009 - 2010layout, documentation, and the mechanics of formatting willalso be explored in depth.Open to second-year graduate; RequiredDigital+ Media majors only(SPRING)

D+M 7199 THESIS PROJECT3-6 credits Teri Rueb/Kelly DobsonThis course supports the practical, conceptual, theoretical andhistorical development of the M.F.A. thesis (exhibition andwritten document). Students are required to workindependently and in individual consultation with their thesiscommittee to develop and finalize the thesis exhibition andwritten document for presentation at the end of the year. Theexhibition and written thesis should articulate one's personal studio art/ design practice in an historically and theoretically informedcontext. Formal group critiques are required at the midterm and endof the semester. A major final critique with visiting critics is held inthe context of the final MFA Exhibition. The accompanyingwritten thesis is expected to be of publishable quality and isalso placed within the public sphere through electronicpublication and filing with the RISD Library.

Final submissions for this course include thepresentation of a final exhibition, submission of the finalwritten thesis, and timely completion of work for preliminarydeadlines throughout the semester (draft theses, exhibitionplans and press materials). Please see Digital + Media ThesisTimeline for a clear sequence of required deadlines. Pleaserefer to the Digital + Media Thesis Guidelines and Policies forclarification of the goals and expectations of the RISD D+MMFA.The class must be taken for 3 credits in the Fall, and 6 creditsin the Spring, enrolled with the Thesis chair.Open to second-year graduate; Required2nd Year Digital + Media majors only(SPRING)

D+M 7538 DIGITAL + MEDIA THEORY3 credits Francisco RicardoAs critical phenomenology, the aim of this course is toinfluence two acts, how to see and how to critique digitalmedia, as extension of unresolved conceptual and aestheticproblems and as catapult for entirely original practice andpossibility. The approach is the ‘theoretical crit’ that studentswrite each week in response to readings, methods, problems,and works closely explored. As in contemporary art, newmedia’s objects and theories are becoming increasinglyinterdependent. Thus, rather than using theory to evaluateartwork, we examine both work and theory, coming tocontemporary, formal, critical, and instrumental voice throughwhich to respond to assumptions and aspirations of each.Open to first-year graduate students; RequiredDigital+Media majors only(SPRING)

Node ClassesIn Node classes, students work either alone or in teams on avariety of media related interdisciplinary projects. Node classesare either team taught or taught by an instructor with expertisein multiple fields. Part of the brief of each class is to articulatea bridging language that explores the goals of each discipline.Digital + Media majors may take one Node class a secondtime, provided the written permission of the department headhas been granted prior to the second taking of the course. AllNode classes are available to students outside the Digital +Media department. Graduate students may also enroll in aNode course as an elective, or if cross-listed, as a studio in thecorresponding department.

Cross-listed classes have two course numbers,students should register under the course number in which theywant to receive credit.

D+M 7001 INTERACTIVE TEXT: INTERACTIVESOUND AND IMAGE EMPHASIS

3 credits Raphael Attias The course has an Interactive Sound and Image Emphasis. Inthis class, students experiment with text, visuals, and audiocomposition in the digital realm, placing emphasis on the effectand meaning transformation that occurs when texts arecombined with visuals and audio material. Students that areinterested in digital illustration, animation, experimentalinstallations and other new forms of digital art are encouragedto take this class. Each student works on a semester-longproject, as well as a series of assignments that balanceconceptual concerns with artistic expression. This course introduces the student to narrative and non-narrative experimentation with language in digital space,presented as fine art practice. Creation of elaborate imageryand animations with digital tools such as Illustrator, InDesign,Photoshop, Flash and Final Cut as well as the basics of audioproduction, recording, arranging and sequencing with programslike Pro Tools and Ableton Live and other basic analogrecording techniques. The course balances conceptual concernsrelated to content and structuring methodologies with artisticexpression. Specific aesthetic histories are explored tracing theuse of text in artistic practice including Concrete Poetry, thetexts of Kurt Schwitters, Russian Constructivist posters, Fluxuspoetic works, The Dada and Surrealist Word/Image, Magritte,Jenny Holtzer, Ed Ruscha, Barbara Kruger as well as othercontemporary practitioners.Open to senior, fifth-year, graduate; Elective Permission of instructor requiredAlso offered as GRAPH 7001. Register in the course for whichcredit is desired(FALL)

D+M 7009 EXPERIMENTS IN OPTICS3 credits Jocelyne PrinceThis class will serve as an interface between the newtechnologies of digital media, and the old technologies ofoptics. New digital technologies will be given alternative

2009 - 2010 Digital + Media 45possibilities with the addition of specific projection apparatus(in terms of both projection optics and projection surfaces),plays with reflection (such as the construction of anamorphiccylinders, zoetropes, and other optical devices), and in thefabrication of project specific lenses. Given the hands-onnature of the glass department, the actual making and/orsubversion of traditional optics is possible. The class willencourage collaborative work between students of varyingexperience levels and will foster the incorporation and dialoguebetween students of the two differing areas of expertise.Open to senior, fifth-year, graduate; ElectivePermission of instructor requiredAlso offered as GLASS 7009. Register in the course for whichcredit is desired.(SPRING)

D+M 7012 EMERGENT DIGITAL3 credits Amber Frid-JiminezThis course will be a special topics class that will explore newforms of digital media production. The class will change on ayearly basis to reflect emergent forms in digital media.Students will work individually and/or in groups to facilitateexperimental new works, often working in interdisciplinaryteams. Emphasis will be on the creative and expressive use ofemergent digital media.Open to to senior, fifth-year, graduate; Elective(SPRING)

D+M 7019 NETWORK LANDSCAPES3 credits Teri RuebHow is landscape understood and shaped by the conditions ofmobile network society? As artists and designers we can framethis question in light of the history of landscape representationand design. Landscape architecture, painting and photography,earthworks, land and environmental art come to mind asframing discourses and practices. In today's technologically-oriented information society, however, the question oflandscape cannot be seen outside its relationship to thecomplex infrastructure of mobile networks, ubiquitouscomputing, and geo-spatial information systems thatincreasingly permeate our daily environments.

Landscape and network have intersected in newgenres including locative media and collaborative cartography.Social practices including mobile social networking, spatiallydistributed games, multi-user environments, and softwareplatforms such as Google Earth, Platial and Flickr are all partof the contemporary vernacular landscape. Geo-spatialinformation systems such as satellite imagery, GPS and remotesensing converge in professional research and design software,further expanding the range of electronic and digital modes oflandscape representation. The result is a profound shift in thecultural meaning of landscape and our place as human beingswithin it, as well as a growing awareness of ecological issuesand the global scale of landscape, technology, network andsubjectivity.

The goal of this studio is to consider landscape in this

context and to generate creative, critical and poetic designs,experiences, interventions and representational models of thisnew "network landscape" condition.

Site research, mapping exercises and technicalexperimentation in the first few weeks will help studentsformulate semester-length project proposals that explore someaspect of "network landscape" through the use of mobilenetworks, ubiquitous computing and geographic informationsystems (including GPS, Wi-Fi, cellular, Bluetooth, radio,satellite, ArcView and other geo-spatial informationplatforms). Projects may be independent explorations or canbe run in conjunction with other studio projects or thesisexhibition development.

Emphasis will be placed on informed, creative andcritical approaches that exceed normative modes of landscaperepresentation and mobile network designs as found in popular,commercial and industrial technologies and services.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(FALL)

D+M 7021 INTRODUCTION TO CREATIVEPROGRAMMING CONCEPTS

3 credits Peter SegerstromThis course will teach basic programming concepts with afocus on processing and web-based applications. Beyond basiccross-language technical skills, the course will also groundsoftware practices in a critical context to examine how and whycontemporary artists choose to use software, how softwarewritten by artists gets used and disseminated via the web, andhow software practices intersect with traditions of performanceart and public art. Students will create case studies of software-based art projects to gain greater understanding of the social,political and technological forces at work in softwaredevelopment. The course will explore variables, functions, datastructures, loops, conditionals, web architectures -- and variousapproaches to the software development process -- iterativedesign, debugging, unit testing, usability. Students willcollaboratively experiment with different programminglanguages such as ActionScript, PHP and Processing alongwith XML and mySQL data sources to develop web-basedsoftware projects.No prior programming experience is necessary. Open to senior, fifth-year, graduate; ElectivePermission of instructor required(FALL)

D+M 7023 DIGITAL + MEDIA TECHNOLOGYWORKSHOP

3 credits James JewettThis class will be comprised of a mix of individual meetings,workshops and group critiques. The two main areas oftechnological foci will be in creative computer programmingand in the exploration of the potentials of physical computing.The course can be taken to augment technological production

46 Digital + Media 2009 - 2010in other node courses (given the skill sets of the two lectures)and can also be taken in support of the thesis project.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(SPRING)

D+M 7026 PHYSICAL COMPUTING3 credits Eric FormanThis class is a practical hands-on exploration of physicallyinteractive electronics for the artist/designer. Students willlearn how to interface objects and installations with theviewer’s body and ambient stimuli such as motion, light,sound, or intangible data. Integration with traditional andexperimental materials will be covered, along with how low-cost and environmentally progressive strategies such ashacking and re-using existing technologies.

Starting with the basics using the open-sourceArduino platform, the class will move through electricaltheory, circuit design, microcontroller programming, sensors,and complex output including motors, video, andintercommunication between objects. Along side this rigoroustechnical focus will be discussion and critique of theconceptual basis and real-world experience of student’s work.Engagement with art historical and theoretical context will alsobe encouraged.Open to senior, fifth-year, graduate; ElectivePermission of instructor requiredEstimated cost of materials: $200.00(SPRING)

D+M 7028 SOUNDMARKS: SOUND DESIGN FORVISUAL MEDIA

3 credits Rafael AttiasThis class will cover the fundamentals of digital audiocomposition, production, recording, arranging and sequencing,as well as the implementation of video, andreactive/interactive visualization. The class will consist of onesemester-long project as well as a series of short-termassignments. Students will explore how to manipulate physicalspace with the creation of installation environments that willappeal to the viewer’s entire sensory experience.

Using digital studio tools like ProTools, Ableton Liveand other audio programs as well as motion graphic softwaresuch as Final Cut and Flash, students will learn how to capture,manipulate, mix and optimize audio and visual material forfinal production.

Analog and digital technologies will be exploredtracing the use of sound and installation art as a sensoryexperience and connective instrument. We will review specifichistories including the works of Maryanne Amacher, theBaschet Brothers, Alvin Lucier, Bruce Nauman, Hans Jenny,Phil Kline as well as other modern day practitioners.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(FALL)

D+M 7032 MOBILE TECHNOLOGYWORKSHOP

3 credits Lalya GayeThis course introduces students to the practical and technicalaspects of realizing mobile and locative applications usingcellular, wifi, GPS and other wireless networks. It is intendedto support the development of projects that have already beenarticulated as concept designs/proposals or projects that requirecustom programmed applications. The course is geared towardstudents who already have a basic knowledge of electronicsand programming for serial communications usingmicrocontrollers, sensors, etc. or those who have taken a priorcourse in project concept development using off-the-shelfapplications in mobile and locative media (e.g. NetworkLandscapes). Specific technological skills addressed will varyaccording to student interest and faculty expertise, as well as inresponse to trends in mobile and locative computing.NOTE: Students must submit project / concept proposals tothe instructor during the pre-registration period in order toobtain permissions to enroll.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(SPRING)

D+M 7034 ADVANCED PROGRAMMING FORDIGITAL ART + LITERATURE

3 credits Daniel HoweThis workshop will explore advanced tools and techniques forthe creation of innovative and expressive works of digital art.Lectures will address the application of best practices from thesoftware design community to the context of digital media. Inthe first section of the course, students will exercise their skillswith new techniques (integrated development tools, agile andobject-oriented programming, rapid debugging andprototyping, etc.) on a range of 'mini-projects', specifically theanalysis, generation and digital presentation ofcomputationally-augmented literary texts. Assignments willinclude web-data parsing, speech synthesis, context-freegrammars, and statistical generation techniques. During thesecond half of the course, students will focus on a larger workof their own design, participating in regular critical reviewsthroughout the development cycle. Although assignments willfocus on digital literature, a wide range of media will beexplored including sound, image, video, 3D, and installation.Although there are no formal prerequisites, familiarity with atleast one modern programming language is highlyrecommended.Open to fifth-year, graduate; ElectivePermission of instructor required(SPRING)

D+M 7035 3-D MODELING FOR ARTISTS +DESIGNERS

3 credits Clement VallaDigital 3D modeling is a versatile tool that can be used bypainters and printmakers to create perspectival imagery, by

2009 - 2010 Digital + Media 47sculptors to manipulate form, by architects and interiorarchitects to mockup spatial ideas and explore materiality, andby film and video artists to quickly create animations. Thiscourse is an introduction and an overview of 3D modeling forartists and designers. The course will look at various 3Dmodeling techniques as well as different methods of outputtingor presenting 3D models, including rendering images, creatinganimations, or using fabrication techniques such as lasercuttersand rapid prototyping machines to produce physical models.The main goal of the course is to help students develop aworking methodology for integrating 3D modeling into theirown practice, through a series of exercises. One of the mainideas that will be explored in the course is the versatility of 3Dmodeling. Students will be encouraged not only to explore 3Dmodeling as it relates to their own discipline, but to exploredigital modeling as a bridge to other disciplines and as a newway to explore space and spatial representations. The coursewill not focus on a single software, but will examine therelative strengths of various 3d modeling packages, includingMaya, 3Ds Max, Rhinoceros 3D, and Google Sketchup. Thecourse is open to both beginners and students with experiencein 3D modeling looking to expand and diversify their skills.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(SPRING)

D+M 7037 SOUND, MEDIA, URBAN SPACE:PLAYFUL INTERACTIONS

3 credits Frauke BehrendtThis weekly seminar explores the relationship of urban space,media and sound. A focus on sound allows for a newperspective on playful interactions in and with our mediasaturated cities. The wider debate around the role of sound forinteraction with everyday objects, urban architecture, people,media devices and networks frames the class. Examples fromthe fields and histories of sound art, media art and public artinform discussions around how we interact with urban spaceand media via sound.

Some of the questions raised are: What are thetemporal, spatial and aesthetic qualities of sound? How can weorchestrate, tune, sonify or silence the complex multi-sensoryenvironment of the city? Can we play the media city like amusical instrument? How can sound facilitate or disturbnavigation and orientation in urban space? Can we inventalternative to speakers or headphones for sound output? Arethere different modes of listening? How does sound help us tore-consider issues of scale, speed and rhythm?

The class will briefly introduce upcoming areas ofresearch and design such as Sound Studies, Sonic InteractionDesign and Mobile Music. The field of Sound Studies exploresthe history and contemporary status of sounds, such as churchbells, skateboards, fog horns, highways, cell phones. There isalso a growing interest in the intersection of architecture andsound. Sonic Interaction Design is concerned with theexploitation of sound as one of the principal channelsconveying information, meaning, and aesthetic/emotional

qualities in interactive contexts. The field of Mobile Musicexplores how we can take advantage of our urban mobility tomake music or sound.

This class includes practical outdoors sessions in theurban environment (e.g. sound walks, sonic playtable,interaction relabelling), critical discussions of these in class inthe light of selected short readings, as well as presentations ofkey examples of art works. All these enable students toquestion, challenge, disturb and play with the role of sound inurban media interaction. Students are expected do a short oralpresentation in a session of choice (in pairs), to complete twoshort written reflections upon the practical exercises, and oneshort essay at the end of the course that may includedeveloping their own concepts. Students develop a criticalunderstanding of the role of sound in urban art and everydaylife; they also improve their presentation and writing skills,especially in regards to sonic and multi-sensory experience.Ideas and concepts developed in this class could be turned intopractice in other fall courses including "Network Landscapes"(DM7019) or one of the following spring classes: "PhysicalComputing”, Materials and Embodied Interaction" (DM 7026),"Mobile Technology Workshop" (DM 7032), or "Interactiveand Reactive Media Environments" (DM 7150).Open to senior, fifth-year, graduate; ElectivePermission of instructor required(FALL)

D+M 7039 OUTER SPACE, INNER SPACE3 credits Kelly DobsonNew digital media possibilities are changing the waysmall-scale spaces are designed to function. In recent proposalsfor the interior design of NASA s newest lunar modules, forexample, elements such as interactive sensate support furnitureand interpersonal mediated communication design areemphasized. New digital media technologies have roles in theways people experience their personal boundaries, extensions,voice, and community. Artists, activists, architects, furnituredesigners, industrial designers, apparel designers, and wearablecomputation designers address issues of personal space andagency and connection.

In this course we will investigate personal, politicaland psychological roles of various personal and communityspaces. We will use the Digital + Media Special Projects Roomas a studio and center for the course, both for developing andbuilding projects that help facilitate and articulate experiencesthrough different forms of personal architectures andapparatuses, and as a meeting and discussion and critique spacefor community events occasioned as part of the process of thecourse. We will focus on research, prototyping, discussion andproduction of projects. Topics will span the areas of art,architecture, furniture, design, engineering, social theory,activism, and critical cultural production.

The course is designed as part seminar (1/3) and partstudio (2/3), with three or four material+technical workshopsthat can be open to interested parties in the wider RISD andMIT communities. The course will involve a NASA architect

48 Digital + Media 2009 - 2010as visitor, as well as participants from MIT. We will look atprevious NASA projects as well as artists' and designers' workaddressing personal space. We will form a community aroundcontemporary investigations of personal space and the widerpolitical and community aspects of its forms and expressions-- building, investigating, and iterating together with theobjective focus on critical and reflexive research and invention,and the sharing of ideas and perspectives.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(SPRING)

D+M 7101 BODY ELECTRIC3 credits Paul BadgerThe human body is a site for electronic measurement andsurveillance for many purposes. Medicine, security, and lawenforcement are the major players but many other fieldsincluding sports, bio-feedback therapies, and a nascent fieldcalled affective computing also benefit from the use ofelectronic biometric tools.

The human body is also a site for electricalstimulation, again mostly by the medical profession but also forpurposes of psychotherapy and meditation, torture - and itsstrangely related twin - erotic pursuits. Artists investigatingtheir own bodies as sites for artwork have a rich and longtradition dating from the 1960's with ritualistic, conceptual, andfeminist experiments by Schwartzkogler, Burden, Acconci,Chicago, Schneeman, and Finley, to name only a few. Morerecently, the concept of cyborg influences the body art in thework of such artists as Orlan, Stelarc, Steve Mann, and ArthyrElsenaar. We take a look at some of this tradition and alsoexplore the new tools (and data sources) to see what they haveto offer artists. This includes relatively cheap and availablesensors for such human parameters as heartbeat, muscle tone,skin resistance, and breath. We examine technologies such asmuscle stimulation and possibly, turning images into electricalpotentials, to be sensed by through the skin (and recognized asimages!), which already has been done by both scientists andartists. If funds permit, eye tracking and/or brainwave sensors,which tend to be more expensive and sophisticated, could beinvestigated. Readings include selections from MichelFoucault’s Discipline and Punish, Rosalind Picard’s AffectiveComputing, and Uncle Abdul’s Juice: Electricity for Pleasureand Pain.Permission of instructor requiredOpen to senior, fifth-year, graduate; ElectiveFee: $150.00(SPRING)

D+M 7150 INTERACTIVE AND REACTIVEMEDIA ENVIRONMENTS

3 credits Erik Conrad Technologies not only change “external reality” but alsochange our internal consciousness and shape the way weexperience the world. The everyday technological apparatustends to understand space as the void left behind when no

objects are present. Unfortunately, once we see space in thisway, we are unable to understand the role it plays in oureveryday experience. In this course we will examine ways of‘materializing’ space–infusing it with life–through thecombination of computational and critical tools. Asinstallations, performances or architectural interventions,students will design and build responsive media environment-events combining material and plastic arts with realtimecomputational media. A combination of technical, practical andconceptual skills will be covered with the goal of creatingexperientially rich spaces. A theoretically diverse approach willbe taken, with ideas from art, architecture, neuroscience,phenomenology and computer science surfacing throughout.Technical topics will include realtime audio/video synthesis,media choreography, sensing, active materials and computervision, explicitly for the design and implementation of largescale, realtime responsive media environments.Open to senior, fifth-year, graduate; ElectivePermission of instructor required(SPRING)

2009 - 2010 English 49

Department of EnglishDivision of Liberal ArtsDepartment Office: College Building, Room 402, telephone 454-6572

Concentration in EnglishFor a description of the English concentration, read the section entitled “Liberal Arts Division” or the front section on “SpecialAcademic Programs”.

Writing WorkshopsA workshop is a small class devoted to creating, critiquing, and revising student work. These classes offer students the opportunityto write fiction, poetry, nonfiction, or plays which are workshopped by their peers and critiqued by the writer/instructor. Each willrequire reading, writing exercises, and a revised portfolio. Advanced Workshops assume that students have completed a BeginningWorkshop or its equivalent.

SeminarsA seminar is a small class of no more than fifteen students conducted at an advanced level which requires each student’sindependent research, a presentation of this work to the class, and a lengthy end-of-term research paper. Seminars are open to onlystudents at the Sophomore level and above, unless by permission of the instructor.

Lecture/DiscussionMost electives, which have an enrollment of twenty-five, are a combination of lecture and discussion. Students will write shortessays in response to the assigned readings and participate in class discussion. In all the courses in literature, professors will helpstudents improve the quality and depth of their critical thinking and writing. Some courses may require exams.

Courses in EnglishIntroductory Course (Required)ENGL E101 LITERATURE SEMINAR: DESIGN

IN WORDS 3 credits StaffThis course is designed to help students progress as writers ofclear, correct, and effective exposition through weekly writingassignments and frequent readings. Elements of effectiveexpression will be taught in the context of learning how torespond to literature in an informed, critical manner.Successful completion of ENGL E101 is a prerequisite to allLiberal Arts elective study.Permission of instructor requiredSee the Liberal Arts Divisional Office(FALL/SPRING)

Writing CoursesENGL E401 CREATIVE WRITING: A CROSS-

GENRE STUDIO3 credits Kelli AuerbachIn this creative writing workshop we will look at texts thatpush against the boundaries of traditional literary genres(fiction, poetry, playwriting), and blur the lines between thosegenres as well. Texts may include: a memoir told throughpoetry, newspaper clippings and journal entries of thedeceased; a play that utilizes the form of a graphic novel. Byexamining such texts and trying our own writing experiments,we will gain a better understanding of what traditional genresare, the techniques they employ, and ways they can bemanipulated to create something new. (SPRING)

ENGL E411 BEGINNING POETRY WRITINGWORKSHOP

3 credits Rick BenjaminIn this course, we will write poems using a range of models.We will read one book each week. Texts may include shortcollections by Arthur Waley (Chinese Poems), AnneBradstreet, Walt Whitman, Gerard Manley Hopkins, GertrudeStein (Tender Buttons), Langston Hughes, Frank O'Hara(Lunch Poems), Sylvia Plath (Ariel), Joe Brainard (IRemember), Russell Edson (The Tunnel), and HarryetteMullen (Sleeping With the Dictionary). You will turn in onepoem a week and will be workshopped three times. At the endof the semester, you will turn in a portfolio of 12 revisedpoems, or 12 pages of poetry, with a short preface on yourpoetics. Attending public readings is also an important elementin the course; in the last class we will have an open reading.Open to sophomore and above(FALL)

ENGL E412 BEGINNING FICTION WRITINGWORKSHOP

3 credits Ann HoodThe workshop is a gift to the writer, who usually writes alone,without the benefit of a reaction from his or her readers. Onceyou have tried your hand at one story this semester, yoursecond will be workshopped by your peers. In preparation foryour writing, you will read the work of numerous publishedauthors as well as essays on the craft and will write frequentgenerative exercises. We will approach published and studentwork with the same goal in mind: to discover in ourselveswhat we wish to write and how to go about writing it. In theworkshop, we will also support this process in others. At thesemester’s end, you will submit a portfolio of your work,

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including select exercises and a revised version of one of yourstories.Open to sophomore and above(FALL)

ENGL E415 JOURNALISM WORKSHOP3 credits Michael FinkJournalistic writing is an act of seeing out into the world ofobservable fact. In this course, the student will be introducedto the craft of journalism, including feature articles, interviews,reporting on events, reviews and editorials. Emphasis will beplaced on the exploration of our community and the disciplineof presenting the results of our quest before the public.Open to sophomore and above(FALL)

Courses in LiteratureENGL C221 BLAKE AND HOGARTH3 credits Alexander GourlayWilliam Hogarth was a painter and engraver whose serialworks helped shape the 18th century novel. William Blakepublished his own poems and satires in “illuminated books”and illustrated literary works of others. Lecture/discussion. Open to sophomore and above Also offered as ARTH C221. Register into the course forwhich credit is desired.(SPRING)

ENGL E112 INTRODUCTION TO FICTION3 credits Greta MethotWe will be exploring the development of short fiction in the19th century; the major modes of fiction in the 20th

century–postmodernism, minimalism, sci-fi, and others; andthe relationships between short fiction (“story”) and longerfiction (“novel”). Probable authors include: Atwood,Bradbury, Calvino, Carver, Cisneros, Hawthorne, Kafka,LeGuin, Melville, Poe, Tan, Vonnegut, and others.Open to sophomore and above(FALL)

ENGL E201 THE BIBLE AS NARRATIVE ART3 credits Michael FinkAn introduction to the literary dimensions of the Bible with anemphasis on the poetry of its narratives. The intent is todevelop creative and interpretive skills and to trace somedominant Biblical themes. Required text: The Oxford StudyBible and comparative contemporary commentaries.Open to sophomore and above(FALL)

ENGL E207 MEDIEVAL LITERATURES3 credits Mark ShermanThe terms "Middle Ages" and "medieval," insofar as they are

presumed to designate some kind of unified historical field ofcultural production, are woefully inadequate to describe thevaried literatures emerging between late antiquity and the"renaissance" in Europe and the Mediterranean Basin.Nevertheless, medieval is the working term we've inherited;therefore, the problems associated with periodization and theconstruction of cultural histories will provide the backdrop forour reading of disparate genres people wrote way back then:heroic saga, religious drama, ballads and lyrics, folk tales,beast fables, saints' lives, romances, "memoirs,"political/philosophical treatises, and plenty of racy stories. Thiscourse will not include the works of major figures such asDante, Petrarch, Boccaccio and Chaucer, who are wellrepresented elsewhere in the curriculum.Section 01 Open to sophomore and aboveSection 02 is reserved for incoming Advanced Placement (AP)students. Space may be available during Add/Drop forupperclassmen.(FALL)

ENGL E208 CANTERBURY TALES3 credits Mark ShermanOne night, late in the fourteenth century, in a tavern outsideLondon, a quiet little fellow named Geoffrey, so the story goes,joined a lively crew about to ride sixty miles to Canterbury. Toentertain themselves on the way, they began a story-tellingcontest. The premise is fiction; however, the resultingCanterbury Tales offers some of the most memorable poeticnarratives ever written. Geoffrey Chaucer (1345-1400), calledsometimes the "father" of English poetry, wrote tales ofback-alley rendezvous, the lives of knights, saints, andindependent women, the misadventures of talking chickens,and more than one scurrilous story about scheming students.Participants in the class will learn to read Middle English as wego (which is not as difficult as it might seem: thinkShakespeare with funny spelling). There will be regularquizzes, a midterm and final exams, and a modestly researchedcritical paper.Open to sophomore and above(SPRING)

ENGL E211 BRITISH LITERATURE I3 credits Alexander GourlayConcentrating on classic texts that still appeal to most readers,we will read and discuss major (and some minor) poems, playsand prose works by Chaucer, Shakespeare, Donne, Johnson,and others, reviewing British literary history from the MiddleAges to the 18th century. Section 01 Open to sophomore and aboveSection 02 is reserved for incoming Advanced Placement (AP)students. Space may be available during Add/Drop forupperclassmen.(FALL)

2009 - 2010 English 51ENGL E212 BRITISH LITERATURE II3 credits Alexander GourlayBeginning with Thomas Gray and ending with Joseph Conrad,we will read and discuss poems, novels, visual art, and essaysthat explore the idea of modernity, placing them in the contextof literary, cultural, and social history. Short papers, a mid-term and a final will be required.Open to sophomore and above(SPRING)

ENGL E217 LOSING PARADISE: INVENTING THE WORLD

3 credits Mark ShermanThe focus of this course will be a reading of John Milton'sParadise Lost in the context of western narratives that combinecreation myths with a philosophical exploration of humansubjectivity and agency. Pre-texts will be the Book of Genesis,Hesiod's Works and Days and Theogony, Aeschylus'Prometheus Bound, perhaps a Shakespeare play. The coursewill conclude by reading Mary Shelley's Frankenstein as aresponse to and extension of this "tradition."Open to sophomore and above(SPRIING)

ENGL E231 19th CENTURY BRITISH WOMEN’SNOVELISTS

3 credits Amey LarmoreIn this course we will look at four British women novelists ofthe 19th century -- Jane Austen, Emily Bronte, CharlotteBronte, and Elizabeth Gaskell, who are united by theirdifferences as well as by their commonalities. All fournovelists examined critically the condition of women in theirtimes and the possibilities of love and happiness that were opento them. Yet while Gaskell took over much from CharlotteBronte, and the two Bronte sisters were very close, bothGaskell and Charlotte Bronte were harsh critics of what theysaw as the superficiality and social conformism of Jane Austen.In many ways, North and South and Jane Eyre representcritiques of Pride and Prejudice. The course will focus on theseauthors greatest novels -- Pride and Prejudice, WutheringHeights, Jane Eyre, and North and South, and some attentionwill also be given to recent movie adaptations of these books.Reserved for incoming Advanced Placement (AP) students.Space may be available during Add/Drop forupperclassmen.(FALL)

ENGL E251 AMERICAN LITERATURE I3 credits Ann FerranteAmerican literature I focuses on the major writers of Americanliterature from Puritan times through the Civil War. Thesewriters include the puritan poets Anne Bradstreet and EdwardTaylor, the spokesperson for the enlightenment, BenjaminFranklin, and the deeply influential writers of the period ofAmerican romanticism: Emerson, Thoreau, Margaret Fuller,Frederick Douglass, Hawthorne, Poe, Melville, Emily

Dickinson, and Walt Whitman. Students will keep journals,write three papers, and take mid-term and final exams. Thecourse includes a field trip to Concord, Massachusetts, theplace where the lives of several of the writers of the AmericanRenaissance converged.Open to sophomore and aboveFee: $30.00(SPRING)

ENGL E253 INTRODUCTION TO AFRICANAMERICAN LITERATURE

3 credits Patricia BarbeitoAn introduction to the range and diversity of African Americanliterature, from the 19th-century slave narrative tocontemporary magical realism and science fiction. We willfocus on the development of particular literary movements (awomen's sentimental tradition, the Harlem Renaissance,African American modernism) and their relation to theAmerican canon. Authors may include Douglass, Jacobs,Hurston, Wright, Baldwin, Morrison.Open to sophomore and above(FALL)

ENGL E254 NATIVE AMERICAN LITERATURE3 credits Alexia KosmiderThe purpose of this class is to explore the conflicted subjectposition of American Indians as represented in popular cultureas well as the manner in which American Indians inscribe theirown subjectivity in films and literature. Many Americans holdconflicting and often contradictory images of America Indians.Is the Indian viewed nostalgically as someone whose land wasappropriated and his/her culture erased? Is the AmericanIndian a symbol of intuitive wisdom in tune with his/hersurroundings and thus seen ultimately as the "survivor" in thetwentieth-first century? Or are Indians tethered to thestereotypes of primitivism and savagism, displaced into lessoffensive popular stereotypes? Popular culture exhibits aconstellation of contradictory images about Indians thatAmerican Indian writers and filmmakers address in currentworks. Our study first will concentrate on the visualrepresentations of Indians as depicted in paintings,photographs, popular cultural images, ethnographic films andsecondly we will focus on the novels and films made byprominent American Indians. Our inquiry will address Indiansubjectivity and the manner in which American Indian writersinscribe the postmodern condition: all the authors/filmmakerswhom we shall study are mixed-blood and vary in degree oftheir familiarity with their native cultures but nevertheless allprobably read such things as the T. V. Guide, movie guidepublications, or the New York Times. How do theirexperiences interrogate existing stereotypes and beliefs ofnative peoples? We also will focus on such topics as theinclusion of trickster strategies and Indian humor and theirrelationship to the oral literature, and the different communityexperiences of American Indians, and the construction anddeconstruction of the self in novels/films. Finally, we also

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attempt to formulate our own definition of what encompassesAmerican Indian literature as well as its placement with theAmerican literary canon. Open to sophomore and above(FALL)

ENGL E255 THE JEWISH NARRATIVE3 credits Michael FinkModern Jewish literary form and content developed from the19th-century emancipation with its socialist, Zionist, andromantic options. We move from these roots to the satiric andelegiac voice of contemporary America. Authors studied willinclude Sholom Aleichem, Isaac Singer, Elie Wiesel, BernardMalamud. Open to sophomore and above(SPRING)

ENGL E285 ETHNICITY AND LITERATURE INAMERICA

3 credits Patricia BarbeitoAn introduction to the range and diversity of African Americanliterature, from the 19th-century slave narrative tocontemporary magical realism and science fiction. We willfocus on the development of particular literary movements (awomen's sentimental tradition, the Harlem Renaissance,African American modernism) and their relation to theAmerican canon. Authors may include Douglass, Jacobs,Hurston, Wright, Baldwin, Morrison.Open to sophomore and above(FALL)

ENGL E286 AFRICAN AMERICAN REALISM:1940-1960

3 credits Patricia BarbeitoRichard Wright (an author whose influence loomed largethroughout the Realist period) expressed his admiration forwhat he called "fighting with words: using words as weapons."Throughout this course we will examine the variety of ways inwhich writers of the Realist period used their writing as a"weapon" to protest against the racism they saw as endemic towhite American society and as a means of linking theAfrican-American struggle for equality with other forms ofpolitical struggle occurring worldwide. Marked by a focus onurban realism, the role of the environment in the shaping of theindividual, and a close interrelation of literature and politics,the Realist novel revealed the ways in which AfricanAmericans were denied the "American Dream" and, in JamesBaldwin's words, provided a new language with which toexpress the African American experience. Authors includeRichard Wright, James Baldwin, Anne Petry, Chester Himes,Ralph Ellison and Gwendolyn Brooks.Open to sophomore and above(SPRING)

ENGL E288 AFRICAN AMERICAN DRAMA3 credits Gitahi GititiThe course will focus entirely on African American theater.We will be concerned with the politics of representation andlocation, paying close attention to the relationship between thehistorical moment and the dramatic and performance texts. Themeaning of the dramatic texts studied will be linked to theirsignificance and potential social effects. Written largely duringperiods of turbulent social change, the texts chosen provide anopportunity to reflect on the transformative power of theater.Beginning with a broad overview of the issues andperformance traditions impacting African American drama, wewill proceed to the major highlights in the evolution of thelatter. Notions of race, gender, class, and how these impact theretrieval of black people as speaking subjects will also beexamined.Open to sophomore and above(SPRING)

ENGL E289 ‘thingamajigirl’: OBJECTS, HUMANS,FEMININITY

3 credits Joon LeeWhat does it mean to be a "thing"? What does it feel like tobe a "thing"? We all feel that we know how it feels to be"human": we are not "things," or "inanimate objects." Butwhat we don't often question is the emotional and socialvaluations put upon the relationship between humans andthings. For most of us, to be treated "as a thing" is to be de-humanized, de-valued, the nadir of existence. This course willquestion that binaristic tradition of conceptualizing objectsthrough the lens of femininity. Women have been, cross-culturally but especially within the Western-European world,been treated as "things": toys, trophies, dolls, ornaments, are allmetonyms for "female." By studying literary and cultural textsas well as art produced by women and women-identifiedauthors, we will rigorously and critical examine the multiplefunctions, oppressive and subversive, of the linkages between"woman" and "thing," and in turn, re-think the idea of theobject.Open to sophomore and above(FALL)

ENGL E291 SECRET SELVES: THE FICTION OFJEWETT, CATHER, ANDWHARTON

3 credits Ann FerranteThis course provides an in-depth study of three interrelatedAmerican female writers who explore the ways in whichdifference---in gender, class, race and sexualorientation---affects the formation of self. Each of thesewriters also investigates the influence of place onself-development. We will begin with Sarah Orne Jewett'smasterpiece, The Country of the Pointed Firs, continue withtexts of Willa Cather such as My Antonia, Death Comes to theArchbishop, and The Professor's House, and conclude with

2009 - 2010 English 53Edith Wharton's The House of Mirth and/or The Age ofInnocence. While offering insight into the construction ofmulti-faceted selves, the writers simultaneously provideexamples of complex narrative modes. These modes helpreveal the art of fiction writing. Since the writers set their textsin different parts of America, they together give a broadperspective of American culture. Students will keep journals,write three analytical papers, and take a final exam. Studentsmay elect constructing a final project (with a strong writtendimension) in lieu of taking the final exam.Open to sophomore and above(FALL)

ENGL E300 CONTEMPORARY NARRATIVES:AMERICAN

3 credits Susan Vander ClosterThis course will examine contemporary American fiction andfilm, which means that the narratives (family narratives,historical narratives, and so on) were written or producedwithin the past twenty years. Specific titles will change eachsemester in an effort to study current ideas and styles. Writersof significant stature in American literature, like Philip Roth,will be included as well as notable new writers, like DavidGuterson, Ann Patchett, and Jhumpa Lahiri. A film will bescheduled and discussed during class each week. While somenarratives directly confront contemporary American culture,others may look at the present indirectly, using history, orfocus on events in other parts of the world. Attention will bepaid to satirical portraits of the American family and topolitical narratives, whether they address global conflicts or thepolitics of work, family, friendship, identity, love, and sex.Short interpretive papers will be required in response to thefiction and film. Class attendance and thoughtful participationare mandatory. An evening screening time will be scheduled.Students who miss the screening are responsible for seeing therequired film before class discussion.Section 01 Open to sophomore and aboveSection 02 is reserved for incoming Advanced Placement (AP)students. Space may be available during Add/Drop forupperclassmen.(FALL)

ENGL E302 POSTCOLONIAL LITERATURES II

3 credits Jonathan HighfieldPostcolonial literature is the writing produced by people in orfrom regions that have escaped the yoke of colonialism. Ofcourse, such a definition raises a number of questions, andduring the semester we will grapple with the definition. Ourreadings will open with several theoretical discussions ofpostcoloniality, then we will continue with novels and poetryfrom Australia, India, Indonesia, Ireland, New Zealand, Samoa,and Sri Lanka. This history of trading empires and settlercolonies will be a major focus in this course. Throughindividual projects and a final paper that works with at leastone of the theoretical texts and a novel or book of poetry,

students can begin to focus on the area in the field thatspecifically interests them. Writers may include CiaranCarson, Lionel Fogarty, Keri Hulme, R.K. Narayan, MichaelOndaatje, Pramoedya Ananta Toer, and Albert Wendt.Open to sophomore and above(SPRING)

ENGL E310 NARRATIVES FROM AROUND THEWORLD: FICTION AND FILM

3 credits Susan Vander ClosterWe will study contemporary world narratives—fiction andfilm—which have been published or produced within the lastten to twenty years. In order to keep up with current work, thespecific content of the course will change each year. We willstudy fiction and film in English and in translation (subtitled).In the past, the assigned fiction has included Robert McLiamWilson’s Eureka Street (Northern Ireland) and BananaYoshimoto’s collection of short stories about contemporaryJapan, Lizard. In addition to the assigned reading, we willscreen and discuss an international film each week. By the endof the semester, thematic and stylistic links as well as theuniqueness of certain work, like Kore-eda Hirokazu’s AfterLife or Julio Medem’s Lovers of the Arctic Circle, will becomeapparent. Short analytic/interpretive essays in response to thefiction and film and thoughtful class participation are required.An evening screening time will be scheduled. Students whomiss the screening are responsible for seeing the required filmbefore class discussion. Open to sophomore and above(SPRING)

ENGL E315 EUROPEAN LITERATURE3 credits Karen CarrThis course will look at fiction that emerges from Europe in thelate 19th and 20th century. We will look at authors from awide variety of locales, and seek to broaden our understandingof European literature beyond England. Writers may include:Guiseppe Di Lampedusa, Andres Gide, Marguerite Duras,Franz Kafka, Nikolai Gogol, Knute Hamsun, Leo Tolstoy, ItaloCalvino, Gustave Flaubert, Marcel Proust, Vladimir Nabokov,Ernst Junger, Henri Barbusse, Christa Wolf, Victor Hugo,Vincente Ibanez. Because the backgrounds, regions, politicsand aesthetics of these writers are so vast and various, eachstudent will conduct her/his own research on one particularauthor which he/she will present to the class. Students will alsobe writing brief, weekly response essays, as well as a longer,final essay.(SPRING)

ENGL E355 MODERN DRAMA3 credits Kelli AuerbachThis historical survey will cover the major playwrights fromthe modern period, including Strindberg, Chekov, Ibsen,Brecht, Ionesco, and Beckett, and situate these authors in thehistorical and political period in which they wrote. In additionto noting what about these authors’ works was modern, we will

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investigate the aesthetic impulses that defined anddistinguished them. To provide a fuller understanding of theseplays, the course will also include workshops in acting,playwriting and set design. Students can expect to read, discussand write short analysis papers for approximately ten plays. Forthe final project, students will collaborativelywrite/design/perform an original adaptation.Reserved for incoming Advanced Placement (AP) students.Space may be available during Add/Drop for upperclassmen.Fee: $40.00(FALL)

ENGL E378 AFTER HOLLYWOOD: USACINEMA OF THE ‘70's

3 credits Gloria-Jean MasciarotteAccording to media historians, film in the USA went througha renaissance in the 1970's. However, this was not a virginrebirth, but an aesthetic movement based on the changingorganization of film production, the emergent status ofdocumentary, and the cross pollination of foreign, art houseand popular films. This course will examine through specificcomparisons this renaissance as well as the aesthetic conceptsof influence and tradition in terms of both technology andtheme. We will examine first the post-WWII critical analysesand production of self-aware filmmaking in Europe and Asiathat refracted and reinvented the Hollywood aesthetic. Then,we will turn back to the films of 14570's Hollywood in orderto sketch out the genius of the new system. Foreign filmmakersunder consideration are French New Wave Directors, Godard/Truffault; Italian Neo-Realists Fellini/Rossellini; New GermanCineaste, Fassbinder and Japanese Renaissance filmmakerKurosawa. New Hollywood filmmakers will included Scorsese,Kubrik, Coppola, Cassavetes, Atlman etc.Open to sophomore and above(SPRING)

ENGL E416 PICTURE AND WORD3 credits Stacy O’ConnellA workshop-style course which combines English with a studioproject for students with an interest in children's picture books.Students will learn to develop storytelling skills (imagination,language, plot, character, and voice) and illustration techniques(characterization, setting, page, layout) by studying picturebooks and completing writing and illustration assignments. Fortheir final projects, students will be expected to produce anoriginal text, sketch dummy, and two to four finished pieces ofart. The class will also include an overview of publishingprocedures and published writers/illustrators will be invited toshare their experiences and critique students' work.Students who register for this course must register for bothENGL E416 and ILLUS 5265 for a total of 6 credits. Open to junior and senior Illustration majors only as anelective(FALL)

ENGL E424 USES OF THEAUTOBIOGRAPHICAL

3 credits Ann HoodThis course will focus on reading and writing autobiography.Students will read and discuss contemporary essays andmemoirs such as Terry Tempest Williams Refuge, LucyGreely s Autobiography of a Face, Dave Eggers AHeartbreaking Work of Staggering Genius, Frank Conroy sStop-Time, and Jamaica Kincaid’s Autobiography of MyMother; students will write their own autobiographical essaysand discuss each other s work.Open to sophomore and above(SPRING)

ENGL E430 LIARY: PROSE WORKSHOP3 credits Joon LeeThe word “liary” references the seven volumes of Anais Nin’sdiaries, which, upon their publication, were denounced byNin’s friends as utter fiction, as the “liary.” This course willtreat this insult as the basis for a literary genre: the fiction oflife itself. We will focus on the production of liaries: fictionusing real life – your own. But rather than thinking about livedexperience as the raw material of fiction which findsexpression through words, we will think about wordsthemselves as the medium through which the fiction of life canbe constructed. In this course, we will be fully invested in themateriality of words and the functionality of fiction. We willcollide with words as if they were a particularly willful batchof clay, to find different ways in which fictionality is createdwhen a word is imagined to give contour to the slipperymoments of living.Open to sophomore and above(SPRING)

ENGL E431 POETRY IN SERVICE TO SCHOOLSAND THE COMMUNITY

3 credits Rick BenjaminThis course moves from the close study of good poetry –ancient, modern, contemporary – to the workshopping ofstudent poetry, both in group and one-on-one sessions, and six-week intern-/partnerships with eleven classrooms inProvidence. Students work together during the semester as aclass, in smaller groups, and in pairs as they embark upon theirservice. The class is equal parts studio, guild and communityservice project.Open to sophomore and above(FALL)

ENGL E501 FROM LITERARY TO CULTURALSTUDIES

3 credits Elaine CragheadCultural studies has made its mark in the humanities as astructured discipline since the 1960s. It emerged from adissatisfaction with traditional literary criticism and sought towiden the latter's focus on aesthetic masterpieces of "high"

2009 - 2010 English 55culture by incorporating "low," popular, and mass culture in aninterdisciplinary analysis of "texts," their production,distribution and consumption. Varied "texts" from the worldof art, film, TV, advertising, detective novels, music, folklore,etc. as well as everyday objects, discourses, and institutionshave since been discussed in their social, historical, ideologicaland political contexts. This course will provide an introductionto the field and its concerns. It will also encourage students topractice some of its modes of analysis.Open to sophomore and above(SPRING)

ENGL E502 CONTEMPORARY CRITICALTHEORY

3 credits Greta MethotThis course will provide students with a foundation in themajor movements, debates, and thinkers of twentieth- andtwenty-first century critical theory. We will begin from bothMarxist and psychoanalytic engagements with semiotics,visuality, mass media, sexuality, and representation.Proceeding through structuralism and post structuralism, wewill examine the important contemporary debates about theindividual's relationship to identity, aesthetics, power, history,technology, and the lived environment taking place in recentfeminism, queer and postcolonial theory, and ecocriticism. Noprevious familiarity with critical theory is required. Critics willinclude Marx, Freud, Lacan, Foucault, Benjamin, Lukács,Adorno, Barthes, Derrida, Althusser, Crary, Baudrillard,Butler, Harraway, Said, Chow, and Žižeck.Open to sophomore and above(FALL)

ENGL E503 THEORIES OF NATURECULTURE3 credits Nicole MerolaThis course is a critical theory course in which we willcarefully read and discuss together theoretical texts centered on"nature." "Theories of Natureculture," then, is in part aninvestigation into the claims about "nature" produced bydifferent theorists and texts—about what it is, about how wecomprehend and interact with it, and about the materialconsequences that accrue from particular ways ofconceptualizing "nature." By taking this class, you will acquirean understanding of many of the central ideas that undergirdwork in the environmental humanities, and in environmentalistdiscourse more generally. The primary activity of this courseis close engagement with (sometimes dense) theoreticalmaterial. While you need not have experience reading criticaltheory, you must be willing to confront, question, and wrestlewith texts that do not easily yield their meaning. This coursewill have regular writing assignments and a final paper. Areasof environmental theory we will likely consider include:romantic aesthetics, Marxism and materialism,phenomenology, science studies, posthumanism, andplanetarity.Open to sophomore and above(SPRING)

ENGL E515 THE nTH RACE: INTRODUCTIONTO TRANSRACIALITY

3 credits Joon LeeThanks to "advances" in medical and psychiatric technology,we are now able to view gender as a transformative aspect oflife: we are not stuck in the sexed body with which we wereborn. However, our racial identity is still something that seemsbiologically inescapable, in spite of the now very rich andconvincing theoretical history of its constructed, non-essentialnature. While the history of transsexualism is marked by thepotentially political affect of social transgression, the history oftransraciality speaks to us from advertisements forskin-blanching creams, history-denying acts of racial passing,and community betrayal. This is, however, contrary to theeveryday experience which finds that individual and groupracial identification is a process which is necessarilytransracial: in declaring ourselves racially, we all crossboundaries set by societies contemporary and past. In thiscourse, we will attempt to reconfigure race through thediscourse of transsexualism. The "race" produced, thus like the"third" gender produced by transsexuality, will lead to acomplication of existent preconceptions about racialstereotypes and formation. We will use Deirdre N.McCloskey's Crossing: a Memoir and the film Paris is Burningto build a vocabulary of transsexualism from which we willread texts in which racial lines are crossed. Among therequired texts are: Frances Harper's Iola Leroy, Andre Gide'sThe Immoralist, Octavia Butler's Dawn, and R. ZamoraLinmark's Rolling the R's.Open to sophomore and above(SPRING)

ENGL E654 NO INNOCENT EYE: KNOWLEDGEAND INTERPRETATION IN ARTAND MEDICINE

3 credits Kelli Auerbach (RISD)Dr. Jay Baruch (Brown)

Practicing medicine and creating art are both informed byobservation and perception, yet how artists and doctors viewthe world and their place in it might be quite different. Bybringing two populations – RISD students and Brown medicalstudents – together, this highly interdisciplinary course willlook at the ways art and medicine have overlapped andentwined historically, and still do today.

Team-taught by Kelli Auerbach (RISD English) and Dr.Jay Baruch (Brown Medical School), the course may examine:medicine and entertainment; medical photography andillustration; medicine and eroticism; how both fields havefigured the body; the role of ethics; pain, enhancementtechnologies, “normalcy”; contemporary artists’ explorationsof health and illness, as well as fiction and poetry by doctors.Students should expect rigorous discussion, significant writing(fiction and non-fiction), readings of creative and critical texts,

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and both individual and collaborative projects (written, visual,and/or performance). Activities also include drawing from bothlive and not-live figures.Permission of instructor required Limited to 15 RISD students and 10 Brown students(SPRING)

ENGL E701 SEMINAR: FAMILY NARRATIVES3 credits Susan Vander ClosterTolstoy's famous opening sentence of Anna Karenina remindsus that families provide a lot of good material for fiction andfilm narratives. "All happy families resemble one another," hewrites, "but each unhappy family is unhappy in its ownway." This seminar will take a look at unhappy and happyfamilies alike and will consider alternative or surrogate familystructures and definitions of home. Contemporary writers likeJhumpa Lahiri, Michael Cunningham, Philip Roth, Chang-raeLee, Jonathan Safran Foer, and Jeffrey Eugenides, just to namea few, take us inside homes where identities are formed andwhere they clash. We will also study family portraiture in filmto extend our understanding of the subject's narrativepossibilities. Open to sophomore and above(SPRING)

ENGL E715 SEMINAR: GREEN CULTURALSTUDIES: FILM

3 credits Nicole MerolaBroadly defined, a green cultural studies approach asksquestions about how the more-than-human other is producedand represented in texts. Furthermore, a green cultural studiesapproach seeks to explore the stakes and consequences of theseproductions and representations. In this seminar we willconcentrate on discerning and analyzing discourses of naturepresent in films produced in North America in the twentiethand twenty-first centuries. Possible topics for considerationinclude: nature documentaries and other representations of theanimal, the aesthetics of landscape cinematography, thesymbolic role(s) of wilderness, the presence and consequencesof environmental rhetoric, gendered encounters with the naturalworld, narratives of environmental apocalypse and/or toxicity,environmental justice, and cyborgs and other modified ortransgenic organisms. To contextualize our primary texts in thefilms we will read articles on ecocritical theory andmethodology, on film theory and philosophy, and on relevantenvironmental issues. Throughout the semester each studentwill do independent research. This research, shared with theclass on a regular basis, will serve as the foundation for a finalessay of at least twenty-five pages. A screening time will bescheduled. Students who miss the screening are responsible forseeing the required film(s) before class discussion.Open to sophomore and above(SPRING)

ENGL E752 SEMINAR: CHESTER HIMES3 credits Patricia BarbeitoChester Himes (1909-1984) was an African-American authorwho is best known for a series of detective novels based inHarlem, but who also wrote a number of important protestnovels, several volumes of short stories, and a two-volumeautobiography. Spanning three decades from the mid-1940s tothe mid-70s, his work speaks to debates about the role of theAfrican-American writer and a developing African-Americanaesthetic during this period, even as his writing often defieseasy categorization in terms of genre, style or politics. In thiscourse we will focus on three distinct periods of Himes's work:his protest novels (If He Hollers Let Him Go and The End ofa Primitive) which often hinge on disastrous sexualrelationships between black men and white women; hisautobiography and essays (selections from The Quality ofHurt); and his detective novels (Cotton Comes to Harlem andRun Man Run), two of which were made into movies in the 60sand 70s that can be directly linked to the popularity of theblaxploitation films of that era. For each period we willexamine the relation of Himes's work to its broader politicaland literary contexts. Students will be expected to conductresearch on a particular aspect of Himes's work and use it todevelop a written project throughout the course of the semester.Open to sophomore and above(SPRING)

ENGL E782 SEMINAR: JOYCE, SYNGE, YEATSAND THEIR ANTECEDENTS

3 credits Jonathan HighfieldIreland has a long history of literature, stretching frompre-Christian epics through monastic manuscripts right up tothe thriving contemporary scene. While there are manyimportant Irish writers before the beginning of the twentiethcentury, clearly the birth of the Abbey theatre and the poetry ofW. B. Yeats and the prose of James Joyce createdreverberations still felt in Ireland today. Using Joyce, Synge,and Yeats as a beginning point in this seminar we will look ata series of contemporary Irish writers whose works is buildingupon the foundation established in the early years of thetwentieth century.

One of the themes we will return to again and again inthis course is the theme of loss - loss of language, loss ofsovereignty, loss of loved ones. What does Stephen meanwhen he says, "History is a Nightmare from which I am tryingto awake"? Why is Yeats' left in "the foul rag and bone shopof the heart"?Open to sophomore and aboveAlso offered as GRAD 550G 01. Register into the course forwhich credit is desired.(FALL)

2009 - 2010 Film/Animation/Video 57

BFA Curriculum in Film, Animation, VideoDivision of Fine Arts Department Office: Market House, telephone 454-6233

COURSE NO. CREDITSFall Spring Fall Winter Spring

First YearFirst-year Program—See First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second YearIntroductory Film/ Introductory Video/ Animation Elective/ Digital Foundation 1 6 6Studio Elective 3 3

LE54 Time, Light and Sound 3 0 Liberal Arts Elective 3 6Wintersession 3

Year Total 15 3 15

Third YearStudio Elective 3 3 Liberal Arts 6 6 ANDLive Action Curriculum

5101 5102 Intermediate Studio: Film 3 3 5113 5114 Intermediate Studio: Video 3 3

orAnimation Curriculum

5106 5107 Intermediate Studio: Animation 3 3 Inter. Studio: Film (5101) or Video (5113) 3 0 FAV Studio Elective 0 3 Wintersession 3

Year Total 15 3 15

Fourth Year5197 5198 Senior Degree Project 6 3* 6 or 5195 or 5196

Studio Elective 3 3 Liberal Arts 3 3

Year Total** 12 3 12

Curriculum notes1 Two of these courses are assigned in Fall and two in Spring.

* Seniors in Wintersession will take W507 Advanced FilmProduction or W517 Advanced Animation Productiondepending on which curriculum track they are on.

** It is suggested that because of the amount of work requiredfor the senior project, enough credits be taken in previous yearsto enable a smaller course load during senior year and still havethe required 126 credits to graduate. Elective courses are to beselected in consultation with faculty advisors, with a minimumof 12 studio elective credits taken outside of the major.

Please note that some courses have prerequisites.

58 Film/Animation/Video 2009 - 2010Equipment Deposits: Students enrolled in production coursesthat check out equipment from the FAV equipment cage,and/or a key to the editing rooms, are required to keep $150.00on deposit to cover damage and theft.

Courses in Film, Animation, VideoFAV 5100 INTRODUCTORY FILM3 credits Peter O’Neill/Laura ColellaIntro Film explores techniques of live action 16MM filmproduction using Bolex cameras and flatbed editing tables.Technical concerns such as exposure, focus, depth of field, andbasic editing conventions are covered. Aesthetic concerns suchas composition, movement, editing rhythms, and thefilmmaker's intention are discussed and critiqued. Studentscomplete three individual assignments outside of class, andfour in-class exercises in pairs or groups. The individualassignments encourage creative use of editing techniques suchas traditional match-cutting, graphic match-cutting, and cross-cutting or parallel editing. The first individual project is silent,but for those that follow, students create soundtracks usingelements such as effects, music, ambient sound, andvoiceover. Screenings in class include student rushes, worksin progress, and finished films. In addition, a variety of shortfilms are screened and discussed that relate to many of thetechniques and aesthetic considerations explored throughoutthe semester. Requirement for sophomore majors Permission of instructor required for nonmajors Fee: $175.00 Deposit: $150.00Estimated cost of materials: $220.00(FALL/SPRING)

FAV 5101 INTERMEDIATE STUDIO: FILM 3 credits Martha SwetzoffIntermediate Film is a year-long course emphasizing technicalproduction in sync sound film making. Theoretical concernsand cinematic techniques are stressed. We explore concepts of(and the relationships between) narrative, documentary andexperimental filmmaking. The first half of the Fall term,students work in assigned teams, completing a series of shortexercises. In the second half of the term, class membersindividually create their own longer films for final projects.Students screen their work in class at various stages ofcompletion: rushes, rough cuts, and fine cuts. In addition, thereare weekly screenings of works by relevant filmmakers.Participation in class discussions is required. Prerequisite: FAV 5100Junior requirement for Live Action FAV majors Permission ofinstructor requiredFee: $175.00 Deposit $150.00Estimated cost of materials: $500.00(FALL)

FAV 5102 INTERMEDIATE STUDIO: FILM 3 credits Martha SwetzoffIntermediate Film is a year-long course emphasizing technicalproduction in sync sound film making. Theoretical concernsand cinematic techniques are stressed. We explore concepts of(and the relationships between) narrative, documentary andexperimental filmmaking. During Spring semester, the courseis devoted to improving skills in many aspects of live actionfilmmaking, including conceptualization, budgeting, camerawork, and sound recording. Projects are transferred to tape andedited digitally. In addition, there are weekly screenings ofworks by relevant filmmakers. Participation in classdiscussions is required. Prerequisite: FAV 5101Junior requirement for Live Action FAV majors Permission of instructor requiredFee: $80.00 Deposit $150.00Estimated cost of materials: $500.00(SPRING)

FAV 5103 INTRODUCTORY VIDEO3 credits Al Chin/Daniel Peltz This course introduces students to the production of electronicmoving images: video camera work and digital non-linearediting. By creating short projects, students are engaged in anexploration of individual workflow. Students participate inclass by inviting and offering constructive criticism within thegroup. Writing, presentations and individual meetings arestressed as important elements of the production process.Grades are influenced by attendance, quality of work, andmeeting all project deadlines.Requirement for sophomore majorsPermission of instructor requiredFee: $75.00 Deposit: $150.00Estimated cost of materials: $60.00(FALL/SPRING)

FAV 5105 INTRODUCTION TO ANIMATIONTECHNIQUES

3 credits Ann LaVigne/Agnieszka WoznickaThis course is designed to explore different animationtechniques and materials, including working directly on film,drawing on paper, painting under the camera, object animation,cut-outs, and pixilation. It also teaches the fundamentals ofanimated movement and timing. Students in this course eachmake six short animations with separate, synchronized soundtracks. At the end of the course, students create a DVDcompilation of all their projects. A wide range of independentanimated films are screened to demonstrate differenttechniques and approaches to animation.Permission of instructor requiredFee: $100.00 Estimated cost of materials: $40.00(FALL/SPRING)

2009 - 2010 Film/Animation/Video 59FAV 5106 INTERMEDIATE STUDIO:

ANIMATION 3 credits Amy KravitzThe intermediate year of animation study witnesses asignificant transformation, in which the student grows fromnovice to independent director. This year-long studio developsan integrated understanding of the diverse aesthetic tools ofanimation, and teaches students directing for the animationmedium. The course is comprised of four elements. First,weekly in-class structured experiments and homework awakenand refine the student's understanding of movement, timing,writing, editing, sound design, art directing, and use ofmaterials. Second, students receive technical training in 2Danimation production. Third, students screen and discussanimated works spanning history, culture, and designapproach. Fourth, each student designs, animates, directs, andproduces two independent projects, one in the fall and one inthe spring.Prerequisites: FAV 5105 or ILLUS 5202 Recommended: FAV 5108/5111/5130Junior requirement for Animation FAV majors Permission ofinstructor requiredFee: $100.00 Deposit: $150.00Estimated cost of materials: $300.00(FALL)

FAV 5107 INTERMEDIATE STUDIO:ANIMATION

3 credits Amy KravitzThis is the second semester of a year-long animation study, inwhich the student grows from novice to independent director.This studio develops an integrated understanding of the diverseaesthetic tools of animation, and teaches students directing forthe animation medium. The course is comprised of fourelements. First, weekly in-class structured experiments andhomework awaken and refine the student's understanding ofmovement, timing, writing, editing, sound design, art directing,and use of materials. Second, students receive technicaltraining in 2D animation production. Third, students screenand discuss animated works spanning history, culture, anddesign approach. Fourth, each student designs, animates,directs, and produces two independent projects, one in the falland one in the spring.Prerequisite: FAV 5106Recommended: FAV 5108/5130Junior requirement for Animation FAV majors Permission of instructor requiredFee: $100.00 Deposit: $150.00Estimated cost of materials: varies considerably withproduction design; averages $300.00 to $1,200.00(SPRING)

FAV 5108 CHARACTER ANIMATIONWORKSHOP

3 credits Daniel Sousa This course focuses primarily on hand-drawn character design,development, and movement. Beginning with simple modelsheets drawn from different points of view, we explore howaction and context can affect the design of characters. Thesame characters are then taken straight into animation. Studentsuse the characters they created as actors who must perform ina variety of situations, and interact directly with the physicalspace around them. Exercises include walk cycles, lip-synching, anticipation and follow-through, weight andresistance, and lessons in narrative, storyboarding, and drawingskills. The class also takes a field trip to the Roger WilliamsZoo to study animal motion directly from life. A longer, three-week final project provides an opportunity for students to showwhat they have learned, and to create a cohesive story fromstart to finish. The final project is usually critiqued by a guestindustry professional. All supporting software is covered in aseries of simple workshops. Class time involves critiques ofhomework assignments, demonstrations of techniques andscreenings of a diverse range of films.Prerequisite: FAV 5105Elective; Permission of instructor requiredFee: $75.00 Estimated cost of materials: $100.00(SPRING)

FAV 5110 DOCUMENTARY PRODUCTION3 credits Peter O’NeillStudents in this course will produce two projects: a videocamera exercise based on the observation of a particular event,and a fully researched and developed social documentary (theinteraction of people in small groups or organizations) workedout in consultation with the instructor. Production teams(pairs) are encouraged for the main project. Weekly screeningsof non-fiction films demonstrate stylistic developments andvariety of content. Assigned readings in the history and theoryof documentary promote in-class discussion.Prerequisite: FAV 5103 or FAV W519Permission of instructor requiredFee: $75.00 Deposit: $150.00Estimated cost of materials: $120.00(SPRING)

FAV 5111 STOP-MOTION ANIMATION3 credits Agnieszka WoznickaThis is a course demonstrating and exploring the basictechniques of Stop-Motion Puppet Animation, with the intentto provide students with hands-on creative experience inlearning the potentials of the medium, and an introduction tofilmic language. Studio exercises strengthen individualtechnical skills in basic armature construction and modelmaking, animating pose-to-pose movement, the basic walk,expressions and gestures, clay animation with lip-sync, setconstruction and lighting for three-dimensional animation.Basic sound recording, mixing and editing are also covered.

60 Film/Animation/Video 2009 - 2010Conceptual skills are exercised through exploring intent,storytelling, storyboarding, editorial concepts, characterperformance, art direction, and basic sound design. This classis based on process and experimentation. It is meant to providea strong foundation in the basics of stop-motion animationfilmmaking, as well as the confidence to experiment further inone's future work. The idea is to enjoy the process byunderstanding it; control is born of experimentation andexperience. Permission of instructor requiredFee: $200.00 Estimated cost of materials: $40.00(FALL/SPRING)

FAV 5112 SOUND FOR THE SCREEN3 credits Michael BieryloStudents in this course become engaged with sound as a partnerin the language of time-based media. Through selectedscreenings, readings, and concept-driven design projects, thestudents develop ideas they can use as design principles inplanning and working with sound. In addition, students get ahands-on overview of working with sound in a contemporaryproduction environment, focusing on microphones, fieldrecorders, and Pro Tools DAW software. Students learn to bebetter listeners and to be aware of how sound affects theirperception of the world around them, as well as becomingtechnically competent to execute their creative ideas. Prerequisite: FAV 5100Permission of instructor requiredFee: $80.00 Deposit: $150.00Estimated cost of materials: $50.00(FALL)

FAV 5113 INTERMEDIATE STUDIO: VIDEO3 credits Daniel PeltzThis year-long video production studio focuses on a search forthe specificity of the video medium through a series ofstructured experiments. Emphasis is placed on videoproduction for alternate exhibition environments: installation,performance, web and multimedia. A web-based videodialogue project is conducted, bringing students into contactwith their international peers in various countries, in order toexplore the potential of networked production environments. Prerequisite: FAV 5103Permission of instructor requiredFee: $80.00 Deposit: $150.00Estimated cost of materials: $125.00(FALL)

FAV 5114 INTERMEDIATE STUDIO: VIDEO3 credits Daniel PeltzThis year-long video production studio focuses on a search forthe specificity of the video medium through a series ofstructured experiments. Emphasis is placed on videoproduction for alternate exhibition environments: installation,performance, web and multimedia. The Spring Semester

continues and extends the web dialogue, and encouragesstudents to create more substantial projects.Prerequisite: FAV 5113Requirement for junior majorsPermission of instructor requiredFee: $80.00 Deposit: $150.00Estimated cost of materials: $150.00(SPRING)

FAV 5115 DIGITAL FOUNDATION3 credits Dennis HlynskyThis course identifies core principles of digital production, toenable students to continually adapt to the ever-changing worldof software. Students research and produce artworks thatdemonstrate their understanding of these principles. Thisprimary knowledge includes digital film and video formats,project asset management, compression techniques,understanding program interface design, color spaces, channelmixing and filters, and the creation and use of extra channels(such as alpha and depth).Requirement for sophomore majorsPermission of instructor requiredFee: $80.00 Estimated cost of materials: $30.00(FALL/SPRING)

FAV 5116 WRITING FOR THE SCREEN3 credits Andrew FreibandThis course is an examination of all forms of writing relevantto film and media creation. This includes a thorough study oftraditional 'story film' screenwriting, as well as writingtechniques for documentary production and preproductionwriting problems, such as proposals, treatments, and outlines.It is also a study of nontraditional writing problems infilmmaking: writing for nonlinear or experimental films,writing for a framework for improvisation, using text as adirect generator of filmed work, and even using text as thecontent of film. And last, but certainly not least, there isconsiderable attention paid to developing skills in criticalwriting. By the end of this course, students will have aportfolio of written work, including a polished draft of a shortfilm or long-form first act, which demonstrates a wide varietyof techniques for relating the written word to media.Prerequisites: FAV 5100/5103Permission of instructor required Fee: $45.00 Estimated Cost of Material: $25.00(SPRING)

FAV 5117 LIGHTING FOR THE MOVINGIMAGE

3 credits George JenneLighting for the Moving Image is a hands-on workshop inlighting for film and video. Students are exposed to a broadrange of equipment and techniques while they explore theoverriding concept of light as an essential narrative element inmotion picture. Workshops and discussions focus on theemotional impact of lighting as it pertains to a given story.

2009 - 2010 Film/Animation/Video 61Class time is divided between film screenings, one-dayworkshops on specific techniques, and an extended in-classgroup project in which students present light as the keynarrative element.Prerequisites: FAV 5100/5103Elective; Permission of instructor requiredFee: $50.00 Deposit: $150.00Estimated cost of materials: $100.00(FALL)

FAV 5118 COMPUTER GENERATEDIMAGERY: 3D

3 credits E. ‘Alex’ HartThis course uses Maya as the main tool to explore 3D digitalanimation, emphasizing modeling techniques. The overall goalof this course is to generalize the study of the 3D world and togive students basic problem solving skills needed for continueduse of this tool. After a series of lectures covering the basicsof navigating the interface, each student produces a shortanimation. Each student has focused, individual time with theinstructor. Prerequisites: FAV 5130/5131Course May be Repeated Once for CreditPermission of instructor required(FALL/SPRING)

FAV 5119 DIRECTING3 credits Laura ColellaIn the Directing class, students are encouraged to go beyondthe first instinct or idea, and to develop a project to its fullestpotential, particularly with respect to meaning and to potentialmodes of execution. Students work on a variety of scenesthroughout the semester, complete several short assignmentsduring and outside of class, and read handouts and excerptsfrom texts. An ongoing focus throughout the semester is anexploration of the methods of communication betweendirectors and actors. Students direct each other, young actorsfrom the Carriage House School, professional actors from thecommunity (brought in for two classes), and actors of theirchoosing for final projects. As they direct rehearsals, studentsutilize a variety of specific tools that enable them to maximizethe creativity and fertility of their relationships with actors, andto make adjustments in performances quickly and effectively.The latter third of the semester also focuses on techniques forscript analysis. These are used to discover the range of creativepossibilities in a given text, and to thoroughly prepare andorganize directors for rehearsals and shoots. An ongoing,general goal of the course is also for each student to reflectupon and identify their personal themes as a director.Prerequisites: FAV 5100/5103Elective; Permission of instructor requiredFee: $40.00(FALL)

FAV 5121 EXPERIMENTAL FILMTECHNIQUES

3 credits Bryan Papciak/Jeff SiasAn introduction to experimental cinematography, handmadefilm techniques, and the most fundamental level of filmmaking,this course will emphasize the unique properties of film itselfas a visual medium. Projects include in-camera special effects,hand processing, direct animation, optical printing, and contactprinting. Students study classic experimental and directanimation films, including work by Len Lye, Norm McLaren,and Patrick Bokanowski. As a final project, each student willmake a short piece on film utilizing techniques learned inclass. No video or digital processes will be allowed.Prerequisite: FAV 5100 or FAV W503Permission of instructor requiredFee: $300.00 Deposit: $150.00Estimated cost of materials: $100.00(SPRING)

FAV 5123 CHARACTER DESIGN3 credits Shanth EnjetiThis course is a study of the theories and methods of characterdesign as applied to narrative forms. This class asks studentsto push beyond stereotypical designs to develop two-dimensional characters that are both personally and culturallyresonant and imaginative. Particular emphasis is placed on theexpressive power of abstract forms and color. Throughexploring individual perceptions of good and evil, success andfailure, as well as beauty and ugliness, students createcharacters that are highly original. Research, thoroughcraftsmanship, and sophisticated design are stressed.Permission of instructor required(SPRING)

FAV 5125 FILM & VIDEO INSTALLATION3 credits Daniel PeltzThis cross-listed, FAV/Sculpture studio investigates monitorand projector based installation through critical readings andstudio practice. Emphasis is placed on concerns of material,site, space and interactivity. The course revisits the televisionmonitor and television viewing context as the original videoinstallation site. Students also explore the projector andprojection beam, including its shape and volume, capacity toserve as a pure light source and as a means of resurfacingthree-dimensional objects. Active installation artists visit theclass for lectures and critiques.Permission of instructor requiredFee: $75.00 Deposit: $150.00Estimated cost of materials: $150.00(SPRING)

FAV 5130 INTEGRATED TECHNIQUES INCOMPUTER ANIMATION

3 credits Tammy DudmanThis course is designed to teach students how to utilize thecomputer to create animation. Special emphasis is placed on

62 Film/Animation/Video 2009 - 2010exploration and experimentation as it applies to computer-generated or computer-assisted animation. The class covershand drawn non-computer originated animation, cut outanimation, computer generated drawn animation, paintingunder the camera, rotoscoping, and an introduction to theconcepts used in 3D animation. Additionally, an introductionto sound design and editing will be explored in the finalanimation project.Permission of instructor requiredFee: $75.00 Estimated cost of materials: $40.00(FALL)

FAV 5131 DIGITAL EFFECTS ANDCOMPOSITING FOR THE SCREEN

3 credits Dennis HlynskyThis class uses Adobe After Effects as a tool to achieve thestudents' individual goals as artists. Starting with the basics ofcreating imagery in After Effects, the course moves throughcompositing, special effects, puppet animation and timemanipulation. There is an overarching focus on core conceptssuch as quality of motion, layout and composition, color andform that surpass this single class. The first 6 weeks containhomework assignments that allow the students to graspindividual components of this highly technical toolset, whileduring the second 6 weeks the students concentrate on a finalproject. This project stresses the students' knowledge andforces them to grow as a digital animator as they find uniqueproblems and solve them with instructor supervision.Prerequisite: FAV 5130Permission of instructor requiredFee: $75.00(FALL/SPRING)

FAV 5152 INTERMEDIATESTOP-MOTION ANIMATION

3 credits Agnieszka WoznickaThis course is a continuation of Intro Puppet class with anemphasis on timing and movement, lighting and motion controlprocess in stop-motion animation. Students will design, direct,and animate their individual puppet projects. Technical aspectssuch as surface gauges, flying rigs, and some special effects arecovered. Projects may be shot in either 16mm or with digitalSLR cameras.Prerequisite: FAV 5111Permission of instructor requiredFee: $150.00 Estimated cost of materials: $300.00(FALL)

FAV 5195 ANIMATION DEGREE PROJECT6 credits Bryan Papciak/Amy KravitzDuring the senior year, students synthesize and apply whatthey have learned in their previous studies to the creation of ayear-long project. Students develop, design, animate, direct,and produce these projects independently. Students receiveweekly individual guidance from instructors and two critiquesby established professionals from the world animation

community. Class meetings are devoted to film screenings,group critique, and specialized technical workshops. Fallsemester includes a one-week field trip to the OttawaInternational Animation Festival in Ottawa, Ontario, Canada.Prerequisites: FAV 5106/5130, and FAV 5102 or 5114 Requirement for senior majors Permission of instructor requiredFee: $350.00 Deposit: $150.00Estimated cost of materials: Varies considerably withproduction design, average $1000.00 to $3000.00Average Field Trip Cost: $300.00(FALL)

FAV 5196 ANIMATION DEGREE PROJECT6 credits Bryan Papciak/Amy KravitzDuring the senior year, students synthesize and apply whatthey have learned in their previous studies to the creation of ayear-long project. Students develop, design, animate, direct,and produce these projects independently. Students receiveweekly individual guidance from instructors and two critiquesby established professionals from the world animationcommunity. Class meetings are devoted to film screenings,group critique, and specialized technical workshops. SpringSemester features speakers from different sectors of theanimation field who meet with students to prepare them forprofessional practice. During the spring semester each studentalso prepares a professional reel and portfolio. The yearculminates with the RISD Senior Festival, a public showcase.Prerequisite: FAV 5195Requirement for seniorPermission of instructor required; FAV majors onlyFee: $250.00 Deposit: $150.00 Estimated cost of materials: Varies considerably withproduction design, average $1000.00 to $3000.00(SPRING)

FAV 5197 FILM/VIDEO DEGREE PROJECT6 credits Alexandra Anthony/Peter O’NeillThis is a year-long course of study, for which the student willcomplete a 10-20 minute live action work to final professionalscreening format. Students are free to choose genres andformats in which they want to work. Students have weeklymeetings for screenings, guests, and technical workshops, andweekly small-group meetings to discuss their works-in-progress. Fall semester covers pre-production work onnarrative projects: developing of scenarios, location scouting,budgets, initial camera tests or initial shooting of non-fictionprojects. Visiting consultants come in to instruct in soundrecording and cinematography, and guest critics come inNovember to review project proposals and/or footage. Prerequisites: FAV 5102/5114/5130Open to seniorPermission of instructor required; FAV majors onlyFee: $100.00 Deposit: $150.00Estimated cost of materials: $2,000/year(FALL)

2009 - 2010 Film/Animation/Video 63FAV 5198 FILM/VIDEO DEGREE PROJECT6 credits Alexandra Anthony/Peter O’NeillThis is a year-long course of study, for which the student willcomplete a 10-20 minute live action work to final professionalscreening format. Students are free to choose genres andformats in which they want to work. Students have weeklymeetings for screenings, guests, and technical workshops, andweekly small-group meetings to discuss their works-in-progress. Spring semester covers post-production, editing,sound mixing, color correction, outputting, and a series ofprofessional practice workshops. A guest critic reviews workin early April. Final projects are screened at a public filmfestival in May, which is reviewed by the local mediaPrerequisite: FAV 5197Open to seniorPermission of instructor required; FAV majors onlyFee: $250.00 Deposit: $150.00Estimated cost of materials: $2,000/year(SPRING)

LAEL LE54 TIME, LIGHT, AND SOUND3 credits tbaThis course is designed as an introduction to the 113-yearhistory of the projected moving image (film, animation, andvideo). Artistic expression in these forms will be emphasized.Students discover new areas of interest while watchingcarefully selected examples of films and videos. During allclasses, students will view films representing different stylesand periods of filmmaking. About half of the classes aredevoted to contemporary films. Critical thinking will beencouraged and fostered during classroom discussions. Clearexpression of these thoughts will be developed throughassigned readings and weekly writing assignments. During thesemester, students learn about specific artists, schools offilmmaking, genres, and fields within the history of the film,animation, and video. Students also develop a commonlanguage by learning the meaning and proper usage of aglossary of common film terms. At select classes, film artistsare present to introduce and discuss their work. Other guestsinclude improvisational musicians who accompany silent films.Open to sophomore and aboveRegistration priority to FAV majorsPermission of instructor requiredLiberal Arts Elective creditFee: $50.00(FALL)

2009 - 2010 Fine Arts Division 65

Division of Fine Arts Divisional Office: Market House, 104 telephone 454-6183

The Division of Fine Arts offers courses that fall outside the disciplinary boundaries of individual departments within the division.These courses are interdisciplinary or multidisciplinary in their subjects and methods. For undergraduates, the courses count towardthe degree as nonmajor studio electives. Depending on the subject matter, with written approval of your department head, the coursemay count instead as credit toward your major requirements. For graduate students, the courses fulfill general elective requirements.The courses offered as Fine Arts Electives change from year to year in order to provide new and innovative offerings outside thescope of individual departments.

Courses in Fine ArtsFA 5506 ART AS A SOURCE OF HEALING:

FALL3 credits Melinda BridgmanThis course will examine the connection between arts andhealing from ancient times to the present and explore thecontemporary movement of the arts in healthcare. Studentswill do a semester-long, collaborative arts practicum withpatients and work closely with the staff - either on-site atBradley Hospital, a children’s psychiatric hospital, in EastProvidence, R.I., or at one of its residential treatment facilities.There will be a personal studio project; a practicum project;experiential workshops; visits by contemporary artist/healers;discussions with professionals about child mental health;assigned readings and writings; slide lectures; andjournal-keeping. NOTE: The fall semester is open to juniors, seniors, 5th yearand graduate students with special permission of the instructorfor sophomoresPermission of instructor requiredFee: $25.00(FALL)

FA 5536 ART AS A SOURCE OF HEALING:SPRING

3 credits Melinda BridgmanThis course will examine the connection between arts andhealing from ancient times to the present, and explore thecontemporary movement of the arts in healthcare. Studentswill do a semester-long , collaborative arts practicum withpatients and work closely with the staff - either on-site atBradley Hospital, a children’s psychiatric hospital, in EastProvidence, R.I., or at one of its residential treatment facilities.There will be a personal studio project; a practicum project;experiential workshops; visits by contemporary artist/healers;discussions with professionals about child mental health;assigned readings and writings; slide lectures; andjournal-keeping. Open to junior, senior, fifth-yearPermission of instructor requiredFee: $25.00(SPRING)

NMSE 4719 ADVANCED FIGURE MODELING3 credits Jeffrey HesserA model is dedicated for the entire semester, and the objectiveis a three-quarter life-sized figure. Students begin bydetermining the pose through a series of quickly executedmaquettes, two from the model and one from imagination.Students learn scaling-up procedures, build a large rollingstand, and an armature. A primary objective remains therealization of form integrity - life charged from a center andorganized spatially by its anatomy or internal structure.Internalized core issues are repeatedly reaffirmed. Therefore,strong emphasis is given both to whole sight and to abstractionof essentials - proportion, spatial relationship, and axialorientation.(SPRING)

2009 - 2010 First-Year Experience 67

First-year Program of Study Division of Foundation Studies Division Office: Waterman Building, telephone 454-6176Division of Liberal ArtsDivision Office: College Building, 4th floor, telephone 454-6570 or 454-6572

First-year Program for all majors

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFoundation Studio courses

1001 1002 Foundation Drawing I & II 3 31003 1004 Two- Dimensional Design I & II 3 31005 1006 Three-Dimensional Design I & II 3 3

Liberal Arts coursesE101 Literature Seminar: Design in Words 1 3 0H101 History of Art & Visual Culture 1 2 3 0

H102 History of Art & Visual Culture 2 (Topics) 2 0 3S101 History, Philosophy, and the Social Sciences (Topics) 3 0 3

Wintersession 4 3Year Total 15 3 15

Footnotes

1 All students are required to complete satisfactorily LiteratureSeminar: Design in Words (ENGL E101, formerly EnglishComposition and Literature) or, with the permission of theEnglish Department Head, its equivalent. This course is aprerequisite for all further elective study in liberal arts andtherefore should be taken during the first year.

1, 2, and 3 These courses can be found under ENGL E101, ARTHH101/H102 and HPSS S101 in the relevant departmentalsections, e.g. English, History of Art and Visual Culture, andHistory, Philosophy, and the Social Sciences, respectively.Students who receive advanced placement (AP) credit (requiresan exam score of 4 or 5) in a relevant discipline may bewaived from one or more of the Liberal Arts first year courses.Specifically, students with AP credit for Art History may bewaived from ARTH H102 (note - not H101); with AP credit forEnglish Literature (note – not English Language) may bewaived from ENGL E101; and with AP credit for EuropeanHistory, Comparative Government & Politics, U.S.Government & Politics, Human Geography, Psychology, U.S.History, or World History may be waived from HPSS S101.

3 All students graduating in 2012 or after (that is, freshmenadmitted Fall 2008 or after and transfers admitted Fall 2009 orafter) are required to complete History, Philosophy, and theSocial Sciences (Topics) (HPSS S101) or, with the permissionof the HPSS Department Head, its equivalent. This course isa prerequisite for all further elective study in the HPSSDepartment and therefore should be taken during the first year.

4 During the first-year’s Wintersession, students will select anon-campus course related to their intended major or in anotherarea of interest. The course may be in liberal arts or studio andmay be chosen from any of the College-wide course offerings.A separate catalog for Wintersession is published during theFall semester.

Curriculum noteFreshmen are not allowed on their own to drop a course,whether it be studio or liberal arts. These courses are requiredof all first-year students. A student must see the Dean ofFoundation Studies if they are considering a drop. The Deanwill, after discussion with the student, disapprove or approvethe request.

68 Foundation Studies 2009 - 2010

Division of Foundation Studies Division Office: Waterman Building., telephone 454-6176

FOUNDATION STUDIOSFOUND 1001 DRAWING3 credits StaffDrawing plays a vital and primary role in the life of an artist ordesigner. In Drawing, students engage in rigorousobservational drawing of natural and man-made forms towardsan understanding of structure and dynamics. Clear structuringof space as well as formal compositional elements and theirintrinsic relationship to non-objective and representationaldrawing are explored. The expressive character of lines,tones, and marks are studied as inseparable from theinformation, concept and content of drawing. (FALL)

FOUND 1002 DRAWING3 credits StaffSecond semester continuation of DRAWING, 1001.(SPRING)

FOUND 1003 TWO-DIMENSIONAL DESIGN3 credits StaffIn this course, the two-dimensional plane provides the groundfor the study of the elements of visual language and theirrelationship to experience, expression and communication.Texture, pattern, figure/ground oscillation, scale, and color aresome of the many components of this exploration. Theirfundamental and complex interactions are manifested througha variety of media. (FALL)

FOUND 1004 TWO-DIMENSIONAL DESIGN3 credits StaffSecond semester continuation of TWO-DIMENSIONALDESIGN, 1003.(SPRING)

FOUND 1005 THREE-DIMENSIONAL DESIGN3 credits StaffThe program in three-dimensional design comprises three typesof content. These are: visual content or form, including line,plane, shape, and proportion; and literary content or meaning,including subject matter and interpretation. The third contentdistinguishes three-dimensional design from two-dimensionaldesign, it is physical content or volume. This includes materialproperties, structural dynamics and space. Students areexpected to explore three-dimensional design throughimagination and analysis.(FALL)

FOUND 1006 THREE-DIMENSIONAL DESIGN3 credits StaffSecond semester continuation of THREE-DIMENSIONALDESIGN, 1005.(SPRING)

2009 - 2010 Furniture Design 69

BFA Curriculum in Furniture DesignDivision of Architecture and DesignDepartment Office: 20 Washington Place, telephone 454-6373

COURSE NO. CREDITSFall Spring Fall Winter Spring

First YearFirst-year Program – see First–Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year2501 Sophomore Studio Methods 6 0

2502 Sophomore Design/Practice 0 6 2510 2511 Drawing for Furniture 2D & 3D 3 3

Liberal Arts 3 0 LE26 History of Furniture 1 3 3

Department electives or nonmajor electives 3 3 Wintersession 3

Year Total 15 3 15

Third Year2521 Junior Studio I 6 0

2522 Junior Studio II 0 6 2523 Research Elective 2 or Dept Elect. 3 3

Electives or Liberal Arts 3 6 6Wintersession 3

Year Total 15 3 15

Fourth Year2580 Advanced Furniture Studio 6 0

2590 Senior Studio 0 62582 Professional Practice/Portfolio 0 3

Elective or Liberal Arts 3 3 or 9 6 or 0Wintersession 3

Year Total 12 3 12

Total credits: 126

Footnotes1 LAEL LE26 is taken for Art History credit.2 Research Elective may be taken in Spring instead of Fall.3 Chosen in consultation with department adviser.

Curriculum noteStudents entering the Department of Furniture Design assophomore or transfer students must participate in its requiredlaptop program, purchasing hardware, software, upgrades andinsurance, as specified in the Department's "Laptop ProgramRequirements and Policy Guidelines".

70 Furniture Design 2009 - 2010

Courses in Furniture DesignNote: All FURN courses are open to majors only, unlessspecified otherwise at the end of the course description.

FURN 2451 THE WITNESS TREE PROJECT3 credits Dale Broholm/Daniel CavicchiWitness trees, as designated by the National Park Service, arelong-standing trees that have "witnessed" key events, trends,and people in history. In this joint studio/liberal arts course,students have the unique opportunity to study and work with afallen pecan tree, shipped to RISD from the Hampton NationalHistoric Site. The Hampton plantation, located outside ofBaltimore, Maryland, was a farm, an ironworks, and a portbefore the Civil War; it served for over half a century as acenter of industry and slave labor in the upper South. Thecourse will involve three components: 1) a field trip to thetree's site in Maryland at the beginning of the semester; 2)classroom-based reading and discussion about Americanmaterial culture and history; and 3) studio-based building of aseries of objects, in response to the tree, the site, and students'classroom study. Overall, the course will explore both howmaterial artifacts shape historical understanding and howhistorical knowledge can create meaningful design. There is aplanned exhibition of selected objects from the class at theHampton Site, date yet to be determined. Co-requisite HPSS S732Students will receive 3 credits in Furniture and 3 credits inHPSS, for a total of 6 credits.Fee: $75.00 A single fee of $75.00 will be charged for yourconcurrent registration in HPSS S732/FURN 2451 courses.(FALL)

FURN 2501 SOPHOMORE STUDIO METHODS6 credits Peter Dean/Yuri KobayashiThis studio course introduces materials commonly used infurniture making and the foundation skills necessary tointegrate them into furniture. Emphasis is on techniques,structures and materials properties. These are integrated withtheoretical exercises that focus on design.Requirement for sophomore majors; FURN majors onlyFee: $60.00 Tool Rental: $150.00 (FALL)

FURN 2502 SOPHOMORE DESIGN/PRACTICE6 credits Peter Sweetser/Dale BroholmThis sophomore studio expands basic principles of furnituredesign and material skills, exploring how the made objectsinteract with the human body. Intermediate skills will bedemonstrated and practiced as students further explorematerials and their applications in design.Prerequisite: FURN 2501 Requirement for sophomore majors; FURN majors onlyFee: $60.00(SPRING)

FURN 2503 CAD MODELING FOR FURNITUREDESIGNERS

3 credits tbaThis course will provide students with a high level ofcompetency and an increased sensitivity to the creativepotential that CAD modeling presents to designers. Studentswill be introduced to the fundamental concepts andtechnologies of CAD using SolidWorks 3D modeling software.There will be expenses associated with outputting services(printing, rapid prototyping and/or CNC machining).Undergraduate electivePermission of instructor requiredFee: $30.00(SPRING)

FURN 2510 DRAWING FOR FURNITURE(2-D) SKETCH TO WORKINGDRAWING

3 credits Joshua Enck/Christopher SpecceDrawing for Furniture 2D will focus on the ways in whichdrawing can help generate, evaluate and communicate designconcepts. Students will be introduced to the conventions andtechniques of technical drawing for Furniture Design whilepursuing experiments that supplement and challengeestablished practices. Focus will be on two drawing systems,orthographic and paraline projection, working by hand andwith computers.Requirement for sophomore majors; FURN majors only(FALL)

FURN 2511 DRAWING FOR FURNITURE(3-D) MODEL/MOCK-UP/COMPUTERS

3 credits Joshua Enck/Christopher SpecceThe principle goal for this course is to facilitate the creation ofthree-dimensional form. Over the course of the semester,students will explore the translation of two-dimensionalrepresentations into three-dimensional realities. Prerequisite: FURN 2510Requirement for sophomore majors; FURN majors only(SPRING)

FURN 2521 JUNIOR STUDIO I6 credits Lothar Windels/Jim ColeThis studio will consist of advanced furniture design andpractice. There will be two sections, one will concentrate onfurniture design using advanced wood techniques and materialswhile the other will relate to metal fabrication and castmaterials. Prerequisite: FURN 2502Open to undergraduate; FURN majors onlySection 01 Wood - Section 02 MetalFee: $50.00(FALL)

2009 - 2010 Furniture Design 71FURN 2522 JUNIOR STUDIO II6 credits Lothar Windels/Jim ColeThis studio will mirror the fall studio with students reversingthe section of advanced wood and metal & cast materials.Prerequisite: FURN 2521Open to undergraduate; FURN majors onlyFee: $50.00Section 01 Wood - Section 02 Metal(SPRING)

FURN 2523 RESEARCH ELECTIVE3 credits Lothar Windels/tbaIn this course students will research specific furniture themesand materials in a variety of contexts includig externalpartnerships. Open to undergraduatePermission of department head required; FURN majors onlyFee: $50.00(FALL/SPRING)

FURN 2527 CABINETS, DOORS, DRAWERS3 credits Yuri KobayashiThis course will provide an opportunity for students to designand make cabinets of various types with doors and drawers.Students will learn the subtleties of casework and fitting doors,drawers and hardware. While a wide range of designapproaches from very simple to complex will be encouraged,this course will be an especially good opportunity for thosestudents who wish to explore advanced woodworking.Open to junior, senior, fifth-year, graduatePermission of instructor required; FURN majors onlyFee: $50.00(FALL)

FAV 2533 MACHINING METAL FORFURNITURE

3 credits Lothar WindelsThe objective of this course is to gain an understanding ofmachining metal. Parallel to the machining process studentsshould acquire methodical problem-solving skills.

During this course students will be introduced to thelathe and the miller. In addition, students will also learn aboutthe appropriate use of mechanical fasteners. Students willdevelop skills that enable them to prototype projects in asophisticated manner. The methodical approach needed duringthe machining process will enhance students problem-solvingand therefore strengthen their design process in general.

The format of this course includes lecturers,demonstrations, several projects and critiques. Engineeringdrawing will be required as they relate to the projects. Respect

for equipment, sensitivity towards materials, understandingappropriate techniques, and the development of good safetyhabits will be stressed.Open to junior and above; Major electivePermission of instructor requiredFee: $50.00(SPRING)

FURN 2580 ADVANCED FURNITURE STUDIO6 credits Alphonse Mattia/John DunniganThis a required studio for seniors that continues advancedtheory and practice of furniture design. Upholstery techniquesare introduced.Prerequisite: FURN 2522Senior requirement; FURN majors onlyFee: $60.00(FALL)

FURN 2582 PROFESSIONALPRACTICE/PORTFOLIO

3 credits Peter WalkerThis class will focus on professional presentation with regardsto all aspects of your work including visual portfolio, artiststatement, resume and clear articulate correspondence. With abasic understanding of what you are trying to achievecombined with a philosophy of how you will achieve it, thiscourse will help equip you with the foundation to deal with thebusiness of making a living from your art.Senior requirement; FURN majors only(SPRING)

FURN 2590 SENIOR STUDIO6 credits Alphonse Mattia/tbaSeniors will complete their final portfolio works in this studio.Seniors will design and execute a final degree project. Thedegree project will be individualized according to studentinterest.Prerequisite: FURN 2580Requirement for senior majors; FURN majors onlyFee: $60.00(SPRING)

LAEL LE26 HISTORY OF FURNITURE3 credits John DunniganA survey of the development of furniture and a criticalassessment of styles of each period. Considerable time will bespent studying the collection of the RISD museum. The coursewill include lecture, papers, field trips, and exams.Art History credit for FURN majors only(FALL)

72 Furniture Design 2009 - 2010

MFA Curriculum in Furniture DesignDivision of Architecture and Design

COURSE NO CREDITS Fall Spring Fall Winter Spring

First Year244G 245G Graduate Furniture Design I & II 9 9

247G Graduate Seminar 3 3Liberal Arts or Elective 3 3Wintersession 3

Year Total 15 3 15

Second Year246G Graduate Furniture Design III 9 0 Graduate Seminar 3 0

249G Graduate Furniture Design Thesis 0 12 Liberal Arts or Elective 3 3 Wintersession 3

Year Total 15 3 15

Total Credits: 66

Curriculum noteStudents entering the Department of Furniture Design assophomore or transfer students must participate in its requiredlaptop program, purchasing hardware, software, upgrades andinsurance, as specified in the Department's "laptop programrequirements and policy guidelines". Entering graduatestudents have the option of participating in the program if theywish.

2009 - 2010 Furniture Design 73

Graduate CoursesOpen only to graduate Furniture Design majors, except as noted

FURN 244G GRAD FURNITURE DESIGN I9 credits Rosanne Somerson/Lane MyerThis course concentrates on the exploration of personal designaesthetics and the development of furniture projects that exhibita high degree of technical proficiency.Requirement for graduateFURN majors onlyFee: $60.00(FALL)

FURN 245G GRAD FURNITURE DESIGN II9 credits Peter Walker/Chris RoseThis course explores advanced design processes and methodsof construction. The evolution of a project through a completedesign process is required including conceptual and designdevelopment phases.Requirement for first-year graduate FURN majors onlyFee: $60.00(SPRING)

FURN 246G GRAD FURNITURE DESIGN III9 credits Rosanne Somerson/tbaThis course concentrates on projects that begin the thesis bodyof work. Advanced design and technical processes arecontinued as part of this process.Requirement for second-year graduate FURN majors onlyFee: $60.00(FALL)

FURN 247G GRAD FURNITURE DESIGNSEMINAR: METHODS, MEANS,MOTIVATIONS

3 credits Rosanne SomersonThe graduate seminar is a forum for discussion and researchoutside of the studio setting. Through a series of topicalinvestigations, lectures, presentations, and field trips, studentswill explore current design issues, professional practices,directions, and developments within the field, and other topicsthat will help to formulate the basis of the graduate thesiswork.Open to senior, fifth-year; ElectiveRequirement for graduateFURN majors only(SPRING)

FURN 249G GRAD FURNITURE DESIGN THESIS

12 credits Peter Walker/Chris RoseThis course culminates the completion of the thesis body ofworks and accompanying written document.Requirement for second-year graduate FURN majors onlyFee: $60.00(SPRING)

2009 - 2010 Glass 75

BFA Curriculum in GlassDivision of Fine ArtsDepartment Office: Metcalf Building; telephone 454-6190

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program – see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4300 4310 Glass IA Studio - Glass IB Studio 6 6 4305 Beginning Glassworking 3 0

4309 Glass Casting & Moldmaking 0 34321 Glass Coldworking 3 0

Liberal Arts 3 6 Wintersession 3

Year Total 15 3 15

Third Year4301 4311 Glass IIA Studio - Glass IIB Studio 3 3 4316 4318 Glass Degree Program Workshop 1 3 34319 Intermediate Glassblowing 3 0

Nonmajor Electives 3 9 LE06 History of Glass 3 0

Wintersession 3Year Total 15 3 15

Fourth Year

4302 Glass IIIA Studio 6 0 4320 4322 Glass Degree Program Workshop 1 3 3

4398 Glass IIIB Degree Project 0 6 Liberal Arts 3 3 Wintersession 3

Year Total 12 3 12

Footnote1 In the course descriptions which follow, this course is listedas GLASS 43xx, Glass Degree Program Workshop.

Curriculum notesThe curriculum adds up to the 126 credits required for theBFA. The Liberal Arts component is 42 credits, but detail isshown only for 30 of the credits in Liberal Arts (assuming 12credits in the First-year Program). To accumulate 42 credits,courses may be taken during Wintersession or during the Fallor Spring semesters, as scheduling and interest permits.Consult your adviser, the Liberal Arts Office or the Registrarfor additional information.

Sufficient elective courses must be completed successfully tofulfill a minimum total of 126 credits necessary for a BFAdegree. Elective courses are selected in consultation with yourdepartment head or advisor.

76 Glass 2009 - 2010

Courses in GlassGLASS 4300 GLASS IA STUDIO6 credits tbaThis beginning glass major studio combines studio practice,critical discourse and contemporary issues throughassignments, reports, and scheduled critiques. The coursedevelops awareness of three-dimensional issues concerningmaterial, concept, and light and to establish criteria for artisticstriving. Students are required to develop the sketchbook as anessential creative tool.Requirement for sophomore GLASS majorsAvailable to nonmajors for 3 credits only by petition and/orpermission of department headFee: $150.00 Estimated cost of materials: $200.00(FALL)

GLASS 4301 GLASS IIA STUDIO3 credits tbaGlass IIA is an intermediate studio course in which studentscontinue their ongoing investigation of material processes.Emphasis is on developing personal concepts and imagery andvisual research skills through investigations of regularlyassigned topics. Students develop a substantial “idea”sketchbook, participate in scheduled class activities, and groupcritique.Prerequisite: GLASS 4310Must also register for: GLASS 4316Junior requirement; GLASS majors onlyFee: $200.00 Estimated cost of materials: $200.00(FALL)

GLASS 4302 GLASS IIIA STUDIO6 credits Rachel BerwickGlass IIIA is an advanced major studio that requiresintermediate glassworking skills and familiarity with thematerial. This course stresses the continuing development ofpersonal imagery, viewpoint, visual “source” research and therefinement of material processes in terms of individual artisticrequirements. As preparation leading to the senior thesisproject, independent studio work and individual consultationare emphasized. During this semester, each student is expectedto seek out at least one professional artist outside the GlassDepartment and develop an artistic association with thisadvisor for the duration of the senior year.Prerequisite: GLASS 4311Must also register for: GLASS 4320Requirement for senior; GLASS majors onlyFee: $200.00 Estimated cost of materials: $300.00(FALL)

GLASS 4305 BEGINNING GLASSWORKING3 credits Christopher TaylorThis beginning course introduces basic glassblowing andmolten glassworking processes. It includes “offhand”glassblowing, “solidworking” and glassblowing with molds.Students apply new technical skills to self-generated projects.Students maintain detailed technical notes and a projectsketchbook.Requirement for sophomore GLASS majors. As an elective,Permission of Department Head with written statement due inearly May. Fee: $175.00 Estimated cost of materials: $400.00(FALL)

GLASS 4309 GLASS CASTING & MOLDMAKING

3 credits Adrianne EvansThis beginning course introduces the materials and processesnecessary for basic glasscasting of solid objects and includesvarious moldmaking methods. Molten glasscasting, glassfusecasting, pate de verre, optical slump casting; the techniquesfor making refractory molds, sand molds, metal or graphitemolds; and the proper use of annealing ovens are introduced.Students apply new technical skills to self-generated projects.Students maintain detailed technical notes and a projectsketchbook. Requirement for sophomore GLASS majors. As an elective,Permission of Department Head required with writtenstatement due in November.Fee: $300.00 Estimated cost of materials: $300.00(SPRING)

GLASS 4310 GLASS IB STUDIO6 credits tbaThis course is the second half of an intensive, two-semesterintroduction to studio practice. Objectives introduced in thepreceding semester are refined and furthered throughassignments, reports, and scheduled critique. Students arerequired to develop the sketchbook as an essential creativetool.Prerequisite: GLASS 4300 Requirement for sophomore GLASS majorsAvailable to nonmajors for 3 credits only by petition and/orpermission of department head.Fee: $200.00 Estimated cost of materials: $300.00(SPRING)

2009 - 2010 Glass 77GLASS 4311 GLASS IIB STUDIO3 credits tbaGlass IIB is the second half of a two-semester intermediatestudio course in which students will continue their ongoinginvestigation of material processes. Emphasis is ondeveloping personal concepts, imagery, and visual researchskills through investigations of regularly assigned topics.Students develop a substantial “idea” sketchbook, participatein scheduled class activities, and group critique.Prerequisite: GLASS 4301 Must also register for: GLASS4318Requirement for junior; GLASS majors onlyFee: $200.00 Estimated cost of materials: $200.00(SPRING)

GLASS 43xx GLASS DEGREE PROGRAMWORKSHOP

3 credits Rachel BerwickAll Glass junior, senior, and graduate degree program studentsmeet together to engage both practical and theoretical issues ofa glass career through: field trips, technical demonstrations,visitor presentations, and direct exchange with visitingprofessionals from relevant disciplines throughstudent/professional collaborations, artist residencies,individual consultations, critique, and organized groupdiscussion. Class will require reading, written papers such asvisiting artist reviews, and prepared student presentations.Requirement for junior and senior majors. Juniors register forGLASS 4316 (Fall) and GLASS 4318 (Spring). Seniors registerfor GLASS 4320 (Fall) and GLASS 4322 (Spring)(FALL/SPRING) GLASS 4319 INTERMEDIATE

GLASSBLOWING3 credits Christopher TaylorThis primarily technical course builds on basic, traditionalglassblowing skills. Demonstrations and supervised practicewill introduce alternative methods, refinement and newtechniques. Student innovation with traditional process willalso be encouraged. Students will develop individual and teamskills, maintain a technical notebook and will develop and“idea” sketchbook. Prerequisite: GLASS 4305Requirement for junior; GLASS majors onlyFee: $175.00 Estimated cost of materials: $300.00(FALL)

GLASS 4321 GLASS COLDWORKING3 credits Niels CosmanThis beginning course will provide comprehensive technicalinstruction on basic glass “coldworking” processes includingglass polishing, sandblasting, etching, cutting, engraving,gluing, laminating, glass drilling. Students will apply new

technical skills to self-generated projects. Students mustmaintain detailed technical notes and a project sketchbook.Requirement for sophomore; GLASS majors onlyFee: $165.00 Estimated cost of materials: $200.00(FALL)

GLASS 4398 GLASS IIIB DEGREE PROJECT6 credits Rachel BerwickThis semester is directed towards defining and organizing anevolved artistic viewpoint that incorporates glass in a visualimagery. At the beginning of this semester, students arerequired to present a slide “source” presentation to adepartment assembly that is a compilation of the previous threesemesters’ visual research. Each student is also expected tofurther develop his/her artistic association with a designated“outside” advisor(s) and involve this professional artist incritique and consultation. Artistic premise and intention arecomprehensively presented in a senior thesis exhibition. Acomplete portfolio is presented to the program at thecompletion of this semester. Prerequisite: GLASS 4302 Must also register for: GLASS 4322Requirement for senior; GLASS majors onlyFee: $300.00 Estimated cost of materials: $500.00(SPRING)

GLASS 7009 EXPERIMENTS IN OPTICS3 credits Jocelyne PrinceThis class serves as an interface between the new technologiesof digital and the old technologies of optics. New digitaltechnologies are given alternative possibilities with theaddition of specific projection apparatus (in terms of both,projection optics and projection surfaces), plays with reflection(such as the construction of anamorphic cylinders, zoetropes,and other optical devices), and in the fabrication of projectspecific lenses. Given the hands-on nature of the glassdepartment, the actual making and/or subversion of traditionaloptics is possible. The class encourages collaborative workbetween students of varying experience levels and fosters theincorporation and dialogue between students of the twodiffering areas of expertise.Open to senior, fifth-year, graduatePermission of instructor requiredAlso offered as D+M 7009Register in the course for which credit is desired(SPRING)

LAEL LE06 HISTORY OF GLASS3 credits Pascale RihouetFrom Egyptian vessels to skyscrapers, glass has been central toevery aspect of life. In a chronological sequence, this courseexplores the progress and purpose of glass making and itsartistic, practical, or psychological effects. Several sessionswill be devoted to conceptual themes such as glass as athinking tool (‘glass and science’), as a technology for sightand introspection (‘windows and mirrors’), and as a path to

78 Glass 2009 - 2010divinity (‘medieval stained glass’; ‘Islamic glass’). Powerpoint-based lectures will foster interaction among the participantswith weekly readings as a basis for discussion. A website (ane-portfolio on digication) will enhance the communicationbetween students, the instructor, and the teaching assistantwhile allowing everyone to post ideas, comments, and visuals.Several visits to the RISD Museum are planned to view boththe permanent collections and pieces from storage. Students areexpected to give an oral presentation on a theme or an objectof their choice.Junior requirement for BFA Glass students. The class will beopen to other students if there are openings available afterGlass registrations is concluded.(FALL)

2009 - 2010 Glass 79

MFA Curriculum in GlassDivision of Fine Arts

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First Year431G 432G Graduate Glass I & II 6 6 435G 436G Glass Degree Program Workshop 3 3

Elective Graduate Seminar 0 3451G Graduate Critical Issues Seminar 3 0

Nonmajor Elective 3 3 Wintersession 3

Year Total 15 3 15

Second Year433G Graduate Glass III 6 0

434G Graduate Degree Project 0 9437G 438G Glass Degree Program Workshop 3 3

Elective Graduate Seminar 0 3 451G Graduate Critical Issues Seminar 3 0

Nonmajor Elective 3 0 Wintersession 3

Year Total 15 3 15

Total Credits: 66

Curriculum notesAll graduate students must participate in Wintersession for aminimum of 3 credits each year.

General eligibility requirements for the master’s degree arelisted in the front of this book.

80 Glass 2009 - 2010

Post Baccalaureate Program in Glass

The Glass Department Post Baccalaureate Program is a unique course of study that provides one year of individualized training andeducation in glass. Upon acceptance into the program, an interview and portfolio review help determine a dedicated curriculumfor each candidate.

This program is intended to assist students with varying levels of experience in combining technical glassworking and art conceptinto a well-rounded studio practice. A wide spectrum of Glass Department undergraduate and graduate studios and seminars areconsidered in creating each custom post baccalaureate course of study.

For many, the post baccalaureate year will serve as supplementary and developmental preparation for graduate study in glass. Forothers, one year of highly personalized study will be its own reward to be applied to professional studio practice. All postbaccalaureate students are considered full time students and they are provided with dedicated studio space and complete access tothe glass facility.

SAMPLE CURRICULA

TECHNICAL CONCENTRATIONFall Winter Spring

Glass Studio 6 6Beginning Glassworking 3 0Glass Casting 0 3Class Coldworking 3 0Intermediate Glassblowing 0 3Glass Degree Program Workshop 3 3

Year Total 15 3 15

CONCEPTUAL CONCENTRATIONGlass Studio (II ,III, or Graduate) 6 6Glass Degree Program Workshop 3 3Critical Issues Seminar 3 0Elective Graduate Seminar 0 3Contemporary Art History 3 3 3

Year Total 15 3 15

*This program requires application and admission through theRISD Admissions Office. Contact the Admissions Office formore information and an application.

2009 - 2010 Glass 81

Graduate CoursesGLASS 431G GRADUATE GLASS I STUDIO6 credits tbaThis first semester of graduate study emphasizes variedexperimentation, extensive visual “source” research, maximumproductivity and conceptual growth. Students are expected todevelop professional associations with artists outside the glassdepartment in addition to the program’s faculty and itsscheduled roster of Visiting Artists and critics. Must also register for GLASS 435GRequirement for graduate; GLASS majors onlyFee: $300.00 Estimated cost of materials: $500.00(FALL) GLASS 432G GRADUATE GLASS II STUDIO6 credits tbaGraduate Glass II continues with the objectives of thepreceding semester. It is expected that students continueartistic experimentation and individual growth at anincreasingly professional level. Prerequisite: GLASS 431GMust also register for: GLASS 436GRequirement for graduate; GLASS majors onlyFee: $300.00 Estimated cost of materials: $500.00(SPRING)

GLASS 433G GRADUATE GLASS III STUDIO6 credits tbaThe student is expected to begin refining a personal viewpointthat incorporates glass in preparation for the graduate degreeproject. Studio work continues to include consultation andgroup critique with department faculty, its visiting artists,critics, and the student’s own outside advisors. Prerequisite: GLASS 432GMust also register for: GLASS 437G Requirement for graduate; GLASS majors only Fee: $300.00 Estimated cost of materials: $500.00(FALL)

GLASS 434G GRADUATE DEGREE PROJECT9 credits tbaWith assistance from department and outside faculty, thegraduate student defines and organizes an evolved artisticviewpoint presented in both a comprehensive written thesisand a thesis exhibition. At the beginning of this semester,students are also required to present a slide “source”presentation to a department assembly that is a compilation ofthe previous three semesters’ visual research. A professional

portfolio is presented to the program at the completion of thestudent’s graduate study. Prerequisite: GLASS 433GMust also register for GLASS 438GRequirement for graduate; GLASS majors onlyFee: $300.00 Estimated cost of materials: $500.00(SPRING)

GLASS 43xG GLASS DEGREE PROGRAMWORKSHOP

3 credits Rachel BerwickAll Glass junior, senior and graduate degree program studentsmeet together to engage both practical and theoretical issues ofa glass career through: field trips, technical demonstrations,visitor presentations, and direct exchange with visitingprofessionals from relevant disciplines throughstudent/professional collaborations, artist residencies,individual consultations, critique, and organized groupdiscussion. Class will require reading, written papers such asvisiting artist reviews, and prepared student presentations.Requirement for graduate students each term. First- year gradsregister for GLASS 435G (Fall) and GLASS 436G Fee:$300.00 (Spring) Second-year grads register for GLASS 437G(Fall) and GLASS 438G (Spring)(FALL/SPRING)

GLASS 451G GRADUATE CRITICAL ISSUESSEMINAR

3 credits Frances RichardA graduate seminar that provides an intensive study of currentcritical issues in sculpture and glass. The class is divided intotwo segments: a seminar and a studio. Each week the seminarlasts for three hours followed by studio visits with eachstudent. This course helps students carry the dialogue ofcontemporary art issues into the studio more effectively.Requirement for first & second-year graduate majors; Glassmajors only(FALL)

2009 - 2010 Graduate Studies 83

Graduate StudiesDivision of Graduate StudiesOffice of Graduate Studies, Center for Integrative Technologies (CIT), 169 Weybosset Street, Room 102Telephone 454-6131, Fax 454-6706

Advanced degrees are offered in the following 16 graduate programs:

MA Master of ArtsMAT Master of Arts in Teaching

Department of Teaching + Learning in Art + Design

M.Arch Master of ArchitectureArchitecture

MFA Master of Fine ArtsCeramicsDigital + MediaFurniture DesignGlassGraphic DesignJewelry + MetalsmithingPaintingPhotographyPrintmakingSculptureTextiles

MIA Master of Interior ArchitectureInterior Architecture

MID Master of Industrial DesignIndustrial Design

MLA Master of Landscape ArchitectureLandscape Architecture

Concentration in History of Art + Visual CultureRISD’s Art History Department offers the opportunity toaugment advanced degree studies with a graduateconcentration in Art History. Following the completion oftheir advanced degree, interested students are required to takean additional 36 credits in art historical studies during theFall and WS semesters to receive an Art HistoryConcentration Certificate. Under the concentration, studentsmay focus the attention of their studies on the history andtheory of their own particular studio discipline. It is alsonecessary to undertake a six-credit thesis project under thesupervision of a faculty member in the History of Art +Visual Culture.

Graduate students in each of the programs listed to the leftfollow the individual curriculum requirements for thoseprofessional degrees (listed alphabetically by department atthe beginning of this catalog). Graduate-level seminarrequirements vary within each department, so please refer tothat department’s section for full course descriptions. Also,graduate seminars and studios from each of these 16programs follow departmental criteria and may be availableonly to their majors. Inquiries may be made to DepartmentHeads and/or course instructors regarding availability orother requirements.

Course information and descriptions for the Division ofGraduate Studies interdisciplinary and cross-listed seminarsand studios are provided in this section – they’re open to allgraduate students. Selected Architecture, Department ofTeaching + Learning in Art + Design, and Liberal Artsseminars also satisfy graduate requirements and thisinformation is listed in this section as well. Each of the listedLiberal Arts seminars ‘holds’ three seats for graduatestudents.

84 Graduate Studies 2009 - 2010

Graduate Studies: InterdisciplinaryCourses

GRAD 031G MAPPING THE INTELLIGENCE OFYOUR WORK

3 credits Anne WestThis seminar is for graduate students who are preparing theirwritten thesis. Within the context of this writing-intensivecourse, we examine the thesis form as an expressiveopportunity to negotiate a meaningful integration of our visualwork, how we think about it, and how we wish tocommunicate it to others. In support of this exploration,weekly thematic writing sessions are offered to open theimaginative process and to stimulate creative thinking as ameans of discovering the underlying intelligence of our work.In addition, we also engage in individual studio visits toidentify and form a coherent ‘voice’ for the thesis, one thatparallels our actual art involvement. Literary communicationsgenerated out of artists’ process are also examined. Theoutcome of this intensive study is the completion of a draft ofthe thesis. Open to graduate(FALL)

GRAD 032G CRITICAL ISSUES INCONTEMPORARY ART

3 credits Debra Bricker BalkenThis seminar draws on a number of critical texts from the pastthree decades by writers such as Rosalind Krauss, DouglasCrimp, bell hooks, Dave Hickey, and Arthur C. Danto whileprobing their linkages to key debates in contemporary culture.By considering issues that relate to the viability of theexpression of the artist’s subjectivity in the post-modern eraas well topics pertaining to race, gender, sexuality, themarketplace, mass media and popular culture, a broad view ofthe subjects, themes and discourses of contemporary artemerges. The course is structured around in-class discussionof assigned articles, slide lectures, and presentations. Theseminar aims to extend the range of critical texts currentlyread by each student especially as they develop their graduatethesis. Each student is responsible for one 30-minute classpresentation with a follow-up paper of 10-12 pages due thelast day of class, or before. Participation in class discussionis a requirement of the course, constituting a part of the finalgrade.Open to graduate(FALL)

GRAD 034G KOLOR KOURSE 3 credits Julian KreimerColor affects the work of all artists and designers. Thisseminar will tackle the major ideas that have developedaround color, using multiple disciplines to understand whatcolor is, how it is perceived, how color works, and what it hasmeant in various cultures including ours. We will cover the

biological roots of color perception; the physical and chemicalunderstanding of how color functions and the material qualitiesof colored objects, pigments, and dyes; the cultural andhistorical meanings of color; practical applications of color inart, architecture and design; and recent developments in colormeasurement and imaging for digital media and printingtechnology.

This class is designed to address color in a way that isrelevant to all media, and students will be asked to presentanalyses of how color is used in their own studio practices.Readings and discussion will be central to the course, and therewill be a final project analyzing a specific use of color incontemporary life.

In addition to weekly readings and participation indiscussions, students are expected to make a presentation onthe use of color in their studio practice. Presentations shouldcover: influences, affinities to other artists, applicable theoriesand material analysis. The final project will consist of writingand visual work analyzing the use, appearance, and meaningthrough various disciplines of a specific color use incontemporary life (e.g. green tennis balls).Open to graduateFee: $80.00(SPRING)

GRAD 046G A MATERIAL IMAGINATION OF THESOCIAL CONTRACT

3 credits David GerstenThe principal cultural contribution of the spatial arts is foundin their ethical dimension. They are empathetic disciplinessharing the capacity to mediate an exchange of life and space.Globalization is the clearest expression of the desire of capitalto author, temporalize, and construct a singular contained worldof actors, authors and spectators; it constitutes our currenttemporal orthodoxy. The creative spatial arts hold a uniqueposition in our time; they offer an alternative spatial exchangeto the dominant temporal structure of capital. Disciplines thatmediate an exchange between our lives and our spaces aremaking a promise to construct shelter and sanctuary, not onlyfor our bodies, but for our mental and emotional lives as well– a promise to construct sanctuary for our humanity.

The seminar addresses the many links between capital,technology, media, authority and/or authorship, and thepotential of creative works to expand the ethical dimensions ofspace. Selected readings: Paul Auster, Maurice Blanchot,Harold Bloom, Jorge Luis Borges, Anne Carson, GillesDeleuze, Jay Fellows, Michel Foucault, Vaclav Havel, JohnHejduk, Emmanuel Levinas, Andre Malraux, Charles Olson,Alberto Perez-Gomez, Arundhati Roy, Dr. Richard Selzer,Amartya Sen.Open to graduate(FALL)

2009 - 2010 Graduate Studies 85GRAD 052G PERMISSION TO WRITE: A THESIS

PREP SEMINAR3 credits Jennifer LieseIn “On Permission to Write,” essayist Cynthia Ozickdistinguishes between the “good-citizen writer” and the“shaman-writer.” The first, she says, writes dutifully; thesecond, “obsessively,” “torrentially,” and most crucially, withself-given permission. For artists and designers who have, byand large, favored visual over written expression, obsessionand torrent probably come more naturally in the studio thanon the page. This course seeks to bring that same uninhibited,exploratory, and illuminating sensibility to the thesis, tosuggest that writing is not a duty, but rather can be integral tostudio practice. We will look at writing about one’s work –its art-historical, theoretical, and personal sources; its formand process; its motivation; its interpretation as a kind oftranslation from form to language (one that can be asindividual and authentic as our chosen materials). The coursewill include in-class writing exercises designed to help usthink more deeply and coherently about our work and ideas,as well as discussion of assigned readings. The readings areexclusively written by artists and designers — manifestos,interviews, scripts, criticism, and journal entries selected tosuggest that in permitting themselves to write, artists anddesigners establish artistic agency, lineage, and history itselfthrough that writing. The class will culminate with thepresentation of a thesis abstract, outline, and working draft.Open to graduate(FALL)

GRAD 059G A/D COLAB: ART + DESIGNINTERDISCIPLINARYCOLLABORATION IN THEORY ANDPRACTICE

3 credits Brooks Hagan/Julian KreimerThis is a studio-based course that calls upon graduate studentsfrom different disciplines to collaborate, conceive, makestudio projects, and prepare a fully realized strategy for theirappearance in the world. Students are given a rigorous seriesof tasks designed to spur collaborative work. Examplesinclude an assignment that challenges students to pursuefailure, rather than resolution, in their work. Another asksstudents to develop an individual concept – then merge theirideas into a single, unified proposition.

Visits to New York City and elsewhere introducestudents to practitioners collaborating as well as creating,distributing, and writing about work that falls betweendisciplines. Substantial readings, ranging from the FrankfurtSchool to contemporary theorists, supplement our visits andprovide focus for in-class discussion.

As at most art schools, Rhode Island School ofDesign’s individual departments, and particularly its art anddesign wings, traditionally are kept at arm’s length from eachother. While the focus on a single discipline is effective atcreating specialists in each field, the complexities ofcontemporary cultural practice – people working in fluid

groups, jumping from one field to another, dealing withprojects that involve multiple disciplines – creates a greatdemand for cross-disciplinary training. This is particularly trueamong graduate students, many of who are returning to schoolfrom working precisely in these kinds of complex situations.Working across fields allows students not only to work acrossskill-sets, but also to become accustom to the different ways ofthinking that accompany different disciplines. For designers,the possibility of looking for questions, so typical of artpractice, opens up new exploratory pursuits; while for artists,the challenge of working towards solving problems is oftensurprisingly fruitful.Open to graduateFee: $250.00(FALL)

GRAD 078G FULL SCALE3 credits Tucker HoulihanThis course is an inquiry of wood and metal constructiontechniques at the graduate level. Graduate students willdevelop a multi-lateral skill set applicable to their area of study.Thesis concepts are often explored and enhanced within thisclass. Students concentrate, in sequence, six weeks ofproduction woodworking techniques in the Center forIntegrative Technologies wood facility, and six weeks of metalfabrication methods in the Metcalf Building facilities. Thewoodworking section includes contemporary and traditional:joinery, shaping, and construction techniques. The second halfof the semester is devoted to the skills required for metalfabrication. In the Metcalf Foundry, students will develop theessential skills for cutting, bending, forming, and weldingmetal. Surface treatments and finishing methods for wood andmetal will also be covered throughout this class.Open to graduateFee: $75.00(SPRING)

GRAD 091G DESIGN FOR DEVELOPMENT3 credits Elizabeth Dean HermannThis seminar focuses on the artist / designer as an entrepreneurand activist in an international context and within thedeveloping world. The course looks specifically at the startingof new business ventures that are based on partnershipsbetween individuals in the developed world and those fromdeveloping nations – in particular, those that utilize the creativeabilities and understanding of western markets that artists anddesigners from places like RISD possess, and combine thesewith traditional materials, local skills, sustainable practices, anda community of artisans to create new products orenvironments that financially benefit the local community.

The course will use case studies and guest speakers toexplore a variety of endeavors from different creativedisciplines. RISD alumni and faculty involvement in suchendeavors will be the main focus. The course will be run as aseminar with students taking responsibility for researching andpresenting to the class a particular market suited to their own

86 Graduate Studies 2009 - 2010discipline and interests. Over the course of the semester,students will work with the instructor, outside advisors andRISD’s Center for Design and Business to develop their ownhypothetical business plan where they identify a targetpartnering community and target audience for their venture,describe the product they will be producing and how it will beproduced, outline strategies for obtaining start-up capital, andformulate criteria for the program’s evaluation. Students willbe graded on their active participation in all aspects of thecourse, the timely completion of assignments, and the qualityof their research, presentations and proposal.Open to graduateNote: Also open to students from Brown’s InternationalDevelopment Studies Program.(SPRING)

GRAD 093G CONTEMPORARY PRODUCTIONPRACTICES

3 credits Liz CollinsIn this course, we examine the multitude of models for themanufacturing of goods, from products to projects. What isthe relationship between the designer/artist and the factory?What defines a factory and what constitutes an “industrialprocess?” How do things get made? Who makes them? Theseare some of the questions that guide us through the complexworld of small to high volume production of consumer goodsand the global marketplace. We also look at artists whomanufacture and examples of creative projects where makingmultiples through outsourcing of labor is the means by whichlarge pieces, collections, editions, and bodies of work arerealized. Each week we focus on a particular aspect ofmanufacturing and production, with lectures by the instructorand guests, discussions, student research presentations, andfield trips. Topics such as the designer/technician relationship,global trade, the supply chain, and the artist as laborer aretouchstones for our in-depth conversations and study of thismultifaceted concept. Alongside of weekly readings, writtenwork and research, students are asked to develop a componentof their studio work that addresses the idea of a manufacturedobject.Open to graduateFee: $30.00(SPRING)

GRAD 102G INTERDISCIPLINARY SEMINAR:FROM STUDIO TO SITUATION

3 credits Peter HockingDiscursive, relational and community-based art practicesinvite a dialogue between those making meaning and theircontext. They require an investigation into the nature of placeand question traditional notions of audience - pushing theboundaries of what art might be in the public sphere andestablishing a new relationship between the makers andconsumers of meaning. Using downtown Providence as a sitefor investigation and collaboration, this course will provideinsight into the research methods, collaborative processes,

modes of documentation, ethics and implementation of suchwork. In addition to looking at the work of established artists,such as Allan Kaprow, Guy Debord, Suzanne Lacy, NaylandBlake, and Pam Hall, we will also review the work of artscollectives, and community collaborations, both locally andinternationally. Over the course of the semester, each student(either individually or as part of a team) will develop onesite-specific project or body of work.Open to senior and above(SPRING)

GRAD 109G SOCIAL GEOGRAPHIES AND THEIRREPRESENTATION

3 credits Marie CieriSocial geography is the study of social relations within specificspaces and places. This course will introduce students to basicconcepts of social geography and will survey the complex waysthat elements of human diversity such as race, class, gender,sexuality, age, education, and culture of origin interact withand within built and natural environments. Through a numberof case studies set in various locations, we will explore notonly how human difference is expressed in space but also howit is affirmed and reinforced by spatial structuring. Particularemphasis will be given to various methods of geographicrepresentation and how they are used by governments,planners, the media, law enforcement, marketers, tourismpromoters, community activists, academics, and artists toproduce competing visions of how to think about and act uponspace and place. Students will study and critique thesetechniques and employ some of them in producing their ownrepresentations of social geographies in the Providence area.

Basic concepts of social geography will be drawn fromthe text Social Geographies: Space and Society by GillValentine. Additional course readings will address how issuesin social geography play out in specific spatial contexts. Ideasabout representations of social geographies will be introducedand elaborated in a number of readings as well as throughexamination of alternative mapping projects, public art works,and articles from the popular press. Students will be expectedto discuss readings in class and make short oral and writtenreports. Assignments will include observing and reporting onsocial interactions in a specific area or site within greaterProvidence, mapping students’ own social geographies, writingabout filmed and other mass media representations of socialgeographies, and a final project where students will produceinformed and substantive representations of particular socialgeographies within the local area. Open to graduate(FALL)

2009 - 2010 Graduate Studies 87GRAD 112G ORIGIN POINT: GRADUATE THESIS

IDEATION WORKSHOP3 credits Anne WestThis seminar is for first-year graduates who wish to uneartha direction – an origin point – for their graduate thesis and tojumpstart the writing process for the Master’s writtendocument. Organized as a series of intensive writingworkshops, this forum will enable you to explore relevantideas, themes, and core values, and to conduct research insupport of the inquiry process. This is essentially anintrospective probing of what you have experienced, areinterested in and may wish to question, investigate, and make.At the conclusion of the seminar, you will have a conceptualfocus for your thesis that is clearly formulated – both visuallyand verbally. With this in place, the summer months can thenbe used productively to further the breadth and depth of thisinitial idea through open-ended exploration and self-generatedwork. Open to first-year graduate students only(SPRING)

GRAD 113G MATTER PRACTICES | MATERIALRESPONSIBILITIES

3 credits Charlie CannonThis interdisciplinary research seminar is concerned withmatter – the material substances used to create form. We willnot attend to raw materials – that is, we will neither askedwhat a brick wants to be, nor where it comes from – butinstead, give careful consideration to cooked materials.Cooked materials are designed. They are composites producedthrough chemical or physical assembly and they may berepurposed – recycled, remanufactured, down-cycled or re-used. Cooked materials are not natural and they are not rare.What then, are we to make of them?

The seminar considers the possibility of a materialethic for cooked materials: Can the way we select, work, anduse them achieve social or sustainable ends? What are thematerial responsibilities of composites? This seminar takestwo tacks: reflecting on reading and reflecting on handwork.The first is an examination of select writings and the secondis a reflection on the material practices of seminar participants(students, faculty, and visitors). Open to graduate students from all departments; Elective(SPRING)

GRAD 116G INTERDISCIPLINARY CRITIQUE3 credits Julian KreimerThe seminar consists primarily of in-studio critiques along withdiscussion of readings that explore both ‘interdisciplinarity’and ways to think about the issues unique to each discipline.An organized and rigorous forum in which to discuss workoutside their medium compels graduate students to developboth a language and a critical approach that is flexible andopen, while looking hard to see what makes each piece specialwithin its medium. Hearing from a range of expertise allowsstudents to think about the larger issues their work deals withwhile presenting them with new ideas about materials,techniques, and relevant sources that may not be already partof the discussion in their field. For example, a ceramicist mightsuggest to a minimalist painter a certain type of pottery whosephilosophy of rusticity and simplicity dovetail with thepainter’s own approach. It also creates a situation ripe forstudent collaborations.

Each week, we visit several graduate studios for in-depth critiques of about 45 minutes to an hour. We look alsoat the history of each student’s work to help clarify his or hercurrent concerns. Readings and projects involve tracing thevisual and theoretical influences in each student’s studio work.The class culminates in a class-curated exhibition, to take placein a campus gallery, where students curate each other’s workin a way that is sensitive to each artist’s concerns while placingit in contexts that pushes the conversation outside of theindividual piece into a conversation between mediums. Open to graduate students from all departments; Elective(SPRING)

Graduate Studies: Courses Cross-listedwith Department of Teaching + Learningin Art + DesignGRAD 044G COLLEGIATE TEACHING +

LEARNING, REFLECTION +PREPARATION

3 credits Nancy FrieseHow can we add to the future enrichment of our disciplines?How do we make our future teaching a more meaningfulpractice? This is a professional practice course for artists,designers, architects, and educators who want to enhance theirTeaching Assistantships at RISD and who are interested infuture collegiate teaching within their expertise. The goal ofthis seminar is to introduce graduate students to reflectiveteaching principles, and to provide an orientation to thecollegiate teaching and learning experience.

The course meets partially in Fall, Wintersession andSpring semesters with the credit applied only to the springterm. A key component of this course is development of areflective Teaching Portfolio, including a curriculum vitae, aproposed course syllabus, class projects, teaching reflections,and an artist/designer statement.

88 Graduate Studies 2009 - 2010Brown University’s Sheridan Center of Teaching and

Learning’s Certificate I is incorporated into the seminar andincludes 5 lectures, 5 workshops, a micro-teaching session,and an Individualized Teaching Consultation. The SheridanCenter’s Certificate I is only available to RISD graduatestudents enrolled in this seminar.Open to graduate students; ElectiveSections (01 & 02) Open to all gradsSection (03) Open to incoming gradsPermission of instructor required Fee: one- time fee of $180.00, non-refundable, and applied toFall Term registration.Attendance starts in Fall 2009 onlyThe first required meeting to continue in all sections occursat 5:30pm on Monday, September 14 (before classes begin) atBrown University’s Salomon Hall, Room 001.Also offered as ARTE 044G.Register into the course forwhich credit is desired. (FALL/WINTERSESSION/SPRING)

GRAD 055G COLLEGIATE TEACHING: STUDIO-BASED TEACHING & LEARNING

3 credits Nancy FrieseThis course uses RISD as a research site for the exploration ofa pedagogy for studio-based teaching & learning. It isdesigned for students who will be teaching during the courseof study at RISD as well as for those who plan to teach afterreceiving their degree. The course draws upon the varyingexpertise and teaching methodologies of RISD faculty fromall disciplines providing graduate students in this course withmodels of practice that can inform the development as futurefaculty of their own teaching philosophy and practice. Inaddition to RISD faculty, students will have the opportunityto engage in dialog concerning a pedagogy for art teachingand learning with faculty from other institutions of highereducation. The course is based on the premise that learning toteach in a generative and attentive manner can bring teachingcloser to one's studio practice and therefore make the teachingand learning experience more authentic. The course iscomposed of readings, reviews, discussion, researchassignments, lectures, and peer presentations.Open to graduateAlso offered as ARTE 055G. Register into the course forwhich credit is desired.(SPRING)

GRAD 658G DRAWING OBJECTIVES: A GUIDEDDRAWING SEMINAR

3 credits Nancy FrieseDrawing has been called the distillation of an idea. Drawingsensibilities pervade all visual media yet drawing can beindependent of all other media. Can we make our drawingventures have resonance? The goal is to understand drawingin a multivalent way through paced experiences andinvestigations via short research projects, three generativeseries and development of a sited-drawing plan. Methods will

include teamed technical presentations of expertise or interestas well as examples of ancient and historical means ofsilverpoint, transfer drawings, panoramas and dioramas.Drawing epochs represented in the RISD Museum of Artcollection will be examined (through works by artists such asWilfredo Lam, Gego, or the Rimpa period Korin Gafu).Focused critiques, readings, and guided and self-directedindependent studio production are components. This seminarcould be paired with the GRAD course, Object Lessons.Also offered as ARTE 658G. Register into the course for whichcredit is desired.(SPRING)

Graduate Studies: Course Cross-listedwith ArchitectureFall CourseGRAD 098G 01 READING THE CITY

Gabriel FeldCities are complex artifacts shaped by powerful forces such ashistory, geography, culture, building and landscape. In turn,they become a stage for human drama, shaping the very life ofpeople connected with them. This course understands cities asboth physical and cultural constructions that can be subject toa variety of readings. Lectures, presentations, assignments anddiscussions will focus on individual cities--such as Havana,Vienna, Lisbon, Istanbul and Beijing--looking at their physicalform and history, as well as some of their major culturalfigures, materials, including maps, aerials, historic documents,fiction and non-fiction readings, theater, film, visual arts,music, dance and food.Also offered as ARCH 2175

Graduate Studies: Courses Cross-listedwith Division of Liberal ArtsSEMINARS IN ART AND ARCHITECTURALHISTORYFor course descriptions, refer to the listing in the Liberal ArtsDivision section under “Courses in Art and ArchitecturalHistory.” Liberal Arts ‘holds’ 3 seats for graduate students ineach section, and each seminar is 3 credits. These coursessatisfy the “Graduate Seminar” degree requirement.

Spring Course GRAD 500GSection 02 SEMINAR: INSIDE THE MUSEUM

Paola Dematte/Deborah WildeAlso offered as ARTH H540

Section 04 SEMINAR: AN INTRODUCTION TO THE CONSERVATION OF

WORKS OF ART Mimi LevequeAlso offered as ARTH H555

2009 - 2010 Graduate Studies 89SEMINARS IN ENGLISH LITERATUREFor course descriptions, refer to the listing in the Liberal ArtsDivision section under “Courses in Literature.” Liberal Arts‘holds’ 3 seats for graduate students in each section, and eachseminar is 3 credits. These courses satisfy the “GraduateSeminar” degree requirement.

Fall Courses GRAD 550GSection 01 SEMINAR: JOYCE, SYNGE, YEATS

AND THEIR ANTECEDENTSJonathan HighfieldAlso offered as ENGL E782

SEMINARS IN HISTORY, PHILOSOPHY, ANDSOCIAL SCIENCE (HPSS)For course descriptions, refer to the listing in the Liberal ArtsDivision section under “Courses in History, Philosophy, andSocial Science.” Liberal Arts ‘holds’ 3 seats for graduatestudents in each section, and each seminar is 3 credits. Thesecourses satisfy the “Graduate Seminar” degree requirement.

Fall Course GRAD 575GSection 02 SEMINAR: PSYCHOLOGY OF EVIL

Jennifer Prewitt-FreilinoAlso offered as HPSS S705

Spring Course GRAD 575GSection 01 SEMINAR: PSYCHOLOGY OF

GENDERJennifer Prewitt-FreilinoAlsooffered as HPSS S677

2009 - 2010 Graphic Design 91

BFA and BGD Curricula in Graphic DesignDivision of Architecture and DesignDepartment Office: Design Center, telephone 454-6171

CREDITS Fall Winter SpringFirst Year

First-year Program—see First-Year Experience 15 15Wintersession

Year Total 15 3 15

Second YearGraphic Design Core Requirements 9 9Liberal Arts or Nonmajor Studio 6 6Wintersession 3

Year Total 15 3 15

Third YearGraphic Design Core Requirement 9 6 Concentration Elective or Open Elective 0 3 Liberal Arts 6 6 Wintersession 3 Year Total 15 3 15

(BFA degree) Fourth YearGraphic Design Core and Concentration Elective Requirements 6 3 Nonmajor Studio 3 0 Degree Project 0 6 Liberal Arts 3 3 Wintersession 3

Year Total 12 3 12OR

( BGD degree) Fourth YearGraphic Design Core and Concentration Elective 6 9 Nonmajor Studio 3 0 Liberal Arts 3 3 Wintersession 3

Year Total 12 3 12

(BGD degree only) Fifth YearGraphic Design Core and Concentration Elective 9 3 Degree Project 0 6 Open Elective 3 3 Wintersession 6 Year Total 12 6 12

92 Graphic Design 2009 - 2010Minimum Credit Requirements for the BFA and BGD Degrees in Graphic Design:

BFA BGD Graphic Design Courses Total: 48 75Sophomore Core Requirements: 18 18 (3214, 3215, 3225, 3220)

Junior Core Requirements: 15 15 (3211, 3216, 3226, 3223)

Senior Core Requirements 6 6 (3230 BFA)

Concentration Electives 3 12

Fifth-Year Core Requirement 12

Senior or Fifth-Year Degree Proj. 6 6

Professional Internship 0 6 48 cr 75 cr

Nonmajor Studio Courses:Foundation Studies 18 18 (or equivalent for transfer students)

Nonmajor Electives 12 12

Liberal Arts Courses 42 cr 42 cr(see Liberal Arts Requirements in front of this book)

Open Electives: 6 9 Course credits in any area Liberal Arts,or nonmajor studio:

Wintersession: All students are required to take a minimum of three credits each Wintersession.Wintersession: first year (Open elective)Wintersession: second and third year (Liberal Arts or Nonmajor Studio)Wintersession: fourth year (Open Elective)Wintersession fifth year (Professional(BGD only) Internship Requirement)

BFA BGDTotal credits required to graduate: 126 cr 156 cr

REGISTRATION: The Graphic Design Department willnormally have a pre-registration for Graphic Design majors.Some core courses will require pre-assigned enrollment forsections. Courses are available to qualified nonmajors pendingavailable seating (majors have priority) and with GraphicDesign Department approval.

LAPTOP PROGRAM: Students entering the Department ofGraphic Design as sophomore or transfer students mustparticipate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified in theDepartment's "laptop program requirements and policyguidelines".

2009 - 2010 Graphic Design 93

Courses in Graphic DesignGRAPH 3211 COLOR3 credits Staff A series of experiences devoted to the development of theperception of color and its use as a tool for the graphicdesigner. The exercises test the appearance of colorrelationships in complex structures, dealing with meaningand examining the appropriate use of color in the context ofdesign problems. There will be an emphasis on usinggouache paint and matching paint colors with digital color aswell as exploring digital color on the computer.Prerequisites: GRAPH 3214/3215/3220/3225Requirement for junior majorsGraphic Design majors only(FALL)

GRAPH 3214 TYPOGRAPHY I3 credits StaffTypography I through III (GRAPH 3214/ 3215/ 3223) is asequence of courses that covers the fundamentals oftypography, its theory, practice, technology and history.Studies range from introductory through advanced levels.Typography I includes the study of letterforms, type designand classification, proportion, and hierarchy. Students focuson the details of page composition and the relationship ofspace to clarity, legibility and aesthetics.Prerequisite: Foundation Studios Requirement for sophomore majorsGraphic Design majors only(FALL)

GRAPH 3215 TYPOGRAPHY II6 credits StaffTypography II continues the study of essential typographicelements and principles, reviewing fundamentals fromTypography I while advancing typographic functions andtheoretical issues, both historical and current. Studies willexpand to include text applications, grid systems, layout andpage systems, along with typographic expression andcommunication. Students learn basic principles of bookdesign and gain experience using the software programs usedby the publishing industry.Prerequisite: GRAPH 3214Requirement for sophomore majors Graphic Design majors only(SPRING)

GRAPH 3216 VISUAL SYSTEMS3 credits StaffThis course is a study of the structural and organizingsystems at work in graphic design such as grids, modules,proportion, progression, symmetry and rhythm. Designproblems will be studied holistically through projects thatstress dynamic relationships among content, form and

context to gain a deeper understanding of systems at manylevels. Prerequisite: GRAPH 3213/3214/3215/3220/3225 Requirement for junior majorsGraphic Design majors only(SPRING)

GRAPH 3220 FORM & COMMUNICATION6 credits StaffStudents will explore and gain understanding of visual logicand to appreciate the design functions of relating ideas,objects, material, and space. Form studies examine organicand constructed elements and aspects of design such astexture, rhythm, form/counterform, contrast, juxtaposition,progression and sequence. Visual skills will be developed tocompose as well as to communicate (thought, idea, message).The course balances hands-on methods of observation,invention, and visualization through sketching, computerskills, and photography with critical thinking and problem-solving, leading to the development of a self-directedprocess.This course replaces GRAPH 3213, Graphic Form andGRAPH 3220, Visual CommunicationPrerequisite: Foundation Studios Requirement for sophomore majorsGraphic Design majors only(FALL) GRAPH 3223 TYPOGRAPHY III3 credits StaffThis course will take up advanced problems of typography,such as: various contrasts, structural and proportionalsystems, hierarchy and sequencing of text, type as image,legibility, critical theory, and some elements of the history oftypography in relation to technology and contemporarytrends in design. All students enrolling in this class should befamiliar with the typographical aspects of the letter, word andline of text, know about visual arrangement of a printed pagein both single and sequential orders, and have a practicalknowledge of digital typesetting.Prerequisite: Graph 3215Requirement for junior majorsGraphic Design majors only(SPRING)

GRAPH 3225 HISTORY OF GRAPHIC DESIGN

3 credits Doug ScottChronological survey of graphic design through slidelectures. The course will study how graphic design respondedto (and affected) international, social, political, andtechnological developments since 1450. Emphasis will be onprinted work from 1880 to 1970 and the relationship of thatwork to other visual arts and design disciplines. In addition

94 Graphic Design 2009 - 2010to the lectures, the course will schedule a studio section inwhich design projects are integrated with research.Prerequisites: Foundation Studies courses Requirement for sophomore majorsGraphic Design majors only(SPRING)

GRAPH 3226 MAKING MEANING6 credits L. Hitchcock/J. Mrowczyk

T. Wedell/H. VanDijk H. Nurosi

This course introduces techniques of image making inrelation to ways of analyzing and creating meaning ingraphic and typographic messages. Aspects of imagemaking, information design, visual narrative and semioticswill be explored in the context of practice and theory.Prerequisites: GRAPH 3214/3215/ 3220/3225Requirement for junior majorsGraphic Design majors only(FALL)

GRAPH 3227 RESEARCH & APPLICATION:IDENTITY DESIGN

3 credits Robert OxenaarThis course will involve the design of an identity system(e.g., symbol and/or logo type and sample applications) foran organization or product to be assigned.Open to junior and above; Graphic Design majors only(SPRING)

GRAPH 3230 SENIOR STUDIO6 credits StaffThe core of this course will focus on the pragmatic aspects ofgraphic design. The objective is to purposely apply acquiredknowledge and skills (e.g., typography, color, visualtranslation, photography and theory) to a set of “real”problems based on a theme. Necessary vehicles forinformation (such as brochures, printed materials, posters,websites, etc.) will be developed from concept up toproduction. The course is intended to closely duplicate theactual working context of professional studio situation. Prerequisite: GRAPH 3226Requirement for senior majorsGraphic Design majors only(FALL)

GRAPH 3237 GRAPHIC DESIGN FOR THE WEB3 credits tbaThe internet has become an essential part of life andthoughtful design is a crucial element in making a websitethat is accessible, exciting and effective. This course willlook at ways of using the most powerful web package on themarket: Macromedia's MX Suite, using Dreamweaver,Fireworks and Flash to create sites that are interactive,energetic, and visually imaginative. Prerequisites:Computer-savvy and good organizational skills

Open to senior, fifth-year graduateGraphic Design Majors only(FALL)

GRAPH 3251 DESIGNING WITH COLOR3 credits Akefeh NurosiThis course offers a thorough study of color characteristicsand their relationship in changing situations and applicationto message formulation. Such color will be significant, notsubjective or decorative.Open to junior and above; Graphic Design majors only(SPRING)

GRAPH 3255 CONCRETE BOOKS3 credits Tom OckerseThis course explores the value of mindfulness in experience.We will use the book object to explore the creative processof making as dialogue for the unfolding and enfolding ofmeaning: and how the book as artifact can offer others anequally inspiring experience. In this contemplative designpractice we discover a dynamic power that engages ourwhole nature of being (mind, body and spirit) to help usexplore the depth of perception, to gain poetic insight, and torealize the implicate order of wholeness. Although inspiredby ideas realized in Concretism (i.e., concrete art, concretepoetry, and concrete music) we will also introduce paralleltheories and explorers (from John Cage and Fluxux to DavidBohm and Ken Wilber) who also searched beyond thepost-modern mind.Open to junior, senior, fifth-year, graduateGraphic Design majors only(SPRING)

GRAPH 3256 BOOK AND PAPER ARTS3 credits Jan BakerA high-energy course covering numerous traditional bookstructures and derivations including accordion, pamphlet,japanese stab, longstitch and smythe-sewn. Emphasis will beon both craftsmanship and experimentation. Papermakingtechniques include fiber preparation, pulp mixing, naturaland chemical dyes and sheet formation. Students will utilizeboth native and imported plant fibers and an extensive arrayof recycled materials to investigate paper possibilities. Thecourse offers hands-on experience and a broad historicaloverview of paper and book arts.Open to junior, senior, fifth-year; ElectiveGraphic Design majors onlyFee: $75.00(FALL)

2009 - 2010 Graphic Design 95GRAPH 3262 PACKAGE GRAPHICS3 credits Akefeh NurosiThis is a course in designing and identifying graphiccommunication for packaging structure. We experiment withdifferent 3D templates examining their structures and thenuse type, color and images on these prototypes in threedimensions. Experimentation with different materials is alsoexplored while addressing the clients brief and the designrational being conscious of the target market, place of saleand the price.Prerequisites: GRAPH 3215/3226Open to seniors; Graphic Design majors only(FALL)

GRAPH 3263 PRINTED BOOKS3 credits Jan BakerA book arts course with emphasis on hand printing andbookbinding. Both form and content, as well as type andimage, will be discussed as students design, print and bindtheir own books. Aspects of layout, typography, paper andbook production will be covered, in addition to instruction inletterpress printing, polymer plate printing, pop- up bookstructures and book binding techniques.Open to junior and aboveGraphic Design majors onlyFee: $60.00(SPRING)

GRAPH 3264 TYPE IN MOTION3 credits Hammett NurosiThis course will focus on the temporal and sequential aspectsof typography, image and sound. Though some of theprinciples studied in Typography I, II, and III will bereviewed, our explorations will primarily focus on the idea ofthe sequential organization of information in time and howideas like pacing, rhythm and progression can influence andshape meaning in both a cognitive (reading, structuring) andinterpretive manner.Open to junior and aboveGraphic Design majors only(SPRING)

GRAPH 3265 TEXTperience/TEXTperiment3 credits Thomas OckerseThis course explores the way we experience the visibleworld. Although brief introductory assignments serve toestablish common ground, the course format is an openlaboratory that invites individual interests to experiment withtype and content and to push the poetics of visible language.Topics for inquiry can range widely, such as: thede/re/con/struction of words; type in planar and dimensionalspace including motion and digital media; type and text asimage; text, type, materiality and the senses (light, sound,smell, touch); texts in public environments; writing space;type, semiotics and concrete poetry. We will not forget thatletters serve the purpose to make words visible, and that

words generally serve a pragmatic purpose to help frame,engage and inspire the depth and breadth of meaning.Open to junior, senior, fifth-year, graduateGraphic Design majors only(FALL)

GRAPH 3272 POSTER DESIGN3 credits Nancy SkolosThis course will concentrate on the poster format as acommunication vehicle. It will advance your experience withtwo-dimensional form, your ability to express a strong pointof view, and will address relationships between type andimage at a large scale. The studio assignments will besupported with lectures about the role of the poster within thehistory of art and design, international poster design, andfuture possibilities and contexts for the poster as a form.Open to junior, senior, fifth-year, graduateGraphic Design majors only(SPRING)

GRAPH 3273 EXHIBIT DESIGN3 credits Doug ScottThis course will study the presentation of information in adesigned environment: the exhibit. The theme, context, andconditions of this exhibit will be assigned. Study emphasiswill be on integrative communication activity of all elementsinvolved, e.g., time, space, movement, color, graphics, 3-Dforms, objects, instructions, text, and constructions.Prerequisite: GRAPH 3215Open to junior, senior, fifth-year, graduateGraphic Design majors only (FALL)

GRAPH 3274 SETTING THE SITE: TYPE,MEANING AND 3DENVIRONMENTS

3 credits Lucinda HitchcockGraphic designers are visual communicators who study theins and outs of designing the navigation of a page, a book, aposter, even an exhibit. Graphic designers work to direct ausers eye in navigating 2-dimensional spaces. But how do wedirect the navigation of a three-dimensional space andconsider its inherent meanings and social complexities? Howdo users read a city environment, a wooded lot, a streetcorner, a park bench, a donut shop shaped like a coffee cup?How do built and natural environments impress their inherentnarratives upon the consciousness of the reader -- the viewer-- the user? And how can we, as designers of visualcommunication, use our skills to design meaningful andwell-considered 3-dimensional interventions in ways thataddress social, historical, or culturally important issues?

Students in this class will investigate metaphorical,formal, and pragmatic aspects of working with type,narrative, concept and meaning in three-dimensionalenvironments. From within the context of graphic design andvisual communication, we will 1) design graphic/text

96 Graphic Design 2009 - 2010elements in three dimensions, 2) investigate the alteration ofexisting spaces through the insertion of text, 3) addresspractical and theoretical issues pertaining to the relationshipbetween narratives and the spaces we move through and 4)design a project which addresses narrative and message andthe way graphic form and texts can be introduced in existingenvironments. We will look at and consider memorial design,park design, interactive experiences, and public/installationart. The course will include a field trip, readings, modelmaking, and spatial/installation projects and documentation.Open to senior, fifth-year, graduateGraphic Design majors only; Elective(SPRING)

GRAPH 3278 VISITING DESIGNERS3 credits Bill Newkirk/Visiting GuestsThis course is set up as an intensive workshop format thatprovides contact with four different visiting designers fromthe U.S. and abroad. Over the twelve-week semester studentswill participate in four concentrated sessions of two and ahalf days each, roughly every three weeks. Beginning with alecture on Thursday evening, work will continue all dayFriday and Saturday, and sometimes part of Sunday. Studentswho consider taking this class should plan to be fullyengaged in the workshop over this three-day time period andmay not enroll in any other Friday class. This is a uniqueopportunity to work closely with a diverse selection of designprofessionals.Prerequisites: GRAPH 3215, 3226Open to junior, seniorGraphic Design majors only(FALL)

GRAPH 3280 OPEN Re/SEARCH3 credits Tom OckerseThis course offers individuals the opportunity to pursue aproject or topic of personal interest related to visual designand communication. This may be an interest or activity notoffered in other courses, a personal ideal, a uniquecircumstance, a collaboration of two or more individuals, thegroundwork or supplement for one’s degree or thesis project,etc. The work can involve a broad range of curiosities likesustainability, sociocultural activism, public service,criticism, spirituality; the nature of theory; practice andexperiment; methodology; technology; interactivity. Whilesimilar to an ISP or CSP, the difference in this course are inits objectives to offer a dynamic learning experience: 1) tomeet with the instructor both privately and as a group on aregular basis to share insights on each other’s work; 2) tointroduce topics of interest and relevance to the group; 3) tostimulate interdisciplinary and interlevel interaction amongstudents (all levels and nonmajors are welcome!). Withpermission of instructor required, it is necessary to receivethe approval in writing from the instructor at least a weekbefore registration. A proposal via email (tockerse@risd.edu)

must include a title, a synopsis of the project, the value ofthis project, and a projection of tasks involved. Open to sophomore, junior, senior, fifth-year, graduatePermission of instructor required(FALL)

GRAPH 3282 MAPPING INFORMATION3 credits Krzysztof LenkModern websites, online city guides and educationalprograms on CDs are complex and complicated networkswhich are weaving together layers of content into a non-linear, interactive narration. To develop new concepts andtest working prototypes, designers must collect and structureinformation and develop an appropriate strategy forhypertext-like narration. In this studio, students willexperiment with various methods of organizing and mappinginformation, and test results in the form of online prototypes.Some experience in Flash is desired. Open to junior, senior, fifth-year, graduateGraphic Design majors only(SPRING)

GRAPH 3290 MEANINGFUL AMBIGUITYWITHIN DESIGN AND ART

3 credits Hammett NurosiFor well over one hundred years, designers and artists haveabstracted and blurred the distinction between "design" and"art".

From Matisse's plush interior for Rockefeller center inNew York City; to Josef Albers’ large-scale murals; to JorgePardo’s playful environments, to Sonia Delaunay’s hand-printed fabrics and tapestries from the 1920s; to the fabricdesigns Takashi Murakami recently conceived with Marc Jacobs; one can identify an oftenoverlooked strand in the history of design and art.

The "practice of contemporary design and art”constantly requires the construction of new lineages – newhistories — to render and illuminate the interaction betweendesign and art. Since the traditional boundaries between artand architecture, graphic design, film, product design andother disciplines have dissolved in critically significant ways,this studio will trace the rise of the "design/art" phenomenonthrough active design inquiry.

The studio will introduce highly innovativeinterdisciplinary projects generated by severaldifferent—even contradictory—forms of design/art makingthat contest commonplace assumptions of what design andart are.

Through participatory practice and observation ofhistorical work students will examine multiple theories aboutthe relationship between design and art from the Renaissanceperspective to today's digital culture.Open to junior, senior, fifth-year, graduate; Elective;Graphic Design majors only(SPRING)

2009 - 2010 Graphic Design 97GRAPH 3298 DEGREE PROJECT6 credits (Fall) Tom Ockerse/Staffj (Spring) StaffThis is the final requirement for either the BFA or BGDDegree (the course cannot be taken twice for both degrees,and students must enroll according to the degree path). Thedegree project is an independent project in graphic designsubject to the department’s explicit approval, as the finalrequirement for graduation for either the BFA or BGDDegree. Visiting critics will be invited to review thecompleted project. Students are only eligible to enroll in thiscourse if all credit requirements for the degree are completein this final semester and the student is enrolled with full-time status. Graphic Design students on advanced standingwho wish to be considered for Degree Project in the Fall oftheir senior year must apply to the department head.Open to senior, fifth-yearPermission of instructor requiredGraphic Design majors only(FALL/SPRING)

GRAPH 3302 DESIGN FOR PUBLISHING3 credits Ernesto AparicioThe first part of the semester will cover all aspects ofdesigning comprehensive art and photographic books; the useof type on layouts, editing images, space, structure, scale andpacing. Particular attention will be paid to certain elementsof the design production, including the visual, tactile andaesthetic qualities of paper, printing, binding, colorseparation and advanced techniques in reproduction, namelydoutone and three-tone in black and white photography. Thesecond part of the semester will be devoted to book designfor works of literature and non-fiction, exploring the processby which manuscripts are transformed into printed books, aswell as the fundamental methods underlying all successfultypographical layouts. Finally, the course will address thetranslation of literary material into the style and image of thebook cover, examining its evolution over the course of the20th Century.Restricted to Graphic Design majors; Senior and above(SPRING)

GRAPH 3859 TYPE DESIGN3 credits Cyrus HighsmithThis course is for students who are interested in designingtype. Participants will learn about the decisions that go intospacing, serifs, shape and other details that you never evenknew were there by creating your own typefaces. In addition,you will gain fresh perspectives on typography andappreciating existing typefaces. Open to junior, senior, fifth-year, graduateGraphic Design majors only(SPRING)

GRAPH 7001 INTERACTIVE TEXT:INTERACTIVE SOUND ANDIMAGE EMPHASIS

3 credits Rafael Attias The course will have an Interactive Sound and ImageEmphasis - In this class students will experiment withinteractive text, visuals, and audio composition in the digitalrealm, placing emphasis on the effect and meaningtransformation that occurs when texts are combined withvisuals and audio material. Students that are interested indigital illustration, animation, experimental installations andother new forms of digital art encouraged. The student willwork on a semester long project, as well as a series ofassignments that balance conceptual concerns with artisticexpression. Specific examples of contemporary practitionersusing text, moving image and sound will be explored.

This course will introduce the student to narrative andnon-narrative experimentation with language in digital space,presented as fine art practice. The student will work on asemester long project, utilizing multiple programs. This classwill cover the creation of elaborate imagery and animationswith digital tools such as Illustrator, InDesign, Photoshopand Flash as well as the basics of audio production,recording, arranging and sequencing with programs like ProTools / Digital Performer, Ableton Live and other basicanalog recording techniques for the production of audio andmoving image. The course will balance conceptual concernsrelated to content and structuring methodologies with artisticexpression. Specific aesthetic histories will be exploredtracing the use of text in artistic practice including ConcretePoetry, the texts of Kurt Schwitters, Russian Constructivistposters, Fluxus poetic works, The Dada and SurrealistWord/Image, Magritte, Jenny Holtzer, Ed Ruscha, BarbaraKruger as well as other contemporary practitioners. Open to senior, fifth-year, graduateAlso offered as D+M 7001 Register in the course for which credit is desired(FALL)

98 Graphic Design 2009 - 2010

MFA Curriculum in Graphic DesignDivision of Architecture and Design

The graduate program in Graphic Design offers two tracks of study. The department accepts students specifically in one of thesetwo programs and students follow that program track.

Two-Year MFA Program The regular Two-Year Graduate Program track, for advanced and experienced students, allows for a curriculum programmedaccording to individual need. Selections of courses are subject to final approval of the graduate program head and advisor. It requires minimum of 66 credits to graduate.

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First Year321G 322G Graduate Seminar I and II 3 0 3 323G 324G Graduate Studio I and II 6 0 6

Graphic Design Studies 3 or 6 0 3 or 6Open Elective/Graduate Studies 3 or 0 0 or 3 3 or 0Grad Thesis and Open Re/Search 0 6 or 3 0

Year Total 15 3/6 15

Second Year327G 328G Graduate Thesis 6 0 9

Graphic Design Studies 3 or 6 0 3 or 0Open Elective/Graduate Studies 3 or 6 0 or 3 0 or 3Grad Thesis and Open Re/Search 0 6 or 3 0

Year Total 15 3/6 12

Minimum Two-Year Track Course Requirements:Graduate Seminar I and II (in Graphic Design: 321G, 322G): 6 credits total.Graduate Seminar (in Graduate Studies: see listings for that subject: 3 credits total)Graduate Studio I and II (in Graphic Design: 323G, 324G): 12 credits total.Graduate Thesis (in Graphic Design: 327G, 328G): 15 credits total. Graphic Design Studies: Any course or independent study in graphic design.Open Electives: Any course in the major or nonmajor.(Note: these can be supplemented, but not substituted, with other course credits during the year.)

2009 - 2010 Graphic Design 99

Three-Year MFA Program Students accepted conditionally in the Three-Year Graduate Program track first enroll in preparatory course work before advancedgraduate studies. Required preparatory courses generally follow the undergraduate core and concentration elective curriculum inthe major, but may also include nonmajor courses. The preparatory requirements are based on individual needs in consultation withthe graduate program head and advisor, who give approve the final curriculum. A minimum of ninety-six (96) credits is required for the MFA degree.

CREDITS COURSE NO. Fall Winter Spring

First YearFall Spring* * Graphic Design Core courses 12 0 12321G Graduate Seminar I 3 0 0

Graphic Design Studies and/or Open Electives 0 3 or 6 3Total credits 15 3 or 6 15

Second Year* * Graphic Design Core courses 6 0 0323G 324G Graduate Studio I and II 6 0 6

322G Graduate Seminar 0 0 3Graphic Design Studies and/or Open Electives 3 3 or 6 6

Total credits 15 3 or 6 15

Third Year327G 328G Graduate Thesis 6 0 9

Graphic Design Studies 3 or 6 0 3 or 0Open Electives/ Graduate Studies 3 or 6 0 or 3 0 or 3Grad Thesis and Open Re/Search 0 3 or 6 0

Total credits 15 6 12MFA degree (96 cr.min.)

Minimum Three-Year Track Course Requirements:Curriculum notes*Graphic Design Core courses:

(Graduate Typography I, II, III: 332G, 342G, 352G;Form and Communication: 3220; Color: 3211; VisualSystems: 3216; History of Graphic Design: 3225)

Graphic Design Studies (any course or independent study ingraphic design) and Open Electives (any course in the major ornonmajor): credits and subjects based on individual needs

Graduate Seminar I and II (in Graphic Design: 321G, 322G):6 credits minimum

Graduate Seminar (in Graduate Studies: see listings for thatsubject): 3 credits total

Graduate Studio I and II (in Graphic Design: 323G, 324G): 12 credits total

Graduate Thesis (in Graphic Design: 327G, 328G): 15 creditstotal. (Note: These courses can be supplemented, but not substituted,with other course credits during the year.)

General eligibility requirements for the master’s degree arelisted in the front of this book.

Students entering the Graduate program in the Department ofGraphic Design must participate in its required laptop program,purchasing hardware, software, upgrades and insurance,specified in the Department's "laptop program requirementsand policy guidelines". Although participation is requiredgraduate students may request to be waived from therequirement. Laptop program waived requests are consideredon a case by case basis.

100 Graphic Design 2009 - 2010

Graduate CoursesGRAPH 321G GRADUATE SEMINAR I3 credits tbaThis seminar will present a forum for discussion on criticalissues in graphic design, including: design’s context withinculture and experience; theory and its relation to practice; andcurrent practice and its models. The course will combineformats of lecture, discussion, small groups, and collaborationto explore the porous borders of graphic design thought andmaking.Requirement for first and second-year graduate majorsCourse may be repeated for credit(FALL)

GRAPH 322G GRADUATE SEMINAR II3 credits Dawn BarrettThe objective of this course is to assist students in thedevelopment of methodologies for exploration, investigation,and construction of a well-designed proposal of thesis work.This seminar provides students with a variety of discursive andexploratory means to identify, locate, reflect on, and developareas of interest to pursue in the evolution of individual thesisplanning, culminating in the presentation of the ‘thesisproposal.’Prerequisite: GRAPH 321GRequirement for first and second-year graduate majors(SPRING)

GRAPH 323G GRADUATE STUDIO I 6 credits Bethany Johns/Nancy Skolos This studio course, as groundwork for the graduate thesis, willemphasize inquiry as a primary means for learning. Throughmaking, reflection, collaboration, and critique, we will explorethe underlying principles that design objects require, andsynthesize theory and practice as necessary partners in graphicdesign. We will look at the designer's role in the process ofrevealing and making meaning—as an objective mediator, andas an author/producer, integrating content and form acrossprojects as visual expressions of the preliminary thesisinvestigation.Requirement for first & second-year graduate majors(FALL)

GRAPH 324G GRADUATE STUDIO II: VISUAL NARRATIVE

6 credits Bethany Johns/Lucy HitchcockThis studio course is based on the premise that the narrativeshaping of information is fundamental to humancommunication. As active participants in cultural production,graphic designers naturally collaborate within varied areas ofexpertise, assuming a documentary role in how society viewsitself. Narrative methods enable us to speak to (and through)any content with a sense of the story it has to tell—visuallyrepresenting historical, curatorial, scientific, and abstract ideas

and events. Students will explore design as a process ofstorytelling that includes linear and non-linear relationships,with an emphasis on developing formal strategies for multipleapproaches to shaping a narrative experience from given aswell as self-generated content. Particular emphasis is onsequence, framing, cause and effect, the relationships betweenelements, and the synthesis of parts into wholes. With text andimage, and across media, we employ narrative methods tomake sense of complex content meant to be shared andunderstood.Prerequisite: GRAPH 323GGraduate requirement for majors (SPRING)

GRAPH 327G GRADUATE THESIS I6 credits Hammet Nurosi/Bethany JohnsThe M.F.A. degree requires completion of a graduate thesis.The thesis, as a major undertaking for advanced study andpersonal development, also assists the student to direct aprogram of study for an experience that best serves thatindividual’s interests and needs. The thesis is an inquiry intothe process, expression and function of the visual in graphicdesign. Visual search is the primary means to develop originalwork in which a thesis argument, critique, or point of view isdeveloped and substantiated. The graduate student isencouraged to go beyond established models and to projecthis/her unique character in the thesis rather than to evidencevocational training, which is implicit. The productions caninvolve any medium suitable to need and content. Ultimatelythe thesis is submitted as a written document supported byvisual examples that reveal ideas and insights. Two copies ofthe document remain with the department. Completion isrequired before graduation and within the normal two-yearperiod of the program as stipulated by the College.Prerequisite: GRAPH 322G/323G/324GRequirement for graduate majors(FALL)

GRAPH 328G GRADUATE THESIS II9 credits Bethany Johns/Tom Wedell

Anne WestSee GRAPH 327G for description.Prerequisite: GRAPH 327GRequirement for graduate majors(SPRING)

2009 - 2010 Graphic Design 101GRAPH 329G GRADUATE VISITING DESIGNERS3 credits Bethany Johns/Visiting GuestsThis graduate-only Visiting Designers course is a three-creditelective and enrolls up to 15 students, and provides contactwith the visiting designers through an intensive workshopformat. The course covers the 12 week semester period. Thecourse objective is to provide graduates contact and interactionwith a range of national and international designers involvedin the professional practice and public discourse of graphicdesign. While the emphasis is on typography and print, thesedesigners actively explore a range of visual form. Eachworkshop will consider what provokes, inspires, and informsyour working methods.Open to graduate; Graphic Design majors only(SPRING)

GRAPH 330G GRADUATE STUDIO ELECTIVE I

3 credits tbaThis elective will explore the interplay of information acrossvaried interactive structures in the widest sense. We will playalong the shifting borders of narrative/database; text/image;public/private; physical/virtual; and most of allauthor/designer. We will work on and off the computer,investigating the concept of phenomenon, craft, and interactivedesign. This course will be performative and exploratory, andwill encourage you to be active participants in shaping andsharing representation of your work in ways that keep up withyour ideas.

While the emphasis in this course will be constructing anonline component for your work, there will be opportunities totranslate your content through a variety of media over a seriesof projects. Whether you have no interactive experience orfeel yourself a master of the craft, this course will ask you to(re)think the basic premise of interactivity, to play freelywithin its zones, and to invent your own.Open to graduate; Elective; GRAPH majors only(FALL)

GRAPH 331G GRADUATE STUDIO ELECTIVE II

3 credits tbaThis studio format elective will provide a forum to test aworking method across different formats and media. We willanalyze and enact systems of distribution in order to synthesizestrategies which address the fluid, de-centered andinformation-saturated conditions of contemporary graphicdesign practice. Students will engage the political economiesof circulation with projects in both analog and electronicmedia.Open to graduate; Elective(SPRING)

GRAPH 332G GRAD TYPOGRAPHY STUDIO I3 credits Lucy HitchcockGrad Typography I through III (GRAPH 332G / 342G / 352G)are a sequence of courses that focus on the subject oftypography. This sequence covers the fundamentals oftypography, its theory, practice, technology and history.Studies range from introductory through advanced levels. GradTypography I includes: the study of letterforms, type design,proportion, hierarchy, legibility, and structures for compositionof multiple type elements. Aspects of contemporary practiceand theory are integrated into research and discussion.Requirement for first-year graduate students in the three-yearprogramGraphic Design majors only(FALL)

GRAPH 352G GRAD TYPOGRAPHY STUDIO III6 credits Doug ScottGrad Typography III is the final of a set of required sequenceof courses that focus on the subject of typography. This courseexplores communication and structural aspects of typographyand experiments with expressive means of using type toenhance meaning. Building on basic skills students will workon practical applications of advanced typographicdesign/systems as well as do a research project that concernstheory. Class discussions and demonstrations will complementthe process of solving typographical problems.Prerequisite: GRAPH 342G or GRAPH 3215 or equivalentRequirement for graduate GRAPH majorsSeniors and fifth-year with permission of instructorGraphic Design majors only(FALL)

2009 - 2010 History of Art + Visual Culture 103

Department of the History of Art + Visual CultureDivision of Liberal ArtsDepartment Office: College Building, Room 418, telephone: 454-6572

Concentration in Art History: For a description of the Art History concentration, read the section entitled “Liberal Arts Division”

Courses in History of Art + Visual CultureARTH C221 BLAKE AND HOGARTH3 credits Alexander GourlayWilliam Hogarth was a painter and engraver whose serialworks helped shape the 18th century novel. William Blakepublished his own poems and satires in “illuminated books”and illustrated literary works of others. Lecture/discussion.

Also offered as ENGL C221. Register into the course forwhich credit is desired.(SPRING)

ARTH C519 AFRICAN ARTS AND CULTURES3 credits Winifred LambrechtThe course offers an introduction to the arts of several sub-Saharan African communities. We will explore the creativeprocess and the context of specific African traditions as well asthe impact of the African diaspora on the arts of othercommunities, particularly in the Caribbean. Open to sophomore and aboveAlso offered as HPSS C519. Register in the course for whichcredit is desired. (SPRING)

ARTH H101 HISTORY OF ART & VISUALCULTURE 1

3 credits StaffThis is a required course to introduce students to fundamentalworks of art and design from diverse cultures andchronological periods. It will use basic art historical methodsof formal, stylistic, and iconographical analysis in the study ofthese works thereby providing students with the toolsnecessary for critical looking and analysis essential for theeducation of artists and designers. Emphasis will be placed onthe relation between artifacts and culture, with the assumptionthat the production of works of art and design is a form ofcultural knowledge. Emphasis will also be placed on thecultural conception of the role of the artist and designer, onvarious techniques and materials, and on the social context ofthe works discussed. Required for graduation for all undergraduates (FALL)

ARTH H102 HISTORY OF ART & VISUALCULTURE 2 (TOPICS)

3 credits StaffStudents will select one course from introductory levelofferings. The choice of topics is intended to give each first-year student a chance to work with a broad but culturally andchronologically bounded field of art and design, under theteaching of an expert in that field. Students will have theopportunity to become familiar with art historical textsparticular to the selected topic and will develop skills of criticalreading and writing about the works of art. Required for graduation for undergraduates, except fortransfer students with Advanced Placement Art History gradesof 4-5, transfer credit for any 3 credit course in Art History, ora course in Art History as part of the InternationalBaccalaureate degree(SPRING)

ARTH H451 COCONUT SHELLS AND UNICORNHORNS: THE RENAISSANCESTUDIOLO AND CABINET OFCURIOSITIES

3 credits Jonathan TavaresThe practice of collecting, a prerogative of noble princes aswell as burgeoning merchants, developed rapidly in the 15th

and 16th centuries into the most sophisticated means of self-expression and taste. Tracing this acquisitive phenomenonfrom the Italian studiolo with its art objects, to the GermanKunstkammer with its bizarre natural and artificial treasures,this study will focus on the nature of these collections as theyare preserved in the material, visual, and literary culture oftheir day. Standing at the crossroads between art, science, andsuperstition, these renaissance curiosities will also be exploredfor their irrefutable impact on the broader history of design. Open to sophomore and above (FALL)

ARTH H475 ARCHAEOLOGY OF THE PRESENT:ANCIENT AND CONTEMPORARYAPPROACHES IN CERAMICS

6 credits Paola Demattè/Linda SorminIn this cross-disciplinary, team-taught studio/liberal artsapproach to ancient and contemporary art practices, we willexplore intellectual exchanges between East and West.Ceramics will provide a common ground to examine andinterrogate relationships between ancient Eastern art andcontemporary art practice. Students will attend lectures,

104 History of Art + Visual Culture 2009 - 2010participate in discussions and engage in hands-on making. Wewill explore past and culturally distant practices in a rigorousenvironment that will challenge the uncritical or simplisticappropriation of forms and imagery in contemporary artproduction. Students will be invited to regard ancient objectsand processes in their original context, supported through theact of making three-dimensional objects. Traditional andexperimental approaches to hand-building in clay, vessel andobject making, as well as pit-firing at the RISD Beach, will beexplored through the lenses of ethnographic practices andcontemporary discourse.Open to junior and aboveStudents must also register into CER 4102. Students willreceive 3 Ceramic and 3 Art History credits(SPRING)

ARTH H480 SEMINAR: THE ARCHITECTUREOF MICHELANGELO

3 credits Henry FernandezThis course will examine the major architectural projects byMichelangelo in Rome and Florence in the fifty-year period1514 to 1564. It will examine his work within the context ofthe social, political, technological, economic and spiritualcircumstances of the renaissance. Each student will work witha building designed by Michelangelo, that due to a variety ofreasons was never built or completed according to its originaldesign prescriptions. Using surviving evidence, drawings,modeling, or computer drawings that best resolves theirproject.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H490 CONTEMPORARY ART AND ITSDISCOURSES

3 credits Leora Maltz-Leca/Kevin Zucker This seminar will examine a series of canonical readings ofcontemporary art, focusing primarily on key writings publishedin the journal October and the magazine Artforum since 1975.We will engage in detail with such overarching criticalconcepts as postmodernism, neo-avant-garde, site-specificity,and relational aesthetics. We will also examine readings thatdraw on concepts such as the fetish, the abject, the informe, thegaze, primitivism, and postcolonialism. Finally, we will attendto issues of writerly style and method, seeking to understandthe wide variety of tools that critics and art historians employto understand, historicize, and enrich our understanding ofworks of contemporary art.Also offered as PAINT 4516. Register into the course for whichcredit is desired.(SPRING)

ARTH H505 THE ‘MASTERPIECES’ RETURN: ACRITICAL ART HISTORY OFCINEMA

3 credits Maurizia NataliSince their invention, films as 'screened spectacles of movingimages' have shaped people's senses and tastes and haveinfluenced political, aesthetic, and unconscious feelings ofspectators, artists, and critical thinkers. Art historians and filmcritics have wrestled with different approaches to film as amedium and as art, while philosophers have thought 'with'cinema and artists have used film language in other media. Inparticular some films have challenged our previous notions ofwhat is a 'masterpiece'. This course will consider film'masterpieces' in their historical, aesthetic and authorialdimension and will deal with basic questions of the history offilm such as: How does film--an industrial, popularentertainment-- became an art? Which cultural agents establishthe 'masterpieces' of the film 'canon'? Why have some filmsshaped the histories of cinema? How are these works still partof our visual culture? How do we judge the quality of a filmafter a hundred years of cinema? What are the links between amagic lantern show, a 'panorama', a silent film, the Hollywood'empire,' and the digital 'revolution'? Weekly screenings,readings in film theory, discussions by groups, and essayexams.Open to sophomore and above(FALL)

ARTH H506 THEORIES OF PHOTOGRAPHY3 credits Nathaniel SteinWhat is a photograph? How does a photograph function? Whatshould photographs look like? From the invention ofphotography in 1839 through to the digital present, thesequestions and many others like them have circulated around theever changing medium. With a focus on the twentieth century,this course will examine the differing and at times antagonistictheories of photography that have been advanced by famouswriters such as Walter Benjamin, Andre Malraux, SusanSontag, and Rosalind Krauss.Open to sophomore and aboveFee: $50.00(FALL)

ARTH H509 EGYPT & THE AEGEAN IN THEBRONZE AGE

3 credits Peter NultonThe Bronze Age saw the development of several advancedcivilizations in the Mediterranean basin. Perhaps thebest-known among these is the civilization of Pharaonic Egpyt.This course will focus on the art and architecture of Egypt andtheir neighbors to the north: the Aegean civilizations known asCycladic, Minoan, and Mycenaean. While art historical studyof these cultures will be emphasized, evidence for trade andother cultural interchange between them will also be discussed.The course will cover such topics as the Pyramids of Giza, theTomb of Tutankhamun, and the Palace of Knossos.

2009 - 2010 History of Art + Visual Culture 105Open to sophomore and aboveFee: $25.00 for a class field trip(FALL)

ARTH H513 ARCHITECTURE AND THE CITY INTHE PRE-MODERN MUSLIM WORLD

3 credits Elizabeth Dean HermannIs there an “Islamic architecture” or an “Islamic city?”Through an examination of three capital cities from the late-medieval to pre-modern period (Mamluk Cairo, OttomanConstantinople-Istanbul, and Safavud Isfahan) this course willfocus on what is unique about the architectural expressions ofa particular society, time, and place, as well as what aspects ofurban and architectural form, and its related use and inscribedmeaning, are universal within the Muslim world. Questions ofdynastic legitimacy and ideology, patronage trends, social andpolitical structure, ceremonial practices, cultural and politicalrivalry, cross-cultural exchange, and the impact of each on theevolving urban landscape and its monuments will be explored.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H540 SEMINAR: INSIDE THE MUSEUM3 credits Paola Demattè/Deborah WildeThis course will introduce students to the various activities thattake place in the Museum, both the public functions and thebehind-the-scenes operations. It will also focus on the range ofissues that museums in general are currently addressing suchas ethics, provenance, audience, and architecture. There will bevisits to storage areas with curators to understand the scope ofthe collection, as well as sessions on topics such asconservation, education, installation, and exhibitiondevelopment. Written assignments will include preparingcatalogue entries for recent acquisitions, developing galleryguides, analyzing current exhibitions and/or devising proposalsfor reinstallation of the permanent collection. The course isdesigned particularly for those students who have had littlebehind-the-scenes experience in museums. Open to sophomore and aboveAlso offered as GRAD 500G 02 with limited seating forgraduate students desiring graduate seminar credit. Registerfor the course in which credit is desired.(SPRING)

ARTH H550 WORLD TEXTILES: TRADE,TRADITIONS, AND TECHNIQUES

3 credits Laurie BrewerInterdisciplinary by their very nature, textile traditions share aglobal history. Around the world textiles have found place incultures as signifiers of social identity, from the utilitarian tothe sacred, as objects of ritual meaning and as objects of greattangible wealth. The evolution of textile motifs, designs,

materials and technology across Asia, Africa and the Americaswill be explored utilizing the RISD Museum of Art withfrequent visits to the textile and costume collections. We willexamine such topics as: the function of textiles in the survivalof traditional cultures, the impact of historic trade routes andensuing colonialism, industrialization and its subsequent effecton traditional techniques of textile manufacture. Students willalso have opportunity to examine various methods of textiledisplay, analysis and storage appropriate to items of culturalheritage via case studies of specific objects in the RISDMuseum.Open to sophomore and above(SPRING)

ARTH H542 NINETEENTH CENTURY ART3 credits Daniel HarkettIntroduction to nineteenth-century Western art, with theemphasis on Europe. Course situates art in its social context,addressing phenomena such as political revolution,urbanization, industrialization, mass culture, and empire.Artists covered include: David, Géricault, Turner, Courbet,Manet, Frith, Eakins, Monet, Morisot, Seurat, Rodin andGauguin. Format consists of lectures and class discussions. (SPRING)

ARTH H544 HISTORY OF DESIGN: BAROQUETO POSTMODERN

3 credits Jonathan TavaresA complement to the fall semester “History of Design:Antiquity to the Renaissance”, this course continues thedevelopmental trajectory of design and the decorative artsbeginning in the mid-17th century with Baroque courtdesigners and the unity of style in furnishings andinteriors. Following themes will also include: the rise industrialdesign to serve the middle class consumer, the function ofpattern books in the dissemination of taste and style, thepivotal role of expositions and World’s Fairs, the inception ofdesign schools and the search for ‘good design’. Emphases willbe placed on the significant contributions of individualcraftsmen and designers and their firms, as well as movementsand the institutions that support them, including Morris & Co.,the Bauhaus, Droog, and many others. Lectures will besupplemented with regular gallery visits to the RISD Museum,highlighting pieces in the collection that best characterize theingenuity, technology, function, and aesthetic interests of theirtimes. Open to sophomore and above(SPRING)

106 History of Art + Visual Culture 2009 - 2010ARTH H555 SEMINAR: AN INTRODUCTION

TO THE CONSERVATION OF WORKS OF ART3 credits Mimi LevequeThis course will explore the field of art conservation and thecare of works of art. Using objects in the RISD Museum'scollection, we will explore the mechanisms of deterioration andexamine some of the techniques used to preserve them.Open to sophomore and aboveAlso offered as GRAD 500G 04 with limited seating forgraduate students desiring graduate seminar credit. Registerin the course for which credit is desired. (SPRING)

ARTH H574 HISTORY OF DESIGN: ANTIQUITY TO THE RENAISSANCE

3 credits Jonathan TavaresThe first of a two-semester overview of design history tracingmajor developments in the decorative arts and material culturefrom Antiquity to the Renaissance. Lectures will provide aframework for the study of design processes throughouthistory, analyzing artifacts for evidence of production technology, function,iconography, and patronage. Objects will be studied inconjunction with their original context from humble domesticspheres to the extravagant palatial setting. Artifacts from theRISD Museum will be featured in regular visits with theunderstanding that it is best to analyze works directly whenasking questions about appropriate design technology andcultural consumption. Course topics will cover diversematerial from the excavated remains of ancient furniture, toByzantine textiles, to the mechanics of 16th-century platearmor, as well as the rise of the artist/artisan designer with thedissemination of the ornamental print.Open to sophomore and above(FALL)

ARTH H579 FRENCH SURREALISM3 credits Agnieszka TaborskaFrench Surrealism played an important role in the developmentof 20th-century European and American art. The arrival ofFrench Surrealists to New York during the Second World Warinfluenced American artists and exposed more than a Europeanaudience to the movement. In this course will study Frenchsurrealist painting, literature, and cinema in the context ofintellectual and philosophical currents (such aspsychoanalysis). We will discuss Odilon Redon, GustaveMoreau, and Giorgio de Chirico, the precursors of themovement, Andre Breton, the author of the "SurrealistManifesto of 1924," Dora Maar and Meret Oppenheim -unfairly considered only as "muses" at the beginning of theircareers. Special focus will be put on the work by Max Ernst,Man Ray, Luis Bunuel, and Leonora Carrington.(SPRING)

ARTH H583 SEMINAR: AFRICAN AMERICAN ART

3 credits Bolagi CampbellThis course explores the diversity of form, style, and narrativecontent of works created by African American artists from theantebellum period to the present. Specific attention will bedevoted to several underlining issues including but not limitedto identity, race, class, ethnicity, representation, sexuality, andaesthetic sensibilities.Open to sophomore and above(FALL)

ARTH H597 TOPICS IN THE DECORATIVEARTS IN AMERICA: THEDECORATIVE ARTS OF THE 18th

CENTURY RHODE ISLAND3 credits Robert EmlenSome of the finest furniture, silver, pewter, ceramics, andtextiles in America furnished homes of eighteenth-centuryRhode Islanders. In this course these so-called “decorativearts” are examined both as indicators of style and as historicalevidence of household life in early America. Understandingthe decorative arts in the context of their original architecturalinteriors is emphasized in field trips to historic house museumsin the Providence area and through first-hand experience withthe collections of the RISD Museum.Fee: $25.00(SPRING)

ARTH H607 RELIGION & CULTURE IN LATERCHINESE ART

3 credits Paola DemattèThis course is designed to introduce students to the majorhistorical and intellectual developments in the field of laterChinese art, providing a general overview on the art of theperiod of the time spanning from the Three Kingdoms (III centCE) to the end of the last dynasty (Qing 1644-1911). Topicsto be explored include (but are not limited to): Buddhistpainting, sculpture, and architecture; the Taoist impact on thearts, Song landscape painting; the development of calligraphy;court painting,; and Western influences. The course willdedicate particular attention to exploring the impact of religionand social organization on art production.(SPRING)

ARTH H608 HAVC MUSEUM FELLOWSHIP3 credits Bolaji Campbell/Museum CuratorsStudents will be selected from among undergraduateconcentrators in History of Art and Visual Culture. For furtherinformation, please contact the HAVC ConcentrationCoordinator, Professor Bolaji Campbell.Open to sophomore and abovePermission of instructor required(FALL/SPRING)

2009 - 2010 History of Art + Visual Culture 107ARTH H618 DREAMS ON SCREEN:

PSYCHOANALYSIS, FILM MAKERS,AND SPECTATORS

3 credits Maurizia NataliDreams, fantasies, hallucinations have been matter for religion,philosophy and science, and have fascinated art, theater andliterature. Film makers have been challenged by these ‘alteredstates' and by their social and aesthetic effects. Significantly,both cinema and psychoanalysis were born a century ago.Since the first definitions of film as new art, artists and criticshave compared movies with dreams, and spectators withdreamers. This course analyzes how cinema represents dreamswith specific visual imagery and techniques, how in thesemoments of intensified visual and aural experience cinemafigures the psyche, echoes other arts and invents a newlanguage to translate and critique ideas about these fascinatingexperiences. We will review films from American, European,and World Cinema and we will discuss basic texts about film,dreams, and dreamers with these questions in mind: How dospectators deal with the logic of dream sequences? Why do theavant-gardes privilege dreams? How have Hollywood and‘auteur' cinema treated dreams? Do dreams have a ‘gender'?How does the filmic imagery of dreams echo other arts andhow is it ‘re-mediated' in advertising, television, video?Weekly screenings, readings in film theory, discussions bygroups, and essay exams.Open to sophomore and above(SPRING)

ARTH H631 SEMINAR: THE GOTHICCATHEDRAL

3 credits Susan WardThis course will study the architecture, sculpture, stained glass,and treasury objects (metalwork and manuscripts) thatcomposed the Gothic cathedral. Our study will begin with anexamination of the reasons such work was created and explorethe stylistic origins of the cathedral in northern France in theearly 12th century. We will then look at the cathedral'ssubsequent development and modification in England, southernFrance, Italy, and Germany during the 12th through 15thcenturies.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H632 SEMINAR: ANCIENT CHINESE ART& ARCHAEOLOGY

3 credits Paola DemattèThis course is designed to introduce students to the majorhistorical and intellectual developments in the field of ancientChinese art, and to the local tradition of antiquarian studies. Itwill provide a general overview of art of the period of the timespanning from the Neolithic to the Han dynasty, concentrating

on crucial research issues on such topics as (among others): theiconography of early settled societies, the art of prehistoric jadecarving, the art of the ritual bronze vessels of the Shang andZhou dynasties, the political use of bronze and jade in thedynastic period, lacquer and silk painting in the late pre-imperial phase, and the burial customs and architecture of theearly imperial period.Open to sophomore and above(FALL)

ARTH H651 SEMINAR: RACE INCONTEMPORARY ART

3 credits Leora Maltz-LecaFocusing on art since the 1990s, this seminar will examine howcontemporary artists have addressed the construction of raceand visual difference. The ways in which new media such asperformance, installation, and video have impacted thetreatment of race will be a central theme of the seminar. Afteraddressing the invention of race as a category in theeighteenth century, and historicizing this concept againstearlier notions of otherness and difference such asanti-Semitism, we will turn to how contemporary artists in theU.S., Europe, and Africa, have addressed the subjects of raceand racism, often using their art practices to reshape discoursesaround otherness. Artists discussed will include: DavidHammons, Fred Wilson, Adrian Piper, Lorna Simpson, KaraWalker, Berni Searle, William Pope L., William Kentridge,Yinka Shonibare, Robin Rhode, Isaac Julien, Ellen Gallagher,and Candice Breitz.Open to sophomore and above(FALL)

ARTH H652 SYNAGOGUES, CHURCHES, ANDMOSQUES IN PALESTINE

3 credits Katharina GalorThis seminar will focus on architectural buildings and remainsof synagogues, churches, and mosques in Palestine fromantiquity (the sixth century BCE) through the end of theOttoman period (1917). Beyond the physical components ofthe houses of worship, and dealing with architectural,technological, and iconographic matters, we will investigatethe spiritual and religious characteristics of the relevantstructures. One of the goals will be to examine how theseinstitutions influenced each other throughout the history oftheir architectural development. Open to sophomore and above(FALL)

ARTH H653 SEMINAR: INDIGENOUSARCHITECTURE OF THEAMERICAS

3 credits Michele Hayeur-SmithThis course will attempt to identify, analyze, and understandnon-western architectural traditions of Native people in NorthAmerica, Mesoamerica, and South America. An attempt willbe made to understand both environmental and cultural

108 History of Art + Visual Culture 2009 - 2010components people integrated into their choices of constructionmaterials, spatial arrangements, and in some cases urbanplanning. Particular emphasis will be placed on theappropriation and socialization of landscapes througharchitecture and how landscape was used to express greatercultural concerns. The following cultures will be discussed:Mound Builders and the Mississippians; the Iroquois; CoastalNorthwest coast cultures; the Arctic; the Southwest; the Maya;and Ancient Peru.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis;3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H654 THE ART OF ART CONSERVATION3 credits Ingrid NeumanHow does a museum preserve its art collection?How do art and science reinforce each other in this field?Does the approach to the conservation of ancient art differfrom that of the conservation of contemporary art? How andwhy do materials composing visual art deteriorate? Whichenvironmental factors adversely affect organic and inorganicmaterials first or fastest? In this course, the student will gainan understanding for the five agents of deterioration, for issuesof physical and chemical stability regarding organic andinorganic materials chosen by artists over the millennia, as wellas how the care and handling of art differs in some respects fora museum than for a working artist. Frequent visits throughthe museum exhibits, storage, and the conservation lab willdemonstrate key concepts covered in the class. Ethical issuesregarding the determination of the original intent of any givenartist as well as ethical issues regarding forgeries and looted artwill be discussed. Assignments will focus on the RISD ArtMuseum s collection.Open to sophomore and aboveRestricted to HAVC concentrators or MA candidates inMuseum Education(FALL)

ARTH H723 EIGHTEENTH-CENTURY FRENCH ART3 credits Pascale RihouetFrom Rococo to Neo-Classicism, radical stylistic changes tookplace in the visual arts (architecture, painting, drawing, prints,sculpture, and the decorative arts) of 18th century France. Thiscourse explores the development of the art academy with itsannual salons in Paris, patronage patterns (private collectors,the state, the church), and the emergence of professional artcritics and art criticism. Themes range from the erotic,moralizing history, portraiture, and genre scenes toarchitectural landscape while dealing with the impact of royaland revolutionary politics on artistic production. Major artistsinclude Watteau, Boucher, Fragonard, Soufflot, Ledoux,

Boullée, Chardin, Greuze, Robert, Canova, David, and Vigée-Lebrun.Open to sophomore and above(FALL)

ARTH H725 SEMINAR: MODERN EXHIBITIONCULTURE

3 credits Daniel HarkettExplores the place of exhibitions in modern culture (c.1750-1950). Covers a broad range of venues, includingmuseums, art galleries, world’s fairs, and department stores.Situates exhibition culture in relation to industrialization,urbanization, imperialism, the birth of mass culture, and othermodern phenomena.Open to sophomore and above(SPRING)

ARTH H726 ARTS OF THE AMERICAS AND THE PACIFIC3 credits Winifred LambrechtThis course is designed to acquaint students with a variety ofnon-Western aesthetic expressions in the Americas and thePacific. The course will explore the indigenous contexts, bothcontemporary and historical, in which these art forms are orwere created and function. We will look at the art and itscontext in selected communities of the American northwestcoast such as the Inuit, Kwakiutl, and Haida, the Southwest ofthe US, such as the Hopi and Navajo, and parts of Australia,Papua-New Guinea and some of the Pacific islands.Open to sophomore and aboveFee: $15.00(SPRING)

ARTH H730 THE ARCHAEOLOGY OF PALESTINE

3 credits Katharina GalorThis lecture course will provide an overview of thearchaeology of Palestine from the beginning of the Iron Age in1200 BCE to the Crusader conquest in 1099 CE. It will surveythe most important sites, and their significance for ourunderstanding of the influence of the Canaanite, Assyrian,Babylonian, Persian, and Greco-Roman civilization on thelocal cultures; their role within the larger Byzantine Empireand their significance within the reality of Islam. This lectureclass will deal with visual material. Students will be requiredto fulfill the weekly reading assignments, make visits to theRISD Museum, take a mid-term exam, and submit a final termpaper.Open to sophomore and above(SPRING)

2009 - 2010 History of Art + Visual Culture 109ARTH H732 WEST-NONWEST: REORIENTING

MODERNISM3 credits Tulay AtakContemporary architecture is marked by globalization.Architectural commissions, competitions, conferences,collaborative design practices, and digital media have crossedbeyond geographical boundaries. The new geopolitics ofarchitecture may also provide a challenge for thinking aboutarchitecture, enforcing a revision of architectural history aswell as the emergence of new conceptual categories.

This course is a survey of modern and contemporaryarchitecture considering architecture as a cultural productsituated in a geopolitical world. We will focus on a point ofcrossings, exchanges translations: the case of Istanbul andTurkey between Orientalism, modernism and globalization.Taking Said’s critical Orientalism as our starting point, we willattempt to re-Orient modernism and place modern andcontemporary architecture on a world map shifting its focusfrom the West. Re-Orienting modernism looks at the points oflinkage, intersection and translation between the West and thenon-West in order to view current phenomena in a historicalperspective and situate architecture in the contemporarygeopolitical world.Open to junior and above; ARCH majors onlyArchitecture majors and M.Arch. students will havepreference, others first come-first serve basis; 3 spots will beheld for nonmajors.Art History credit(FALL)

ARTH H733 THEORY OF ARCHITECTURE3 credits John HendrixThis class is an introduction to architecture theory. It isconducted as a historical survey, with emphasis on modern andcontemporary concerns. Treatises and manifestoes will beexamined in relation to their historical context and architecturalforms, especially built works. Notable treatises andmanifestoes such as those by Vitruvius, Leon Battista Alberti,Marc-Antoine Laugier, John Ruskin, Viollet-le-Duc, LouisSullivan, Adolf Loos, Le Corbusier, Walter Gropius, PeterEisenman, and Robert Venturi will be explored. Textbooksinclude "A History of Architectural Theory from Vitruvius tothe Present" and "Programs and Manifestoes on 20th-CenturyArchitecture." The purpose of architecture theory is tounderstand architectural forms and underlying designprinciples, and to understand production and expression inrelation to cultural and historical forces.Open to sophomore and above(SPRING)

ARTH H735 A SENSE OF PLACE: AHISTORICAL AND CONCEPTUALSTUDY OF MAPPING

3 credits Christina ConnettHow we define space and place is largely dictated by ourcultural, spiritual, and physical associations with maps. Likeart, cartography and mapping are a subjective enterprise; theyare abstract constructions involving the specific agenda, style,and prevailing sentiments of the creator. How have our ideasof religion, politics, culture, power, gender, community,ownership, and individuality been influenced by maps, andhow do they continue to be formed? This course will look athow our perceptions of the world and ourselves have beenshaped historically by map productions of all kinds. Throughreadings, lecture, images, and utilizing local resources, we willlook at our preconceptions of space and how we define it tobetter understand where we really are.Open to sophomore and above(FALL)

ARTH H738 ART & DESIGN IN TURN-OF-THE-CENTURY VIENNA

3 credits Michelle DuncanThis course explores the art, architecture, and design of Viennaaround 1900, the period known as the Viennese fin-de-siècle.We will explore a number of movements and styles includingDecadence, Symbolism, the Vienna Secession, the ViennaWorkshop, Austrian Expressionism, the architecture ofRingstrasse, and the early Modernism of Adolf Loos, placingthem in the cultural context of contemporary literature(Schnitzler and Hofmannsthal), psychoanalysis (Freud),sexology (Weininger), musical composition (Schoenberg) andphilosophy (Wittgenstein). Relevant artists and architectsinclude Klimt, Schiele, Kokoschka, Gerstl, Moser, Hoffmann,and Otto Wagner. Students will visit the NEUE Gallerie inNew York.Open to sophomore and aboveFee: $70.00(SPRING)

ARTH H739 SEMINAR: THE BRILLIANTLINE: MUSEUM SEMINAR

3 credits Mary BergsteinSeminar on museum exhibition, The Brilliant Line will explorethe printmaking technique of engraving, and its proliferationbetween the years 1480 and 1650. Because they weremultiples, easily portable, and inexpensive compared to otherart forms, prints contributed greatly to the diffusion ofknowledge about art, politics, science, and geographicdiscoveries in the Renaissance and Baroque periods.Participants in this seminar will first become familiar with

110 History of Art + Visual Culture 2009 - 2010prints from the earlier fifteenth century. From there, we shallcontinue on to the material in this exhibition, consideringsculpture, painting, and art theory alongside the prints.Open to sophomore and above(FALL)

ARTH H740 SEMINAR: ADVANCED READINGS IN CONTEMPORARY

ART AND THEORY3 credits Leora Maltz-LecaThis seminar will examine a series of canonical readings ofcontemporary art, focusing primarily on key writings publishedin the journal October and the magazine Artforum since 1975.We will engage in detail with such overarching criticalconcepts as postmodernism, neo-avant-garde, site-specificity,and relational aesthetics. We will also examine readings thatdraw on concepts such as the fetish, the abject, the informe, thegaze, primitivism, and post-colonialism. Finally, we will attendto issues of writerly style and method, seeking to understandthe wide variety of tools that critics and art historians employto understand, historicize, and enrich our understanding ofworks of contemporary art. Open to sophomore and above(SPRING)

ARTH H741 EARLY TWENTIETH CENTURY ART

3 credits Daniel HarkettIntroduction to Western art c.1900-1950. Course surveys majorart movements (such as Cubism, Futurism, Dada, Surrealism,Abstract Expressionism), while exploring their social context.Artists covered include: Picasso, Matisse, Kandinsky,Malevich, Duchamp, Stettheimer, Douglas, Rivera, O’Keefe,Pollock. Format consists of lectures and class discussions. Open to sophomore and above(SPRING)

2009 - 2010 History, Philosophy, Social Science 111

Department of History, Philosophy, and the Social Sciences (HPSS)Division of Liberal ArtsDepartment Office: College Building, Room 418, telephone 454-6572

New for 2009HPSS S101 is a new graduation requirement for all freshmen admitted to RISD in 2008 or after, and all transfers admitted in 2009or after. Students graduating before 2012 are exempt from this requirement. New freshmen must take the course in the spring termof their freshmen year. New transfers must take the course in the spring of their first year unless their major curriculum does notallow it (ie Architecture and Industrial Design), in which case they must take it in the spring of their second year. Freshmen whoseother requirements make it impossible to take the course in the spring of 2010 must take it in the spring of 2011. This requirementmay be waived for students entering RISD with HPSS credits.

Concentration in History, Philosophy, and the Social SciencesFor a description of the concentration in HPSS, read the section of this book entitled “Liberal Arts Division” or read the sectionin the front of this book entitled “Special Academic Programs” or go to: http://departments.risd.edu/depts/hpss/hcon.htm

Locator for Courses in HPSSCourses in HPSS are listed within these subjects: American Studies; Anthropology, Sociology, and Political Science; History;Media and Culture Studies; Philosophy & Belief Systems; and Psychology. In order to help find a particular course without havingto search through the following pages, an index of HPSS classes is provided. Review the complete course entry for the description,registration restrictions, and term of offering.

First-Year CourseTopics in History, Philosophy, and the Social Sciences Staff HPSS S101

American Studies American History to 1877 D. Cavicchi HPSS S600Freedom Dreams: African American Thought and Struggles From the Slave Trade to the Present P. Lau HPSS S615Music and Politics D. Cavicchi HPSS S695Pirates to Poppies: America & the China Trade C. Frank HPSS S638The Witness Tree Project D. Cavicchi HPSS S732

Anthropology, Sociology, and Political ScienceAfrican Arts and Cultures W. Lambrecht HPSS C519Anthropology of Science and Society J. Szurek HPSS S637Anthropology of Gender J. Szurek HPSS S673Art and Architecture of Ancient Peru E. Dwyer HPSS S736Art and Cultures of Ancient Mesoamerica E. Dwyer HPSS S635Capitalism, Ecology and Eco-communitarian Alternatives L. Carney HPSS S701Economy and Society A. Savchenko HPSS S616Introduction to Social Theory D. White HPSS S645Politics and Globalization L. Carney HPSS S548Seminar: Cities, Urbanization, Nature D. White HPSS S640Seminar: Loot E. Dwyer HPSS S734Seminar: Sociologies of Technology, Design and Nature D. White HPSS S731Refugees, Migrants, & Displaced Persons L. French HPSS S528Visual Anthropology W. Lambrecht HPSS S619

112 History, Philosophy, Social Science 2009 - 2010

HistoryChurch and State: From the Ancient World to the First Amendment J. Muldoon HPSS S719Early European Civilization D. Warner HPSS S605Knights, Poets and Emperors D. Warner HPSS S749Seminar: Facts, Evidence and Analysis D. Warner HPSS S516Seminar: Historical Function of Film S. Cook HPSS S521Seminar: The Great War S. Cook HPSS S733Society, Ships, and the Sea: An Introduction to Maritime History J. Jensen HPSS S715The Third Reich S. Cook HPSS S596

Media and Cultural StudiesCombat and Culture: War in Public Consciousness T. Roberts HPSS S664Social Inquiry: Artists as Public Intellectuals P. Hocking HPSS S711

Philosophy & Belief SystemsArchaeology of the Western Mind S. Ott HPSS S569Existentialism: The Will to Create J. Yess HPSS S716Meaning and Message D. Keefer HPSS S549Muslims and Islam: Local and Global Perspectives M. Burch HPSS S706Philosophy of Death D. Keefer HPSS S526Philosophy of Religion S. Ott HPSS S655Science and Social Controversy J. Poland HPSS S617Seminar: Buddhism and Society L. French HPSS S539Seminar: Philosophy of Death D. Keefer HPSS S526

PsychologyIntroduction to Psychology J. Prewitt-Freilino HPSS S656Seminar: Psychology of Gender J. Preeott-Freilino HPSS S677Seminar: Psychology of Evil J. Prewitt-Freilino HPSS S705Visual Perception G. Glaser HPSS S560

2009 - 2010 History, Philosophy, Social Science 113

Courses in HPSS

First -Year CourseHPSS S101 TOPICS IN HISTORY, PHILOSOPHY,

AND THE SOCIAL SCIENCES 3 credits StaffFirst year students select one section from a range of S101offerings that focus on topics typically addressed within thedisciplines of history, philosophy and the social sciences(HPSS). Through discussion of key texts within a particulardiscipline, students are introduced to important methodologiesand controversies within that discipline. They are encouragedto develop the skills in critical thinking and reading that arecommon to each of the disciplines covered by the HPSSdepartment. Through frequent writing assignments, combinedwith substantial feedback from the faculty, topics sections alsohelp students develop the strategies and techniques of effectivewriting. As no prior knowledge of the subject matter isassumed, topics sections include introductory elements andserve as a gateway to upper level courses within theDepartment of HPSS.Open to freshmen and new transfers.Required for graduation for undergraduates who are admittedin Fall 2009 or after. This requirement may be waived forstudents admitted with credits in HPSS. The course may be repeated once for credit, provided differenttopics sections are taken.(SPRING)

American StudiesHPSS S600 AMERICAN HISTORY TO 18773 credits Daniel CavicchiThis survey course will examine the history of the UnitedStates from its colonial beginnings through the Civil War andReconstruction. In particular, it will focus on the social andcultural aspects of this era, including the clash of Europeanand Native American cultures; ethnic, religious, and regionaldivisions in the colonies; the culture of slavery; the upheavalof the American Revolution; the struggle for effectivedemocratic government; industrialization and working-classlife; and the ideology of Westward expansion. Evaluationincludes two midterm exams and a final exam.(FALL)

HPSS S615 FREEDOM DREAMS: AFRICANAMERICAN THOUGHT ANDSTRUGGLES FROM THE SLAVETRADE TO THE PRESENT

3 credits Peter F. LauThis course explores the thought and struggles of African-descended people in America over the expanse of some 500years. In an important sense, African American history is the

history of globalization and the uneven, often horrifying, waysin which our modern world of interconnected people, trade,and institutions was brought into being. From the greatKingdoms of West Africa, the Atlantic Slave Trade, race-basedenslavement in the Americas, emancipation, the rise of JimCrow, to the Civil Rights Movement and beyond, AfricanAmerican history is about people resisting oppression, battlingfor cultural autonomy, working to build families andcommunities and struggling to define and secure the fruits offreedom. “Freedom Dreams” explores this history with a focuson how people of African descent imagined their ownliberation, struggled to achieve it, and gave shape to the largerworld in doing so. Through slave narratives, memoir,autobiography, oral history, visual art, and music the courseaims to bring this history to life and to evaluate its significancefor our own time.(SPRING)

HPSS S638 PIRATES TO POPPIES: AMERICA &THE CHINA TRADES

3 credits Caroline FrankBeginning with the earliest days of colonial settlement in NorthAmerica, we will examine the passionate and competitiveWestern fascination with the Celestial Empire and itsimportance to American economic and cultural development.Early-modern European economies turned on Chinese demandfor silver and domestic demand for alluring Asiancommodities. From the incessant search for a fabledNorthwest Passage to the tea that sparked the Revolution to theUnited States’ deep involvement in smuggling drugs intoChina, Americans actively participated in this global commercewhile struggling to define themselves as Western not Eastern.Prized trade goods and art were central to the China trade, sothis course develops a critical methodology for material andvisual culture analysis in recovering lost histories of America’searliest East-West relations.(FALL)

HPSS S695 MUSIC AND POLITICS3 credits Daniel CavicchiPatriots during the American Revolution made fun of KingGeorge with bawdy songs. White and black minstrels in the19th century mocked each other in performance.Depression-era jitterbugs danced across race and class lines asa way to fashion a radical vision of America. Punk fans in the1970s created an alternative culture that opposed the values ofmainstream society. In this course, we will move beyondcharacterizations of popular music as mere "entertainment" andexplore the ways in which it has instead served to communicate

114 History, Philosophy, Social Science 2009 - 2010dissatisfaction, shape ideologies of opposition, mobilize socialgroups, and contribute to the debate and dialogue necessary ina democracy.Open to sophomore and above(SPRING)

HPSS S732 THE WITNESS TREE PROJECT3 credits Daniel CavicchiWitness trees, as designated by the National Park Service, arelong-standing trees that have "witnessed" key events, trends,and people in history. In this joint studio/liberal arts course,students have the unique opportunity to study and work witha fallen pecan tree, shipped to RISD from the HamptonNational Historic Site. The Hampton plantation, locatedoutside of Baltimore, Maryland, was a farm, an ironworks, anda port before the Civil War; it served for over half a century asa center of industry and slave labor in the upper South. Thecourse will involve three components: 1) a field trip to thetree's site in Maryland at the beginning of the semester; 2)classroom-based reading and discussion about Americanmaterial culture and history; and 3) studio-based building of aseries of objects, in response to the tree, the site, and students'classroom study. Overall, the course will explore both howmaterial artifacts shape historical understanding and howhistorical knowledge can create meaningful design. There is aplanned exhibition of selected objects from the class at theHampton Site, date yet to be determined. Co-requisite FURN 2451Students will receive 3 credits in Furniture and 3 credits inHPSS, for a total of 6 credits.Fee: $75.00 A single fee of $75.00 will be charged for yourconcurrent registration in HPSS S732/FURN 2451 courses.(FALL)

Anthropology, Sociology andPolitical ScienceHPSS C519 AFRICAN ARTS AND CULTURES3 credits Winifred LambrechtThe course offers an introduction to the arts of several sub-Saharan African communities. We will explore the creativeprocess and the context of specific African traditions as wellas the impact of the African diaspora on the arts of othercommunities, particularly in the Caribbean. Open to sophomore and aboveAlso offered as ARTH C519. Register in the course for whichcredit is desired. (SPRING)

HPSS S528 REFUGEES, MIGRANTS ANDDISPLACED PERSONS

3 credits Lindsay FrenchThis course looks at key issues relating to migration,displacement and refugeeism in the world today. It framesthese issues in terms of the factors which force movements andrestrict the movement of people across national boundaries. Itconsiders both the causes and consequences of suchmovements in relation to legal, political, economic, social andcultural factors. It looks at the ideal images of citizen, nationand state that are constructed through the regulation of nationalboundaries, and compares these with the goals, identities andcultural processes of the people who move or are acrossregulated borders. In working out how to think about peoplewho live at the edge of conventional social science categorieswe will reconsider such basic concepts as ethnicity, identity,nation, culture and homeland.(FALL)

HPSS S548 POLITICS OF GLOBALIZATION3 credits Larry CarneyWith the fall of socialist states in the former Soviet Union andEastern and Central Europe, capitalist markets, economicrelations, and forms of consumerism have become truly global,spread throughout the world. This course examines thepolitical origins, effects, and responses to globalization, withspecific concern for the prospects of democracy andsocioeconomic equality. The ecological, resource, andenvironmental implications of globalization are also a majorfocus.Fee: $20.00(FALL)

HPSS S616 ECONOMY AND SOCIETY3 credits Andrew Savchenko We will investigate how power, culture, and social institutionsaffect such crucial components of economic performance assupply, demand, and economic growth. We will also studysocial aspects of wealth creation and innovation. Issues ofsocial inequality, related but not identical to unequaldistribution of resources, will be studied both in the context ofsocial class and cross-national comparisons. The latter will tryanswer the riddle of globalization: why the increasing volumeof international trade in all factors of production (commodities,capital, and labor) makes some countries rich while othersremain poor. History of social and economic development willbe an essential aspect of the course. Students are expected toparticipate in discussion and write one term paper. There willbe a final exam. (SPRING)

2009 - 2010 History, Philosophy, Social Science 115HPSS S619 VISUAL ANTHROPOLOGY3 credits Winnie LambrechtAnthropologists have used a number of techniques todocument “other” cultures - the course will explore visualdocumentation techniques, from early explorers’ drawing tocontemporary filmmakers. Research tools and methods will beevaluated from several points of view, including the artistic,the anthropological and the ethical.(FALL)

HPSS S637 ANTHROPOLOGY OF SCIENCE ANDSOCIETY

3 credits Jane SzurekScience is a major force that shapes ideas, beliefs, andbehavior patterns in contemporary society. Its exponentialgrowth in today’s world warrants examination of theinteraction of science with culture and society. In this coursewe will approach science and technology as an expression ofscience, as a human activity rather than a disembodiedintellectual pursuit. We will consider how the sciences can bestudied ethnographically, how they vary culturally one fromanother, and how scientific knowledge is generated in culture.Throughout we will attend to the implications of scientificknowledge for social and cultural hierarchies. Theoreticalissues that will concern us include the relationship betweenculture and technology and the production of new forms ofsubjectivity in relation to scientific technologies. Course topicsinclude anthropological studies of western scientific practice, science in non-western traditions, critiques of sciencefrom various viewpoints, and science in popular culture.(SPRING)

HPSS S640 SEMINAR: CITIES, URBANIZATION,NATURE

3 credits Damian White Cities and urbanization generate significant environmentalimpacts. However, recent work in the social sciences hassought to recognize that cities contain their own diverseecologies, they provide homes for a range of non-humans, theyare dense sites which potentially possess ecological advantagesand they are arenas where the cultural and political creativityof urban dwellers can stimulate a range of creative responsesto the challenge of sustainability. The aim of this course is tosociologically examine the past, present and future relationsbetween cities, urbanization and nature. In the first part of thiscourse we contrast classical narratives emphasizing theantagonism between ‘cities’ and ‘nature’ with more recentreadings of urban environmental history by Bookchin, Cronin,Harvey, Gandy, Swyngedow and Latour which have sought toprovide more dynamic understandings of the metabolismbetween urbanism and nature, humans and non humans. In thesecond part of the course we examine the central empiricalclaims and normative contours of the quite diverse greencritiques of contemporary, postmodern urbanism and sprawl.Finally, we examine how an equally diverse range of

reconstructive discourses on urbanism and nature, from techno-centric plans to re-engineer cities in the form of new urbanism,to discussions of ‘urban environmental justice’, and fromdiscussions of urban radical democracy to utopian plans tofacilitate new urban social ecologies are vying to shape thefuture of cities, urbanization and nature. Open to sophomore and aboveFee: $35.00(SPRING)

HPSS S645 INTRODUCTION TO SOCIALTHEORY

3 credits Damian WhiteWhat are the origins of modern industrial societies? What aretheir central contours? Has the rise of modernity led to greatfreedom and emancipation, greater repression and exploitationor both? Where are modern societies heading? Over the last200 years, social theorists from Karl Marx and Max Weber toMichel Foucault and Donna Haraway have sought to grapplewith these central questions. The aim of this course is tointroduce students in an accessible but rigorous fashion to theleading modernist and postmodern thinkers and traditions thathave shaped contemporary sociology. This will be achieved bylecture, class discussion and by getting students to read socialtheorists through their original writings. Such an overview willsomewhat inevitably be selective and partial. However,students should finish this course familiar with the centralquestions social theorists have sought to grapple with. Theywill have a sense of the central methodological disputes thatunderpin the discipline of sociology and the social sciencesmore generally. Finally, they will have a sense of what ispolitically, culturally, and aesthetically at stake in debatesoccurring within social theory. Grappling with these issues willensure that you will be able to make your way throughcontemporary sociological arguments and begin to positionyourself in the debate.(FALL)

HPSS S673 ANTHROPOLOGY OF GENDER3 credits Jane SzurekFrom an anthropological, cross-cultural perspective this coursewill focus on the ways genders are distinguished, constructed,and valued in different societies. Although gender categoriesoften draw on perceptions of anatomical and physiologicaldifferences among bodies, these perceptions are mediated bycultural categories, meanings, and beliefs. We will consider thenotion of gender as a multidimensional category of personhoodthat encompasses distinct patterns of social differences, such asthe Zuni berdache and the treatment of intersexed people. Interms of gender diversity and social change across the globe,we will explore beliefs and practices linked to the formulationof genders in various societies and address the question of whatit means to be human. The course consists of lectures, classdiscussions of the readings, and films. Requirements include

116 History, Philosophy, Social Science 2009 - 2010several short analytical papers, two short essay quizzes, and afinal project.(FALL)

HPSS S701 CAPITALISM, ECOLOGY AND ECO-COMMUNITARIAN ALTERNATIVES

3 credits Lawrence CarneyGlobal capitalism has been described-in words attributed to theformer Prime Minister of Great Britain, Margaret Thatcher-asa system to which “there is no alternative” (TINA). In light ofthis commonly held belief, this course examines therelationship of contemporary capitalism to environmentaldegradation, resource depletion, climate shifts, “sustainabledevelopment,” species extinction, environmental justice, andother vital issues related to what increasingly is seen as amounting global environmental crisis. But are there noalternatives to global capitalism and its ecologicalconsequences? Can capitalism be reformed to neutralize orreverse the most ecologically grievous of these consequences?The course will explore the theories and practices of Eco-Communitarianism - the marriage of ecological consciousnessand activism to the restoration and creation of vital and lastinghuman communities-as a response to these questions. Amongthe perspectives we will examine will be Permaculture, otherapproaches to ecological design, Deep Ecology, and theSufficiency Principle.Fee: $20.00(SPRING)

HPSS S731 SEMINAR: SOCIOLOGIES OF TECHNOLOGY, DESIGN AND

NATURE 3 credits Damian White Technological change is often presented as a ‘neutral’ and‘dis-interested’ set of processes that occur outside social,political and cultural processes, than ‘impacting’ on ‘society’and ‘nature’. Much recent work in the sociology of technologyhas sought to contest this model suggesting that scientific andtechnological discourses are socially mediated in all kinds ofpower-laden ways. In this course, we will explore thecontribution sociology can make to understanding the ongoingand dramatic changes occurring in the collision of technology,design, society and nature. We will begin by examining somecentral theoretical frameworks of technology studies variouslyinspired by the work of Marx and Heidegger, Foucault andBookchin, Lash/Urry and Sennett; Latour and Haraway. Wewill move onto to consider how these frameworks and relatedsociological literatures on consumption, commodification andthe aesthetization of daily life might allow us to open updiscussions about the sociology and politics of design. Finally,we will explore the history, culture and politics of variouspost-war technology inspired social movements from‘hackivism’, ‘sustainable design’ and ‘trans-humanism’ whichall share a commitment to re-designing social life and nature.Of central interest here will be to consider the relations

between technology, design, citizenship and democracy and toreflect on the extent to which processes of technologicalchange and design might be rendered more accountable,sustainable and reflexive.Open to sophomore and aboveFee: $35.00(FALL)

HPSS S734 SEMINAR: LOOT 3 credits Edward Dwyer“Loot” will study the history and analysis of the destruction ofarchaeological remains and cultural heritage by grave robbers,collectors, and museums. Why are the Elgin Marbles inLondon, and not on the Acropolis? Why do there seem to beas many mummies in France as there are in Egypt? asksSharon Waxman in her new book Loot (2008). This seminarwill examine the changing role of antiquities in the post-imperialist world, and access the moral and ethical questionsraised by archaeologists, curators, collectors and lawyersregarding the plunder of ancient sites to feed an internationalart market. We will also review legal standards regardingcultural properties (1970 UNESCO Convention, 1991NAGPRA, and 1995 Unidroit Convention) and how they haveimpacted the protection of ancient archaeological sites, forcedthe return of many art treasures and lesser artifacts and becomebig headaches for everyone involved in the preservation ofcultural heritage.Open to sophomore and aboveFee: $30.00(FALL)

HPSS S735 ART AND CULTURES OF ANCIENTMESOAMERICA

3 credits Edward DwyerThe art and architecture of ancient Mexico as well as that ofselected neighboring areas, will be examined against thebackground of the growth of complex cultural systems. Thecourse will consist of readings and lectures including thepresentation of visual materials dealing with ancientMesoamerica (a culture area), and the archaeological andhistorical research which sheds light on its development.Museum visits to RISD and Boston we allow us to becomefamiliar with real pre-Columbian art and artifacts for a closerassociation to ancient cultures that produced them.Fee: $30.00(FALL)

HPSS S736 ART AND ARCHITECTURE OF ANCIENT PERU

3 credits Edward DwyerWe will examine the art styles and technologies, as well as thearchitectural forms and implied social organization found in thearchaeological record of ancient Peru. Our goal will be to tracethe history of cultural development, in this isolated setting,from the earliest hunter/gatherers to the complex civilization of

2009 - 2010 History, Philosophy, Social Science 117the Incas. This semester there will be special attention givento three media: architecture, ceramics, and textiles.(SPRING)

HistoryHPSS S516 SEMINAR: FACTS, EVIDENCE AND

ANALYSIS3 credits David WarnerIn part, this course is concerned with what is commonlyreferred to as critical thinking, the careful and deliberatedetermination of whether to accept, reject, or suspendjudgement about a claim or argument. It is also concernedwith the writing of history and specifically with the variousways that historical evidence is used or abused in the process.Both aspects of the course will be incorporated into weeklysessions that will chiefly focus on the discussion ofcontroversial or provocative readings and/or on currentinterpretations of past events.Open to sophomore and above(FALL)

HPSS S521 SEMINAR: HISTORICAL FUNCTIONOF FILM

3 credits Scott CookIn this course we will screen and examine narrative,interpretive films that expressly depict a historical event,personality or situation. We will be expressly concerned withways in which the film can be studied as a historical text andthe use of nationalism, mythology or political ideologies in theconstruction of a particular historical moment. Films to beviewed include: Glory, Potemkin, October Sky, and Nixon.Open to sophomore and aboveFee: $15.00(SPRING

HPSS S596 THE THIRD REICH3 credits Scott CookThis semester will focus on the origins, nature, impacts, andexperiences of Germany and Europe during the short buttumultuous Third Reich. Topics to be plumbed include:World War I, the collapse of Weimar; the Nazi rise to power;Hitler, the man and his role; the Nazi economy and foreignpolicy; the origins and course of World War II; antisemitismand the Holocaust. Lecture and discussion. Readings areprobing, advanced, and fairly numerous. (FALL)

HPSS S605 EARLY EUROPEAN CIVILIZATION3 credits David WarnerThis course, moving rapidly through time and frequentlyshifting geographical foci, offers an opportunity to consider thehistorical process on its most general and dynamic level. Thecourse begins with the earliest human societies and ends withthe age of the scientific revolution. We move from the urbancultures of the ancient Near East to those of France in the reignof Louis XIV. We will consider larger historical themes andquestions (e.g., the impact of disease, shifting views of thenatural and supernatural worlds) along with a selection of morespecific topics (e.g., the Olympic games, the Crusades).Through readings in primary sources we will attempt to viewthe events of history through the eyes of participants.(FALL)

HPSS S715 SOCIETY, SHIPS, AND THE SEA: ANINTRODUCTION TO MARITIMEHISTORY

3 credits John O. JensenThe ocean and maritime factors are major drivers in modernhistory. Therise of European power, the “discovery” andcolonization of the Americas, the Atlantic slave trade, theAmerican frontier, modern public health, immigration,urbanization, constructions of race and gender, and technologyare a few of many areas illuminated by the study of the sea. In this course, students explore selected historical processesand events as they learn to read and interpret the maritimeworld. Course goals include improved critical thinking andexpression, and developing the ability to analyze documentary,visual, and material culture sources related to the sea. The finalsegment of course emphasizes communicating with publicaudiences where students will complete and present a projectthat integrates maritime themes with their creative work. (SPRING)

HPSS S719 CHURCH AND STATE: FROM THEANCIENT WORLD TO THE FIRSTAMENDMENT

3 credits James MuldoonThis course will consider the issue of Church and States fromthe ancient world to the first amendment as it developedthrough three stages leading up to the US Constitution. In theancient world a nation was defined as those who worshippeda particular god, so religion and the political order formed aunified whole. During the Middle Ages the leaders of theChristian church demanded freedom from secular interferencein ecclesiastical matters while disclaiming interest in purelysecular matters. The religious wars that accompanied theProtestant Reformation concluded with the Peace ofWestphalia that left the question of religion to secular rulers.It was against this background of conflict over religion that thefirst amendment was written and to understand those fewwords it is necessary to examine the 2000 years of European

118 History, Philosophy, Social Science 2009 - 2010experience of religious and secular development that precededit.(FALL)

HPSS S733 SEMINAR: “THE GREAT WAR”3 credits Scott CookImagine a war that destroys millions of lives across threecontinents, topples ancient regimes, dethrones the corporateruling class, resets relationships among classes, races, andgenders, ignites artistic transformation, somehow ends bymanaging to leave far more unresolved than it settles, withvictors scarcely better off or happier than the vanquished, yetgives rise to new governing ideologies, unleashes economicvolatility, political instability, and social uncertainty in itswake and, finally and horrifically, leads to a far moredevastating war. A war of this magnitude was the Great Waralso known as World War I (1914-18). This course willexamine how Europe nearly committed collective suicide, thewar’s impact on combatants and civilians, and its mostenduring consequences. Required discussion and somelectures, a written project on an aspect of the war, and quizzes.Open to sophomore and above(FALL)

HPSS S749 KNIGHTS, POETS AND EMPERORS3 credits David WarnerThis course focuses on the Middle Ages, with an emphasis onGermany and the Holy Roman Empire. The course is topical.We will examine the interplay of politics and war, theemergence of courtly society, and the influence of spiritualityand magic. We will explore the ironies of a world that couldtolerate priests who went to war and warriors who becamepriests, a frankly patriarchal world that could embrace thecharismatic power of a woman like Hildegard of Bingen andthe hard-edged politics of an empress like Theophanu. Thisworld produced the love poetry of the Minnesanger and theheroic sagas of warrior bards, but also the mysticalspeculations of monks, nuns and hermits These topics andothers will be the subject of our lectures, discussions, andprojects.(SPRING)

Media and Cultural StudiesHPSS S664 COMBAT & CULTURE: WAR IN

PUBLIC CONSCIOUSNESS3 credits Tom RobertsWar is endemic to human civilization. To some it has been anopportunity for glory, to many more a source of horror. Whatare some of the ideas and ideals that have precipitated wars?How has the way it has been experienced by both combatantsand noncombatants changed over time? What are the legaciesof war? War and culture have had a defining influence oneach other, most evident in art, language, literature, popular

culture, design, and constructs of virtue. This course willexamine current wars through the lens of past wars, notably theSpanish-American War and World War One, touching on suchtopics as nationalism, terrorism, liberation movements, and thecultures that inspired them. Through required readings,individual research and writing, and classroom discussion,students will examine some of the experiences, impacts andartifacts of war through the cultural manifestations that attendthem. There will be a field trip to a local military historic site.Fee: $25.00(FALL)

HPSS S711 SOCIAL INQUIRY: ARTISTS ASPUBLIC INTELLECTUALS

3 credit Peter HockingThroughout history, artists have wrestled with questions-moral,spiritual, social-central to the experience of being human andto living in community. Such questioning often begins in anexploration of human suffering-poverty, illness, injustice.Other times it may begin as an expression of joy orecstasy-love, compassion, happiness. Sometimes the searchcenters on the exceptional moments of life and sometimesaround the everyday. For the artist, the intellectual, and indeedfor every person, these moments of inquiry form a moralquestion: How is it that you and I shall live and act in theworld?

This course explores the writing, art and direct words ofartists, intellectuals and everyday people in an effort to bothdiscuss the moral questions posed by our experience in theworld. Certain questions-the relationship of art and education,the nature of social change, the intersection of place andidentity, the relationship between poverty and wealth, and theexperience of living intentionally (or being in the world)-willoccupy our discussions in class. As artists, we will alsodevelop our capacity to work across the various cultures thatdefine the contemporary pluralism of American life byundertaking intentional community projects focused indowntown Providence. Artists and authors who will informour work include Edward Said, Carol Becker, Suzanne Lacy,Suzi Gablik, Maxine Greene, belle hooks, Coco Fusco, MiwonKwon, Pam Hall, Shirley Brice Heath, and Douglas Crimp.(FALL)

Philosophy and Belief Systems HPSS S526 SEMINAR: PHILOSOPHY OF DEATH3 credits Don KeeferSocrates described philosophy as an intellectual preparation fordeath. He recognized that how we react to, think about, andcope with finality tells us a great deal of what we think aboutthe core of our existence. Philosophers have been dividedbetween a "bald scenario" that death is nothing but the end ofour material existence to which we are limited, and the morereassuring view that death is a door to another personal plane

2009 - 2010 History, Philosophy, Social Science 119of existence. Death is nothing vs. death is everything. Wewill examine these phenomena from philosophical points ofview through reflection primarily on philosophical works butwill include religious sources and literary works. Whilephilosophers have primarily focused understandably on theindividual confronting death, we will constantly place thesequestions and their answers within interpersonal and socialspheres of consideration. We will focus on: What is Death?The role of death in the meaning of life; personal survival invarious scenarios; ethical issues surrounding suicide,euthanasia, and other voluntary ending of life. We will lookat a few of the social practices surrounding death and examinetheir meaning and functionality.Intensive reading, writing, and participation in seminar format.Open to sophomore and above(FALL)

HPSS S539 SEMINAR: BUDDHISM ANDSOCIETY

3 credits Lindsay FrenchThis course is an anthropological consideration of Buddhismin its social and cultural contexts. Beginning with anintroduction to the historical Buddha and the basic principlesof his teaching, the course will briefly examine the mainbranches of Buddhism that were established after the Buddha'sdeath. With this as our foundation, we will then look at howBuddhist principles are put into practice in different societies.The course will focus on how Buddhism (like all religions) ispart of a cultural system, with distinctive characteristics andsignificance in different societies. The course will be run as aseminar and will require a research paper as well as in-classpresentations.Open to sophomore and aboveFee: $15.00(FALL)

HPSS S549 MEANING AND MESSAGE3 credits Don KeeferWe live amid a world of signs without which we couldscarcely communicate or find our way through life. Thetheory of signs, or semiotics, seeks to understand the nature ofsigns as vehicles of meaning in our perceptions and messageswe send and receive in our spoken, textual, and visualcommunications. This course moves from the analysis of signsand communication to a critical examination of the extensionof semiotics to the surface and hidden meanings of dreams,handwriting, literary and art works. At each step, we willendeavor to test the theories "in practice," to carefully evaluatetheir merits and limitations. Through this, semiotics willemerge as a humanistic discipline that underwrites our criticaland creative understanding of the world as well as funds ourcreative efforts to make the world anew. Problem-based,discussion and lecture oriented with quizzes,practice-assignments, and short papers.(FALL)

HPSS S569 ARCHAEOLOGY OF THE WESTERNMIND

3 credits Stephen OttSome have thought that the investigation of our intellectualdevelopment may offer ways of seeing how humanity may getback onto a more rational track in our chaotic and confusingworld. The Greeks were among the first to attempt asystematic, critical inquiry aimed at making sense of the worldaround us and within us. The majority of this course will bedevoted to understanding and coming to grips with thedirections that Plato and Aristotle take to this end. Readingswill be drawn from the Pre-Socratics, Sophists, Plato, Aristotle,Greek dramatists and historians.(SPRING)

HPSS S617 SCIENCE AND SOCIAL CONTROVERSY3 credits Jeffrey PollandThe aim of this course is to examine the institution of scienceand its relations to the social context in which it is embedded.To this end we will critically discuss two controversiesconcerning science and contemporary social practices. First,Darwin's theory of evolution has been at the center of acontroversy over science education in public schools for muchof the past century. Whether it should be taught at all, orwhether it should be taught only in conjunction with religiouslyinspired alternative account of human origins, continue to behotly debated questions which raise important issues about thenature of science, the relations between science and religion,and the place of religion in the public education. Second, thereis an emerging controversy over the current practice ofdiagnosing young children with psychiatric disorders (e.g.,depression, anxiety, attention deficit disorder) and treatingthem with powerful psychiatric medications. This controversyover "medicating kids" raises deep issues concerning thequality of the science supporting psychiatric practice and theways in which science might be vulnerable to social influence(e.g., the commercial interests of the drug and insurancecompanies,) The course will consist of discussion of assignedreadings, writing assignments, and a group research project andpresentation.(FALL)

HPSS S655 PHILOSOPHY OF RELIGION3 credits Stephen OttReligion has long been a part of human life. Prehistoric burialsinclude utensils and companions (sacrifice) for life in anotherworld. Early writings pray for divine intercession or advisehow to win divine favor. Are beliefs such as these in survivalafter death and in supernatural beings reasonable? Philosophyof religion asks this of these beliefs and others: Is belief basedon experience (mysticism) and not argument reasonable? Canthe divine be proved to exist by argument, or proved not toexist (or care) by the prevalence of suffering? Does thesupernatural intervene in nature (miracles)? These and other

120 History, Philosophy, Social Science 2009 - 2010questions will be examined through reading classic andcontemporary writings, lectures, discussion, and studentpresentations. (FALL)

HPSS S706 MUSLIMS AND ISLAM: LOCAL ANDGLOBAL PERSPECTIVES

3 credits Michael BurchThis course will exam several critical aspects of the Islamicexperience in order to gain a better understanding of it as areligious and political force, both locally and globally.Different lecturers will address a variety of relevant topicsincluding the nature and practice of Islamic religion, thehistory of Arab-Western conflicts, U.S. policy making in theMiddle East, Arab Muslims in the American Media, and thelocal daily experiences of Rhode Island Muslims. The coursewill feature local religious leaders, politicians, scholars, andactivists. Each of their contributions will help students gaingreater breadth and sophistication in their analyses of one ofthe most important and complex political struggles of our time.Fee: $15.00(FALL)

HPSS S716 EXISTENTIALISM: THE WILL TOCREATE

3 credits James YessIndividual freedom, self-creation, the denial of absolute truthand value, the objective absurdity of life are themes that willframe class discussions. Students and instructor will explorethis revolutionary philosophical movement through the ideasof such philosophers as Sartre, DeBeauvoir, Camus, Kafka,Kierkegaard, Nietzsche, Heidegger and Buber. An actionproject will be required.(SPRING)

PsychologyHPSS S560 VISUAL PERCEPTION3 credits Gerald GlaserIn this course we will examine some prominent psychologicaltheories of color, form, depth, and motion perception. Asmuch as possible, we will experience specific examples ofvisual processes through a number of in-class experiments.The roles of learning, memory, imagination, and othercognitive processes will be explored.(FALL)

HPSS S656 INTRODUCTION TO PSYCHOLOGY3 credits Jennifer Prewitt-FreilinoAs the study of behavior and mental processes, psychologyallows us to better understand how people think, feel and act.This introductory course provides a broad overview of themajor content areas within the field of psychology (e.g.,

physiological, developmental, social and cognitive psychology)and will introduce you to the psychological theories andresearch used to understand human behavior. We will cover awide variety of topics, including how people learn, process andstore information, why people possess distinct personalities,how social situations and cultural norms affect our behavior,how we grow and develop throughout our lives, etc.Throughout the course we will critically evaluate the merit ofclassic psychological theory and research in understandingpeople's thoughts, feelings and actions in real world situations.This course will provide a broad knowledge base for thoseinterested in taking upper level psychology classes.(FALL)

HPSS S677 SEMINAR: PSYCHOLOGY OFGENDER

3 credits Jennifer Prewitt-FreilinoAlthough many theorists and scholars approach gender as astudy of women, this course starts with the premise that wecannot understand the experience of either male or femalenesswithout studying both men and women. In this course we willexplore research regarding gender differences and the vastnumber of similarities between men and women. In additionwe will attempt to draw clear distinctions between biologicalsex, gender identity and sexual orientation, and discuss severaldifferent theories of gender and sexuality development (e.g.,biological, socio-cultural, cognitive, evolutionary) as well asthe relative merit of each theory for understanding how menand women differ. Finally, this course will focus on real worldissues that face men and women including family dynamics,gender in the workplace, gender inequality and sexism, andrepresentations of gender in the media.Open to sophomore and aboveAlso offers with limited seating as GRAD 575G 01 forgraduate students desiring graduate seminar credit. Registerin the course for which credit is desired.(SPRING)

HPSS S705 SEMINAR: PSYCHOLOGY OF EVIL3 credits Jennifer Prewitt-FreilinoEvil has long been a topic of study for theologians andphilosophers, but has only recently been studied bypsychologists. Although evil is an inherently subjective topic,we will attempt to take an objective, scientific approach tounderstanding why people engage in evil behavior. Thus, wewill begin by attempting to suspend the notion that we candivide the world into good and evil, and instead understand thesituational and psychological factors that could lead anyone toharm others. Specifically, we will focus on classicpsychological studies that show how everyday people can beled to act in deplorable ways by manipulating the situationalcircumstances. We will also discuss how inter-group processescan lead to conflict and large scale acts of violence like warand genocide. Finally, we will study the nature of thepsychopathic personality in order to better understand those

2009 - 2010 History, Philosophy, Social Science 121individuals who feel no guilt or remorse for harming others(e.g., brutal dictators and serial killers). This is a veryinteractive class and will require you to contribute indiscussion and prepare an in-depth presentation on an area ofyour own interest related to the psychology of evil.Open to sophomore and aboveAlso offered with limited seating as GRAD 575G 02 forgraduate students desiring graduate seminar credit. Registerin the course for which credit is desired.(FALL)

2009 - 2010 Illustration 123

BFA Curriculum in IllustrationDivision of Fine Arts Department Office: Illustration Building, telephone 454-6240

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program – see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year5200 5250 Drawing 3 3 5201 5251 Painting 3 3 5227 5232 Illustration I & II 3 3

Nonmajor Elective 0 3 Liberal Arts 6 3Wintersession 3

Year Total 15 3 15

Third YearMajor Electives 6 9 Liberal Arts 3 3 Illustration Concepts 1 3 0 Nonmajor Elective 3 3Wintersession 3

Year Total 15 3 15

Fourth YearMajor Electives 9 9 Nonmajor Elective 3 0Liberal Arts 3 6Wintersession 3

Year Total 15 3 15

Footnote1The Illustration Concepts requirement is fulfilled by takingone of these classes.

ILLUS 5233 XX/XY (offered Wintersession 2010)ILLUS 5237 What’s Your StoryILLUS 5241 Style and SubstanceILLUS 5243 Premises and ProjectsILLUS 5249 Traditions, Trappings, Culture, KitschILLUS 5280 PropagandaILLUS 5287 Current Topics in IllustrationILLUS 5289 Words, Images and Ideas ILLUS 5306 Wit’s End

Curriculum notesThe curriculum above adds up to the 126 credits required forthe BFA. The Liberal Arts component is 42 credits, but detailis shown only for 36 of the credits in liberal arts (assuming 12credits in the First-year Program). To accumulate 42 credits,courses may be taken during Wintersession or during the Fallor Spring semesters, as scheduling and interest permits.Consult your adviser, the Liberal Arts Office or the Registrarfor additional information.

General eligibility requirements for the BFA can be found inthe front of this book.

Juniors are subject to a mandatory review at the end of theSpring semester. Sophomores may be subject to a reviewduring or at the end of their Spring semester.

124 Illustration 2009 - 2010Seniors have the option of undertaking an Independent SeniorDegree Project with the supervision of a full-time or part-timefaculty member. The Degree Project Proposal must beapproved by the department head in advance of registration.Only projects with unusual merit and evidence of thoroughpreparation are approved.

Registration information for majorsRecommended Outside Electives: Photography I, Animationfor Illustrators, Silkscreen, Lithography, Intaglio, Painting andGraphic Design Electives. With permission from thedepartment chair, it may be possible to substitute an outsidestudio elective for one department elective requirement. Outside elective courses ought to be selected in consultationwith a students department adviser or if necessary, departmenthead.

At early registration (May for Fall and December for Spring),a student may register for no more than three (3) courses inIllustration (ILLUS), unless special permission has beengranted by the department head. A major may add a fourthILLUS course during the Add/Drop period at the start of thesemester.

2009 - 2010 Illustration 125

Courses in IllustrationNOTE: Illustration majors are given first priority for enrollment in ILLUS courses during early registration May and December.Nonmajors may enroll in ILLUS courses during Add/Drop.

ILLUS 5200 DRAWING3 credits StaffThe ability to articulate ideas visually is the most importantskill an illustrator has; drawing is fundamental to sucharticulation. This course is designed to develop the student’srecording, describing and communicating skills throughweekly exercise in drawing from direct observation. Fallsemester focuses primarily on space and objects in space.Emphasis is on developing a basic understanding of andfamiliarity with perspective as a means of organizing space anddefining point of view. Requirement for sophomore majors (FALL)

ILLUS 5201 PAINTING3 credits StaffAn oil painting/color course in which, by working from life,lessons on the use of color to establish spatial relationships,light, shadow and expressive inflection are drawn from andrelated to visual fact.Requirement for sophomore majors (FALL)

ILLUS 5202 INTRODUCTION TO ANIMATIONTECHNIQUES

3 credits Agnieszka WoznickaThis course covers the fundamentals of animation and exploreshandmade animation techniques and processes. The purpose ofthe course is to provide the student with a hands-on creativeexperience while they learn the potential of this very dynamicform of expression. Through the class projects, students areintroduced to the basic principles of animation, includingtiming, movement for animation, and basic editing. The classfocuses on process rather than the finished product. Personalexpression and experimentation are emphasized. A wide rangeof independent animated films is screened to provide creativestimulus and demonstrate a variety of aesthetic and technicalapproaches. Class projects will be filmed with digital videocameras, edited in iMovie, and output to DVD.Open to sophomore; Permission of instructor requiredThis course can be repeated for creditFee: $100.00 Estimated cost of materials: $40.00(FALL/SPRING)

ILLUS 5204 PEN/INK/SCRATCHBOARD3 credits Nicholas JainschiggThis course introduces students to a variety of pen stylesthrough a series of assignments which include drawing fromlife and executing well-defined illustrative problems. A variety

of pen tips and their effect on pen handling are explored. Otheraspects of pen drawing to be considered: Intelligent design ofpage with subject, the compositional impact of the arrangementof tone, and the sensitive selection of appropriate pen styles fora given problem.Open to junior, senior; Elective(FALL)

ILLUS 5205 ILLUSTRATOR AS DESIGNER3 credits Raphael AttiasThis course explores the role of illustrator as graphic designer,with a focus on the fundamentals of designing with imagery,the relationship between verbal and visual communication, andthe complementary partnership between graphic design andillustration. Students are encouraged to have somefundamental experience with computers before enrolling in thiscourse.Open to junior, senior; Elective(SPRING)

ILLUS 5210 EDITORIAL ILLUSTRATION3 credits Christopher BuzelliMagazines, newspapers and other publications rely heavily onpictures to illuminate messages initiated by writers, and morethan any other genre of illustration, the editorial field givesvoice to the artist. In this alternately reactive and expressiveline of work, the illustrator engages in a powerful partnershipwith the written word, effectively becoming an author ofopinions and ideas. This class will approach several editorialassignments, all of which involve an illustrated response towritten text.Open to junior, senior; Elective(FALL)

ILLUS 5211 ARTISTIC ANATOMY3 credits Clara LieuStudents will explore the specific physical structure of thehuman body, with the aim of producing drawings of greaterstructural and visual integrity, and more fluid descriptions ofmovement and weight in the figure. We will proceed throughthe skeletal and muscular systems at a brisk but reasonablepace, learning names, points of origin and insertion and thedynamic functions of each component of the body. Eachweekly assignment will consist of a careful, descriptivedrawing of an element of the skeletal or muscular system, anda “dynamic” drawing in which that same element is shown inaction in the living figure. We will also review the work of

126 Illustration 2009 - 2010artists, both contemporary and historical, who have made vitalartistic use of the elements of anatomical study.Open to junior, senior; Elective(SPRING)

ILLUS 5213 WATERCOLOR: ANINTRODUCTION TO THE MEDIUM

3 credits Joseph McKendryThis course attempts to present the transparent watercolormedium to students in a manner both logical and painless.Then, using watercolor as a sample medium, studentsinvestigate any wet color medium through the use of broadlyapplicable concepts and attitudes. Guest critics anddemonstrations augment class discussion.Open to junior, senior; Elective(FALL)

ILLUS 5215 LANDSCAPE PAINTING3 credits Trent BurlesonThis is a course on the history of techniques, concepts,possibilities, purposes in landscape painting. Work on locationand in studio.Open to junior, senior; Elective(FALL)

ILLUS 5217 COLOR FOR PORTRAIT AND FIGURE

3 credits Anthony JanelloSuccessful portraiture compellingly captures both a physicaland personality likeness of its subject. And the human formallows for powerful and nuanced expression of emotion andexperience. Working from close study of the model and otherresources, students explore a variety of drawing and paintingmedia, including caran d’ache, oil pastels, acrylic and oils.Open to junior, senior; Elective(SPRING)

ILLUS 5218 THE MONSTER3 credits Jerry MischakThis course will investigate cultural traditions of the“monster”, broadly defined as an entity of horrific otherness.Monsters can be microscopic or gigantic, savage or pathetic,infectious or predacious. Monsters of all sorts, real andimagined, continue to invade our lives. Their narrativedepiction has developed culturally as a metaphoricalexploration of our deepest fears. During this class, our interestwill be in the visual communication and transcription ofmonster-related imagery. While working with a variety ofpainting and drawing media, we will stimulate the imaginationthrough films, cartoons, set design, articles and books. We willdistill these influences into our own themes - grandiose,frightening and seductive. Our goal will be to forge

connections between themes of fear from the distant past andthose of our present lives.Open to junior, senior; Elective(SPRING)

ILLUS 5219 PRINTMAKING TECHNIQUES FORILLUSTRATORS

3 credits Susan Doyle-SheddThis course surveys a wide range of effects possible throughversatile printmaking methods including monotype, reliefprinting and drypoint.Open to junior, senior; ElectiveFee: $150.00At press time, this course offering was pending approval.Check WebAdvisor for current status.(FALL)

ILLUS 5223 MASTER PAINTING TECHNIQUES3 credits Trent BurlesonKnowledge of painting technique is vital but often neglected.This course presents techniques of four great Late Renaissanceand Baroque artists: Titian; Caravaggio; Rembrandt andVermeer. Students paint from life, in the studio. Fourfigurative compositions inspired by the masters are completedduring the semester. Practical learning about materials andmethods such as colored grounds, underpainting, glazing andscumbling is advanced.Open to junior, senior: Elective(SPRING)

ILLUS 5224 MIXED MEDIA3 credits Lenny LongThis course focuses on th exploration of combining a varietyof media with the expectation of discovering a new, personalapproach to creating images. Students are taught initially thespecific properties and use of watercolor, gouache and acrylicand then explore combinations of these media with pastel,colored pencil, inks, collage material, charcoal, and foundobjects. There will be discussion and experimentation withvarious techniques, materials, and finishes. Students will workin class from set ups, photo references and the model , and willdevelop weekly homework assignments using the techniquesand media combinations explored in class.Open to junior, senior; Elective(FALL)

ILLUS 5225 DIGITAL ILLUSTRATION3 credits R. Gann/P. Olson/N. JainschiggThis course introduces digital media for illustrators using threetypes of computer applications: imagine editing (Photoshop),vector graphics (Illustrator) and digital painting (Painter).While orienting students to the technical aspects of digital

2009 - 2010 Illustration 127media, the class also provides an essential ideological andpractical link to the Illustration Department’s drawing, paintingand conceptual curriculum.Open to junior, senior; Elective(FALL/SPRING)

ILLUS 5226 HISTORY OF ILLUSTRATION3 credits tbaA historical and personal survey of the history and attendantinformation dealing with the development of visualcommunication.Open to sophomore, junior, senior; ElectiveAt press time, this course offering was pending approval.Check WebAdvisor for current status.(FALL)

ILLUS 5227 ILLUSTRATION I3 credits Staff In the best illustration, art is a delivery system for ideas andfeelings. The skilled hand is there to serve the head, toarticulate insight, wit, emotion. The purpose of these severalcourses is to elicit the best imaginative response, to provokethe most original and apt concepts for visual communication.Requirement for sophomore majorsPermission of instructor for nonmajors(FALL)

ILLUS 5228 ADVANCED PAINTING3 credits John GibsonThis course emphasizes the development of a personalvocabulary in painting and a broader understanding of themedium of oil. The class is centered on work from the modeland on individual projects developed by the participants.Prerequisite: ILLUS 5201Open to junior, senior; Elective (FALL) ILLUS 5230 PUTTING IT ALL TOGETHER3 credits Judy Sue Goodwin-Sturges This course is an opportunity to follow your own passion bydeveloping a series of original projects. You are encouraged towork in the media and technique of your choice--painting,illustration, 3d, etc. Your ultimate goal might be creatingmaterial for grad school slides, a portfolio that is ready toshow, or simply knockout work that is reflective of your RISDcareer.Open to senior; Elective(SPRING)

ILLUS 5232 ILLUSTRATION II3 credits StaffIn the best illustration, art is a delivery system for ideas andfeelings. The skilled hand is there to serve the head, toarticulate insight, wit, emotion. The purpose of these severalcourses is to elicit the best imaginative response, to provokethe most original and apt concepts for visual communication.Requirement for sophomore majors(SPRING)

ILLUS 5234 PHOTOGRAPHY FORILLUSTRATORS

3 credits Henry HorensteinThis course considers the camera as a tool of the illustrator;It involves the use of the original photographic image asresource, as partial design element and as finished illustration.Various techniques are addressed, particularly the integrationof photography with drawing and painting.Open to junior, senior; ElectiveFee: $80.00(FALL)

ILLUS 5237 WHAT’S YOUR STORY?3 credits Mary Jane BeginWhen we choose a story to read, retell, or illustrate, that choicereveals something about ourselves. What motivates an artist toexplore one particular theme over another, whether it is apolitical issue, personal obsession, or a “purely aesthetic”interest? This course will require students to search the deeperand/or darker recesses of their hearts and minds to unearthpersonal meaning in the narrative sources they choose for classprojects, ultimately using these analytical conclusions to shapeeach project’s character. Assignments will include the creationof the following: a storyboard; a gameboard; a biblical tale; aseries of illustrations for an adult novel or short story and adummy for a children’s book. Discussions will include:formatting a single narrative image or a series of images;telling text-free stories; illustrating stories for adults and forchildren; analyzing plot, character, pacing, and style andcommunicating the essential meaning of a story to an audience.Prerequisite: ILLUS 5227/5232Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(FALL)

ILLUS 5241 STYLE & SUBSTANCE3 credits Fred LynchIllustration is an art of visual communication. Style is simplythe illustrator’s vocabulary; substance is what the illustratorhas chosen to express. The success of an illustration dependson the seamless connection of these two entities. In this coursestudents encounter a wide variety of subject matter drawn froma variety of fields. They are asked to create illustrations witha particular emphasis on the development of a personal vision

128 Illustration 2009 - 2010as well as the successful communication of wisely chosenideas. Style, its strengths and limitations, is examined in thelight of its importance in the marketplace.Prerequisite: ILLUS 5227/5232Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(FALL)

ILLUS 5243 PREMISES AND PROJECTS3 credits David PorterTo begin at the beginning: a premise is an idea withconsequences. Students in this course will conceive andvisually develop a premise for each of four distinct projects: anillustrated children’s book; in illustrated book for adults; athematic calendar; and an individually defined project. Noneof these will be completed in this course. The object, rather, isto give in each instance sufficient visible evidence of yourimagination’s potential.Prerequisite: ILLUS 5227/5232Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(FALL)

ILLUS 5249 TRADITIONS TRAPPINGS,CULTURE, KITSCH

3 credits Susan Doyle-SheddThroughout time, man has punctuated his existence withritualized celebrations in honor, life, death, time, nature, love,God and country. Students will strive to invent imagery andobjects inspired by those traditions but informed by acontemporary sensibility. The goal is to make art that piquesthe curiosity and engages the imagination through symbolism,structure, anticipation + revelation, humor and a surprise.Prerequisite: ILLUS 5227/5232Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(FALL)

ILLUS 5250 DRAWING3 credits StaffThe ability to articulate ideas visually is the most importantskill an illustrator has; drawing is fundamental to sucharticulation. This course is designed to develop the student’srecording, describing and communicating skills throughweekly exercise in drawing from direct observation. Springsemester will focus primarily on figure. Basic anatomicalconsiderations will be addressed in order to help the studentsbetter understand and therefore draw what he or she is lookingat.Requirement for sophomore majors(SPRING)

ILLUS 5251 PAINTING3 credits StaffAn oil painting/color course in which, by working from life,lessons on the use of color to establish spatial relationships,light, shadow and expressive inflection are drawn from andrelated to visual fact. A continuation of ILLUS 5201.Requirement for sophomore majors (SPRING)

ILLUS 5252 COLOR WORKS3 credits Mary Jane BeginA course intended to help students design with color throughthe medium of their choice. We will explore ways of creatingharmony, contrast, focus and space in a work of art bydeveloping an understanding of opacity, transparency,temperature, value and intensity of color. Students will beexpected to experiment with various color grounds as well asa variety of limited palettes. Assignments will include colorcharts, figure work, still lives and will focus on a series ofillustrations drawn from a narrative.Open to junior, senior; Elective(FALL)

ILLUS 5254 THE PORTFOLIO3 credits Mary Jane BeginThis course is designed to help students find their way to amarketplace utilizing the best tool available – the portfolio. Beit the freelance advertising, editorial or children’s book market,an animation or gaming studio, a publishing house, gallery orother venue – this course will introduce the components of theportfolio necessary for success. It includes development ofboth a traditional an don-line presence, discussions on specificindustries, copyright, contracts, pricing guidelines, and clientcontracts. Each student will create new work to augmentexisting imagery, as well as business cards, a resume, a contactlist, invoice and letterhead. The course will also includevisiting guest lecturers from a variety of industries. The focuswill be to complete a portfolio that serves as a professional toolin the marketplace most suited to each individual’s talent andaspirations.Open to senior; Elective(SPRING)

ILLUS 5258 ZINES: ALTERNATIVE PUBLISHING3 credits Janet ZweigThe emphasis in this course is on independent publishing ofalternative forms: zines, comics or e-zines on the web. Thecourse can be taken as a way to produce a new publication.You first make two smaller publications as exercises towardthe longer project. We refine editorial concepts, design, andproduction and we look at methods of producing alternativepublications. Collaborations both within and outside of theclass are encouraged. To take this course, you must have some

2009 - 2010 Illustration 129rudimentary knowledge of the computer and some initial ideasfor content. Students from all departments are welcome.Open to junior, senior; Elective(SPRING)

ILLUS 5259 THE MAGIC OF BOOKS3 credits Judy Sue Goodwin-SturgesThis course celebrates books of all kinds for readers of allages. We start by studying picture books for children and makeour way through graphic novels (comics), the young adultnovel, poetry, the adult novel, etc. Then, you spend the lastpart of the semester creating a book of your own choosing formone of these genres. Open to junior, senior; Elective(SPRING)

ILLUS 5260 SCIENTIFIC ILLUSTRATION3 credits Jean BlackburnFrom Leonardo's rich notebook, studies to Audubon's greathorned owl to NASA's Mars Rover simulations, scientificillustration derives from rich traditions stressing scientificinvestigation, good design, close observation and technicalmastery. We will begin with a study of the structuringstrategies nature uses to create its enormous diversity of forms.Scientific drawing conventions, interesting drawing techniquesand tools will be presented. Students will produce a variety ofblack and white, color and digital solutions exploring aspectsof this broad field. The class will culminate with a finalproject allowing each student to explore a scientific area ofinterest.Open to junior, senior; Elective(SPRING)

ILLUS 5264 COVER TO COVER3 credits Jon FosterThe finest illustrated book covers - from graphic novels toliterary classics - captivate the reader both emotionally andintellectually, reflecting the essence of narrative contentthrough potent imagery. This course explores the generativeprocess of making illustrations for book covers - from sketchto finish, from comprehensive image to final revisions. Studentwill be engaged in analysis of narrative content, preparatorydrawings and finished work. Weekly demonstrations willprovide an intensive look at how an illustrator approachesformal material and aesthetic decisions in support of content,helping students gain confidence in the use of processes andmaterials.Open to junior, senior, fifth-year, graduate(SPRING)

ILLUS 5265 PICTURE AND WORD3 credits Judy Sue Goodwin-SturgesThis is a team-taught course which must be taken inconjunction with an English course,”Writing and IllustratingChildren’s Books,” ENGL E416; students must register for

both courses. In the Illustration half of the course students willundertake projects that concentrate on the integration oflanguage and image in the children’s picture book, includingthe illustration of an original text written in the English half ofthe course.Open to junior, senior; Elective Students in this class must also register for ENGL E416 Illustration majors only(FALL)

ILLUS 5267 3D GRAPHICS FOR ILLUSTRATORS3 credits Nicholas JainschiggThis is an introduction to 3D computer graphics as a mediumfor illustration. The software used is Cinema 4D, a fullyfeatured 3D program that is both affordable and relatively easyto learn. Topics covered will include modeling, texturing,lighting and composition for illustration as well as frequentexamples and discussions of the various uses 3D can have forthe illustrator. The final month of class time will be dedicatedto helping the student develop a portfolio of images that use3D as part of their expression. While familiarity with acomputer is helpful, there are no technical prerequisites for thisclass.Open to junior, senior; Elective(FALL)

ILLUS 5268 PROFESSIONAL PRACTICE3 credits Paul OlsonThe marketplace for illustrators and artists is always changingand evolving from children’s books to animation, game designto galleries. This course is designed to help students develop afocus for their professional aspirations. Students will create atraditional and an online portfolio of their work, as well as selfpromotional materials, business cards, resume, invoices andcontracts. New pieces will be created to compliment existingworks and help focus the portfolio for the chosen filed.Visiting Art Directors and Illustrators will shed some light onthe professional world with their experiences. There will be atleast one “real” job, where students will work on a project witha professional in the field and have a chance to have their workpublished, and a chance to earn real dollars.Open to junior, senior; Elective(SPRING)

ILLUS 5274 ADVANCED DRAWING3 credits Jean BlackburnDrawing is one of the most immediate and powerful forms ofexpression in the visual arts. The refinement of technique andself-expression within narrative traditions has challengedmasters throughout the ages. Now it's your turn. In this classstudents will develop and explore personal and contemporarynarrative themes. The familiar elements of drawing will bereassessed for their specific expressive possibilities. Writersand film makers as well as artists will provide inspirationalnarrative structures. We will explore how the interplay

130 Illustration 2009 - 2010between narrator/artist and viewer influences content. How isviewpoint being manipulated? Is the narrator telling the truth?How can memory, dreams or discontinuity in time be conveyedvisually? These are just a few of the exciting issues we willexplore. You will broaden and deepen your ideas and yourability to communicate in this challenging course.Experimentation and development of media proficiency will beencouraged.Open to junior and above; ElectiveFee: $30.00(FALL)

ILLUS 5275 3D ILLUSTRATION3 credits Jean BlackburnThis is the sculpture class you have been looking for. We willbring dimensional drama to the art of Illustration through awide variety of materials and techniques. Whether usingplaster, Sculpy, paper clay, wood, latex, clay, fabric, foam,paper or found objects, sculptural materials are enormouslynuanced in what they can suggest. From the most subtle lowrelief to full sculpture in the round, we will examine howvarious sculptural strategies can be used to convey complexconcepts and ideas pertinent to illustration. A survey ofcontemporary sculpture and 3D illustration will provide plentyof conceptual, process and material inspiration.

Projects are structured to introduce you to a variety ofmaterials and methods of working. Character design, modelingand found objects are way we will address illustrationalprojects. A visit to the Rapid Prototyping facility at RISD willilluminate how digital files can be translated into 3-D objects.Additionally, students will learn how to light and photographthree dimensional work for reproduction or portfolio. The classpromotes exploration of personal expression, strong conceptualsolutions, excellent craftsmanship and good design.Open to junior, senior; ElectiveFee: $45.00(SPRING)

ILLUS 5277 SERIAL IMAGERY INPRINTMAKING

3 credits Susan Doyle-SheddUsing versatile silicone plates, students will make hand-drawnetchings and lithographs, as well as explore the integration ofdigitally generated imagery into fine art prints. They will havethe opportunity to combine multiple processes to create seriesof variations centered on just a few themes. Basic knowledgeof Photoshop is desirable.Open to junior, senior; ElectiveFee: $150.00(SPRING)

ILLUS 5279 THE COMIC BOOK STORYTELLING

3 credits Shanth Suresh EnjetiPictures in sequence, captions, dialogue, visual symbols,narrative technique, style, content: How do we make sense ofit all, and why should the reader care? This course offers anintensive introduction to the language of storytelling in comics,specifically the full page and multi-page comic book story.Verbal and visual literacy required. Bring your imaginations,leave your preconceptions at home.Open to junior, senior; Elective(FALL)

ILLUS 5280 PROPAGANDA3 credits David PorterPersuasive argument takes many forms: Exhortation,denunciation, advocacy, inducement, subtle manipulation, etc.Students in this course will make such arguments in visualterms: Posters, editorial pieces, advertisements. The objectwill be to construct images that combine force and elegance,though not necessarily in the service of truth.Prerequisite: ILLUS 5227/5232Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(SPRING)

ILLUS 5281 THE COMIC BOOK NARRATIVE3 credits Paul KarasikA formal investigation into the language of comics as anarrative medium. Starting with the basic function of visualimages in sequence to dispense information, each week a newaspect of graphic storytelling will be discussed, allowing formore narrative and emotional range. Students will devote thelast third of the course to a project of their own. Be prepared towrite and draw a lot of pages!Open to junior, senior; Elective(SPRING) ILLUS 5284 DRAWING WITH COLOR3 credits Tony JanelloCreating effective color using crayon can be a challengingexperience. Crayon is an over looked medium that offers thestudent a user friendly bridge from drawing in black and whiteto working with confidence in full color.Open to junior, senior; Elective(FALL)

2009 - 2010 Illustration 131ILLUS 5287 CURRENT TOPICS IN

ILLUSTRATION3 credits Robert BrinkerhoffArtists and illustrators have a keen awareness of culture. Wego beyond passive enjoyment of the likes of Britney Spears,cell phones, genetic engineering and are drawn to questions ofmeaning. What does Britney Spears mean to us? Why are cellphones significant and what are they doing to us? What are themoral implications of human cloning? This class will heightenyour awareness of what’s going on in the world and encouragecritical responses to contemporary issues in your work. Aproject is due every week in response to a broadly definedtopic and you will be asked to open your eyes to issues andideas that have an impact on daily life and to reflect thoseobservations through visual commentary. Lectures anddialogue introduce the various topics and encourageoriginality, insight and critical thought. Selection of media isquite open in this class, as two-dimensional, pictorial spaceisn’t always the best way to make a point. This is an importantdistinction in course content, since students are given theopportunity to explore the communication of complex ideaswithout arbitrary constraints in the material construction ofideas.Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(SPRING)

ILLUS 5289 WORDS, IMAGES AND IDEAS3 credits Janet ZweigIn this course, students conceptualize, edit design and produceeither a book or the first issue of an original publication.Possibilities include: artist's book, magazine, comic book, zine,e-zine on the web, etc. Emphasis is on concept and design. Wediscuss editorial ideas and look at existing artists' books andpublications, especially alternative forms. Using computers, wework on typography, layout and design. Collaborations bothwithin and outside of the class are encouraged. To take thiscourse, you must have some rudimentary knowledge of thecomputer and some ideas for content.Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(FALL)

ILLUS 5293 ADVANCED PROJECTS3 credits Lenny LongThe ability to bring a creative project to a full and successfullevel of finish is often neglected in the academic environment,but is an essential professional skill. This course requiresstudents meet goals they set for themselves throughindividualized projects, but that they meet them fully with thehighest degree of resolution and polish. In a written proposal,each student will present his or her project for the semester; agraphic novel ; a series of paintings or drawings; a children’s

book; a suite of prints or posters. Work may be in any medium,in any format and on any theme, but these parameters must beclearly set out. Work on the project will be conducted in thestudio during class time and outside of class, and will befocused on full realization of a finished product that meets thespecific standards set out in the original proposal. Consistencyand quality of execution will be the goal, and less successful orpreliminary pieces will be re-worked to elevate them to thelevel of the project as a whole. Students will have one on onecrits each week and group crits as needed. Finally, studentswill mount will mount a professional level juried exhibition ofthe completed projects in the ISB gallery, with an emphasis onpresentation, marketing and a public opening.Open to junior, senior; Elective(FALL)

ILLUS 5294 CONTEMPORARY ILLUSTRATION

3 credits Christopher BuzelliWhat is it like to make a living painting pictures for thenumerous printed outlets of American culture in contemporarytimes? This course will emphasize problem-solving in acommercial situation while steadfastly holding on to yourpersonal integrity. In addition to responding to editorial-basedassignments, the student will be exposed, through slide lecturesto the work of artists and illustrators who are burning a pathright through the past and into the future of illustrationPrerequisite: ILLUS 5200Open to junior, senior; Elective(SPRING)

ILLUS 5295 THE ARTIST’S BOOK3 credits Judy Sue Goodwin-Sturges At their very core, all books convey a sequence of ideas, butthe execution varies widely from one volume to another. In thiscourse, juniors and seniors strive to extend this concept outsideof traditional book parameters to achieve their own creativeinterpretation. Working form their own themes, students moldan innovative presentation of images and concepts--in twodimensions or three, using concrete depictions or abstractforms--into the construction of their own unique artist’s book.Assignments include the study of different folds, narrativeproblems, poetic counting, lost and found, and a free project ofthe student’s choice. Students are encouraged to continue theirown media that might include painting, construction,printmaking, etc.Open to juniors & seniors only (FALL)

ILLUS 5296 WEB DESIGN3 credits Richard GannStudents apply basic computer skills (Digital Imaging I orequivalent) to problems in designing and illustrating for theWorld Wide Web. Coursework is primarily in Dreamweaverwith an introduction to basic Flash concepts, and stresses the

132 Illustration 2009 - 2010underlying structure of html in digital design. Students developpersonal, interactive web pages and complete a finishedportfolio site while exploring the expressive possibilities ofinteractivity.Prerequisite: ILLUS 5225 (Digital Illustration or equivalent)or Permission of instructorOpen to junior, senior; Elective(FALL/SPRING)

ILLUS 5304 THREE-DIMENSIONAL KINETICANATOMY

3 credits Jeff HesserThis course will immerse students in the study of humananatomical structure, proportion and three-dimensional form.Students will leave this course with a better understanding ofhow the major forms of the body move in relationship to eachother and are configured in space. Working from the model,students will sculpt many small figures in clay, realizingspecific figural actions. Each week the class will feature alecture on a particular aspect of anatomical form and itsrelationship to movement, momentum and the force of gravity.Sequential actions, with application to both animation andstatic visualization, will be delineated with relation to skeletonand muscle.Open to junior, senior; ElectiveEstimated cost of materials: $50.00(FALL)

ILLUS 5305 WATERCOLOR AND GOUACHE3 credits Lenny LongThe remarkable brilliance of color found in watercolor andgouache make these media a perfect vehicle for the study ofcolor mixing, both optical and mechanical, and the depictionof dazzling effects of light in finished artwork. Working fromthe figure and other motifs, this class will address the varietyof manipulations possible in watercolor and gouache, singlyand in combination, while focusing on principles of colorstructure. Outside assignments will be organized aroundthematic series.Open to junior, senior; Elective(SPRING)

ILLUS 5306 WIT’S END3 credits David PorterA smile is recognition. Laughter is conspiracy. To be tickled isto be vulnerable.

This course will invite students to integrate language andimage in the pursuit of visual wit. Not the comic, nor thecomical. Not comics. Rather it will seek to provoke insightsthat are best expressed visually and verbally, as humor. Humoras the means, not the end, of the illustrative gesture. A funny-bone to pick.

Assignments will include inversions of expectation, theuses of the inappropriate, the various guises of the satirical, ofparody, single frame cartoons, black comedy. Wit. (“Wit” is

merely insight made delightful). These will seek to elicit fromthe student a series of illustrations that will be as self-descriptive as any portfolio, as definitive as any “style”.Humor is intensely idiosyncratic, personal. But when it“works”, when it achieves its audience, it is a particularlyintimate and effective means of communication. In otherwords, illustration.Open to junior, senior; ElectiveThis course fulfills the Illustration Concepts requirement forjuniors.(SPRING)

ILLUS 5307 NEW YORK, NEW YORK(ER)3 credits David PorterThe New Yorker is one of the most respected periodicals inAmerica, if not the English-speaking world. Its commentary,analysis and interpretation of the broadest spectrum of culturalconcern are almost always articulate and influential. Moreimportantly…it invariably has an illustrated cover. Students inthis course develop a portfolio of cover solutions to differentrequirements defined by world events, the passing seasons andareas of cultural interest. A light touch, a strong grasp andcultural reach are helpful.Open to junior, senior; Elective (FALL)

ILLUS 5313 CHARACTER CREATION3 credits Shanth EnjetiWhile character design has always been an integral part ofchildren’s book illustration, it’s application to diverse andemerging illustration markets such as digital game design,animation, comic books, film, merchandising and marketingmake it an exciting career path. In this class you will be askedto push beyond stereotypical designs to develop twodimensional characters and environments that are bothpersonally and culturally resonant and imaginative. Particularemphasis will be placed on the expressive power of facialexpression, body posture, color and costume. Throughexploring our own perceptions of good and evil, success andfailure, as well as beauty and ugliness, we will createcharacters that are highly original. Research, thoroughcraftsmanship, and strong compositions will be stressed.Open to junior, senior; Elective(SPRING)

ILLUS 5322 GAME ASSETS3 credits Nick JainschiggThis course offers an introduction to the many artistic andtechnical aspects of designing and producing characters,environments and props for 3D games. Among the topics wewill explore are the design of effective low-polygon characters

2009 - 2010 Illustration 133and scenes, texturing and UV mapping, simple characterrigging and effective collaborative design and execution.Software used: Photoshop and Maya (PLE).Prerequisites: Knowledge of Photoshop, basic computer skills.Some familiarity with 3D is helpful, but not essential.Open to junior, senior; Elective(SPRING)

ILLUS 5328 WICKED WATERCOLOR3 credits Jason BrockertTraditionally watercolor is thought of as the poor secondcousin to oil paint; “it’s painted on paper, it’s too delicate, it’sall transparent and it just can’t hang.” In Wicked Watercolorwe will dispose of these myths and challenge the limits of whatwatercolor can do. Our goals will be to make aggressive,powerful images that step beyond our preconceptions. Theclass will center on balancing the technical mastery of ourmaterials with the clarity of effective visual communication.We will work a much larger scale, we will integrate watercolorwith other materials such as gouache and even charcoal and wewill challenge our conceptual starting place to better takeadvantage of watercolors unique strengths. If you have everwondered how Sargent or Wyeth or Wiesner could bendwatercolor so completely to serve their ideas, then this is theclass for you.Open to junior, senior; Elective(SPRING)

ILLUS 5331 SCRIPT TO FILM3 credits Bill HallThis course is an introduction to the critical skills Illustratorsneed when pursuing careers in the movie, theater and televisionindustries. Assignments will include pre-production processessuch as script blocking, story boarding, set development,character design, art direction, prop design, lighting design,theme development, backdrop painting and basic tonalcontinuity. Work will be both individual and collaborative.Frequent visits from industry professionals will add insight tothe specific requirements for the production artist.Open to junior, senior; Elective(FALL)

ILLUS 5334 TYPOGRAPHY3 credits Susan Doyle-SheddThis typography course is specifically designed for Illustrationmajors. We will study the fundamentals of typographyincluding its history, theory and contemporary practicalapplication. Lectures and exercises will build in complexitybeginning with the study of letter forms and the classificationof typefaces, with an overview if their derivation, to theeffective use of typography in single page design. A significantpart of the course will be dedicated to understanding pagedynamics including proportion, grid systems and color.

In the second half of the semester, assignments willexplore the integration of simple drawn imagery with a critical

eye as to the functional relationship of the image both narrativeinformation and visual counterpoint to the text. We will viewa range of historic and contemporary poster designs inpreparation for the final project wihich will be a poster designfor a local non-profit organization.

Students will use Adobe Illustrator and Photoshopthroughout this course; so some basic computer experience willbe helpful but not absolutely necessary. Students unfamiliarwith the Adobe interface will be required to attend anintroductory workshop(s). We will use some traditional handdrawing tools as well as the digital tablet for sketching andimage making. The course includes a field trip to a commercialprinter for an up-close look at the mechanical processes bywhich designs are converted from digital files to printedmaterial.Open to junior, senior; Elective(SPRING)

ILLUS 5335 STORYBOARD3 credits Jon FosterThis class will provide experience in the production techniquesnecessary to produce storyboards for animated films, TVcommercials, and live-action films. Storyboards are comprisedof multiple pictorials and are used to communicate not only anoverview of the scene/situation, but also effective cameraangles, appropriate lighting and important blocking and pacinginformation quickly and coherently to the director,cinematographer and editor. While not always an especiallyglamorous aspect, storyboarding is key to the construction ofboth short and full-length film and most certainly a necessityfor animation. You will develop on-demand drawing skills andthe ability to communicate the continuity of the piece using thejargon of the profession, as well as a director's sense of sceneand pacing. Sessions will be held in the computer lab and thebulk of the work will be done using the computer.Open to junior, senior; Elective(SPRING)

ILLUS 5336 SUBJECT AND SYMBOL3 credits Elinore HollinsheadIn this course students will use oil paint and mixed media toexplore meaning and visual metaphor in still life imagery.Study of past and contemporary images from early Roman wallpainting to Post-Modernism will complement work in thestudio. Both traditional and alternative formats, materials andtechniques will be presented, and the integration of observationwith invention and expressive purpose will be emphasized.Moving from shared themes and structured assignments toindividual projects, students will be encouraged to develop apersonal vision of iconography.Open to junior, senior; Elective(SPRING)

134 Illustration 2009 - 2010ILLUS 5337 NEW MARKETS FOR ARTISTS3 credits Oren ShermanThis course will harness your creative thinking and put it to anew use, adapting to the ever changing needs of themarketplace. We will forge industry partnerships to developprojects beyond the parameters of the traditional illustrator’smarkets. You will get the opportunity to design new productsand explore unexpected avenues for your ideas and talents. Thefinal projects are planned to launch you in a direction ofstarting a creative business on your own and help build aportfolio that demonstrates your ability to solve differentdesign problems. The only prerequisite are an entrepreneurialspirit and willingness to explore a new set of challenges.Open to junior, senior; Elective (SPRING)

At press time this course was pending approval. CheckWebAdvisor for current course listings.ILLUS xxxx ELECTRIC BOOK6 credits Nick Jainschigg/Mary Jane BeginIf a book is defined as “a work of fiction or nonfiction, writtenor printed on sheets of paper fastened or bound together withincovers”, can we remove the second half of the definition, andstill call it a book? This six credit team-taught course willacquaint students with new possibilities in the art form ofillustrated books made possible by touch screen tablets andinteractive digital technology. The day-long schedule will bedivided between examining the narrative traditions of thepicture book, comic book and graphic novel, and exploring theincreased opportunity for “real-time” interaction - between thereader, the written narrative and illustrations - made possibleby embedding digital structures with Flash software.Exceptional examples of the dynamic integration of story andimage will be studied through the RISD Library’s SpecialCollections, the Providence Athenaeum, and the RISDMuseum book arts collections. The schedule will consist ofmeeting ten hours per week, with course work divided betweenshort experimental exercises in the first half of the term, and alonger, more fully realized interactive story as a final project.Open to junior, senior, graduate; Elective(SPRING)

2009 - 2010 Industrial Design 135

BFA and BID Curricula for Industrial DesignDivision of Architecture and DesignDepartment Office: 161 So. Main St, 6th floor, telephone 454-6160

COURSE NO. CREDITSFall Spring Fall Winter Spring

First YearFirst-year Program— see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year2455 Wood I 3 0 2451 Metal I 3 0 2464 2465 Design Principles 6 6

Liberal Arts 3 32476 CAD 0 3

Major elective (Metal II or Wood II) 0 3 Wintersession: Liberal Arts 3

Year Total 15 3 15

Third Year24ST 24ST Advanced Design Studio 6 6 2480 or 2480 Manufacturing Techniques (2480) and Nonmajor Elective 3 3

(One in Fall and one in Spring)LE38 History of Industrial Design* 0 3 2477 or 2477 Advanced CAD (2477) and Liberal Arts 3 3

(One in Fall and one in Spring)Nonmajor Elective 3 0 Wintersession: Liberal Arts 3

Year Total 15 3 15

Fourth Year24ST 24ST Advanced Design Studio** 6 6

Nonmajor Elective 3 3 Liberal Arts 6 3 Wintersession: Liberal Arts 3

Year Total 15 3 12

BID only Fifth Year24ST Industrial Design Studio 6 0

2490 Senior Seminar 0 3 2498 Industrial Design Degree Project 0 9

Major Elective 3 0 243G ID Graduate Seminar 3 0

Nonmajor elective 3 0Wintersession: (2469) Fifth-Year D. P. Programming 3

Year Total 15 3 12

Footnotes* Art History credit for ID majors** Students are required to take an ID studio in the secondsemester of the senior year.

Curriculum notes(1) During the junior semesters or the first semester of

the senior year, students may take one of the four

136 Industrial Design 2009 - 2010required professional design studios outside theIndustrial Design Department.

(2) Six credit courses taken during Wintersession orSummer cannot fulfill a Professional Design Studiorequirement unless approved in advance by thedepartment head.

(3) Students may take only one six credit studio persemester.

(4) The first four years of the curriculum above adds upto the 126 credits required for the BFA. The LiberalArts component is 42 credits and the nonmajorelective component is 12 credits. The Liberal Artscourses shown for the Wintersession may be takenduring the Fall or Spring semesters, and the nonmajorelectives shown for Fall or Spring may be takenduring the Wintersession, as scheduling and interestpermit. Consult the Liberal Arts Office or theRegistrar for additional information.

(5) The curriculum for Industrial Design majors indicatesthe minimum courses that are required within themajor department or program.

(6) Sufficient design and professional elective coursesmust be completed to fulfill a total of 126 creditsnecessary for a BFA degree. Elective courses are tobe selected in consultation with department head andfaculty advisor.

(7) The Fifth Year leads to the professional degree (BID).All students wishing to participate in this year mustsubmit a fifth-year proposal by December of theirsenior year. The proposal must be approved before astudent is accepted into the fifth-year program.Guidelines for proposals are available in the IDdepartment office. The minimum requirement for aBachelor of Industrial Design degree is 156 credits.Students are required to complete 30 credits in designelectives or studios.

(8) All students entering the Department of IndustrialDesign must participate in its required laptopprogram, purchasing hardware, software, upgradesand insurance, specified in the Department's "laptopprogram requirements and policy guidelines"

(9) The department strongly encourages students toparticipate in an internship during Wintersession oftheir junior or senior year, or during the Summerfollowing their sophomore or junior year.

2009 - 2010 Industrial Design 137

Courses in Industrial DesignID 2416 DRAWING FOR DESIGNERS3 credits Khipra Nichols In this class we will practice the various methods of designexploration and visual communication used by designers.These sketching and rendering skills are ideal for anyone whohas to understand and resolve form while communicating ideaswithin interdisciplinary environments.

We will focus on sketching from the ideation phasethrough to a final solution that fully describes the aesthetic andemotive intents, as well as demonstrates knowledge offunctional and manufacturing requirements. The class is builton the belief that strong two-dimensional skills remain theessential tool for product designers.Open to junior, senior, graduatePermission of instructor for nonmajors(FALL)

ID 2451 METAL I3 credits StaffBasic processes in sheet and heavy metal will be presented,such as: shearing, bending, soldering, drilling, tapping, filing,sawing, etc. Emphasis will be on controlled results,sensitivity to material in design and sequence of operations.Fastenings, measuring, and layout techniques will bediscussed. The objective is to develop a more precise,professional and sensitive approach to design whilebroadening the student’s technical base. There will be a strongemphasis on experimenting with the material in order topromote innovative thinking and problem solving.Requirement for sophomore majorsID majors only(FALL)

ID 2452 METAL II3 credits tbaThe objective of this course is to develop a more precise,professional and sensitive approach to design whilebroadening the student’s technical base. Precision machinetools such as metal lathes, millers and grinders will beintroduced. Logical design and set-up approaches will bediscussed. Outside design work will be required withemphasis on engineering drawing and sequence of operations.There will be a strong emphasis on experimenting with thematerial in order to promote innovative thinking and problemsolving.Prerequisite: ID 2451 undergrad; ID 245G graduateUndergraduate elective; ID majors only(FALL)

ID 2453 WOOD II3 credits George GordonThis course will deal with advanced woodworking processes,including milling and machinery use, laminate and steambending, plywood and veneer. Techniques in using natural andsynthetic materials connected with furniture will be covered.Prerequisite: ID 2455 undergraduate; 245G graduateUndergraduate elective; ID majors onlyFee: $85.00(SPRING)

ID 2455 WOOD I3 credits C. Appleton/S. Stem

G. Gordon/M. JohnsonA basic course in woodworking covering material propertiesand joinery. Students are instructed on how to usewoodworking tools and basic machinery. A series of smallprojects are to be built. Requirement for sophomore majorsID majors onlyFee: $275.00(FALL)

ID 2464 DESIGN PRINCIPLES6 credits StaffThis course is an introduction to conceptual and manual skillsthat represent necessary steps in design evolution. Studentsstrengthen skills by completion of several processes andexercises. Critical thinking and concept generation is aprimary focus, drawing and model making activities help toestablish this process. Throughout the course each student willfocus on improving communication skills and the ability toproject or sell ideas.Requirement for sophomore majorsID majors onlyEstimated cost of materials: $15.00(FALL)

ID 2465 DESIGN PRINCIPLES6 credits StaffThis course is a continuation of Design Principles 2464 withan emphasis on problem solving and design process and skills.Requirement for sophomore majors; ID majors only(SPRING)

ID 2476 CAD3 credits StaffThe purpose of this course is to expose students toSolidWorks, a widely used solids modeling software program.Students will learn how to translate their hand-sketches intothree-dimensional CAD models. Lectures and assignments will

138 Industrial Design 2009 - 2010focus on the development of form as it applies to plastic partdesign and assembly. Physical models will be realized throughABS rapid prototyping allowing students to experience trueplastic part design.Requirement for sophomore majorsID majors onlyDepartment-issued laptop computers required(SPRING)

ID 2477 ADVANCED CAD3 credits Soojung HamThis course is intended to expose students to more advancedCAD techniques such as dynamic imagery rendering, surfacemodeling and stress analysis. Rhino and Maxwell will be thecore software packages utilized.Prerequisite: ID 2476Open to junior and above; ID majors onlyFee: $100.00 for materials allows lifetime, professionallicenses for Rhino and Maxwell. Department issued laptopcomputers required.(FALL/SPRING)

ID 2480 MANUFACTURING TECHNIQUESSURVEY

3 credits David Zitnick/tbaThis course introduces the students to methods, materials, andmanufacturing processes that translate design activity intofinished goods. A significant portion of downstream designactivity is devoted to manufacturing issues - the techniques bywhich materials are selected, shaped, and then assembled.These processes will be observed first hand by the studentsduring weekly field trips to a broad spectrum of manufacturingenvironments. Historical and ecological perspectives ofmanufacturing are as important as contemporary materials andtechnologies. Visits to highly specialized museums and craftsites are included to emphasize this viewpoint along with theintroduction of methods to quantify ecological impact. Visitscombined with weekly text readings and site, process, andmaterial research will provide the data for the student journal.The journal describing their understanding and viewpoint ofthe manufacturing environment is part of the studentevaluation along with written review of the assigned text andan exam.Requirement for junior majors; ID majors onlyFee: $100.00(FALL/SPRING)

ID 2490 SENIOR SEMINAR3 credits Stephen LaneA course for designers providing working informationregarding the establishment of various business organizations,financing, contractual agreements, taxes, marketing, patent andcopyrighting. Business executives lawyers, and accountantswill provide case studies and sample situations to assist the

designer in client relationships, design protection, businessoperations, and financial management.Permission of instructor for nonmajors(SPRING)

ID 24ST ADVANCED INDUSTRIAL DESIGNSTUDIOS

6 credits StaffThese studios are required for junior, senior, and fifth-yearstudents. Four, 6 credit studios are required and one may betaken outside of ID, but not the last semester of senior year.Six credit courses taken during Wintersession or Summersession cannot fulfill a professional design studio unlesspreviously approved by the department head of ID. Classassignments are assigned by lottery at the beginning of eachsemester.Requirement for junior, senior, fifth-year majorsOpen to ID majors onlyFee: Some advanced studios have a fee for course supplies orfield trips. The fee is announced during the registration lotteryheld in the department. (FALL/SPRING)

ID 2506 DIGITAL PORTFOLIO3 credits Bryan RodriguesThis course will provide students with the necessary skills forpreparing a digital portfolio for the web. Graphiclayout/presentation, photo documentation, typeface, interface,content and editing will all be covered. Photoshop, InDesign,Flash and iMovie will be the core software packages utilized.Prerequisite: ID CAD 2476Open to junior and above; ID majors only; ElectiveFee: Cost of software not provided with laptop. Departmentissued laptop computers required.(SPRING)

LAEL LE38 HISTORY OF INDUSTRIAL DESIGN3 credits Matthew BirdThe course is divided into three parts: 1) current issues in thehistoriography of the field 2) topics in history of industrialdesign from 1750 to 1945 - such as collaborations between artand industry; mass production; changing patterns ofconsumption; industrial design and corporate imagery; thesocial and/or technological impact of industrial design andcorporate imagery; the social and/or technological impact ofindustrial design on transportation, the domestic interior, andthe workplace 3) individual research in an aspect of designsince 1945. Extensive readings, lectures, discussions, twopapers and an exam introduce students to the widely-varyingmethods and historical materials that currently are defining thispivotal field.Art History credit for ID majorsLiberal Arts elective credit for nonmajors (SPRING)

2009 - 2010 Industrial Design 139

Master of Industrial Design CurriculumDivision of Architecture and Design

Half year preparatory program for students admitted to the 2.5 Year MIDProgram that begins in WintersessionCOURSE NO. CREDITS Winter Spring Winter Spring2502 or 2400 Product Design 101 or Intro to Industrial Design 3

24ST Advanced ID Studio 6Electives * 9

Half-Year Total 3 15

Courses taken by ALL Industrial Design MID students CREDITS COURSE NO. Fall Winter SpringFall Spring First Year241G 242G Graduate ID Studio I, II 6 9243G 244G Graduate ID Seminar I, II 3 3 245G Graduate Shop Orientation 3 0

Elective or Liberal Arts 3 3Wintersession 3

Year Total 15 3 15

Second Year247G Graduate ID Studio III 9 0

Elective Seminar 3 0248G Graduate Industrial Design Thesis 0 12

Elective or Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Total Credits: 66Total Credits for 2.5 year MID: 84

* Choose three with graduate advisor approval from amongthese offerings: ID 2386, Design MethodologiesID 2476, CADID 2477, Advanced CADID 242G, Graduate Id Studio IIID 2480, Manufacturing TechniquesID 2453, Wood IIID 2452, Metal IILAEL LE38, History of IDor a nonmajor elective

Curriculum notesStudents are admitted either to the two year program or the 2.5year program. Follow the curriculum for the program intowhich you are admitted.

All graduate students must participate in Wintersession for aminimum of three credits each year. A maximum of six creditsmay be taken during each Wintersession.

General eligibility requirements for the master’s degree arelisted in the front of this book. The minimum creditrequirement for the MID is 66 credits.

All students entering the Department of Industrial Design mustparticipate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified in theDepartment's "laptop program requirements and policyguidelines".

140 Industrial Design 2009 - 2010

Graduate CoursesID 241G GRADUATE ID STUDIO I6 credits Leslie Fontana/tbaThe execution of two assigned design projects provides theframework for a thorough examination of the design process.This structured and intensive studio will focus on therelationship between the implementation of sound designmethodologies and successful problem solving in the designprocess. This first studio experience is intended to provide themethodological infrastructure for the remainder of the M.I.D.thesis experience.Requirement for graduate; ID majors only(FALL)

ID 242G GRADUATE ID STUDIO II9 credits Khipra NicholsThe second studio experience in the MID program focuses oninterpretation as a crucial component of problem solving in thedesign process. Nine thematic briefs are provided, from whichstudents select two. Subsequent design projects represent thestudents' considered position on the relevance of the selectedtheme to contemporary design practice. The range of themesexplored in the class broadens the critical discourse on issuespertinent to the field of Industrial Design and provides a segueway to the students' declaration of thesis topics.Requirement for graduate; ID majors only(SPRING)

ID 243G GRADUATE ID SEMINAR I3 credits Aidan PetrieThis seminar will examine issues arising from the study ofdesign history. It is the first in a two part seminar experiencedesigned to establish a social and professional framework forthe thesis project. With the guidance and support of theinstructor, graduate students will survey the landscape ofsignificant movements in design history, and discuss theirrelevance to current design challenges. The seminar serves thedual role of developing broader perspectives on the relevanceof graduate study to a larger social context, and strengtheningthe frame of reference foe the discourse in group critiques.Requirement for graduate; ID majors only(FALL)

ID 244G GRADUATE ID SEMINAR II3 credits Nancy AustinThis seminar will examine issues arising from the study ofcontemporary critical theory. It is the second in a two partseminar experience designed to establish a social andprofessional framework for the thesis project. . With theguidance and support of the instructor, graduate students willsurvey the landscape of contemporary critical theory anddiscuss issues relevant to current design challenges. Theseminar serves the dual role of developing broader perspectives

on the relevance of graduate study to a larger social context,and strengthening the frame of reference for the discourse ingroup critiques.Requirement for graduate; ID majors only(SPRING)

ID 245G GRADUATE SHOP ORIENTATION3 credits S. Santaniello/M. Johnson/M. ScimecaThis course will acclimate new graduate students to the shopenvironment of the Industrial Design Department. The Metal,Wood and Model Shops are invaluable resources, clarifyingpragmatic aspects of the design process from general feasibilityof manufacturing to the challenges of translating concepts intotangible objects. This course covers excerpted informationfrom both undergraduate courses Wood I and Metals I andemphasizes safety in the utilization of shop facilities. Requirement for graduate; ID majors only(FALL)

ID 247G GRADUATE ID STUDIO III9 credits Khipra NicholsThe third studio experience in the MID program shifts furthertoward self-determined design direction for the student projectwork and constitutes the primary research component of theThesis Project. It is at this time that students ware required toassemble an advisory panel for their thesis work and outlinethe direction and schedule for the Thesis investigation.Requirement for second-year graduateID majors only(FALL)

ID 248G GRADUATE ID THESIS12 credits tbaDevelop the graduate thesis into three component parts: thethesis presentation, the physical body of work for exhibit in theRISD museum, and the written Thesis Document.Requirement for second-year graduateID majors only(SPRING)

2009 - 2010 Interior Architecture 141

BFA Curriculum for Interior Architecture For students who choose not to complete the BIA curriculumDivision of Architecture and DesignDepartment Office: Mason/CIT Building, telephone 454-6272

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program – see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year2301 Introduction to Interior Arch 6 0 2331 Intro to Computing for Interior Architecture 3 02341 Drawing for Interior Architecture 3 0LE17 History of Interior Architecture I 1 3 0

2302 Interior Architecture Studio I 0 62315 Building Materials Exploration 0 3

Electives 3 0 3LE27 History of Interior Architecture II 2 0 3

Wintersession 3Year Total 15 3 15

Third Year

23JR Interior Architecture Studio II 6 02353 Introduction to Lighting 3 02304 Structures for Interior Architecture 3 0

Electives 3 3 623ST Advanced Design Studio 0 6 4821 Color for Interiors 0 3

Wintersession 3Year Total 15 3 15

Fourth Year23ST 23ST Advanced Design Studio 6 62372 Scheme Detailing 3 02374 Human Factors 3 0

Electives 3 3 9Wintersession 3

Year Total 15 3 15

Footnotes1 Receives Art History credit

2 Receives Liberal Arts Elective credit3 Choose a Liberal Arts class, a major elective, or a nonmajorstudio elective, depending on unfulfilled degreerequirements and class availability.

Curriculum notesThis curriculum is for students entering RISD as freshmen.

Students may choose to take Liberal Arts courses duringWintersession, as space and interest allow. Nonmajor studioelectives can be taken during Wintersession or during Fall orSpring in place of a Liberal Arts course for that semester.

The 42 credit Liberal Arts degree requirement must be satisfiedby the end of the fourth year in order to earn the Bachelor ofFine Arts degree.

142 Interior Architecture 2009 - 2010

Students entering the Department of Interior Architecture mustparticipate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified in theDepartment's "Laptop Program Requirements and PolicyGuidelines".

Total credits required: For the BFA (126).

For more information, see the “Graduation Requirements”section of this book.

2009 - 2010 Interior Architecture 143

BIA Curriculum for Interior Architecture Division of Architecture and DesignDepartment Office: Mason/CIT Building, telephone 454-6272

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program – see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year2301 Introduction to Interior Architecture 6 0 2331 Intro to Computing for Interior Architecture 3 02341 Drawing for Interior Architecture 3 0LE17 History of Interior Architecture I 1 3 0

2302 Interior Architecture Studio I 0 62315 Building Materials Exploration 0 3

Electives 3 0 3LE27 History of Interior Architecture II 2 0 3

Wintersession 3Year Total 15 3 15

Third Year

23JR Interior Architecture Studio II 6 02353 Introduction to Lighting 3 02304 Structures for Interior Architecture 3 0

Electives 3 3 623ST Advanced Design Studio 0 6 4821 Color for Interiors 0 3

Wintersession 3Year Total 15 3 15

Fourth Year23ST 23ST Advanced Design Studio 6 62372 Scheme Detailing 3 02374 Human Factors 3 0

2379 Investigating Interiority 0 3Electives 3 3 6Wintersession 3

Year Total 15 3 15

Fifth Year23ST Advanced Design Studio 6 0 2397 Degree Project Preparation3 0

2398 Interior Architecture Degree Project 0 92382 Codes for Interior Architecture 0 3

Electives 3 6 3Wintersession 3

Year Total 15 3 15

144 Interior Architecture 2009 - 2010Footnotes1 Receives Art History credit

2 Receives Liberal Arts Elective credit3 Choose a Liberal Arts class, a major elective, or a nonmajorstudio elective, depending on unfulfilled degree requirementsand class availability.

Curriculum notesThis curriculum is for students entering RISD as freshmen.

Students may choose to take Liberal Arts courses duringWintersession, as space and interest allow. Nonmajor studioelectives can be taken during Wintersession or during Fall orSpring in place of a Liberal Arts course for that semester.

Usually, after the fifth year of study, students earn the BFAat the same time as the BIA. Students who intend to pursueonly the BFA will follow a modified version of thiscurriculum consisting of the requirements of the first fouryears of the BIA. The 42 credit Liberal Arts degreerequirement must be earned by the end of the fourth year inorder to earn the Bachelor of Fine Arts degree at that time.

Students entering the Department of Interior Architecturemust participate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified inthe Department's "Laptop Program Requirements and PolicyGuidelines".

Total credits required: For the BFA (126); for the BIA (156)

For more information, see the “Graduation Requirements”section of this book.

2009 - 2010 Interior Architecture 145

BIA/MIA Curriculum for Interior ArchitectureFor Undergraduate Transfer students and three-year Graduate students

COURSE NO. CREDITSFall Spring Summer Fall Winter Spring

First YearSummer Transfer Program 1 (9)

2301 Introduction to Interior Architecture 6 02331 Intro to Computing for Interior Arch 3 02341 Drawing for Interior Arch 3 0LE17 History of Interior Architecture I 2 3 0

Electives 3 0 32302 Interior Architecture Studio I 0 6 2315 Building Materials Exploration 0 3LE27 History of Interior Architecture II 3 0 3 Wintersession 3

Year Total (9) 15 3 15 (9 in Summer)

Second Year23JR (UG) Inter. Arch. Design Studio II or23ST (GR) Advanced Design Studio 6 02304 Structures for Interior Architecture 3 02353 Introduction to Lighting 3 02374 Human Factors 3 0

Electives 4 0 3 (UG)2307 Building Systems Interface 0 3 (GR)23ST Advanced Design Studio 0 62379 Investigating Interiority 0 34821 Color for Interiors 0 3

Wintersession 6Year Total 15 6 15

Third Year23ST Advanced Design Studio 6 02372 Scheme Detailing 3 02397 Degree Project Preparation 3 0

2382 Codes for Interior Architecture 0 32398 Interior Arch. Degree Project 0 9

Electives 3 3 3Wintersession 3

Year Total 15 3 15

Footnotes1 Summer Transfer Program may be waived at the discretion ofthe Department Head. The total of 111 credits must still beearned by the student to graduate with the MIA degree. Thetotal of 156 credits must still be earned by the undergraduatestudents to earn the BIA degree.

2 Receives Art History credit.

3 Receives Liberal Arts Elective credit.

4 Choose a Liberal Arts class, a major elective, or a nonmajorstudio elective, depending on unfulfilled degree requirementsand class availability.

146 Interior Architecture 2009 - 2010Curriculum notesSome transfer students may need additional semesters toacquire all credits needed to meet graduation requirements. Asix-credit design studio must be carried every semester ofenrollment except for final semester when Degree Project (DP)is taken.

Students may choose to take Liberal Arts courses duringWintersession, as space and interest allow. Nonmajor studioelectives can be taken during Wintersession or during Fall orSpring in place of a liberal arts course for that semester.

Students entering the Department of Interior Architecture mustparticipate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified in theDepartment's "Laptop Program Requirements and PolicyGuidelines".

Total credits required: For the BIA (156); for the MIA (111)

Undergraduates must satisfy the 42 credit Liberal Artsrequirement in order to earn the BFA or BIA degree.

For more information, see the “Graduation Requirements”section of this book.

2009 - 2010 Interior Architecture 147

MIA Curriculum for Interior Architecture–Two YearFor two-year Graduate students

COURSE NO. CREDITSFall Spring Summer Fall Winter Spring

First YearSummer RISD/DIS Program 1

(2356 ) Interior Architecture Summer Studio (6)(2357 ) Scandinavian Design and Architecture (3)

23ST 23ST Advanced Design Studio 6 62304 Structures for Interior Architecture 3 0

2307 Building Systems Interface 0 32353 Introduction to Lighting 3 0

2379 Investigating Interiority 0 3Elective 2 3 3

Wintersession 3 Year Total (9) 15 3 15

Second Year23ST Advanced Design Studio 6 02397 Degree Project Preparation 3 0

2398 Interior Architecture Degree Project 0 92382 Codes for Interior Architecture 0 3

Electives 2 6 3Wintersession 3

Year Total 15 3 15

Footnotes1 Overseas Summer Program in Denmark

2 Recommended electives include: Scheme Detailing, Color,Human Factors, Intro to Computing, Building MaterialsExploration, History of Interior Architecture I and II,Advanced Computing.

Curriculum notesStudents may choose to take major, nonmajor or Liberal Artselectives during Fall, Wintersession, or Spring as space andinterest allow.

Students entering the Department of Interior Architecturemust participate in its required laptop program, purchasinghardware, software, upgrades and insurance, as specified inthe Department's "Laptop Program Requirements and PolicyGuidelines".

Total credits required: MIA–two year (75)

For more information, see the “Graduation Requirements”section of this book.

148 Interior Architecture 2009 - 2010

Courses in Interior Architecture

INTAR 2301 INTRODUCTION TO INTERIORARCHITECTURE

6 credits Liliane Wong/Markus Berger/tbaThis course, the first in a two semester sequence, exploresdesign principles through design problems involving specificthemes. Students will have the opportunity to explore designissues through both traditional and computer generateddesign.Requirement for BFA, BIA and MIA three- year programINTAR majors only(FALL)

INTAR 2302 INTERIOR ARCHITECTURE STUDIO I

6 credits tbaDesign principles and themes presented in the first semesterare further developed through a series of projects.Prerequisite: INTAR 2301Requirement for BFA, BIA and MIA three-year programINTAR majors only(SPRING)

INTAR 2304 STRUCTURES FOR INTERIORARCHITECTURE

3 credits tbaThis lecture course is designed to familiarize students withstructural principles and systems. An understanding ofstructural systems is essential to the study of interiorarchitecture as structural systems support our work. Thecourse will examine the performance and composition ofvarious structural systems, including wood, lightweightmetal, steel, masonry, and concrete structures. To do so, wewill study how structures are made, their materials andcomponents. Whenever possible, we will visit some localexamples in the built environment. Our study will be assistedby the use of a course textbook and calculator, which eachstudent is required to purchase.Junior year requirement for BIA, Second-year requirementfor MIA INTAR majors only(FALL)

INTAR 2307 BUILDING SYSTEMS INTERFACE3 credits tbaThis course provides students with an opportunity to studyhow distinct building systems are constructed to form acomprehensive whole. Through case studies, students willexamine approaches to integrating a variety of systems, suchas structural, electrical, mechanical, plumbing, furniture,acoustic, and communication systems. This course will focuson how interior architecture interfaces with existingbuildings; the case studies will be of recent works that have

altered existing building. Students will be required to use theshop and computers to execute their individual and groupassignments.Elective for undergraduates; Required for MIA; INTARmajors onlyPrerequisite: INTAR 2304(SPRING)

INTAR 2315 BUILDING MATERIALSEXPLORATION

3 credits Mary-Ann AgrestiThis class introduces the student to different interior buildingmaterials, their properties and characteristics. Through aseries of full scale construction projects, the student will beasked to explore these materials and their potential in thedesign of interior structure.Requirement for BFA, BIA and MIA3-year program; Elective for MIA two-year programINTAR majors only(SPRING)

INTAR 2317 PASSIVE/INTELLIGENT SOLARDESIGN

3 credits Markus BergerThis course is intended to expand the students knowledgeand understanding of contemporary environmental issuesrelated to building along with basic principles of passivesolar design and energy conscious architecture. We willexamine the use of solar energy in design as not just anapplication of photo voltaic installations and othertechnologies, but rather as part of a conceptual whole - anintegrated and “total” design approach. We will examine eco-design with a focus for existing buildings, our most importantavailable material resource. It is here that we must learn howto adapt/retrofit concepts of solar design and understandprimary concepts of resource conservation for fundamentallyrethinking how we design and shape lifestyles for asustainable future.INTAR majors & graduate only(SPRING)

INTAR 2331 INTRO TO COMPUTING FOR INTERIOR ARCHITECTURE

3 credits tbaThe objective of this class is to learn basic digital techniquesin spatial design. Students successfully completing thiscourse should be able to develop sophisticated digital layoutswith image processing software (PhotoShop), create CADbased 2D architectural drawings and 3D models(VectorWorks), and develop a 3D visualization of a design(Cinema 4D). In this course, we will also discuss the

2009 - 2010 Interior Architecture 149integration of 2D and 3D data (BIM), digital materials, aswell as the basics of digital lighting and camera workRequired for BFA, BIA and MIA3-year program; Elective for MIA two-year programINTAR majors only(FALL)

INTAR 2341 DRAWING FOR INTERIORARCHITECTURE

3 credits tbaDevelopment of freehand perspective drawing skillsappropriate for representation of Interior ArchitectureDesign. Work will be done on site from existing structuresas well as in the studio concentrating on conceptdevelopment through perspective drawing.Required for BFA, BIA and MIA3-year program; Elective for MIA two-year programINTAR majors only(FALL)

INTAR 2353 INTRODUCTION TO LIGHTING3 credits tbaThis course provides an opportunity to research and explorelighting systems and their technologies.Prerequisite: INTAR 2301 unless in MIA two-year programRequired for BFA, BIA and MIA3-year program; INTAR majors only(FALL)

INTAR 2356 SUMMER STUDIO IN DENMARK6 credits tbaWestern Denmark (3 day tour): An introduction tooutstanding examples of Danish historical and modernbuildings, interiors, restoration projects and urban planning,to provide insights into the Danish design tradition andcurrent trends. Stockholm/Finland (7 day tour): A hands-onstudy of modern Scandinavian architecture & design:Asplund, Leverenz, Aalto, Pietila, and multiple examples ofcontemporary architectural design. Historical (neo-classical,national romantic, art nouveau) Finnish architecture & designwill also be studied, and cultural and historical visitsincluded.

Studio instruction focuses on the process of InteriorArchitecture as practiced within the Danish tradition. In thissense, there is a clear relationship between the 3 creditlecture series and the studio project. Students will be askedto address a design problem which deals with the relationshipbetween conceptual design and its application within anexisting structure. Issues of natural light, materiality anddesign process are studied through the assignments. Somesections in the Interior Architecture Studio will focus onissues of sustainable design.Requirement for two-year MIA; Elective for others(SUMMER)

INTAR 2357 SCANDINAVIAN DESIGN ANDARCHITECTURE: HISTORY,THEORY AND PRACTICE

3 credits Denmark International School Staff An overview of Scandinavian architecture and design,exploring the historical and current conditions ofarchitecture, interior design, and planning from architectural,social, and political points of view. Students analyze designsolutions as well as the design and production process in avisual journal. Requirement for two-year MIA; Elective for others(SUMMER)

INTAR 2367 ADVANCED COMPUTING3 credits tba This course builds upon the knowledge of applicationsgained during the “Intro to Computing” class, and willintroduce students to the capabilities of programs for theadvanced user. In addition to expanding on VectorWorksknowledge, students will be introduced to Form-Z andCinema 4D while expanding their modeling skills, studentswill also gain advanced understanding of animation, lighting,materials, and rendering techniques which can be utilized inany of the 3-D computer modeling applications.Prerequisite: INTAR 2331unless in MIA two-year programElective for BFA, BIA and MIA INTAR majors only Permission of instructor requiredSoftware purchase required by students if not alreadyowned.(approximately $65.00) - THIS IS NOT A FEE(SPRING)

INTAR 2372 SCHEME DETAILING3 credits Mary Rose McGowanThis course explores the principles of construction anddesign detailing. The student will detail the construction ofa previously designed studio project. Finish materials,window treatments, light fixtures, and furniture will beselected. Construction methods and materials will beexamined as well as the performance and appearanceretention of finishes. Individual presentations will be madeon a variety of traditional and nontraditional materials.Requirement for BFA, BIA and MIA three-year program;Elective for MIA two-year programINTAR majors only(FALL)

INTAR 2374 HUMAN FACTORS3 credits Faith BaumThe psychology of the client/user are crucial factorsinfluencing the design of the environment and the practice ofinterior architecture. This course will explore issues ofanthropometrics (the study of the characteristics of thehuman body), ergonomics (the application of anthropometricdata to design), and proxemics (the study of the effect of

150 Interior Architecture 2009 - 2010cultural/psychological factors on design). During thesemester you will gather facts about the interaction of theenvironment and a user’s culture, gender, stage of life cycle,and physical characteristics. You will be asked to addressquestions about the relevance of this information to yourdefinition of “good design.” In order to explore your ideasabout the integration of human factors issues and your designprocess, you will be asked to design a chair/an object forsitting.Requirement for BFA, BIA and MIA three-year program;Elective for MIA two-year programINTAR majors only(FALL)

INTAR 2379 INVESTIGATING INTERIORITY3 credits tbaThis seminar is intended as a reinforcement of the centraltheoretical aspects of Interior Architecture in preparation forthe self-choice Degree Project the following Spring. Theseminar will assist the student to become more aware ofthose factors which will determine a successful outcome interms of site and program for a design intervention with anexisting building.

The course will examine issues relating to theconcept of interior architecture from the Early Modern era tothe present day. Areas of focus will include an examinationof design-related interventions regarding alterations,additions, restorations and conservation of interiors whichwill be studied in the context of their social, spiritual,philosophical, political, technological, and economiccircumstances, as they pertain to the design culture of theperiod.Every week, select buildings will be presented as case studiesthat highlight the week's thematic issues regarding variedtypes of interior interventions.Requirement for BIA and MIAINTAR majors onlyAlso offered as LAEL LE08. Register into the course forwhich credit is desired.(SPRING)

INTAR 2382 CODES FOR INTERIORARCHITECTURE

3 credits Mary Rose McGowanThis class introduces the student to an overview of codespertinent to the subject of Interior Architecture. It will alsoprovide in depth focus on pertinent parts of local and nationalbuilding codes that address issues affecting interiorarchitecture such as egress, materials, planning, andaccessibility. The student will be asked through quizzes as

well as short design projects to implement these rules andregulations and to demonstrate a familiarity with the codes.Open to fifth- year, graduate in year of graduation;Requirement for BIA and MIA.INTAR majors onlyPermission of instructor required(SPRING)

INTAR 2397 DEGREE PROJECT PREPARATION3 credits Markus Berger/Heinrich HermannThe Degree Project in the department of Interior Architectureis conceived as a three part sequence beginning with“Investigating Interiority”, positioned in the Spring semesterof the penultimate year of both the undergraduate andgraduate degree programs. Building on the theorecticalunderstandings obtained during that prerequisite course, thissemester is designed to assist students to identify a suitabledegree project. The discussions will refer to importantprecedents, many of which will have been identified duringthe earlier course. The students will be required to submittheir proposals for their own self-choice degree project.Through group discussion and individual interviews, outlineproposals will be approved in principle, requiring eachstudent to prepare a feasibility report for their proposedDegree Project. The design phase will take place during thefollowing Spring semester. The completed feasibility reportwill be submitted for evaluation at the end of the Fallsemester.Prerequisite: INTAR 2379; INTAR majors onlyOpen to fifth-year, graduatePermission of instructor required(FALL)

INTAR 2398 INTERIOR ARCHITECTUREDEGREE PROJECT

9 credits tbaRequired for all students in the fifth or final year of pursuingthe curriculum for the Bachelor of Interior Architecture orthe Master of Interior Architecture degree. Under thesupervision of their degree project advisor, students areresponsible for the preparation and completion of a fullyarticulated design proposal of their own choice, as describedby their “Degree Project Feasibility Report”, submitted at theend of the Fall semester’s Degree Project Preparation class.INTAR majors only(SPRING)

2009 - 2010 Interior Architecture 151INTAR 23JR INTERIOR ARCHITECTURE

DESIGN STUDIO II6 credits StaffBuilding on the skills and knowledge developed during thefirst year in the Department, undergraduate students willfocus their attention on a project which requires thehypothetical remodeling of an existing building of somecomplexity for a proposed new use. Prerequisites: INTAR 2301/2302Undergraduate requirementINTAR majors only(FALL)

INTAR 23ST ADVANCED DESIGN STUDIOS6 credits StaffChoice of studios offered by the Department of InteriorArchitecture.Prerequisites: Undergraduates INTAR 2301/2302 and 23JR;For three-year MIA INTAR 2301/2302; For two-yearMIAcandidates: RISD/DIS SummerProgram in CopenhagenINTAR majors onlyFee: Some advanced studios have a fee for course suppliesor field trips. The fee is announced during the registrationlottery held in the department. (FALL/SPRING)

INTAR 4821 COLOR FOR INTERIORS3 credits Faith BaumStudents will be involved in exercises that will focus on coloras a compositional element as well as a vehicle for personalexpression. Research will familiarize the students withacademic color theories and their applications.Requirement for BFA, BIA and MIA three-year program;Elective for MIA two-year programINTAR majors only(SPRING)

LAEL LE17 HISTORY OF INTERIORARCHITECTURE I: 1400-1850

3 credits Henry FernandezThis course will examine the major architectural personalitiesworking in Europe (Italy, France, England, Spain, Germanyand the Netherlands) in the period 1400-1850. Areas ofstudy will include an examination of interior design relatedissues that will be studied in the context of their social,political, technological, and economic circumstances, as theypertain to the design culture of the period. Special emphasiswill be given to interior additions and renovations. Otherareas of study will include the development of architecturaldrawing, and the way in which designs often evolved through

committees, or ongoing consultations among patrons,designers, administrators, and scholars. Attention will also begiven to design theory, and the doctrines relating to site,orientation, proportion, decorum, and the commercial designmarket.A general background in the history of Art and Design isdesirable but not mandatory.Requirement for BFA,BIA, and MIA three-year program;Elective for MIA two-year program Restricted to INTAR majors onlyArt History credit for Interior Architecture majorsElective credit in Liberal Arts for nonmajors(FALL)

LAEL LE27 HISTORY OF INTERIORARCHITECTURE II: 1850-PRESENT

3 credits Henry Fernandez This course will examine the major designers working in theperiod 1850 to the Present. Areas of study will include anexamination of design related issues that will be studied inthe context of their social, political, technological, andeconomic circumstances, as they pertain to the design cultureof the period. Special emphasis will be given to the historyof interior interventions, additions and renovations.

Other areas of study will include the developmentof architectural drawing and other presentation media, andthe way in which designs often evolved through committees,or ongoing consultations among patrons, designers,administrators, and scholars. Attention will also be given todesign theory, and the doctrines relating to site, orientation,proportion, decorum, and the commercial design market.A general background in the history of Art and Design isdesirable but not mandatory.Prerequisite: LAEL LE17Requirement for BFA,BIA, and MIA three-year program;Elective for MIA two-year program Restricted to INTAR majors onlyLiberal Arts elective credit for nonmajors(SPRING)

2009 - 2010 Jewelry + Metalsmithing 153

BFA Curriculum in Jewelry + MetalsmithingDivision of Fine ArtDepartment Office: Metcalf Building, Room 212, telephone 454-6190

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program—see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4417 4433 Sophomore Jewelry 1 & 2 3 3 4424 4434 Sophomore Metal Fabrication 1 & 2 3 3 4440 Sophomore History of Adornment 3 0

4445 Sophomore Jewelry Design 0 3 Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Third Year4404 4415 Junior Jewelry 1 & 2 3 3 4437 4438 Junior Rendering 1 & 2 3 3 4405 Junior Metal Fabrication 3 0

4403 Junior Color Techniques and Alternative Materials 0 3 Nonmajor Studio Elective/ Liberal Arts * 6 6Wintersession 3

Year Total 15 3 15

Fourth Year4407 Senior Jewelry 3 0 4408 4489 Senior Studio 1 & 2 3 34436 Senior Professional Practices 3 0

4498 Senior J+M Degree Project 0 6 Nonmajor Studio Elective/ Liberal Arts * 6 6 Wintersession 3

Year Total ** 15 3 15

Curriculum notes* The six credits for Fall and the six credits for Spring may befulfilled by taking one Liberal Arts and one nonmajor studioelective (NMSE) or by taking only Liberal Arts classes or onlyNMSE classes.

** Students who follow this curriculum exactly will end up witha total of 132 credits. The minimum number required for the BFAdegree is 126, so students may opt to take only 12 credits in theFall and/or Spring terms of the senior year by taking three creditsof Liberal Arts or NMSE in the Fall and/or the Spring, as requiredto fulfill degree requirements. The Liberal Arts component of theBFA is 42 credits and the nonmajor studio elective component is12 credits. Wintersession offers the most opportunities fornonmajor studio electives, but they may be taken during the Fallor Spring semesters, as scheduling and interest permits. Consultyour adviser, the Liberal Arts Office or the Registrar foradditional information

Elective courses are selected in consultation with yourdepartment head or faculty advisor.

154 Jewelry + Metalsmithing 2009 - 2010

Courses in Jewelry + Metalsmithing

J+M 4403 JUNIOR COLOR TECHNIQUES ANDALTERNATIVE MATERIALS

3 credits tbaThis class exposes students to the potential of both traditionaland unconventional techniques providing innovative optionsfor color use in jewelry design. Demonstrations for a varietyof color techniques are made in class. Class assignmentsencourage experimentation and investigation of personalinterpretations for the use of color in students work. Keepingan active sketch book/note book to record technicalinformation is a class requirement.Requirement for junior majorsJ+M majors onlyFee: $60.00(SPRING)

J+M 4404 JUNIOR JEWELRY 13 credits Lola Brooks SpierThis course emphasizes the refinement of technical skillsacquired at the sophomore level. Assignments are given tointroduce historic and contemporary knowledge, promoteinnovative problem solving, and encourage personal aesthetic.Students are required to participate in group discussions and tomaintain an active, ongoing sketchbook. Requirement for junior majorsJ+M majors onlyFee: $25.00(FALL)

J+M 4405 JUNIOR METAL FABRICATION3 credits tbaThis course builds on the skills acquired in the sophomorefoundation year. Students focus on further development ofdesign sensibilities, refinement of technical abilities, and timemanagement. The theme is “constructing and connecting.”Class assignments encourage innovative design solutions formaking mechanisms and findings for jewelry. In-classdemonstrations, reviews, group discussions, and visualpresentations support this course.Requirement for junior majorsJ+M majors onlyFee: $25.00 (FALL)

J+M 4406 ELECTROFORMING3 credits Michael GlancyThis class is an intensive investigation of the processes ofelectroplating and electroforming copper metal by coveringobjects of various modeling materials to create new metalobjects. All aspects of this technical application are discussed.

Students are required to maintain an accurate logbook of theirinvestigation while developing a body of work. Class islimited to three students.Permission of Instructor and Department Head requiredFee: $75.00(FALL)

J+M 4407 SENIOR JEWELRY3 credits Tracy SteepyIn preparation for next semester’s Senior J+M Degree Project,this course emphasizes the student’s ability to recognize,develop, and pursue individual visions for jewelry design.Solutions to class assignments are open to personalinterpretation relating to previously identified areas of interest.Students focus on technical, decision-making, and timemanagement skills. An actively maintained journal/sketchbookis required; this documentation is a valuable resource for theDegree Project.Requirement for senior majors J+M majors onlyFee: $25.00 (FALL)

J+M 4408 SENIOR STUDIO 13 credits Barbara SeidenathAn advanced studio course, students propose and developindividual research projects surrounding their interests injewelry and metalsmithing. A continuation of technical skillsis coupled with emphasis on conceptual development andcritical thinking. In preparation for the Degree Project,students are encouraged to explore materials and processes thatbest serve their ideas. Reading and writing requirements, andparticipation in group critiques/discussions are also evaluated.Requirement for senior majorsJ+M majors onlyFee: $25.00(FALL)

J+M 4415 JUNIOR JEWELRY 23 credits Barbara SeidenathThis course continues to emphasize the refinement of technicalskills and the development of personal aesthetic. Assignmentsare given to introduce formal and conceptual challenges,promote innovative problem solving, and encourage individualrisk-taking. Students are required to participate in classcritiques and to maintain an active, ongoing sketchbook.Prerequisite: J+M 4404Requirement for junior majorsJ+M majors onlyFee: $25.00 (SPRING)

2009 - 2010 Jewelry + Metalsmithing 155J+M 4417 SOPHOMORE JEWELRY 13 credits Johan van Aswegen This is the first of a two-semester course that provides athorough technical and introductory design foundation forstudents beginning their studies in the J+M Department.Through class demonstrations, lectures, and hands-on practice,students acquire the necessary knowledge of skills, tools, andwork habits necessary to execute their ideas for jewelry inmetal. Class assignments combine technical challenges withthe search for inventive design solutions to insure growth inboth areas. Drawings and models precede all projects.Students are required to maintain a notebook with classhandouts as well as an active sketchbook.Requirement for sophomore majorsJ+M majors onlyFee: $25.00 (FALL)

J+M 4424 SOPHOMORE METAL FABRICATION 1

3 credits tbaThis foundation course introduces jewelry students to essentialmetal fabrication and metal forming techniques. Through thiswork, students gain awareness into the inherent nature ofmetal: malleability. Class exercises and design projectsdevelop the students’ ability to move and direct metal toachieve the shape, form, and finish their design requires. Brief,out-of-class excursions are included to increase awareness ofreadily available, local, design resources and inspirations. Anactively maintained sketchbook is an integral part of thiscourse.Requirement for sophomore majorsJ+M majors onlyFee: $25.00 (FALL)

J+M 4433 SOPHOMORE JEWELRY 23 credits Johan van AswegenThis course continues to introduce students to fundamentalprocedures and techniques necessary for the making ofjewelry. New subjects are introduced – such as the setting offaceted and cabochon stones, while processes taught inSophomore Jewelry 1 – small scale forming for example, arecontinued and taken to the next level of proficiency. Classassignments combine technical challenges with the search forinventive design solutions to insure growth in both areas.Drawings and models precede all projects. Students arerequired to maintain a notebook with class handouts as well asan active sketchbook.Prerequisite: J+M 4417Requirement for sophomore majorsJ+M majors onlyFee: $25.00 (SPRING)

J+M 4434 SOPHOMORE METAL FABRICATION 2

3 credits tbaThe emphasis of this course is on the intricacy of metalconstruction for the goldsmith. Technical information ispresented in a clear, concise manner facilitating mastery ofthese important skills. The class requires effort, patience,accuracy, and sensitivity to the material. Each project pairs atechnical skill with the search for creative design solutions.This increases the challenge of the projects, and encouragesgrowth in students’ design awareness and ability, along withfurthering technical capabilities. Drawings and modelsprecede all projects. Students are required to maintain anotebook with class handouts as well as an active sketchbook.Prerequisite: J+M 4424Requirement for sophomore majorsJ+M majors onlyFee: $25.00 (SPRING)

J+M 4436 SENIOR PROFESSIONAL PRACTICES3 credits Seunghea LeeThis class explores a variety of professional approaches forportfolio presentation. Exercises are given to encouragestudents to identify their creative sources both visually andwritten. Students begin the process of writing artistsstatements and degree project reports required for graduation.Experimentation with digital processes is encouraged.Students work independently as well as collaborativelymaking several Power Point presentations. J&M alumni,studio artists, and designers from industry are invited to lectureand share their transition experiences out of school and intotheir careers.Requirement for senior majorsJ+M majors onlyFee: $25.00(FALL)

J+M 4437 JUNIOR RENDERING 13 credits Lucia ZatarainThrough in-class demonstrations and exercises, students learnto illustrate their design ideas. There are weekly assignmentsand jewelry rendering examples shown and discussed.Emphasis is placed on volume, perspective, and shading usingprimarily black and white media as it applies specifically tojewelry objects and stones. The drawing range in this courseis from loose sketching for idea development to rendering forpresentation to clients.Requirement for junior majorsJ+M majors onlyFee: $25.00(FALL)

156 Jewelry + Metalsmithing 2009 - 2010J+M 4438 JUNIOR RENDERING 23 credits Lucia Zatarain The first three classes are an introduction to Illustrator as a toolto develop line drawings and explore variations around adesign idea. Drawings created in Illustrator are used in laterrendering assignments. Students are expected to begin workon the Illustrator tutorial before the start of the semester. Thetutorial assignment is given during Junior Rendering 1. Coloris introduced in a variety of media – pencils, markers, gouacheand watercolor – through in-class exercises anddemonstrations. There are weekly assignments and jewelryrendering examples shown and discussed. Emphasis is placedon composition and professional presentation culminating in aprofessional-level portfolio at the end of the semester withwork from both Rendering 1 and 2. A brief introduction toprecious stones is included this semester – stone cuts, names ofstones and other materials, as well as how to price stones.Prerequisite: J+M 4437Requirement for junior majorsJ+M majors onlyFee: $50.00 (SPRING)

J+M 4440 SOPHOMORE HISTORY OFADORNMENT

3 credits Barbara SeidenathThis history seminar provides an overview of personaladornment in both western and non-western societies. Thecourse is structured around weekly, thematic slidepresentations that are supported by visits to the RISD Museumcollection, field trips, and class dialogues concerning relevantissues. Class projects focus on student presentations andreading assignments. History of Adornment works with andenhances the two other technical classes that make up thesophomore foundation year in the fall.Requirement for sophomore majorsJ+M majors onlyFee: $25.00 (FALL)

J+M 4441 JEWELRY INTRODUCTION3 credits tbaThis course is an introduction to the fundamentals of designand metal fabrication techniques for both jewelry and smallobjects. Working with precious and non-precious metals,students learn traditional jewelry construction includingsawing, filing, forming, soldering, and polishing. A series ofstructured assignments guide students as they transform theirideas into finished pieces. Solutions for projects are open toenable the student to explore his/her own aesthetic, but taughtin a way to insure that students master the basic processes.

Lectures on historical and contemporary jewelry supplement,inform, and inspire students’ work.Open to everyone; ElectiveFee: $25.00(FALL/SPRING)

J+M 4443 JEWELRY CAD/CAM3 credits Brian BergeronThis course introduces the increasingly popular use ofcomputers in the jewelry industry for design and model-making. Students learn to use ArtCAM Jewelsmith softwareto make two-dimensional vector line drawings to generatethree-dimensional reliefs, and finally, machine three-dimensional physical wax models using a small CNC millingmachine. The wax models are cast in silver by an outsidevendor. Although the technology involved with this class isnot limited to jewelry, the scale, materials, and projects of theclass are jewelry.Open to everyone; ElectivePermission of instructor requiredPrerequisite: WindowsFee: $55.00(FALL)

J+M 4445 SOPHOMORE JEWELRY DESIGN3 credits Seunghea LeeThis course works with and complements the two othertechnical jewelry classes that make up the sophomore year inthe spring semester. Jewelry Design explores a variety ofdesign approaches for jewelry. Six to eight design projects areassigned to sharpen and refine students’ visual judgment anddesign ability. Importance is placed on innovative problemsolving. Informal materials are used – such as paper, wire, andother non-precious items. This class addresses ‘jewelrypresentation’ by staging several small exhibits of student workin J+M studio settings.Prerequisite: J+M 4440Requirement for sophomore majorsJ+M majors onlyFee: $25.00 (SPRING)

2009 - 2010 Jewelry + Metalsmithing 157J+M 4489 SENIOR STUDIO 2 3 credits tbaSenior Studio 2 is an advanced studio course that concentrateson the development of the Senior J&M Degree Project.Students identify individual, artistic directions and outline amethod of inquiry. Emphasis is placed on independentresearch, time management skills, and critical thinking.Assignments focus on display, writing a meaningful artiststatement, and artist presentations.Prerequisite: J+M 4408 Requirement for senior majors J+M majors onlyFee: $25.00(SPRING)

J+M 4498 SENIOR J+M DEGREE PROJECT

6 credits Lola Brooks The Senior J+M Degree Project is an opportunity for studentsto pursue clearly defined, individually chosen, design themesfor 12 weeks. This requires students to plan their time wiselyand maintain a self-sustained work ethic. A clear schedule ofdeadlines, important meetings, and guest visitors is provided atthe beginning of the semester. The instructors from SeniorStudio 2 and Degree Project are advisors to the seniors, andmeet with them each week to discuss their work-in-progress.There are three senior group reviews during the term. TheDegree Project culminates with an exhibition of the seniorclass at Woods-Gerry Gallery. Graduation requirements are:résumé, degree project/artist statement, and professionallyphotographed portfolio (slides and CD).Requirement for senior majorsJ+M majors onlyFee: $75.00(SPRING)

158 Jewelry + Metalsmithing 2009 - 2010

MFA Curriculum in Jewelry + MetalsmithingDivision of Fine Arts

COURSE NO. CREDITSFall Spring Fall Winter Spring

First Year441G 442G Graduate Studio 1 & 2 3 3 447G 448G Graduate J+M Seminar 1 & 2 3 3453G 454G Graduate Jewelry 1 & 2 3 3 03xG 03xG Graduate Seminar 3 3 Nonmajor Elective 3 3

Wintersession 3Year Total 15 3 15

Second Year443G Graduate Studio 3 0 451G 452G Graduate J+M Seminar 3 & 4 3 3455G Graduate Jewelry 3 3 0

444G Graduate J+M Thesis 0 903xG Graduate Seminar 3 0 Nonmajor Elective 3 3

Wintersession 3 Year Total 15 3 15

Total Credits: 66

Curriculum notesGeneral eligibility requirements for the master’s degree arelisted in the front of this book.

All graduate students participate in Wintersession for aminimum of 3 credits each year.

2009 - 2010 Jewelry + Metalsmithing 159

Graduate CoursesJ+M 441G GRADUATE STUDIO 13 credits Lola Brooks This course for first-year graduate students offers a series ofrigorous, innovative, start-up exercises. The class works oncommon themes requiring students to rethink current positionsabout their work. Graduates are encouraged to expand theirsubjects, experiment with technique, and research topics ofpersonal interest. The resulting insight and shared knowledgebetween students, along with their own personal gain, sets thetone and direction for their work at RISD over the next twoyears. Maintaining an active journal/sketchbook is required.Graduate; J+M majors only Fee: $25.00 (FALL)

J+M 442G GRADUATE STUDIO 23 credits Tracy Steepy First-year graduates are encouraged to take risks and thinkindependently; identify and gain insight into creative sources;and successfully direct and shape ideas. Class assignments aregiven with clear, open-ended themes. Projects addresstechnical proficiency, clarity of intention, innovative problemsolving, presentation, and documentation of work. Instructorand students consider individual approaches for the executionof work, from the initial concept to the finished piece. Theclass questions and reviews the fundamental relationshipbetween jewelry and body. In an effort to arrive at original,personally meaningful work, it is essential that students areopen to discussion and willing to investigate the motivatingforce of their work.Graduate; J+M majors only Fee: $25.00 (SPRING)

J+M 443G GRADUATE STUDIO 33 credits Lola BrooksSecond-year students identify personal topics of interest, andpresent their proposals with supporting research, drawings, andmodels. Students set clear goals, work within due dates, andkeep an active sketchbookGraduate; J+M majors only Fee: $25.00 (FALL)

J+M 444G GRADUATE J&M THESIS9 credits Lola Brooks /Tracy Steepy Graduate J+M Thesis is a 12-credit course that meets twice aweek with two different instructors. Each instructor gradesstudents on 6 credits of work. Tracy Steepy focuses on bothstudio thesis work and the theoretical concerns of the GraduateJewelry 2 seminar. Robin Quigley discusses thesis work in-

progress, and offers 2 to 3 assignments linked to thesissubjects.

Graduate students select two advisors outside of J+Mfaculty to provide additional insight and support into theirthesis work, as well as to foster other professional contacts.Several guest lecturers make presentations throughout thesemester about personal and professional experiences. Thefinal thesis requirements are a written thesis document,curriculum vitae, artist statement, and twenty professionalphotographic images. The resulting body of thesis work isfeatured in the Graduate Exhibition at the RISD Museum inMay. It is expected the Graduate J+M Thesis investigationyields uncharted results, reflects unique perspectives, andreveals high levels of execution.Graduate; J+M majors only Fee: $75.00 (SPRING)

J+M 447G GRADUATE JEWELRYSEMINAR I

3 credits tbaThis first-year graduate course is a dialogue-based seminar inconjunction with Graduate Jewelry 1. Weekly groupdiscussions center on current issues and topics specific to themetals discipline. Through questioning and analyzing selectedreadings, we explore the intersections and relationshipsbetween contemporary art, craft, and design. Required writingsand presentations assist students in defining and locating theirworking methodologies and creative practices within a largercultural context.Graduate; J+M majors onlyFee: $25.00(FALL)

J+M 448G GRADUATE JEWELRYSEMINAR 2

3 credits Sarah TurnerThis first-year graduate course is a dialogue-based seminar inconjunction with Graduate Jewelry 2. Weekly groupdiscussions center on current issues and topics specific to themetals discipline. Through questioning and analyzing selectedreadings, we explore the intersections and relationshipsbetween contemporary art, craft, and design. Required writingsand presentations assist students in defining and locating theirworking methodologies and creative practices within a largercultural context.Graduate; J+M majors onlyFee: $25.00(SPRING)

160 Jewelry + Metalsmithing 2009 - 2010J+M 451G GRADUATE JEWELRY

SEMINAR 33 credits tbaThis second-year graduate course is a dialogue-based seminarin conjunction with Graduate Jewelry 1. Weekly groupdiscussions center on current issues and topics specific to themetals discipline. Through questioning and analyzing selectedreadings, we explore the intersections and relationshipsbetween contemporary art, craft, and design. Required writingsand presentations assist students in defining and locating theirworking methodologies and creative practices within a largercultural context.Graduate; J+M majors onlyFee: $25.00(FALL)

J+M 452G GRADUATE JEWELRYSEMINAR 4

3 credits tbaThis second-year graduate course is a dialogue-based seminarin conjunction with Graduate Jewelry + Metal Thesis. Weeklygroup discussions center on current issues and topics specificto the metals discipline. Through questioning and analyzingselected readings, we explore the intersections andrelationships between contemporary art, craft, and design.Required writings and presentations assist students in definingand locating their working methodologies and creativepractices within a larger cultural context.Graduate; J+M majors onlyFee: $25.00(SPRING)

J+M 453G GRADUATE JEWELRY 13 credits Tracy SteepyIn this studio, first-year graduates begin to recognize anddevelop personal areas of interest. Assignments are designedto bring structure to the exploration of various processes,materials, concepts, and formats. Weekly individual meetingsfocus on student's progress and response to assignments, aswell as independent research. Graduate; J+M majors onlyFee: $25.00(FALL)

J+M 454G GRADUATE JEWELRY 26 credits Lola Brooks Graduate Jewelry 2, divided into two sections, addresses bothgraduate studio practice and theoretical concerns. The seminarcomponent is a dialogue-based class for first- and second-yeargraduate students, meeting weekly for discussions on currentissues and topics specific to the metals discipline. Throughquestioning and analyzing selected readings, the groupexplores the intersections and relationships betweencontemporary art, craft, and design. Required writings andartist presentations assist students in defining and locating their

working methodologies and creative practices within a largercultural context.

In the studio component, first-year graduates begin torecognize and develop personal areas of interest. Assignmentsare designed to bring structure to the exploration of variousprocesses, materials, concepts, and formats. Weekly individualmeetings focus on student’s progress and response toassignments, as well as independent research. Graduate; J+M majors onlyFee: $25.00 (SPRING)

J+M 455G GRADUATE JEWELRY 33 credits tbaIn this studio course, second-year students identify and pursuepersonally driven research. Weekly individual meetings andstudio visits take place with the instructor, and also withscheduled first- and second-year group critiques. Students arerequired to maintain a continuous record of their research anddevelopment through drawings, writings, samples, models, etc.Active participation in group discussions and critiques ismandatory.Graduate; J+M majors only Fee: $25.00 (FALL)

2009 - 2010 Landscape Architecture 161

MLA-I Curriculum for Landscape Architecture(Three-Year Program)Division of Architecture and Design

COURSE NO. CREDITSFall Spring Summer Fall Winter Spring

Design Foundations/Field Ecology (2256) (6) First Year

2201 Design Principles 6 0 2203 Ecology, Site, & Design Studio 0 6

2251 Technology & Materials I (Materials and Grading) 3 02257 Ecological Planning & Design 0 3

2264 2265 Representation I & II 3 3 LE20 Issues in Landscape History 0 3

LE44 History of Landscape Architecture 3 0Wintersession

Graduate Studio: Constructed Ground (W207) 3Elective 1 3

Year Total (6) 15 6 15

Second Year2204 Constructed Landscape Studio 6 02252 Plant Materials 3 02266 Technology & Materials II (Site Engineering) 3 0225G Theory I 3 0

2253 Plants & Design 0 32205 Urban System Studio 0 6223G Issues in Planning & Cultural Geography 0 3

Elective 1 0 3 Wintersession 2 6

Year Total 15 6 15

Third Year021G or Innovation 21 Studio or 22ST Advanced Design Studio Elective 3 6 02254 Technology & Materials III (Advanced Construction) 3 0226G Theory II 3 0

2291 Principles of Professional Practice 0 3228G Graduate Thesis 4 0 9

Elective 1 3 3Wintersession 2 3

Year Total 15 3 15

Footnotes1 Highly recommended electives: LDAR 231G, Topics inRepresentation or LDAR 224G, Environmental Ethics.

2 Wintersession options include: Electives or a computerworkshop or, when offered, (W203) Edinburgh Studio.

3 One 22ST “Advanced Studio” is required which may be in anallied department: Architecture (21ST), Interior Architecture(23ST) or Industrial Design (24ST) or in Fine Arts, if space isavailable.

4 At the end of the Spring term of the second year, there is arequired Thesis Preparation Workshop(two meetings, no credit).

162 Landscape Architecture 2009 - 2010Curriculum notesG = Graduate level course, open to qualified undergraduatesonly by permission of instructor.

All MLA students will have a portfolio and performancereview at the end of each year by a panel of LandscapeArchitecture faculty. This review will be used to determineeligibility to continue in the program.

MLA students who finish the fall semester of their final yearof study on academic probation or with a GPA below 3.0 willnot be allowed to proceed into Thesis. (Note that Thesis is arequirement for graduation from the MLA program).

Laptop Program: Students entering the Department ofLandscape Architecture must participate in its required laptopprogram, purchasing hardware, software, upgrades andinsurance, as specified in the Department's "Laptop ProgramRequirements and Policy Guidelines".

2009 - 2010 Landscape Architecture 163

MLA-II Curriculum in Landscape Architecture(Two Year Program)Division of Architecture and Design

COURSE NO. CREDITS Fall Spring Summer Fall Winter Spring

Design Foundations/Field Ecology (2256) (6) First Year2201 Design Principles 6 0 225G Theory I 3 0

2205 Urban Systems Studio 0 6223G Issues in Planning & Cultural Geography Seminar 0 3

Electives or Independent Study 6 6Wintersession 1 3/6

Year Total (6) 15 3/6 15

Second Year22ST or Visiting Critic Elective Studio or 021G Innovation 21 Studio 6 0

224G Environmental Ethics 0 3226G Theory II 3 0

228G Graduate Thesis 2 0 9Electives 3 6 3Wintersession 4 3

Year Total 15 3 15

Footnotes1Wintersession choices: Elective or a computer workshop orwhen offered (W203) Edinburgh Studio.

2At the end of the Spring term of the first year, there is arequired Thesis Preparation Workshop (two meetings, nocredit).

3 Choices include LDAR 231G Topics in Representation,Independent Study, or other electives chosen with your adviser.

4Wintersession choices: Elective or a computer workshop orInternship

Curiculum notesG = Graduate level course, open to qualified undergraduatesonly by permission of instructor.

All MLA students will have a portfolio and performancereview at the end of each year by a panel of LandscapeArchitecture faculty. This review will be used to determineeligibility to continue in the program.

MLA students who finish the fall semester of their final yearof study on academic probation or with a GPA below 3.0 willnot be allowed to proceed into Thesis. (Note that Thesis is arequirement for graduation from the MLA program).

Laptop Program: Students entering the Department ofLandscape Architecture must participate in its required laptopprogram, purchasing hardware, software, upgrades andinsurance, as specified in the Department's "Laptop ProgramRequirements and Policy Guidelines".

164 Landscape Architecture 2009 - 2010

Courses in Landscape Architecture

Design CoursesLDAR 2201 DESIGN PRINCIPLES6 credits StaffThis course explores design principles common toarchitecture, and landscape architecture. Projects are selectedto provide a basis for discerning and investigating both thedifferences of focus suggested by the two disciplines and theircommon concerns. Two interrelated aspects of design arepursued: 1) the elements of composition and their formal,spatial, and tectonic manipulation and 2) meanings conveyedby formal choices and transformations.Requirement for majors; Pre-registration through Department;Permission of department requiredFee: $130.00(FALL)

LDAR W207 GRADUATE SEMINAR:CONSTRUCTING GROUND

3 credits Mikyoung KimIn this course, we will investigate the construction of a tectonicground. Explorations will focus on various architectural andnatural materials that define the experience of an unfolding andevolving urban site. The primary vehicle of study will bethrough a serial process of work developing differentpermutations of ground manipulation and materialinvestigations. All students must have previous knowledge ofgrading technology and have taken Design Principles. Graduate; LDAR majors; Permission of instructor required fornonmajors(WINTERSESSION)

LDAR 2203 ECOLOGY, SITE, AND DESIGNSTUDIO

6 credits Leonard NewcombAs a painting, over time, may reveal an early image laid oncanvas before the surface was reworked and covered withsubsequent layers of paint (pentimento), so do landscapesreveal to the knowing eye traces of their own history---the bio-physical and cultural forces which in combination have shapedthem over time. In this studio design principles presented in thefirst semester are developed through a series of projectsinvolving a site rich in plant communities, wetlands andgeological, archaeological and intact cultural layers.Requirement for majors; Pre-registration by Department;Permission of department required(SPRING)

LDAR 2204 CONSTRUCTED LANDSCAPESSTUDIO

6 credits David De Celis/Emily Mueller De CelisThis core studio stresses small scale landscape architecturaldesign. A series of studio problems will explore the “garden”and small urban public places. Students will attempt torepresent contemporary, cultural, and ecological ideas in landform. There will be an emphasis on construction of designs, theuse of plants in design, and methods of representation. Prerequisite: LDAR 2203Requirement for majors; Pre-registration by DepartmentEstimated cost of materials: $350.00(FALL)

LDAR 2205 URBAN SYSTEMS STUDIO6 credits Elizabeth Hermann/Nicola De PaceThis final core studio stresses large-scale design and planningissues, complex sites, and urban conditions. The city is aliving organism which evolves in a particular locale with aparticular form due to a combination of environmental andcultural factors. These factors, the forces they represent andthe material results of their interaction form, in theirinterrelated state, what can be called “urban systems.” Themany forces at play within cities-social, cultural, economic,ideological, ecological, infra structural, morphological andvisual-combine in various ways to created both an identifiableurban realm and the many sub zones within this. Yet, none ofthese factors is static and unchanging; and, as a result, urbansystems, urban dynamics, and urban identity are likewise in acontinuous state of flux. This studio will explore these systemsand the complex issues at play in our urban areas and thepotential for positive change.Requirement for majors; Pre-registration by Department Estimated cost of materials: $210.00(SPRING)

LDAR 22ST VISITING CRITIC ELECTIVESTUDIO

6 credits Mikyoung KimThese studios, which are required for graduation, are offeredby individual instructors to students who have successfullycompleted the core curriculum. They are assigned by lotteryon the first day of classes.Prerequisites: LDAR 2201 to LDAR 2204Requirement for majors; Pre-registration by Department Fee: Some advanced studios have a fee for coursesupplies or field trips. The fee is announced during theregistration lottery held in the department. (FALL)

2009 - 2010 Landscape Architecture 165LDAR 021G INNOVATION 21 GRADUATE

STUDIO6 credits Charlie CannonThis studio is offered jointly by Landscape Architecture andIndustrial Design. The focus is on issues currently facingsociety and the environment that demand reframed questionsabout societal needs and their implications, a sharing ofdisciplinary expertise, and innovative approaches to old andnew technologies and materials and their application.Throughout the course, thinking beyond the limits of one’sown discipline will be stressed. Studio instructors and guestlecturers will be drawn from RISD, other technology, businessand design institutes; and from industry.Students must be in good academic standing to be consideredfor this course.Requirement for majors; Pre-registration by Department Also offered as ID 24ST 02. Register in the course for whichcredit is desired.(FALL)

LDAR 228G GRADUATE THESIS 9 credits Leonard Newcomb/Mikyoung KimDevelopment of individually determined projects in responseto defined objectives, critical commentary of advisory panelsand periodic formal reviews. Three forms of presentationoccur: final review, Museum presentation and exhibition, andproject book.Graduate; Landscape Architecture majors only (SPRING)

LDAR W203 *EDINBURGH STUDIO3-6 credits Colgate SearleRISD, in association with the Department of Architecture,Edinburgh College of Art, Heriot-Watt University offers a jointlandscape architecture/architecture design studio taking placein both Edinburgh and Providence. The focus of the studio ineach city is a similar urban subject, such as housing, a publicbuilding or a public landscape. Studio work will besupplemented with courses on the history and urban form ofeach city, complemented by visits to critical buildings andlandscapes in the local area and surrounding region. Thecourse is open to a maximum of ten qualified students fromeach institution when offered.(WINTERSESSION)

Representation CoursesLDAR 2264 REPRESENTATION I3 credits StaffThis introductory course develops the different levels ofdexterity and control in the construction of architecturaldrawing. The pedagogy allows for students to build a basicunderstanding of orthographic drawing typologies andtraditional drawing materials. A parallel segment of the course

introduces students to freehand representation, developingobservation and translation skills in the act of drawing.Through these two levels of investigation, drawing is focusedupon as a tool to transform conceptual ideas into tangible form.Permission of instructor required for nonmajors(FALL)

LDAR 2265 REPRESENTATION II3 credits Scott CarmanThe advanced course studies multimedia drawing through theuse of freehand and computer drawing. It explores thepossibilities with the material and content of two dimensionalexpression. The class encourages greater connections with thedesign studios by testing and reevaluating design work throughthe lens of phenomenology and seriality. Scale andcomposition are emphasized in the detailed and constructeddrawings that are required in class. Individual investigationsare developed throughout this advanced course to encourage away of making marks that connect with the various modes ofexploration in their studio work.Prerequisite: LDAR 2264Permission of instructor required for nonmajorsEstimated cost of materials: $225.00(SPRING)

LDAR 231G TOPICS IN REPRESENTATION:ADVANCED SEMINAR: HYBRIDDRAWINGS

3 credits Mikyoung Kim/Scott CarmanThe Hybrid Drawing course develops an understanding ofdigital modeling and rendering in the first six weeks of thesemester and then merges those digital techniques with manualtools of drawing. The digital skills developed throughAutodesk 3ds Max Design program will include basic digitalmodeling concepts, transformation of objects, spline-basedmodeling, the development of compound objects, andrendering with textures to develop an understanding of light inspace. Students will be encouraged to explore innovative newuses for the software and explore combinatory workflows withmanual representation methods, enhancing their technical skillswhile developing creative methodology.

Through exploratory exercises, students will be givena more advanced and robust understanding of the possibilitiesof digital representation, building upon the foundations ofRepresentation I and II. The purpose of this seminar is toimpart the familiarity with the various media that will allowstudents to comfortably engage digital modeling in an integraldrawing process which integrates manual and digitaltechniques in design.Open to junior and aboveLDAR & ARCH majors only; ElectiveEstimated cost of materials: $250.00(SPRING)

166 Landscape Architecture 2009 - 2010

Technology CoursesLDAR 2251 TECHNOLOGY & MATERIALS I

(MATERIALS AND GRADING)3 credits Michael MoonanThis course addresses the fundamental characteristics ofmaterials that constitute a landscape: soil, plants, water, wood,concrete, asphalt, etc., and their use in complex assemblies asstructures, enclosures and land forms. The last half of thesemester will focus on the integration of materials into thelandscape primarily through an understanding of topography,contours, and grading.Pre-registration by department(FALL)

LDAR 2252 PLANT MATERIALS3 credits Cecilia Searle/J. Tabor CatonBotanical topics relating to a general understanding of plantgrowth, classification, and horticultural and arboriculturalpractices. Course work will include a further understanding ofplant communities, plant identifications, and an introduction toplanting design.Pre-registration by departmentFee: $35.00(FALL)

LDAR 2253 PLANTS AND DESIGN 3 credits Richard JohnsonThis course will explore the use of plants as a design mediumwhile balancing the horticultural considerations. There will beanalyses of existing gardens, field trips, and the creation ofschematic and detailed planting plans for different types ofsites. Topics such as seasonality, texture, color and form willbe discussed.Prerequisite: LDAR 2252 or commensurate experiencePermission of instructor requiredFee: $35.00(SPRING)

LDAR 2254 TECHNOLOGY & MATERIALS III(ADVANCED CONSTRUCTION)

3 credits Colgate SearleThis course deals with advanced problems in landscapeconstruction, materials, and site engineering, focusing on bestmanagement practices: infiltration basins, bio-swales, raingardens, retention and detention basins, stream day-lighting,etc. There is a semester long site design development. Eachstudent produces a booklet that explain their site analysis,design concept, grading plan, schematic planting, and riveredge remediation. Prerequisite: LDAR 2266Pre-registration by department(FALL)

LDAR 2266 TECHNOLOGY & MATERIALS II (SITE ENGINEERING)

6 credits Sharon Lee MooneyThis course is a continuation of Technology & Materials I withemphasis on grading, drainage, construction details and layout.Other topics include surveying, road alignment, and stormwater management strategies.Pre-registration by departmentPrerequisite: LDAR 2251(FALL)

LDAR 2291 PRINCIPLES OF PROFESSIONALPRACTICE

3 credits James BarnesThis is a course about becoming a licensed designer, a businessprofessional and a citizen. It is intended to prepare students forthe challenges and opportunities of life as a professionaldesigner. The course will contain lectures organized aroundthree major themes: The designer as a trained and certified“Professional” in traditional practice, and alternative roles, thedesigner as an operative in the world of business andcommerce, and the designer as a provider of a particular set ofprofessional skills using traditional and emerging methods forthe delivery of professional services. Invited guests as panelmembers will present an outside professional perspective.Panels will be composed of many RISD grads, coming from awide spectrum of years of experience and professional roles.All will be asked to discuss their world as professionals, andbusiness people. All issues presented are common to thedisciplines of Architecture, Landscape, and Interiors.Also offered as ARCH 2191. Register in the course for whichcredit is desired(SPRING)

History/Theory CoursesLAEL LE20 ISSUES IN LANDSCAPE HISTORY3 credits Michael LeeThis course examines current issues raised by the design ofbuilt environments and explores the cultures, conditions,events, attitudes and design works of the past that form theideological, physical and practical background against whichtoday’s landscapes are made, interpreted and valued. Itexamines the profound changes in the design, perception anduse of the physical environment that have resulted from theshift from ruler-dominated socio-political structures and fromagrarian to industrialized society; the rise of the middle classin widespread urbanization; the shift of interest away fromprivate land holdings to public space; periods of imperialism,isolationism and nationalism; changing conceptions of spaceand time related to new modes of travel and landscaperepresentation; new theories in art, design and science; issuessurrounding commemoration; and more recently, growing

2009 - 2010 Landscape Architecture 167environmental concerns, the struggle between local traditionsand globalization, and the rise of the consumer society. LDAR majors only(SPRING)

LDAR LE44 HISTORY OF LANDSCAPEARCHITECTURE

3 credits Michael LeeThis survey course focuses on the history of landscapes in thepre-industrialized world. Landscapes will be considered as anevolving condition, even when their defining characteristicswere conceived and built at a specific point in time. Critical tothis course will be the establishment of frameworks forhistorical inquiry, the refinement of research methodologies, inthe development of multiple perspectives through which toquestion and understand the design environment. LDAR majors onlyAlso offered as LAEL LE44 for nonmajors and undergradsas Liberal Arts elective credit(FALL)

LDAR 225G THEORY I3 credits Karen NelsonLandscape is a term that can refer to a specific locale, designor even a collection of ideas, and political or ideologicallandscape. The term almost always implies a visual order,involving both cultural forces and natural forces. We areconcerned with ideological aspects in terms of representationalstructure, especially the connection between visual and verbalrepresentations of landscape, including texts, pictures, films,current media and built landscape case studies. Writingassignments will be based upon fundamental, critical texts andwords and images from current media.Graduate; Open to qualified undergraduatesPermission of instructor required for nonmajors(FALL)

LDAR 226G THEORY II 3 credits Mikyoung KimThis seminar explores how theory and design can be mutuallyinforming through discussions of built work in relationship totheoretical writings. Students will identify the works andissues to be covered and lead class discussions. This seminarinitiates the thesis process by asking students to formulate theirown proposals for research through design.Course Level: Graduate; Permission of instructor required fornonmajors(FALL)

Ecology and Planning CoursesLDAR 2256 DESIGN FOUNDATIONS/FIELD

ECOLOGY 6 credits Department Faculty/Visiting LecturersAll entering Landscape Architecture students are required toparticipate in the department’s four-week preparatory summerprogram in design fundamentals and field ecology. Thiscourse parallels similar ones being held for new students inother departments within the Architectural Division. Thedesign fundamentals component of the program is intended toprepare the student for the upcoming first-year studiosequence. The fall studio, Design Principles, taken withstudents in Architecture, is both rigorous and fast-paced. Itprovides the methodological and theoretical framework forRISD’s Architecture and Landscape programs and initiates afundamental discussion of design making and criticismnecessary for the more specialized studio work that follows.The summer course, in preparation for this, builds a basicdesign language, familiarity with tools and materials, and 2 and3-dimensional skills that will be needed immediately uponentering the studio sequence.

The field ecology component of the summer programplaces basic design discussions within the context oflandscape-based practice. It is intended to build awareness ofecological issues (using southern New England as a casestudy), facilitate the ability to interpret the landscape and thenonhuman and cultural forces which have shaped it over time,and foster an environmental ethic. This segment of theprogram is critical for building a knowledge base and foradding to a philosophical framework within which futuredesign efforts may be evaluated.

The summer program offers a unique opportunity toengage classmates and faculty in a focused discussion ofdesign-related issues which can be sustained over the course ofone’s studies. The course meets five days a week (includingsome weekends). The cost of instruction is paid for by thedepartment, while a $500 fee to cover trips and other expenseswill be required of all students. For those entering theprogram, pre-registration for this course is done through theLandscape Architecture department.Fee: $500.00(SUMMER)

168 Landscape Architecture 2009 - 2010LDAR 2257 ECOLOGICAL PLANNING AND

DESIGN3 credits Nicholas PouderThis course instructs architects and landscape architects incollecting, interpreting and mapping data on sitecharacteristics, both natural and cultural, in order to programand design new uses. Employing diverse projects, fromspecific sites to municipal and regional contexts, it offersexperience in site analysis, mapping, air photo interpretation,planning report preparation, programming for sitedevelopment, and an introduction to GIS.Requirement for three year program; Open to nonmajorsBrown University students are encouraged to participate.(SPRING)

LDAR 223G ISSUES IN PLANNING &CULTURAL GEOGRAPHY

3 credits Nadine GerdtsThrough spatial and cultural analysis this course explores thehistory and meaning of various geographical realities in theWestern and non-Western world. A critical examination ofurban, suburban and rural land-use patterns; utopian andapplied planning practices; models of urban and suburbanchange; the role of conservation and preservation advocacy andtheir interface with development, settlement and ecology,allows for an evaluation of new ideas and recent experimentsseen against a historical and cultural background.Requirement for majors; Open to nonmajorsBrown University students are encouraged to participate(SPRING)

2009 - 2010 Liberal Arts 169

THE LIBERAL ARTS DIVISION

MissionThe mission of the Division of Liberal Arts at RISD is toprepare RISD students to be active and knowledgeablecitizens of the world. To accomplish that mission, LiberalArts offers a broad spectrum of courses in the humanities andsocial sciences as well as select courses in mathematics andthe natural sciences. This curriculum is designed tocomplement RISD’s art and design education by enhancingcreative, critical and analytical abilities; enabling effectivecommunication; and instilling a lifelong curiosity about theworld.

DepartmentsThere are three departments in the Division of Liberal Arts,each of which oversees a particular area of study: English,History of Art and Visual Culture (HAVC); and History,Philosophy and the Social Sciences (HPSS). The Divisionalso offers liberal arts electives (labeled “LAEL”) that don’tfit under one of the three departments. These include coursesin culture and film, theater, science and mathematics, andstudio history

Graduation RequirementsTo graduate, students are required to complete fourteenthree-credit courses in Liberal Arts: three courses (9 credits)must be taken in English (ENGL courses); four courses (12credits) must be taken in History of Art and Visual Culture(ARTH courses); and three courses (9 credits) must be takenin History, Philosophy, and the Social Sciences (HPSScourses). The remaining four courses (12 credits) may betaken as electives in any of the above areas or from a pool ofother courses that carry Liberal Arts elective credit (LAELcourses).”

As part of the distribution requirements outlined above, thereare four specific courses students must take. In English, allstudents are required to satisfactorily complete LiteratureSeminar: Design in Words (ENGL E101) or, with thepermission of the English Department Head, its equivalent.This course is a prerequisite for all further elective study inliberal arts and, therefore, should be taken during the 1st year.In History of Art and Visual Culture, all undergraduatestudents who enter as first year students, and transferstudents who entered prior to Summer 2003 mustsatisfactorily complete a two-semester sequence in Historyof Art and Visual Culture (ARTH H101/H102). Transferstudents who entered in the Summer 2003 through Spring2008 must complete ARTH H101 and may use any electivecourse in Art History (ARTH course) to substitute for ARTHH102. Beginning in the Summer of 2008, a transfer studentwill only be waived from ARTH H102 if they enter with

adequate academic experience in art history. “Adequateacademic experience” is defined as one of the following:passing the AP Art History exam with a grade of 4 or 5;passing (with a C or better) any 3 credit course in Art Historyat an accredited college or university; or taking an art historycourse as part of the International Baccalaureate degree.Finally, in History, Philosophy, and the Social Sciences,beginning in Summer 2008, all students are required tosatisfactorily complete History, Philosophy, and the SocialSciences (Topics) (HPSS S101) or, with the permission ofthe History, Philosophy, and the Social Sciences DepartmentHead, its equivalent. This course is a prerequisite for allfurther elective study in the HPSS Department and shouldalso be taken during the first year

Liberal Arts Transfer PolicyTransfer students entering RISD may transfer credits forliberal arts courses taken at other accredited colleges anduniversities. Credits are transferred in three-credit units onlyand are acceptable exclusively for courses for which a gradeof C or better (or a P in a pass/fail system) has been earned.A 5 credit course from a school on the quarter system willtransfer in as a 3 credit course. In order to grant transfercredit, the Liberal Arts office must receive official transcriptsfrom each school attended. Students with degrees frominstitutions in non-English speaking countries may also berequired to take certain courses in English language andliterature. After matriculation students may transfer up to 12credits for courses taken elsewhere and passed with a gradeof C or better (or a P in a pass/fail system). Any creditstransferred are not calculated in a student's grade pointaverage.

Credits in Liberal Arts are granted for courses in thehumanities (history, art history and criticism, literary studiesand writing, classics, philosophy, religious studies, theaterstudies, performance studies); the natural sciences; foreignlanguages; mathematics and computer science; and the socialsciences (anthropology, economics, geography, politicalscience, psychology, sociology etc.), as well as forinterdisciplinary courses involving any of those disciplines(e.g., area studies, women’s studies). Among courses notconsidered part of the Liberal Arts curriculum are courses ineducation, business and secretarial training, computerapplications, extra-curricular activities, and work or “life”experiences. Courses in education and business areacceptable if the are taught from a humanities or socialscience point of view. (For example, a course in the historyof business or the philosophy of education would count.)Non-visual art studio courses (e.g., music, dance) andacademic courses not satisfying the above can now be

170 Liberal Arts 2009 - 2010counted as “nonmajor electives.” See your Department Headfor permission. One Liberal Arts course is, typically,equivalent to three credits.”

For further information on the Liberal Arts Division, visitour website at:<http://departments.risd.edu/depts/libarts/web>

CONCENTRATION IN HISTORY OF ART ANDVISUAL CULTURE (HAVC)RISD offers art history courses that span a wide range ofcultures, media, and time from Pre-Columbian art tocontemporary American sculpture to European film. TheCollege offers a 27 credit Undergraduate and a 36 creditGraduate Concentration in History of Art and Visual Culturedesigned for students who wish to complement their studiomajor with in-depth studies in art history, theory, criticism,and museum studies. The undergraduate HAVCConcentration can be completed within a 4 or 5 year degreeprogram and requires a total of 51 credits in Liberal Arts.The Graduate Concentration requires a semester and aWintersession beyond the M.F.A. studies. All RISD B.F.A.and M.F.A. candidates are eligible to undertake an art historyconcentration. Interested students should contact the Historyof Art and Visual Culture Concentrator Coordinator, BolajiCampbell, at 401-277-4870 or email: bcampbel@risd.edu.

For further information on the HAVC Concentration, visittheir website at:http://departments.risd.edu/depts/libarts/web/ah.htm

Undergraduate History of Art and Visual CultureConcentration Distribution Requirements:

I. 2 courses (6 credits):1. History of Art and Visual Culture 12. History of Art and Visual Culture 2 (Topics)

II. 2 courses (6 credits) from any of the following:1. Contemporary Art History and Criticism2. Methodology and Historiography3. Philosophy of Art and/or Sociology of Art,

Aesthetics

III. 3 courses (9 credits) from any three of the followingcategories:

1. Prehistory through Medieval2. Renaissance through 18003. 19th and 20th centuries4. Asian, African, Islamic, or Indigenous Arts of

the Americas

IV. 2 courses (6 credits) from either of the followingcategories:

1. Area courses or Studio/Art History team taughtcourses

2. Museum studies, Museum/Art History teamtaught courses

3. Categories II and III

Graduate Concentration in History of Art and VisualCulture Distribution Requirements:

I. 1 course (3 credits), Methodology and Historiography

II. 1 course (3 credits), Philosophy of Art and Aesthetics

III. 3 courses (9 credits) from any two of the following:1. Prehistory through Medieval2. Medieval or Islamic3. Renaissance through 18th century4. 19th and 20th century5. Asian, African, Indigenous Arts of the

Americas, Ethnography

IV. 3 courses (9 credits) from at least two of the following:1. Contemporary Art History and Criticism2. Area courses or Studio/Art History team-taught

courses3. Museum studies, Museum/Art History team-

taught courses4. Advanced area studies

V. 2 courses (6 credits), any category

VI. 6 credit Thesis supervised by a faculty member in theArt History Department.

CONCENTRATION IN ENGLISH: LITERARYSTUDIES OR CREATIVE WRITINGThe English Concentration aims to provide students with astrong background in literature, one that reflects a particularinterest in creative writing or literary studies or acombination of both. Students who elect the Concentrationmust fulfill all existing Liberal Arts distribution requirementsfor graduation. (The nine English credits currently requiredfor graduation will count as part of the twenty-sevencomprising the Concentration.)

The English Concentration aims to provide students with astrong background in literature, one that reflects a particularinterest in creative writing or literary studies or acombination of both. Students who elect the Concentrationmust fulfill all existing Liberal Arts distribution requirementsfor graduation. (The nine English credits currently requiredfor graduation will count as part of the twenty-sevencomprising the Concentration.) English Concentrators areencouraged to explore a range of available topics; however,two courses constitute the required core of advanced literary

2009 - 2010 Liberal Arts 171study. Concentrators must study contemporary critical theoryso that they are better able to participate in current criticaldiscussions, and they must take at least one seminar courseto experience in-depth, focused study of a specific topic,which culminates in a longer written project.

Three credits from a relevant course in Art History, HPSS,LA elective, or studio may be counted toward the Englishelectives requirement for the Concentration provided that thecourse is approved by the Concentration Coordinator as partof a student’s particular program of study.

The following requirements must be fulfilled:Literature Seminar: Design in Words

or an approved equivalent 1 course (3 cr)Contemporary Critical Theory

or an approved equivalent 1 course (3 cr)Seminar in Literature or Creative Writing 1 course (3 cr)English electives 6 courses (18 cr)

Total: 9 courses (27 cr)

Interested students should contact the EnglishConcentration Coordinator, Patricia Barbeito, at 401-454-6575 or email: pbarbeit@risd.edu. For further informationon the English Concentration, visit their website at:<http://departments.risd.edu/depts/libarts/web/eng.htm>

CONCENTRATION IN HISTORY, PHILOSOPHY,AND THE SOCIAL SCIENCES (HPSS)The Department of History, Philosophy, and Social Sciencesis an interdisciplinary department whose faculty teach andconduct research in a range of fields across the humanitiesand social sciences. All courses in the department emphasizecritical thinking and the development of writing and researchskills. The Concentration in History, Philosophy, and theSocial Sciences allows students with a special interest in thedisciplines and critical methodologies offered by theDepartment to pursue their study in a more in-depth andfocused fashion. Each student completing the requirementsfor a concentration in HPSS receives a certificate with his orher chosen HPSS concentration track clearly noted.

There are 11 established concentration tracks in HPSS fromwhich to choose:

American StudiesStudy of the United States and its larger geographical context(particularly North America, the Caribbean, and CentralAmerica), including economics, government, racial andethnic diversity, specific historic eras and watershed events,thoughts and values, international relations, and popularculture.

Asian StudiesStudy of one or more regions of Asia (East, Southeast, South,or parts of Islamic Asia), including their pasts, cultures,societies, philosophies, religions, aesthetics, and politicaldevelopments and institutions.

Belief SystemsStudy which investigates how cultures and societiesthroughout history have developed world views throughreligious beliefs, philosophical traditions, and folkways.World views offer different modes of comprehending theuniverse, the self, the nature of values, and the meaning oflife.

Comparative Political SystemsStudy of different political systems throughout the world andthrough history, from egalitarian hunter-gatherer societies toearly European monarchies, from constitutional democraciesto totalitarian states. This concentration looks at differentconcepts of power and authority and the political systemsthey animate, from historical, philosophical and culturalperspectives.

Contemporary Issues and Public PolicyStudy of the historical development, philosophical contexts,power relations, and public debates around current social andpolitical issues worldwide and the various methods that areused to shape understanding of and action toward suchissues, including empirical research, legal theory andpractice, political analysis, and social theory.

Culture, Race and EthnicityStudy that explores the historical, social, psychological,economic, and legal dynamics, meanings and experiences ofcultural, racial, national, and ethnic identities, especiallyAfrican-American, Asian-American, Latino, and NativeAmerican as well as comparable identities – whether amongindigenous, recently arrived or long domiciled communities– in various settings throughout the world.

Environmental StudiesStudy of how historical, cultural, religious, philosophical,societal, economic, and political factors have shaped andcontinue to shape human-nature relationships and today'senvironmental issues; exploration of the role that science andtechnology play in creating, exacerbating, or solvingenvironmental challenges; consideration of the impacts ofcities, suburbs and rural worlds on the environment; ourresponsibility as local and global community members; andthe ways in which art, design and diverse forms of creativitycan contribute toward more sustainable and just socio-ecological futures.

172 Liberal Arts 2009 - 2010European StudiesStudy of the European continent or specific European nationsand states (Rome, Germany, Britain), including philosophy,politics, warfare, state building, economic systems, andsocietal formations across antiquity, the Middle Ages, theRenaissance and Reformation, and the modern periods.

Gender and SexualityStudy which explores the socio-cultural, legal/ethical,historical, anthropological, psychological, and/or politicalaspects of gender (femininity and masculinity) and sexualorientation/ identity (heterosexuality, homosexuality, andbisexuality).

Media StudiesStudy of the history, institutions, and socio-cultural roles ofmass-mediated communications and expressions, past andpresent (books, newspapers and magazines, film and video,television, music, and the Internet), including theories ofproduction and reception, debates about media influence, andthe rise and role of media cultures.

The Self in SocietyStudy of how people perceive, construct, manipulate, andmaintain views of themselves and the world around them,and how physical and social environments (e.g., culturalnorms, social roles, immediate environmental stimuli) shapepeople’s identities, motivations, feelings, beliefs, andbehavior.

Students may also devise their own concentration tracks inconsultation with the Concentration Coordinator; such anoption will be handled on a case-by-case basis.

The HPSS Concentration requires the completion of 8courses (24 credits) prior to graduation. This includes oneIntroductory course from any of the disciplines within thedepartment, and seven “track-oriented” courses. Reflectingthe interdisciplinary nature of the program, five of these mustbe HPSS courses drawn from at least two of the disciplinesin the department; and two additional courses taken in anyacademic department provided they are pertinent to the trackthe student is pursuing. Courses credited toward fulfillmentof the Concentration must be part of a thematicinterdisciplinary track to be determined by the ConcentrationCoordinator in consultation with the student.

Concentration Format Total CreditsIntroductory-foundational HPSS course 3 credits 3

5 HPSS track-affiliated courses 15 credits 182 additional courses 6 credits 24(HPSS, LAEL, ENGL, ARTH, Studio, or non-RISD)

Students must continue to satisfy all Liberal Artsrequirements to graduate. The 9 HPSS credits currentlyrequired for graduation will count as part of the 24comprising the Concentration. Additional courses taken forthe concentration count towards the 4 additional electiverequirements in Liberal Arts. Qualified transfer credits applytoward fulfillment of the concentration requirements.

A student initiates a concentration by completing the"Declaration to Concentrate in the Liberal Arts" form(available in the Liberal Arts Office.) The completed andsigned form, along with a copy of your current transcript andschedule of classes should be submitted to the HPSSConcentration Coordinator, Dan Cavicchi (mailbox in theLiberal Arts Office, College Building). You will be contactedto set up a meeting to discuss your concentration. Interestedstudents should contact the HPSS Concentration Coordinator,Dan Cavicchi, at 401-454-6799 or email:dcavicchi@risd.edu. For further information on the HPSS Concentration, visit: <http://departments.risd.edu/depts/hpsshcon.htm>

2009 - 2010 Liberal Arts Electives 173

Liberal Arts Electives (General Studies Electives)Division of Liberal Arts, College Building, Room 418, telephone 454-6570

General Studies Electives may be courses in English, History of Art and Visual Culture and HPSS as well as the courses listedbelow:

Culture and FilmLAEL LE19 MASTERS OF ANIMATED FILM3 credits Marcin GizyckiThis course is a historical and critical study of the work ofselected masters of animated film. A spectrum of animated filmtechniques, styles, national schools, etc. will be presented. Thecourse will cover the period from the pre-Lumiére epoch to theend of the 1970's. The relationships between animated film andother visual art forms will also be studied.(SPRING)

LAEL LE47 WITH A PEN OF LIGHT3 credits Michael FinkHollywood films: how are they "written" by directors,performers, script crafters, cameramen and producers? Wewill view a selection of films featuring directors who stampedHollywood and us with their visions, often from other cultures.We will also study the direction Hollywood took ininterpreting the Depression, War, and Recovery, and thedirection stars, writers and designers chose in definingthemselves. This is a course in criticism, history and articulateappreciation.Fee: $60.00 for film rentals(FALL)

LAEL LE54 TIME, LIGHT, AND SOUND3 credits tbaThis course is designed as an introduction to the 113-yearhistory of the projected moving image (film, animation, andvideo). Artistic expression in these forms will be emphasized.Students discover new areas of interest while watchingcarefully selected examples of films and videos. During allclasses, students will view films representing different stylesand periods of filmmaking. About half of the classes aredevoted to contemporary films. Critical thinking will beencouraged and fostered during classroom discussions. Clearexpression of these thoughts will be developed throughassigned readings and weekly writing assignments. During thesemester, students learn about specific artists, schools offilmmaking, genres, and fields within the history of the film,animation, and video. Students also develop a commonlanguage by learning the meaning and proper usage of aglossary of common film terms. At select classes, film artists

are present to introduce and discuss their work. Other guestsinclude improvisational musicians who accompany silent films.Open to sophomore and aboveRegistration priority to FAV majorsPermission of instructor requiredLiberal Arts elective credit for nonmajorsFee: $50.00(FALL)

Science and MathematicsLAEL LE07 CONCEPTS OF MATH FOR THE

VISUAL ARTIST3 credits Donald ThorntonMathematicians as artists of the imagination; an exploration oftheir abstract conceptual systems which have almostinadvertently yielded spectacularly successful real worldresults; and a look at suggested artistic modes of thought andstrategies of artistic exploration. Discussions will includeimagination as a valid perception of the world (a sixth sense);high orders of infinity; abstraction, idealization and reality; thegeometry of vision, other non-Euclidean geometries and therelation of these geometries to our universe. Regularattendance, some assignments and outside reading are required.(SPRING)

LAEL LE11 CURRENT EVENTS OF BIOLOGY3 credits Deborah PerlmanBiology is an integral part of our living world. The aim of thiscourse is to help non-scientists understand some fundamentalconcepts and mechanisms of biology and use them as afoundation for examining current issues in our world. Some ofthe topics we will explore are genetics, DNA fingerprinting,genetic engineering, and biotechnology, evolution, species-,ecosystem-, and genetic-biodiversity, global warming,conservation. The format will be lectures and discussionsbased on readings from a human biology textbook and otherscience articles.(FALL)

LAEL LE41 HUMAN PHYSIOLOGY3 credits Deborah PerlmanThe course will address the questions of how the human bodyworks--how it functions in both health and disease. Followingan understanding of cell physiology (the function and structureof the individual cell), various body systems will be reviewed(respiratory, cardiac & circulatory, immune, endocrine,

174 Liberal Arts 2009 - 2010reproductive, neuromuscular, and sensory). Certain diseaseswill be discussed as they represent pathophysiology of thebody systems studied. The format will be lectures based onreadings from a physiology textbook and other science articles.In addition there will be an occasional in-class exercisemeasuring the student's own physiological functions (bloodpressure, heart rate, vision, etc.).(SPRING)

LAEL LE45 TOPICS IN PHYSICS 3 credits Donald Thornton Advanced and basic topics in the physical sciences areexplored in this class. An overview of space-time and theexpanding universe is followed by topics in: light quantum, theatom, and quantum physics. Other topics include wave-particle duality, gravity, time, black holes, and the special andgeneral theories of relativity. Then we examine the unificationof physics through the emerging result of (super) string theorywhich in spite of the incompatibility between general relativityand quantum mechanics harmoniously unites (and alsorequires) these conflicting theories. The already non-intuitivedimensions of space-time beautifully expand in the quantumgeometry of string theory.(FALL)

LAEL LE80 THE ECOLOGY OF HERE AND NOW3 credits tbaStudents examine how ecological processes have shaped thenatural histories of organisms living in the environs of RISDand the watershed that sustains Narragansett Bay. The first halfof the course will address ecological principles throughlectures, reading, and discussing classic and contemporarystudies of local, regional and global ecology. We will learn toconduct basic research using the scientific method. After anintroduction to local natural history during the second half ofthe course, students will plan and conduct observations andfield studies of their own on the RISD campus. The course willemphasize the understanding of ecological principles, how tojudge the authenticity of scientific writing, and how to carryout field investigations. We will discuss potential parallelsamong the work of scientists, designers and artists. Studentswork may become part of a natural history of the RISD campusbeing developed by the Edna Lawrence Nature Lab.(SPRING)

Studio HistoriesLAEL LE06 HISTORY OF GLASS3 credits Pascal RihouetFrom Egyptian vessels to skyscrapers, glass has been centralto every aspect of life. In a chronological sequence, this courseexplores the progress and purpose of glass making and itsartistic, practical, or psychological effects. Several sessionswill be devoted to conceptual themes such as glass as athinking tool (‘glass and science’), as a technology for sightand introspection (‘windows and mirrors’), and as a path todivinity (‘medieval stained glass’; ‘Islamic glass’).Powerpoint-based lectures will foster interaction among theparticipants with weekly readings as a basis for discussion. Awebsite (an e-portfolio on digication) will enhance thecommunication between students, the instructor, and theteaching assistant while allowing everyone to post ideas,comments, and visuals. Several visits to the RISD Museum areplanned to view both the permanent collections and piecesfrom storage. Students are expected to give an oral presentationon a theme or an object of their choice.Junior requirement for BFA Glass students. The class will beopen to other students if there are openings available afterGlass registrations is concluded.(FALL)

LAEL LE08 INVESTIGATING INTERIORITY3 credits tbaThis seminar is intended as a reinforcement of the centraltheoretical aspects of Interior Architecture in preparation forthe self-choice Degree Project the following Spring. Theseminar will assist the student to become more aware of thosefactors which will determine a successful outcome in terms ofsite and program for a design intervention with an existingbuilding. The seminar will proceed as a series of illustratedtalks and discussions.Also offered as INTAR 2379. Interior Architecture studentsshould register for the INTAR class. All others may register inthe course for which credit is desired.(SPRING)

LAEL LE17 HISTORY OF INTERIORARCHITECTURE I, 1400 - 1850

3 credits Henry FernandezThis course will examine the major architectural personalitiesworking in Europe (Italy, France, England, Spain, Germanyand the Netherlands) in the period 1400-1850. Areas of studywill include and examination of interior design related issuesthat will be studied in the context of their social, political,technological, and economic circumstances, as they pertain tothe design culture of the period. Special emphasis will begiven to interior additions and renovations. Other areas ofstudy will include the development of architectural drawing,and the way in which designs often evolved throughcommittees, or ongoing consultations among the patrons,

2009 - 2010 Liberal Arts Electives 175designers, administrators, and scholars. Attention will also begiven to design theory, and the doctrines relating to site,orientation, proportion, decorum, and the commercial designmarket.A general background in the history of Art and Design isdesirable but not mandatory.Requirement for BFA,BIA, and MIA three-year program;Elective for MIA two-year program Restricted to INTAR majors onlyArt History credit for Interior Architecture majorsLiberal Arts elective credit for nonmajors(FALL)

LAEL LE20 ISSUES IN LANDSCAPEARCHITECTURE

3 credits Michael LeeThis course examines current issues raised by the design ofbuilt environments and explores the cultures, conditions,events, attitudes and design works of the past that form theideological, physical and practical background against whichtoday’s landscapes are made, interpreted and valued. Criticalto this course will be the establishment of frameworks forhistorical inquiry, the refinement of research methodologies,and the development of multiple perspectives through which toquestion and understand the designed environment.Registration priority to graduate students in LandscapeArchitecture(SPRING)

LAEL LE22 MODERN ARCHITECTURE3 credits tbaThe course will focus on the diverse new roles encountered bythe architect in the 20th century: form maker, administrator ofurban development, social theorist, cultural interpreter,ideologue. Emphasis will be placed upon the increasinginterdependence of architecture and the city, and the recurrentconflicts between mind and hand, modernity and locality,expressionism and universality. The course is required of allsophomores in Architecture. Registration priority to majors in ArchitectureArt History credit for Architecture majors; Liberal Arts elective credit for nonmajors(SPRING)

LAEL LE26 HISTORY OF FURNITURE3 credits John DunniganA survey of the development of furniture and a criticalassessment of styles of each period. Considerable time will bespent studying the collection of the RISD Museum. Thecourse will include lectures, papers, field trips and exams.Art History credit for FURN majors only(FALL)

LAEL LE27 HISTORY OF INTERIORARCHITECTURE II, 1850 - PRESENT

3 credits Henry FernandezThis course will examine the major designers working in theperiod 1850 to the Present. Areas of study will include anexamination of design related issues that will be studied in thecontext of their social, political, technological, and economiccircumstances, as they pertain to the design culture of theperiod. Special emphasis will be given to the history ofinterior interventions, additions and renovations.

Other areas of study will include the development ofarchitectural drawing and other presentation media, and theway in which designs often evolved through committees, orongoing consultations among the patrons, designers,administrators, and scholars. Attention will also be given todesign theory, and the doctrines relating to site, orientation,proportion, decorum, and the commercial design market.A general background in the history of Art and Design isdesirable but not mandatory.Prerequisite: LAEL LE17Requirement for BFA,BIA, and MIA three-year program;Elective for MIA two-year program Restricted to INTAR majors onlyLiberal Arts elective credit for nonmajors(SPRING)

LAEL LE34 HISTORIES OF PHOTOGRAPHY I3 credits Nathaniel SteinPart I of a two-semester course exploring major topics in thehistories of photography. This semester covers events leadingup to the technology’s invention in the early nineteenthcentury, its earliest uses and markets in Europe and the U.S.,and its proliferation into the mass consumer sector after the1870's. We will study the ways that this exemplary recordingtool served the needs of rapidly industrializing economieswhich placed a premium on objective knowledge of the world.Among other topics, we will examine the portrait industry,medical, criminal, and ethnographic photography, warphotography and the illustrated press, photography’s role incolonial expansion and social reform, and nineteenth-centurydebates about the medium’s relationship to the fine arts.Lecture/discussion with visuals; library and museum visits.Grade based on short essay tests, museum research paper, andmaintenance of a notebook for assigned readings.Art History credit for Photography majors; Liberal Artselective credit for nonmajors(FALL)

176 Liberal Arts 2009 - 2010LAEL LE35 HISTORY OF DRESS3 credits Lorraine HowesThis course reviews world art and social history starting in theeighteenth century to illuminate the symbology and meaningbehind the aesthetic of each era, and the way in which theaesthetic finds universal expression in clothing. Examples fromthe collection of the RISD Museum are studied and slides areshown. Projects required are visually-based reports, writtenpapers/journals and group presentations.Estimated Cost of Text: $55.00Art History credit for Apparel Design majors; Elective creditin Liberal Arts for others (FALL)

LAEL LE38 HISTORY OF INDUSTRIAL DESIGN3 credits Matthew BirdThe course is divided into three parts: 1) current issues in thehistoriography of the field 2) topics in history of industrialdesign from 1750 to 1945 - such as collaborations between artand industry; mass production; changing patterns ofconsumption; industrial design and corporate imagery; thesocial and/or technological impact of industrial design andcorporate imagery; the social and/or technological impact ofindustrial design on transportation, the domestic interior, andthe workplace 3) individual research in an aspect of designsince 1945. Extensive readings, lectures, discussions, twopapers and materials that currently are defining this pivotalfield.Art History credit for Industrial Design majorsLiberal Arts elective credit for nonmajors(SPRING)

LAEL LE39 HISTORIES OF PHOTOGRAPHY II3 credits Nathaniel SteinPart II of a two-semester course that will survey major topicsin the Histories of Photography. Emphasis will be given to thediverse cultural uses of photography from its invention to thepresent day. Such uses include: the illustrated press; amateurphotography; studio photography; industrial; advertising, andfashion photography; political and social propaganda;educational and documentary photography; and photographyas a medium of artistic expression. Much attention will be paidto how photographs construct histories, as well as beingconstructed by them.Art History credit for Photography majors; However, Photomajors who take both LE34 and LE39 receive Art Historycredit for LE34and elective credit in Liberal Arts for LE39.Elective credit in Liberal Arts for nonmajors(SPRING)

LAEL LE44 HISTORY OF LANDSCAPEARCHITECTURE

3 credits Michael LeeThis course examines the profound changes in the design,perception and use of the physical environment that haveresulted from the shift from ruler-dominated socio-politicalstructures and from agrarian to industrialized society; the riseof the middle class and widespread urbanization; periods ofimperialism, isolationism and nationalism; changingconceptions of space and time related to new modes of traveland landscape representation; new theories in art, design andscience; issues surrounding commemoration; and morerecently, growing environmental concerns, the strugglebetween local traditions and globalization, and the rise of theconsumer society.Also offered as LDAR LE44. Register in the course for whichcredit is desired.Art History credit for Landscape Architecture majors; Electivecredit in Liberal Arts for nonmajors(FALL)

LAEL LE82 HISTORY OF WESTERN TEXTILES:FOCUS ON EUROPE AND AMERICA

3 credits Laurie BrewerFrom Coptic fragments to 15th-century Italian trade silks, early20th-century apparel fabrics to mid-century modern casementcloths, this course will utilize the extensive textile and apparelcollections of the RISD Museum of Art as points of departurefor the study of Western textile design. By way of illustratedlecture (both in the classroom and at the Museum), discussionsand readings, students will come to understand the stylistic andcultural significance textiles have played in the history ofWestern art and culture from antiquity to the modern era. Themanner in which social, economic, technological, and politicalchanges have impacted advancements in textile fibers, fabricstructures, color, and design will be explored. Researchprojects utilizing the textile and apparel collections will affordstudents the opportunity to partake in hands-on objects basedstudy.Open to sophomore and above(FALL)

2009 - 2010 Liberal Arts Electives 177

TheaterLAEL LE09 ACTING WORKSHOP3 credits Fred SullivanTaught by a working professional actor/director, thisintroduction to acting will lead the beginning student throughthe artistic process involved in acting for the stage and othermedia. Through exercises, study of technique, scene work andimprovisation the student will work to develop natural abilitiesand will become familiar with the working language and toolsof the modern actor. Emphasis in this class will be on thephysical self, mental preparation, the imagination, anddiscipline. Written work will include keeping a journal andwriting a character analysis. Perfect attendance in this courseis vital and mandatory.(FALL)

LAEL LE12 PUBLIC PRESENTATION3 credits Fred SullivanThis course, taught by a working professional actor/directorwith experience in stage, radio, tv and film, is centered on thebelief that speaking skillfully in public is a way to self-discovery, self-improvement and self-confidence. It is also atenet of this course that skillful public speaking is afundamental element of a humane society. Students willdeliver five major speeches, including self-written speeches ofintroduction, ceremonial speeches, informative speeches andpersuasive speeches. The oral interpretation of literature willalso be explored. Each class meeting will require everystudents’ speaking participation in order to develop skills in theareas of voice, diction, managing speech anxiety, research andorganization, use of microphones and video, and use of visualaids. The latter phase of this course will focus onconcentration, credibility, and familiarity with argument,debate and parliamentary procedure. Attendance at each classis vital and mandatory; furthermore, students will be requiredto “dress up” for their presentations.(SPRING)

Courses in Preliminary AcademicEnglishLAEL LE70 FUNDAMENTALS OF WRITING3 credits E. Celuzza/A. Kosmider/S. Bernstein This course is designed to help students write clearly,correctly, and effectively with an emphasis on basic principlesin action. Students will be assigned to Fundamentals ofWriting if their entering test scores and/or a placement testindicate a need for intensive writing study.This course does not replace ENGL E101. Students must takeE101 after successfully completing this course. Permission of instructor required. Contact the Division ofLiberal Arts.(FALL)

2009 - 2010 Painting 179

BFA Curriculum in PaintingDivision of Fine Arts Department office: Memorial Hall, telephone 454-6158

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program — see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4501 Painting I 6 0 4519 Drawing I 1 3 0 4505 Fundamentals/Materials & Color 3 0

4502 Painting II 0 6 4529 Drawing II 1 0 3

Liberal Arts 3 6Wintersession 3

Year Total 15 3 15

Third Year4514 Painting III 6 0

4515 Painting IV 0 6 4516 Contemporary Art and Its Disclosures 0 3

Painterly Prints 3 (4520) or elective 2 3 3Liberal Arts 3 3Elective 2 3 0 Wintersession 3

Year Total 15 3 15

Fourth Year4507 Painting Workshop 6 0

4504 Experiments in Drawing 4 0 34598 Degree Project 0 6

Elective 2 and 5 6 0Liberal Arts 3 3 Wintersession 3

Year Total 15 3 12

Footnotes1 Works on Paper (4208) may substitute for one of thesophomore drawing requirements (4519 or 4529).

2 Nonmajor studio electives (four courses/twelve creditsrequired for degree) may be taken during Wintersession orduring Fall or Spring. Major electives may be taken as yourschedule and course availability permits.

3 Painterly Prints is required in one of the two semesters.

4 Professional Practices (4597) or Digital Tools (4521) may befreely substituted for Experiments in Drawing (4504).

Curriculum notesThe curriculum above adds up to the 126 credits required forthe BFA. The Liberal Arts component is 42 credits, but detailis shown only for 33 of the credits in liberal arts (assuming 12credits in the First-year Program). To accumulate 42 credits,courses may be taken during Wintersessions or during the Fallor Spring semesters, as scheduling and interest permits.Consult your adviser, the Liberal Arts Office or the Registrarfor additional information.

Sufficient elective courses must be completed successfully tofulfill a minimum total of 126 credits necessary for a BFA

180 Painting 2009 - 2010degree. Elective courses are to be selected in consultation withthe department head or advisor.

For painting majors, some course offerings within thisdepartment may count for nonmajor studio elective credit. Seeadviser for information.

2009 - 2010 Painting 181

Courses in PaintingNote: Additional elective courses may be offered. Check the Addendum published prior to registration for listings and descriptions

PAINT 4500 PAINTING FOR NONMAJORS3 credits tbaThis course is intended for both beginner and advancedstudents. The goal is to offer an invigorating exploration of thesteps needed to develop an idea into personal expression.Materials will be discussed and non-traditional approaches willconsidered. Class field trips will provide exercises inobservation and the forming of ideas. (FALL

PAINT 4501 PAINTING I 6 credits C.Taylor/D. Bruton/D. FrazerAn introduction to the basic language of the paintingdiscipline. Emphasis on the plastic and formal considerationsnecessary for work that will become an increasingly personalstatement. Corequisite: PAINT 4519Requirement for sophomore majorsPermission of instructor requiredFee: $40.00(FALL)

PAINT 4502 PAINTING II6 credits D. Congdon/D. Bruton/D. FrazerThe purpose of this course is to continue development based onPainting I. Individual expression will be encouraged througha series of larger works which require greater time andorganizational skill. Experimentation in different paintingmedia, including oil, acrylic, watercolor and mixed media willbe encouraged. Group and individual critiques are required.Outside work will be assigned. Prerequisite: PAINT 4501Requirement for sophomore majors Permission of instructor required Fee: $40.00 (SPRING)

PAINT 4504 EXPERIMENTS IN DRAWING3 credits tbaThis course examines the definition of drawing in the twentiethcentury. The student, while working from the basis of theirown thematic and formal agenda, is directed to explorecontemporary approaches to drawing. Through assignmentsand weekly group critiques, they will seek to broaden theconceptual basis for their work.Requirement choice for seniors Permission of instructor requiredFee: $50.00(SPRING)

PAINT 4505 FUNDAMENTALS/MATERIALS ANDCOLOR

3 credits Daniel BozhkovThis course will present a safe, sound and flexible oiltechnique as a foundation for studio practices in the RISDpainting program and beyond. Topics covered will includetools and materials, preparatory processes, supports andgrounds, manufacture of oil paint, diluents, binders, vehicles,painting procedures, final coatings and care of finishedpaintings. At each stage, issues of safety and permanence willbe discussed in relation to individual creative requirements.Projects and experiments relating to lectures will be assigned.Professional practices such as shooting slides will be covered.Written exams will be based on assigned readings.Requirement for sophomore majors Permission of instructor required Fee: $55.00 (FALL)

PAINT 4507 PAINTING WORKSHOP6 credits Kevin Zucker/MoyerThis is an intensive program designed to test the student’sability to design, organize, and complete a project of his or herchoosing.Prerequisite: PAINT 4515Requirement for senior majorsPainting majors only(FALL)

PAINT 4514 PAINTING III6 credits C. Moyer/D. Slick/tbaThe primary goal of this course will be to shift theresponsibility of direction, problem-solving and problem-development from the Faculty Instructor to the student. Butthis will be accomplished with a great deal of facultyinvolvement and support. The class will begin with groupassignments which will become increasingly independent.Group and individual critiques will continue as an integral partof the curriculum, with an emphasis on contemporary art andcriticism. Prerequisite: PAINT 4502Requirement for junior majors Permission of instructor required Fee: $35.00 (FALL)

182 Painting 2009 - 2010PAINT 4515 PAINTING IV6 credits Carrie Moyer/Mary JonesThis will be a continuation of directions established in PaintingIII. Student work will be evaluated through group andindividual critiques. Visiting Artist lectures will be importantto the issues of contemporary art emphasized at this level. Thedepartment will schedule an individual review with a FacultyCommittee for each student during this course. Prerequisite: PAINT 4514Requirement for junior majors Permission of instructor required Fee: $35.00(SPRING)

PAINT 4516 CONTEMPORARY ART AND ITSDISCOURSES

3 credits Kevin Zucker/Leora Maltz-Leca This seminar will examine a series of canonical readings ofcontemporary art, focusing primarily on key writings publishedin the journal October and the magazine Artforum since 1975.We will engage in detail with such overarching criticalconcepts as postmodernism, neo-avant-garde, site-specificity,and relational aesthetics. We will also examine readings thatdraw on concepts such as the fetish, the abject, the informe, thegaze, primitivism, and postcolonialism. Finally, we will attendto issues of writerly style and method, seeking to understandthe wide variety of tools that critics and art historians employto understand, historicize, and enrich our understanding ofworks of contemporary art.Prerequisites: PAINT 4514, 4515Requirement for junior painting majorsAlso offered as ARTH H490 for non-painting majors. Registerinto the course for which credit is desired.Fee: To be determined(SPRING)

PAINT 4519 DRAWING I3 credits A. Raftery/tba/D. CongdonAn introductory level course for Painting majors. Students willdevelop drawing skills and insights and consider basic visuallanguage issues. Syllabus is coordinated with Painting I. Corequisite: PAINT 4501Requirement for sophomore majors Permission of instructor requiredFee: $15.00(FALL)

PAINT 4520 PAINTERLY PRINTS3 credits Randa Newland/Donna BrutonThis course offers a more painterly approach to the intaglioprocess. The students will produce applications of intaglio,such as collographs, large color monotypes and collage.Growth of imagery and technique will be encouraged throughmedium. A portfolio of prints will be produced. Requirement for junior majors Permission of instructor requiredFee: $300.00(FALL/SPRING)

PAINT 4521 DIGITAL TOOLS FOR ARTISTS3 credits Kevin BewersdorfThis is a hands-on, project-based introduction to computers anddigital multimedia for artists. The course is designed to be anongoing discussion on art, design and personal work informedby digital images, sound, video, animation, interactivemultimedia, and the Internet.Requirement choice for seniorsPermission of instructor requiredFee: $5.00(SPRING)

PAINT 4529 DRAWING II3 credits Andrew Raftery/Jerry Mischak/tbaA continued examination and development of drawing skills.This course is coordinated with Painting II. Prerequisites: PAINT 4501/4519Requirement for sophomore majors Permission of instructor requiredFee: $15.00 (SPRING)

PAINT 4570 CRITICAL CURATING3 credits Christopher K. HoThe history of painting and the trajectory of radical exhibitionmodels in the post-war period have always seemed divergent,even antithetical: the former pursued autonomy, then, morerecently, returned to narrative and figuration, while the lattertook cue, both morphologically and discursively, frominstallation, sited, and conceptual art. This course counterssuch assumptions by examining post-war painting in tandemwith key moments in curating (eg. Alanna Heiss’ PS1; OkwuiEnwezor’s Documenta XI; Jerome Sans and NicolasBourriaud’s Palais de Tokyo; and Dan Cameron’s Prospect 1).The course’s second half, at once more speculative and handson, uses the Painting Gallery as a test site for mounting anexhibition or exhibitions, with emphasis on the peculiaritiesthat painting—bounded, rectilinear, and flat—presents.

2009 - 2010 Painting 183Readings to include Bruce Altschuler, Julie Ault, ThomasCrow, Thierry de Duve, Hal Foster, Brian O’Doherty andothers. The course has a lab fee for two field trips to NewYork.Open to Seniors and abovePermission of instructor requiredFee: $50.00(FALL)

PAINT 4597 PROFESSIONAL DEVELOPMENTFOR THE ARTIST

3 credits Carrie MoyerThis course would address many practical issues to do withbecoming a professional artist after graduation. Some of theseissues are: the commercial gallery, the not-for-profit gallery,museums, graduate programs, auction houses, grants,documentation of work, archival storage of work andrestoration of artwork. Professionals from the gallery, museumand other fields will be invited to the class to share theirexpertise with the student. Artists will be invited to talk abouttheir professional experiences. It is a seminar class addressedparticularly to the senior painting student.Requirement choice for seniorsPermission of instructor required for nonmajors and PaintingjuniorsFee: $125.00(SPRING)

PAINT 4598 PAINTING DEGREE PROJECT6 credits Kevin Zucker/tbaThis is a comprehensive course designed to test the student’sability to create, complete, and document a Degree Project ofhis or her choosing. The Degree Project should be a distinct,carefully conceived, exhibition-ready body of work whichreflects the issues and objectives of your art. The SeniorDegree Project is distinct from your Woods-Gerry Gallery exhibition, although its work can overlap with that exhibition.Prerequisite: PAINT 4507Requirement for senior majorsPermission of instructor requiredFee: $5.00(SPRING)

184 Painting 2009 - 2010

MFA Curriculum in PaintingDivision of Fine Arts

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First Year450G 451G Grad Painting Studio Critique I & II 6 6 452G Grad Drawing 3 0726G Graduate Printmaking Project I 1 3 0

03xG Graduate Seminar 3 3 Electives 0 6

Wintersession 3Year Total 15 3 15

Second Year460G Grad Painting Studio Critique III 9 0

461G Grad Painting Studio Thesis 0 1203xG Graduate Seminar 3 0

Electives 3 3Wintersession 3

Year Total 15 3 15

Total Credits: 66

Footnote1 Grad Printmaking Project (726G) can be substituted withanother studio by permission of the Grad Coordinator.

Curriculum notesOne of the electives must be a course that fulfills the GraduateSeminar requirement which calls for three Graduate Seminars,only two of which are explicitly shown above. See GraduateStudies section for more information.

All graduate students must participate in Wintersession for aminimum of 3 credits each year.

General eligibility requirements for the master’s degree arelisted in the front section of the book.

2009 - 2010 Painting 185

Graduate CoursesPAINT 424G MEANING IN THE MEDIUM OF

PAINTING3 credits Christopher HoHow do we understand originality? Is it something youthink about in the studio, or in the critique? Is it aconcept fatally tied to the past? Or can it be found, recastin strategies and agendas of the moment? Or possible?

The seminar will mix readings, studio exercises,discussion and critique into an investigation of ourindividual and collective relationship to the notion of‘originality’. We will consider our desire for it, or forthe loss of it, within some simple frames, both modernand post modern. We will attempt to define our use of‘originality’ within the current state of thecritical/marketplace reception of art. Open to graduate students; ElectivePermission of instructor requiredFee: $60.00(SPRING)

PAINT 450G GRAD PAINTING STUDIO CRITIQUE I

6 credits David Frazer/Carrie MoyerThis period is designed for the students to evaluate andanalyze the directions he/she established as anundergraduate. Criticisms of the student’s work will beaimed at identifying strengths and weaknesses and helpthe students clarify fundamental objectives. Group andindividual critiques will occur by resident faculty andvisiting artists and critics during the semester. Successfulcompletion of this course is a prerequisite for continuancein the program.Open to graduate; RequiredPermission of instructor required(FALL)

PAINT 451G GRAD PAINTING STUDIO CRITIQUE II

6 credits tba/SlickThis period is designed for the student to evaluate andanalyze and pursue the directions he/she established inGrad Paint Studio Critique I. Group and individualcritiques will occur by resident faculty and visiting artistsand critics during the semester.Prerequisite: PAINT 450GRequirement for graduate studentsPermission of instructor requiredFee: $50.00(SPRING)

PAINT 452G GRAD DRAWING3 credits Kevin ZuckerThis course presents the graduate student with a series ofproblems intended to develop drawing as a tool forinquiry into a terrain outside the well-known beaten pathsof his/her past studio practice. Expanding the role fordrawing in studio experimentation is a goal. Work will bedone outside class. There are critiques each week. Requirement for graduatePermission of instructor required(FALL)

PAINT 460G GRAD PAINTING STUDIO CRITIQUE III

9 credits Carrie Moyer/Duane SlickThis period is designed as an advanced critique coursewhich involves visits by resident faculty, visiting artistsand critics, with special reference to current issues andconcerns in contemporary art.Requirement for graduatePermission of Painting Graduate Coordinator requiredFee: $50.00(FALL)

PAINT 461G GRAD PAINTING STUDIO THESIS

12 credits tbaThis period is designed for development and presentationof a body of work supported by a written thesis inconsultation with resident faculty, visiting artists andcritics during the semester. A final exhibition of workwill be evaluated by a jury of Painting Faculty Members.Prerequisite: PAINT 460GRequirement for graduateGrad Painting majors onlyPermission of Painting Graduate Coordinator requiredFee: $50.00(SPRING)

PAINT 465G THREE CRITICS3 credits Carrie Moyer/tba“Three Critics” will offer graduate students theopportunity to get inside the art critic’s head and learnhow writers think about the visual. Students will beexposed to a wide range of viewpoints and discourse oncontemporary art issues as defined by the interests ofthree different, practicing critics. Each critic will becomepart of the RISD community for approximately onemonth, conducting 3 sessions on campus and one in NewYork or Boston. On-campus meetings will consist oflectures, reading and writing assignments, group critiquesand one-on-one studio visits. Off-campus trips willinclude visits to museums, galleries and artist studios.Small groups of students will be expected to lead several

186 Painting 2009 - 2010classes. Outside course work and full participation inclass discussion required for successful completion. Open to second-year grad Painting students; ElectiveFive additional seats available for Fine Arts graduatestudents. For admission, students submit a one-pagewriting sample to the Graduate Painting Coordinator. Permission of instructor requiredFee: $50.00(FALL)

2009 - 2010 Photography 187

BFA Curriculum in PhotographyDivision of Fine Arts Department Office: DC 2nd floor, telephone 454-6122

This page lists requirements for students entering the Photo curriculum as sophomores in Fall 2009 and thereafter.COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program—see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year5301 Photo/Digital Imaging I 3 0 5309 Seminar: Issues & Images I 3 0

5308 Photo/Digital Imaging II 0 3 5302 Sophomore Studio 0 3

LE34 LE39 Histories of Photography I 1 and II 2 3 3Nonmajor elective 3 3 Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Third Year5311 Photo/Digital Imaging III 3 0 5305 5306 Junior Studio 3 35310 Issues & Images II 3 0

5312 Photo/Digital Imaging IV 0 3 Department elective 0 3Department or nonmajor elective 3 3Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Fourth Year5307 Senior Studio 3 0

5398 Senior Degree Project 0 6 Department electives 6 3 Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Footnotes1 Photo majors receive Art History credit. 2 Receives Liberal Arts elective credit.

Curriculum notesDepartmental electives must include a minimum of two“Tools” courses and two “Topics” courses. Refer to coursedescriptions to see which electives count as “Tools” or“Topics”.

Transfer students waived from required major courses based ontranscripts and portfolio review by department faculty. Thisworksheet shows a total of 132 credits, although the BFArequires only 126. Also, Wintersession credit can be fornonmajor electives or liberal arts. In any given Winter term thechoice is yours. The BFA requires 42 total credits in liberal artsand twelve in nonmajor studios so plan accordingly. Nonmajorelectives (twelve needed for degree) and Liberal Arts (forty-two needed for degree) may be taken during Wintersession, orduring Fall or Spring.

188 Photography 2009 - 2010

BFA Curriculum in PhotographyDivision of Fine Arts Department Office: DC 2nd floor, telephone 454-6122

This page lists requirements for students who entered the Photo major PRIOR to Fall 2009.COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program – see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second YearSecond-year Program – see Course Announcement 2008-2009

Year Total 15 3 15

Third Year5305 5306 Junior Studio 1 3 3

Department elective 3 0Intro to Digital Photography 2 or Electives 3 6 Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Fourth Year5307 Senior Studio 3 3 0

5398 Senior Degree Project 0 6 Electives 6 3 Liberal Arts 3 3 Wintersession 3

Year Total 12 3 12

Footnotes1 Formerly Photography III

2 Must be taken either Fall or Wintersession. Formerly required: Electronic Imaging I.

3 Formerly Photography IV

Curriculum NotesTransfer students waived from required major courses based ontranscripts and portfolio review by department faculty.

Nonmajor electives (twelve needed for degree) and LiberalArts (forty-two needed for degree) may be taken duringWintersession, or during Fall or Spring.

2009 - 2010 Photography 189NOTE ON COURSE FEES:Instead of course-by-course fees, photography majors arecharged a flat fee of $200.00 a year for the use of Photographydepartment facilities. The exception to this policy is forPHOTO 5322, Professional Practice, for which even majorspay the course fee. This flat fee is not changed or reduced forstudents who attend the Fall or the Spring, but not bothsemesters. Nonmajors pay $100.00 for each class for whichthey register that requires a fee, but they do not pay the yearlyflat fee.

Courses in PhotographyPHOTO 5300 INTRODUCTION TO PHOTOGRAPHY

FOR NONMAJORS 3 credits StaffThis is a basic course in the techniques of photographic seeing.Students will be given exercises to develop their ideasconcerning the fundamental visual problems of photography.Students will also learn technical aspects of exposure,developing and printing in the darkroom as they explore andrespond to the visual qualities of the medium. Students mustprovide their own 35mm camera with manual controls.Elective for nonmajors Fee for non-photo majors: $100.00 Deposit: $100.00 Estimated cost of materials: $150.00 - $200.00 (FALL/SPRING)

PHOTO 5301 PHOTOGRAPHY/DIGITAL IMAGING I

3 credits Thad RussellThis is the first course for students majoring in photography.The focus of the course is on traditional black and whitephotography using 35mm film and gelatin-silver paper. Thereason for focusing on black and white photography is that itis a comparatively simple process for introducing students tofairly complex technical issues and terminology that arefundamental to most other lens-based media, including digitalphotography, video and film. A working knowledge of thefundamentals of black and white photography is helpful inachieving a better understanding and appreciation ofphotography as a form of communication and expression. Abrief introduction to some digital tools and processes that areclosely related to film processes will also be included in thiscourse, but students are not expected to develop proficiency indigital image-making at this stage. Basic 35mm SLR cameraswill be provided for students who do not own one. Required for sophomore majorsPermission of instructor required for nonmajors (FALL)

PHOTO 5302 SOPHOMORE STUDIO3 credits Henry HorensteinThe Sophomore Studio is focused on the development of eachstudent’s expressive vision so that she/he can createphotographs with compelling content. Through group critiquesand individual meetings with the instructor, students will refinetheir skills as photographers and learn how to verballyarticulate issues in their own work as well as the work ofothers. The greater part of the class will be geared towardcreating an open and dynamic environment where studentsengage in the give-and-take of constructive feedback on theirprogress. The critique schedule will be enriched by readings,multimedia lectures and class field trips throughout thesemester. Attendance at all departmental visiting artist lecturesis required.Prerequisite: Photo/Digital Imaging IRequired for sophomore majorsPermission of instructor required for nonmajors (SPRING)

PHOTO 5304 INTERMEDIATE PHOTOGRAPHYFOR NONMAJORS

3 credits tbaThis course is designed for nonmajors who have taken Intro toPhoto for Nonmajors and wish to continue in photography anddevelop their own individual approach to the medium.Prerequisite: PHOTO 5300Open to undergraduate and graduate, Nonmajor elective Fee for non-photo majors: $100.00 Deposit: $100.00 Estimated cost of materials: $150.00 - $200.00 (FALL/SPRING)

PHOTO 5305 JUNIOR STUDIO3 credits Sarah Hart/tbaThe Junior Studio continues the process begun in theSophomore Studio but moves it to a more ambitious andsustained level of production and critical feedback. Studentswill be expected to work more autonomously and will exploretheir ideas with more focus and depth, with the goal of workingtoward the successful production of several bodies of workover the course of the year. Group and individual critiques willcontinue to form the basis of the course curriculum,supplemented by visiting critics, field trips and class exercises.Attendance at all departmental visiting artist lectures isrequired.Prerequisites: PHOTO 5301/5302Required for junior majorsPhoto majors onlyPermission of instructor required for nonmajors Fee for non-photo majors: $100.00 Deposit: $100.00 Estimated cost of materials: $150.00 - $200.00(FALL)

190 Photography 2009 - 2010PHOTO 5306 JUNIOR STUDIO3 credits Sarah Hart/tbaA continuation of Photo 5305 allowing junior level majors toinvestigate their image making concerns in depth. Class timewill be used to critique work in progress.Prerequisites: PHOTO 5302/5305Required for junior majorsPermission of instructor required for nonmajors Fee for non-photo majors: $100.00 Deposit: $100.00 Estimated cost of materials: $150.00 - $200.00 (SPRING)

PHOTO 5307 SENIOR STUDIO3 credits Eva Sutton/Henry HorensteinThe Senior Studio brings together the advanced skills and ideasabout image-making that each student in the major hasdeveloped over the previous two years. Students are expectedto work independently on their individual projects with theexpectation of a culminating body of work to be presented ina public exhibition during the spring semester (Degree Project).As in Junior Studio, group and individual critiques with facultyand visiting artists will continue to form the basis of the coursecurriculum. Attendance at all departmental visiting artistlectures is required.Prerequisites: PHOTO 5305/5306Photo majors onlyRequirement for senior majorsDeposit: $100.00 Estimated cost of materials: $200.00 - $250.00 (FALL)

PHOTO 5308 PHOTOGRAPHY/DIGITAL IMAGING II

3 credits Chris DaileyThis is the second in a series of required technical courses forsophomore photography majors. This course provides majorswith a fundamental understanding of the differences betweenfilm-based photography and digital imaging and introducesstudents to the underlying principles, languages and tools ofelectronic media. Students will learn key concepts in digitalimaging such as modes of data capture, file management,processing workflow, color management, resolution, “non-destructive” image processing, film scanning and inkjetprinting. This course will show students how to strategicallytailor software tools to their own specific imagery andworkflow needs.Students will need their own digital or film cameras for thiscourse.Prerequisite: Photo/Digital Imaging IRequired for sophomore majorsPermission of instructor required for nonmajors Fee: $100.00(SPRING)

PHOTO 5309 SEMINAR: ISSUES & IMAGES I3 credits Ann FesslerThis course introduces students to a wide range of criticalissues and expressive approaches in photographic practicesince the 1970s. Course time will be divided amongmultimedia lectures, group discussions, visiting artists/curators,in-class projects, and student presentations. As this is aseminar, the course depends on students’ active participation.Assignments will include both written and photo-basedprojects and each student will make a final presentation to theclass, based on individual research, writing, and studio work.Required for sophomore majorsPermission of instructor required for nonmajors (FALL)

PHOTO 5313 LARGE FORMAT3 credits tbaThis course is designed to give students the skills andexperience necessary to employ and control and uniquedrawing capabilities provided by the view camera. Topicscovered will include using the view camera’s tilt, swing, shiftand rise movements to control focus, perspective and imageshape. Students will also learn advanced exposure techniquesand advanced black and white printing controls. For majors, open to junior and above; ElectivePermission of instructor required for nonmajorsFee for non-photo majors: $100.00 Deposit: $100.00Estimated cost of materials: $150.00 - $500.00(FALL)

PHOTO 5314 LIGHTING3 credits Kent Rogowski This course will focus on basic lighting techniques andprinciples that will provide students with the skills necessaryto feel comfortable in a variety of lighting situations. Studentswill not only gain an understanding of how light can bemanipulated and controlled but also how it can be used tocommunicate information. The course will serve as anintroduction to the studio and to various kinds of tungsten andstrobe equipment.For majors, open to juniors and above; ElectivePermission of instructor required for nonmajorsFee for non-photo majors: $100.00 Deposit: $100.00Estimated cost of materials: $150.00 - $200.00(FALL/SPRING)

PHOTO 5315 VIDEO FOR PHOTOGRAPHERS3 credits Ann FesslerAn accelerated course in digital video and non-linear editingfor students who have experience with camera based imageryand digital skills. This class will accommodate students withno previous video production experience as well as those withvideo or audio pieces in-progress. Through weekly screeningsstudents will be introduced to a wide range of approachesincluding documentary, experimental, installation, and

2009 - 2010 Photography 191projection.Open to junior and aboveFee for non-photo majors: $100.00 Deposit: $100.00 Estimated cost of materials: $150.00 - $200.00 (SPRING)

PHOTO 5318 ANTIQUE AND ALTERNATEPROCESSES

3 credits Anna StricklandIn the photographic art world today, exciting new forms ofprint production have expanded expressive choices for artists,often combining processes from the earliest days ofphotography with the latest advances in digital media. In thiscourse, students will explore a number of vintage andexperimental photographic processes, including cyanotype, wetcollodion, platinum/paladium printing, albumen, gumbichromate and liquid light. The goal of the course is tobroaden the student's repertoire of photographic printmakingtechniques and allow for experimentation with hybrid formsthat combine old and new methods in innovative ways.Open to sophomore and aboveFee for non-photo majors: $100.00 Deposit: $100.00Estimated cost of materials: $150.00 - $200.00(FALL)

PHOTO 5319 CONTENT/CONTEXT3 credits Ann FesslerIn this seminar, students will identify thethemes/questions/issues present in their own work and researchthe work of others with similar concerns. This research mayinclude the work of writers, filmmakers, visual and performingartists, in addition to photographers. The results will bepresented as a proposal for an exhibition that will include thestudent's work in the context of the other artists, siteconsiderations, accompanying lectures, and public/communityprograms.Open to senior, graduate Photo majors Permission of instructor required for nonmajor seniors andgraduate studentsFee for non-photo majors: $100.00Estimated Cost of Materials: $50.00(FALL)

PHOTO 5344 STUDIO TOPICS: BEST OF BOTHWORLDS: EXPLORINGANALOG/DIGITAL HYBRIDS

3 credits Anna Strickland/Paul TaylorThis advanced, team-taught class combines digital and analogmethods in photography to achieve the best of both worlds.Participants will combine antique processes such as wetcollodion or gum printing with the latest in digital negativemaking for contact printing. The course will be run as aninvestigative studio where the historical and cultural contextsfor the invention of these antique processes will be presentedalong with the technical aspects. Students will be required to

work in teams to investigate original recipes for the processesand bring them to a workable format for the contemporarypractitioner. In a similar fashion, different methods of digitalnegative making will be presented so that students can use themethod best suited to the historical processes at hand. Inaddition, students will be introduced to the work of artists whohave revived antique photographic processes for contemporaryexpression.Open to junior and above Photography and Printmakingmajors; Advanced ElectivePermission of instructors for nonPhoto & nonPrint majorsFee for non-photo majors: $100.00 Deposit: $100.00(SPRING)

PHOTO 5339 THE BUSINESS OF ART: HOW TOBUILD A PROFESSIONAL PRACTICE

3 credits Thad RussellThis course is designed for art students looking to transitioninto the creative economy. As the worlds of art and commerceincreasingly co-mingle, we will explore how a RISD educationand skill set is marketable beyond academia and the galleryworld. This hands-on course will include making a businessplan, building a brand, finding and dealing with clients, andmanaging estimates, invoices, taxes, and insurance. Throughpractical in-class exercises, guest lecturers, readings andassignment work, we will address the risks and rewards ofmaking a living as an artist/entrepreneur.Open to nonmajorsFee for non-photo majors: $100.00(SPRING)

PHOTO 5345 WEB PROJECTS3 credits Michael Buhler-RoseThe Web has emerged as a virtual equivalent to the physicalworld, allowing artists, designers and photographers tocontextualize their ideas in a highly flexible and globallyaccessible environment. This hands-on course shows studentshow to design and build web-based projects of their choosing,including highly experimental or conceptual works as well asonline portfolios of existing work for professional self-promotion. The course will cover HTML, Flash and relevantsupport programs. Current Internet art and artists using theWeb will be surveyed and discussed.Note: This is a laptop-based coursePrerequisite: Basic Photoshop skills requiredOpen to sophomore and above; Open to nonmajors bypermission of instructor (FALL)

PHOTO 5346 THE VIRTUAL PHOTOGRAPH:TIME-BASED PROJECTION,INSTALLATION AND DVD

3 credits tbaIn addition to its traditional printed form, photography hasexpanded to include images that are temporal and transmitted.

192 Photography 2009 - 2010This transformation from still to time-based media offers newpossibilities for experimentation and dialogue. The coursebegins by exploring the possible relationships betweenphotographic images and time and will be addressing structuralissues of images in multiples such as sequencing, grouping andsimultaneity. After an experimental loop project, the courseends with a practical analysis of the DVD as a presentation anddistribution tool. We will be using the latest version of AdobePhotoshop and AfterEffects, as well as DVD Studio Pro andsome additional helper applications. The course can be used asa workshop to build installation or presentation prototypes orto develop a DVD portfolio of existing work.Prerequisite: Basic Mac skillsOpen to junior, senior, graduate; ElectiveOpen to majors and nonmajors(SPRING)

PHOTO 5347 DOCUMENTARY PHOTOGRAPHY3 credits Julia Clinker-GrossThis course combines an overview of the history, theory,political influences, trends of expression and a survey of pastand contemporary artists working in the field, with theopportunity for students to put theoretical study into practicethrough assignments that aid in the development of ones ownproject. In weekly critiques of student documentary workincluding journals that record ones process and self - reflection,we will explore the process, grapple with ideological issuesthat arise, and challenge each other to push our understandingand the development of a documentary language further. Open to sophomore and aboveOpen to nonmajorsFee for non-Photo majors: $100.00 Deposit: $100.00(FALL/SPRING)

PHOTO 5348 DIGITAL PHOTOGRAPHY3 credits tbaThis course is designed to give photography majors thenecessary skills to use digital methods to obtain photographicquality prints and to explore new avenues in digitalprintmaking. Topics covered will include: digital cameras,scanning, color management, advanced Photoshop techniquesand archival ink jet printing.Prerequisite: Photo 5323/5350For majors, open to junior and above; ElectiveOpen to nonmajors with instructor permissionFee for non-photo majors: $100.00 Deposit: $100.00Estimated cost of materials $150.00(FALL/SPRING)

PHOTO 5349 FROM PHOTOGRAPH TOPUBLICATION

3 credits Michael Buhler-RoseArtist-produced books offer exciting ways to organize andpresent ideas, texts and images to wider audiences thanexhibitions can reach. In this course, students will explorepossibilities for turning their photographic work into limitededition, self-published books. Using Adobe InDesign and otherdigital tools, students will explore the full potential of bookforms and expand their notions of what a photo-book can be.Besides exploring the possibilities of graphic and writtenexpression, students will also be introduced to the vibrantworld of Artist Books by visiting Printed Matter in New Yorkand other forums for small-production publishing, as well asthe possibilities for effective self-publishing online.Open to sophomore and aboveFee for non-photo majors: $100.00 Deposit: $100.00Estimated cost of materials $150.00(SPRING)

PHOTO 5350 INTRODUCTION TO DIGITALPHOTOGRAPHY

3 credits Jeff Barmett-WinsbyThis entry-level course in digital photography acquaintsstudents with the basics of image capture through a digitalcamera or film scanning, non-destructive image filemanagement, resolution management, the Adobe Photoshopworkflow for image editing, color management, and inkjetprinting. Other image-editing software will also be introduced.Students will need to have a digital (DSLR) camera with RAWcapture or a 35mm or medium-format film camera with manualcontrol of aperture and exposure time, as well as a portablehard drive to store their work. No prior darkroom or digitalprinting experience is necessary to take this course. This courseis designed for those who want to enhance their photographyskills beyond “point and shoot” and make more visuallycontrolled and compelling images. Open to majors, junior and aboveOpen to nonmajors, sophomore and aboveFee for non-Photo majors: $100.00 Deposit: $100.00(FALL/WINTERSESSION)

PHOTO 5358 ADVANCED DIGITAL PRINTING3 credits tbaThis class is an extension of the material covered in the DigitalPhotography course and is designed to give students the skillsto employ the latest and most advanced techniques in the artand craft of fine photographic digital printing. Special topicsand techniques covered will include; professional digitalcamera RAW workflow, advanced color corrections in LABcolor space, advanced masking and compositing techniques,Color management and color profiling. Students will have theopportunity to work in the advanced B&W quad tone RIP andwill create custom profiles for their own paper and inkcombinations. There will be a tutorial on mosaic and stitching

2009 - 2010 Photography 193software for making large format captures with digital SLRcameras. Prerequisite: PHOTO 5348For majors, open to junior and aboveOpen to nonmajors with permission of instructorFee for non-photo majors: $100.00 Deposit: $100.00(SPRING)

PHOTO 5398 SENIOR DEGREE PROJECT 6 credits Eva Sutton/Henry HorensteinThis six-credit course is designed to provide the necessaryproduction time for the realization of the Degree Project,culminating in a well-organized and installed public exhibitionof a project or body of work in the department’s Red EyeGallery. The Degree Project must be approved by photographyfaculty and accompanied by a written Degree Project Thesis.Attendance at all departmental visiting artist lectures isrequired.Requirement for senior majorsPhoto majors onlyDeposit: $100.00(SPRING)

LAEL LE34 HISTORIES OF PHOTOGRAPHY I

3 credits Nathaniel SteinPart I of a two-semester course exploring major topics in thehistories of photography. This semester covers events leadingup to the technology’s invention in the early nineteenthcentury, its earliest uses and markets in Europe and the U.S.,and its proliferation into the mass consumer sector after the1870's. We will study the ways that this exemplary recordingtool served the needs of rapidly industrializing economieswhich placed a premium on objective knowledge of the world.Among other topics, we will examine the portrait industry,medical, criminal, and ethnographic photography, warphotography and the illustrated press, photography’s role incolonial expansion and social reform, and nineteenth-centurydebates about the medium’s relationship to the fine arts.Lecture/discussion with visuals; library and museum visits.Grade based on short essay tests, museum research paper, andmaintenance of a notebook for assigned readings.Elective credit in Liberal Arts(FALL)

LAEL LE39 HISTORIES OF PHOTOGRAPHY II

3 credits Nathaniel SteinPart II of a two-semester course that will survey major topicsin the Histories of Photography. Emphasis will be given to thediverse cultural uses of photography from its invention to thepresent day. Such uses include: the illustrated press; amateurphotography; studio photography; industrial; advertising, andfashion photography; political and social propaganda;educational and documentary photography; and photography

as a medium of artistic expression. Much attention will be paidto how photographs construct histories, as well as beingconstructed by them.Elective credit in Liberal Arts (SPRING)

END OF LISTING FOR 2009-2010

The following courses are to be offered fall 2010 or after tosupport the revised curriculum for students entering photoin fall 2009 and thereafter. They are listed for informationpurposes only.

PHOTO 5311 PHOTOGRAPHY / DIGITALIMAGING III

3 credits tbaFormerly the Digital Photography course, this course isdesigned to give junior majors a thorough and deepunderstanding of the intermediate-level workflow for filmcapture and scanning and digital camera RAW file capture.Both workflows allow students to produce the highest qualityinkjet prints on large-format printers. This course will touch onmany topics, including advanced tonal and color correctiontechniques, image sharpening, digital camera exposure andRaw file processing, inkjet and Lightjet printing and automatedbatch file processing. While this course is primarily technical,students are expected to pursue their ongoing personal work tofulfill assignments, culminating in a final portfolio of 10finished digital prints that demonstrate mastery of thetechniques learned in the course. Students entering the courseshould be proficient in the use of the Macintosh platform andbasic Photoshop operations and have a good understanding ofprocessing and printing in black and white photography.Transfer majors must demonstrate these proficiencies to thesatisfaction of the department before being permitted to enrollin this course.Prerequisite: Photo/Digital Imaging II Requirement for junior majors (Class of 2012 on)Photo majors and grads only (FALL 2010)

PHOTO 5312 PHOTOGRAPHY / DIGITALIMAGING IV

3 credits tbaThis final course in the required technical series for majorsemphasizes the potentials of image-making untethered from apaper support. With the advent of digital image capture, thephotograph, as digital data, has become an infinitely malleableunit of meaning that can be reconstituted to form sequencesand transformations. Not only can it be a still print-object, butit can be a projection of light on any number of surfaces, aninformational component in a screen-based narrative, or onevisual element among many in an environmental installation.Students will explore the dynamic intersections betweenmoving and still; timeless and time-driven; simultaneous and

194 Photography 2009 - 2010sequential imaging. They will learn how to move data fluidlyamong different programs and to work from a broader“systems-level” perspective—a necessity in the context oftoday’s rapidly changing software platforms. Prerequisite: Photo/Digital Imaging IIIRequirement for junior majors (Class of 2012 on)Photo majors and grads only(SPRING 2011)

PHOTO xxxx SEMINAR: ISSUES & IMAGES II3 credits tbaThe lines between still and time-based media are blurring inthe digital era. New cameras offer both modes of image captureand image files are infinitely malleable. This course followsIssues & Images I and introduces students to a wide range ofcritical issues and expressive approaches in time-based (lens-based) work, concentrating on work of the past two decades.Course time will be divided among multimedia lectures, groupdiscussions, visiting artists/curators, in-class projects, andstudent presentations. Reading and writing assignments willintroduce students to the concepts and language of time-basedwork. Class lectures will expose them to a large range ofstyles, methods, genres and content concerns. Practicalassignments (including a collaboratively-produced videotape,individually edited and presented to the class) will allowstudents to put theory into practice and understand in a low-tech, hands-on way the expressive possibilities of time-basedwork. Prerequisite: ISSUES & IMAGES IRequired for junior majors (class of 2012 on)Others by permission of instructor only(FALL 2010)

2009 - 2010 Photography 195

MFACurriculum in PhotographyDivision of Fine Arts

COURSE NO. CREDITSFall Spring Fall Winter Spring

First Year532G 535G Graduate Critique I & II 9 9

Graduate Seminar 3 3 Electives 3 3 Wintersession 3

Year Total 15 3 15

Second Year536G Graduate Critique III Thesis 9 0

537G Graduate Critique IV Thesis 0 9539G Graduate Photography Thesis Writing 0 3 540G Graduate Thesis Project 0 3

Electives 3 0 Graduate Seminar 3 0 Wintersession 3

Year Total 15 3 15

Curriculum notesAll graduate students must participate in Wintersession for aminimum of 3 credits each year.

Graduate students must take a total of three (3) seminar orapproved Liberal Arts courses during the two year program.See “Graduate Studies” section of this book for additionalGraduate Fine Arts Seminars. Consult with the graduateprogram coordinator about appropriate courses to fulfill thisrequirement.

Graduate students who plan to teach during their second yearmust assist a faculty member in a Photo I course during theirfirst year. General eligibility requirements for the master’s degree arelisted in the front of this book.

FeePhotography graduate students are charged a flat fee of$200.00 a year for the use of Photography departmentfacilities.

196 Photography 2009 - 2010

Graduate CoursesPHOTO 532G GRADUATE CRITIQUE I9 credits Eva Sutton/Ann FesslerThis course is an ongoing discussion of individual work withspecial reference to current issues and concerns incontemporary art. Each student will be required to show anddiscuss work. Grades by participation. Requirement for graduate majorsPhoto Grad students only (FALL)

PHOTO 535G GRADUATE CRITIQUE II9 credits Eva Sutton/Ann FesslerThis course is an ongoing discussion of individual work withspecial reference to current issues and concerns incontemporary art. Each student will be required to show anddiscuss work. Grades by participation. Prerequisite: PHOTO 532GRequirement for graduate majorsPhoto Grad students only(SPRING)

PHOTO 536G GRADUATE CRITIQUE III THESIS9 credits Eva Sutton/Ann FesslerThis course is an ongoing discussion of individual work withspecial reference to current issues and concerns incontemporary art. Each student will be required to show anddiscuss work. Grades by participation. Prerequisite: PHOTO 535GRequirement for graduate majorsPhoto Grad students only (FALL)

PHOTO 537G GRADUATE CRITIQUE IV THESIS9 credits Eva Sutton/Ann FesslerThis course is an ongoing discussion of individual work withspecial reference to current issues and concerns incontemporary art. Each student will be required to show anddiscuss work. Grades by participation. Prerequisite: PHOTO 536GRequirement for graduate majorsPhoto Grad students only (SPRING)

PHOTO 539G GRADUATE THESIS WRITING3 credits Jennifer LieseA Graduate Thesis is to be determined in consultation withfaculty advisor by the beginning of the first semester of thesecond year. Requirement for graduate majorsPhoto Grad students only(SPRING)

PHOTO 540G GRADUATE THESIS PROJECT3 credits Ann FesslerThis period is dedicated to the development and presentationof a body of work supported by a written thesis in consultationwith the student s Thesis Committee. The final exhibition andwritten thesis will be evaluated by the Thesis Committee whichwill submit a final grade to the Graduate Coordinator.Requirement for graduate majorsPhoto Grad students only(SPRING)

2009 - 2010 Printmaking 197

BFA Curriculum in PrintmakingDivision of Fine ArtsDepartment Office: Benson Hall, telephone 454-6220

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program—see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4606 Intaglio I 3 0

4608 Beginning Lithography 0 34610 Waterbase Silkscreen I 0 3

4650 Relief Projects 3 0 Print or other studio elective 3 3Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Third Year4615 Junior Print. Workshop: Light to Ink 3 0 4648 4623 Junior Print. Workshop: Seminar/Critique 3 3

Print or other studio electives 3 6Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Fourth Year4651 Senior Print. Workshop: Critique 6 0 4622 Senior Print. Workshop: Seminar 3 0

4698 Senior Print. Degree Project: Critique 0 6Print or other studio electives 3 or 0 3Liberal Arts 0 or 3 3 Wintersession 3

Year Total 12 3 12

Curriculum notes Print electives, nonmajor studio electives, and Liberal Artsmay be taken in Fall, Spring or Wintersession, as yourschedule and course availability permits. For the BFA degreein Printmaking, a minimum of eighteen credits of majorelectives (PRINT) and twelve credits of nonmajor studioelectives are required. Forty-two credits of Liberal Arts arerequired for all BFA degrees. See the front section of this bookentitled “Graduation Requirements” for more details.

The Printmaking Department offers courses in intaglio,lithography, silkscreen, relief and painterly prints. Traditionaland contemporary techniques are taught including photo anddigital utilization. Students are instructed in each printmakingdiscipline to ensure that practical application is competent andthorough and that personal invention is carefully explored anddeveloped.

The Senior year involves the opportunity to develop anindividual visual vocabulary more independently. The senioryear culminates in the formal presentation of a degree project.

Professional Internships are encouraged. The Department hasspecial relationships with Solo Impression, Crown Point Press,Graphic Studio, and Pyramid Atlantic and others. Studentsnormally do internships over the Wintersession or the Summer.

198 Printmaking 2009 - 2010

Courses in Printmaking

PRINT 4213 PAINTERLY PRINTS3 credits tbaThis course will explore a painterly adaption to IntaglioPrintmaking. The assignments will include methods that allowfor a more fluid use of etching techniques. Multiple plates andlarge scale assignments will examine color, using a variety ofprocedures including: monotypes, open biting, collage,embossment, sugar-lift and photo transfer/combination andcollographs (procuring monoprints that allow for experimentalchallenges.)Open to PRINT majors only; ElectivePermission of instructor requiredFee: $300.00(SPRING)

PRINT 4520 INSTALLATION SIGHT AND SOUND3 credits Shawn GreenleeEvents and Environments is a studio course where studentscreate installations and performances that incorporatePrintmaking techniques into a multimedia context. Students areencouraged to create experiences that transform the gallerysetting or exist outside it. The course facilitates cross mediaexperimentation, while also introducing the computerprogramming environment Max/MSP/Jitter as a solution forcreating participatory situations and integrations betweenimage and sound.

Writing in 1968, Allan Kaprow said, "...most advanced artof the last half-dozen years is, in my view, inappropriate formuseum display. It is an art of the world: enormous scale,environmental scope, mixed media, spectator participation,technology, themes drawn from the daily milieu, and so forth."

Central to the course is the discussion of aestheticinnovations exemplified by Allan Kaprow's 'Happenings' and'Environments' which will offer a context for student work, andprovide a spring board for examining broader art classificationssuch as 'Performance Art', 'Site Specific Art', 'Sound Art', and'Experimental Music'.

Students will be challenged to explore and invent new waysof utilizing Printmaking in their work. In the first half of thesemester, students will conduct research, complete exercises,and collaborate on midterm projects. In the second half of thesemester, students will form final project proposals, and thenwork collaboratively or individually, reporting their progressin regular critique sessions.Open to Print majors only; ElectivePermission of instructor requiredFee: $300.00(SPRING)

PRINT 4606 INTAGLIO I3 credits Randa Newland/tbaThis course will introduce basic etching procedures throughdemonstrations and practical application. Individual artisticgrowth of imagery and technique will be encouraged throughassignments designed to explore the medium. Requirement for sophomore majorsElective for nonmajors Permission of instructor requiredFee: $300.00 Estimated cost of materials: $100.00(FALL)

PRINT 4608 BEGINNING LITHOGRAPHY3 credits Cornelia McSheehy/Andrew RafteryThis course will introduce basic lithogrphic applicationsthrough technical demonstrations and practical application.Individual visual statements and objectives will be realizedthrough assignments designed to explore imagery and conceptin addition to technical mastery of the medium.Requirement for sophomore majors; Class can be repeatedfor creditElective for nonmajors Fee: $300.00 Estimated cost of materials: $100.00(SPRING)

PRINT 4610 WATERBASE SILKSCREEN I3 credits Henry Ferreira/tba Students will stretch their own screens and will be introducedto a wide range of stencil techniques (cut film, paper stencil,crayon and glue, tusche and glue, and photo). Students areurged to experiment with stencil and printing techniques toproduce a portfolio of editioned prints. Requirement for sophomore majors; Elective for nonmajorsFee: $300.00 Estimated cost of materials: $100.00(SPRING)

PRINT 4615 JUNIOR WORKSHOP: FROM LIGHTTO INK

3 credits Henry Ferreira/Shawn Greenlee This course is designed to introduce students to intaglio,lithography and silkscreen from a photographic direction.Students learn skills necessary to transfer the photographicimage to the printed state. “From Light to Ink” is primarilytechnical in nature and is meant to serve as a basis for growthand exploration. Computer applications will comprise part ofthe course.Requirement for junior majors Permission of instructor requiredFee: $300.00 Estimated cost of materials: $150.00(FALL)

2009 - 2010 Printmaking 199PRINT 4621 DRAWING ALL TO ITSELF3 credits tbaDrawing is very often the backbone in service of some otherartistic pursuit. In this course we will explore drawing as ameans of expression all to itself. Our goal is to help studentsbetter realize their personal vision by strengthening theirformal and thematic approach to drawing. We aim to achieveour goal by building confidence in mark making. We willbegin by using observational drawing then branching off indifferent directions in order to produce the widest possiblerange of images. Assignments that are designed to encourageexperimentation with material and media will give way to moreindependently conceived projects as the course progresses.Open to sophomore and abovePermission of instructor requiredFee: 150.00(FALL)

PRINT 4622 SENIOR PRINT WORKSHOP:SEMINAR

3 credits Cornelia McSheehyThis course offers a practical foundation for future professionaloptions in Printmaking and Fine Arts. Various aspects of astudio career will be covered including: resumes, artists’statements, grants, photographing slides of work, artists’ taxes,exhibition planning, graduate school applications, etc. CareerServices serves as an important resource. Students will submitexamples of all subjects covered, conduct research and compilea personal professional file.Must also register for: PRINT 4651Requirement for senior majorsPermission of Department Head RequiredFee: $55.00(FALL)

PRINT 4623 JR PRINT WORKSHOP:SEMINAR/CRITIQUE

3 credits Andrew Raftery/Duane SlickCritical readings regarding printmaking, historical andcontemporary, print presentations, one studio project relatedto research as well as museum and printshop visits composethis class. The studio breadth of printmaking will be exploredvia individual investigations. Prerequisite: PRINT 4650Requirement for junior majorsPermission of Department Head RequiredFee: $55.00(SPRING)

PRINT 4624 SINGLE EDITION/ PORTFOLIOPROJECT

3 credits Henry FerreiraThis course will be dedicated to printing just one edition duringthe semester. Those students experienced in printmaking willbe encouraged to collaborate with a faculty member. A

portfolio of prints will be compiled at the end of the semesterand a print exchange will be held for those participating in theproject. This course will prepare the students for professionalprinting expectations and encourage intensity and scale tobecome more focused and ambitious. Prerequisite: PRINT 4606/4608/4610Elective; Advanced Students onlyThis course may be repeated for creditPermission of instructor requiredFee: $300.00 Estimated cost of materials: $100.00(SPRING)

PRINT4637 PHOTOGRAVURE3 credits Paul TaylorPhotogravure is the most refined method for makingphotographic prints from intaglio plates. Perfected in the 19thcentury, it was rediscovered in the late 1970's and has becomea very important technique in the contemporary print world.This course will introduce photogravure techniques usingphotographic and hard-drawn positive transparencies.Discussions of imagery and advanced issues in printmakingwill be integrated in to the course.Prerequisite: PRINT 4606Open to undergraduate & graduate advanced electiveFee: $300.00(SPRING)

PRINT 4648 JR PRINT WORKSHOP:SEMINAR/CRITIQUE

3 credits Brian Shure/tbaThis course provides the printmaking major the opportunity towork on a concentrated basis beyond study in a printmakingelective class. The responsibility of direction, and problemsolving will shift to the student as initial assignments proceedinto more independent projects. Individual critiques will occurweekly and at mid-term and final week.Prerequisites: PRINT 4606/4608/4610/4650Requirement for junior majors Permission of Department Head RequiredOpen to Printmaking majors onlyFee: $125.00 Estimated cost of materials: $100.00(FALL)

PRINT 4650 RELIEF PROJECT3 credits Daniel Heyman This class will utilize relief as a means of developing personalimagery. Wood engraving, reduction and multi-blocktechniques shown. The responsibility of direction, andproblem solving will shift to the student as initial assignments

200 Printmaking 2009 - 2010proceed into more independent projects. Individual critiqueswill occur throughout the term, at mid-term and final week. Requirement for sophomore majors. PRINTMAKING majors onlyPermission of Department Head RequiredFee: $300.00 Estimated cost of materials: $100.00 (FALL)

PRINT 4651 SENIOR PRINT WORKSHOP:CRITIQUE

6 credits Cornelia McSheehyThis course provides the printmaking major the opportunity towork with a printmaking faculty member on a concentrated andadvanced basis beyond study in a print elective course. Thissemester focuses on the development of printmaking prior tothe Degree Project and relies primarily on individual and groupcritiques. Prerequisite: PRINT 4650 Must also register for: PRINT 4622Requirement for senior majors Permission of instructor requiredFee: $125.00 Estimated cost of materials: $200.00(FALL)

PRINT 4652 ADVANCED INTAGLIO3 credits Brian ShurePresenting visual ideas clearly in any medium requiressensitive interaction with materials and an understanding oftheir possibilities. Intaglio processes encourage the generationof a rich variety of marks and surfaces. Proofing allows foranalysis and insight into the way you construct an image, andis an ideal arena for color experimentation. Students areencouraged to master and adapt intaglio techniques in relationto their own imagery, and in the process gain proficiency inmultiple-plate, color intaglio image-making, processing andprinting. Group and individual critiques will allow forfeedback and exchange of ideas. Emphasis is on imagery asmuch as technical competence, and students work towards afinal project involving a series of related prints. Prerequisite: PRINT 4606Open to undergraduate, graduate; ElectiveFee: $300.00(SPRING)

PRINT 4698 SENIOR DEGREE PROJECT: CRITIQUE

6 credits Cornelia McSheehy This course works in tandem with the Senior Degree Project:Seminar to which a Degree Project Proposal is submitted inFebruary. The Degree Project involves a semester ofindependent study to test the student’s ability to design andsuccessfully complete a substantial, comprehensive body ofwork. To facilitate Tuesday group critiques, students mustregister for this accordingly. A degree project exhibition atthe end of the semester is required.

Prerequisite: PRINT 4651 Requirement for seniorsPermission of instructor required Fee: $115.00 Estimated cost of materials: $200.00 (SPRING)

PRINT 8900 INDEPENDENT STUDY PROJECT 3 credits StaffAn Independent Study may be taken either for credit within thePrintmaking major or as a nonmajor studio elective, dependingupon the subject matter under study and the major of thestudent.(FALL/SPRING)

2009 - 2010 Printmaking 201

MFA Curriculum in PrintmakingDivision of Fine Arts

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First Year461G Graduate Printmaking I: Historical Context & Practice 6 0

462G Graduate Printmaking II: Cur. & Critical Topics & Practice 0 603xG 03xG Graduate Seminar 3 3 726G Graduate Printmaking Projects I 3 0

Advanced Printmaking Elective 0 3Liberal Arts/Nonmajor Elective 3 3Wintersession--Internship or International Study or Elective 3/6

Year Total 15 3/6 15

Second Year463G Graduate Printmaking III: Historical Context & Practice 9 003xG Graduate Seminar 3 0

464G Graduate Printmaking IV: Critical Topics and Practice 0 9469G Grad Printmaking Thesis: Articulating the Ideas and Processes

That Underlie Your Work 0 3Elective 3 3Wintersession--Internship or International Study or Elective 3/6

Year Total 15 3/6 15

Total Credits: 66

Curriculum notesAll graduate students must participate in Wintersession for aminimum of 3 credits each year.

General eligibility requirements for the master’s degree arelisted in the front of this book.

202 Printmaking 2009 - 2010

Graduate CoursesPRINT 461G GRADUATE PRINTMAKING I:

HISTORICAL CONTEXT ANDPRACTICE

6 credits Brian Shure/Andrew RafteryStudents in the graduate printmaking program will utilizegraduate level research and scholarship as an impetus forgrowth within studio practice. Investigation into historicalcycles of printmaking will be fostered through assigned textsand exploration of primary resources available at RISD,especially The RISD Museum. A dialogue stemming fromintensive studio work will be developed in varied formats byfaculty, visiting artists and peers throughout the semester.Requirement for first-year graduate majorsPermission of instructor requiredFee: $100.00(FALL)

PRINT 462G GRADUATE PRINTMAKING II: CURATORIAL & CRITICAL TOPICSAND PRACTICE

6 credits Brian Shure/Duane SlickWhat is the curatorial imperative? By incorporating curationinto studio practice, artists understand the context for placingnew combinations into the world. Collecting, archiving andcritical analysis of source material will develop a philosophyof stewardship. Central questions about printmaking as acrucial core for many disciplines that incorporate the relationbetween matrix and formed object, layers, reversals, positiveand negative and replication of original and appropriated mediawill provide a structure. The state of print publishing, art fairsand current curatorial literature will inform ongoing discussion.Prerequisite: PRINT 461GRequirement for first-year graduate majorsPermission of instructor requiredFee: $100.00(SPRING)

PRINT 463G GRADUATE PRINTMAKING III:HISTORICAL CONTEXT ANDPRACTICE

9 credits Brian Shure/Andrew RafteryStudents in the graduate printmaking program will utilizegraduate level research and scholarship as an impetus forgrowth within studio practice. Investigation into historicalcycles of printmaking will be fostered through assigned textsand exploration of primary resources available at RISD,especially The RISD Museum. A dialogue stemming from

intensive studio work will be developed in varied formats byfaculty, visiting artists and peers throughout the semester.Prerequisite: PRINT 461G/462GRequirement for second-year graduate majorsPermission of instructor requiredFee: $100.00(FALL)

PRINT 464G GRADUATE PRINTMAKING IV:CRITICAL TOPICS AND PRACTICE

9 credits Brian Shure/Duane SlickWhat is the place of printmaking in the art-world and the worldat large today? Central questions about printmaking as acrucial core for many disciplines that incorporate the relationbetween matrix and formed object, layers, reversals, positiveand negative, the replication of original and appropriated mediawill provide a structure. The state of print publishing, art fairsand current critical literature will inform ongoing discussions,research, and presentations.Prerequisite: PRINT 461G/462G/463GRequirement for second-year graduate majorsPermission of instructor requiredFee: $115.00(SPRING)

PRINT 469G GRADUATE PRINTMAKINGTHESIS: ARTICULATING THEIDEAS AND PROCESSES THATUNDERLIE YOUR WORK

3 credits tbaStrategies for analysis and documentation are presented anddiscussed as students combine their research and reflections ontheir own evolving production into an illustrated, written thesisthat organizes, focuses, and articulates their ideas. Artist’sbooks, online publications and other formats will be explored.Intensive support for development and production of the thesisin relation to studio practice will be given.Requirement for second-year graduate majorsPermission of instructor requiredFee: $100.00(SPRING)

2009 - 2010 Printmaking 203PRINT 726G GRAD PRINT PROJECTS I:

WATERBASE SILKSCREEN3 credits Henry FerreiraGrad Print I focuses on artistic decisions using waterbasesilkscreen as a medium. Photo processes will be integral to thecourse. Various surfaces for printing, the integration withpainting or drawing, scale investigations, and other materialscombined with silkscreen will be encouraged. Aestheticdiscourse will occur in individual and group critiques.Prerequisite: Print 4606/4608/4610Requirement for MFA in PrintmakingElective for other graduate studentsPermission of instructor requiredFee: $300.00 Estimated cost of materials: $100.00(FALL)

2009 - 2010 Sculpture 205

BFA Curriculum in SculptureDivision of Fine ArtsDepartment Office: Metcalf Building, telephone 454-6190

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program—see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4745 4746 Sophomore Studio I & II 6 6 4706 4707 Wood & Metal Shop Practice I and II 3 34714 or 4773 Figure-Modeling (4714) or Casting Studio (4773) 3 0

4716 Surveying 20th Century Sculpture 0 3 Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Third Year4721 4739 Junior Studio I & II 6 6 4772 or 4773 Metal Studio (4772) or Casting Studio (4773) 3 0

4725 Junior Sculpture Seminar 0 3Nonmajor Elective 3 3Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Fourth Year4717 Senior Sculpture: Studio I 6 0

Senior Thesis Studio Elective 1 3 0 4798 Senior Sculpture Thesis Project 0 6

Nonmajor Elective 3 3Liberal Arts 3 3 Wintersession 3

Year Total 15 3 12

Footnote1Senior Thesis Studio Elective: Senior in Sculpture mustchoose a studio elective, with the permission of their studiothesis advisor, that augments or compliments their ongoingwork toward thesis presentation in the Spring semester.

Curriculum notesA minimum of fifty-four (54) credits in Sculpture are requiredfor the major. Art History courses beyond the minimum arestrongly recommended.

Sufficient elective courses must be completed successfully tofulfill a minimum total of 126 credits necessary for a BFAdegree. Twelve of those credits must be earned in nonmajorstudio electives.

Some courses from other departments may be given Sculpturecredit. Those courses are to be selected in consultation withthe department head.

The curriculum above adds up to the 126 credits required forthe BFA. The Liberal Arts component is 42 credits, but detailis shown only for 30 of the credits in Liberal Arts (assuming 12credits in the First-year Program). To accumulate 42 credits,courses may be taken during Wintersession or during the Fallor Spring semesters, as scheduling and interest permits.Consult your advisor, the Liberal Arts Office or the Registrarfor additional information.

206 Sculpture 2009 - 2010

Courses in SculptureSCULP 4690 UNATTAINABLE PLACES3 credits Lane MyerMost people accept and believe in many things that exhibit thisphenomena because, there are many daily experiences we havewith our lives that does not include our physical presence. Weoften respond and remember these uninhabitable experiencesas though we had physically been there. Some existing formatsinclude television programs, theater performances, movies, theinternet, historic recreations, store windows, miniaturization,dioramas, postcards, fantasy, cartoons, etc.Artists and designers have benefitted from activelyparticipating and manipulating where to locate the viewer aspart of the work they are making, keeping them at bay fromarchitects to cake bakers. (and it works) What happens whenyou address these issues directly and create works that arebased on our acceptance of a physically limited engagement asbeing reality? Class participants will be encouraged to exploitthis phenomena through class assignments, and their owninterests and visual pursuits.Open to sophomore and above(FALL)

SCULP 4706 WOOD AND METAL SHOPPRACTICE I

3 credits Doug BorkmanThe purpose of this year-long course is to provide newSculpture students with safety orientation for their future useof the wood and metal facilities in the Sculpture department.The shop technician instructs students in the safe operation ofthe stationary machines in the Wood Studio, including the bandsaw, table saw, sanders, planer, and jointer. In the MetalStudio, the welding equipment, stationary tools, and processescovered include: gas welding; electric welding processes, suchas TIG, MIG, and electrode; plasma cutting; grinding tools;horizontal and vertical band saws; benders; and rollers. Thiscourse is required for all entering undergraduate Sculpturestudents - and highly recommended for entering graduatestudents. Passing this course is required in order to qualify forShop Monitor Work Study jobs.Requirement for sophomore majorsSculpture majors onlyFee: $150.00(FALL)

SCULP 4707 WOOD AND METAL SHOPPRACTICE II

3 credits Doug BorkmanA continuation of Wood and Metal Shop Practice I whichcovered welding, metal fabrication, and wood workingtechniques. This semester emphasizes lost wax casting,including wax fabrication, two-piece plaster molds, alginatemoldmaking, gating and spruing, investing, ceramic shell

building, chasing tool making, melting and pouring metals(aluminum and bronze), divesting metal finishing, tig welding,and patina. Also covered are casting techniques: concretecasting and moldmaking using plywood forms.Requirement for sophomore majorsSculpture majors onlyFee: $150.00(SPRING)

SCULP 4714 FIGURE MODELING3 credits Jeffrey HesserA posed model serves as the visual base from which studentsattempt to realize integrity of form in clay. Class projectsinclude a portrait, one-third life-sized seated figure, and one-half life-sized standing figure. Outside assignments includeskull study begun in class and a hand study. Strong emphasisis given both to whole sight and to abstraction of essentials -proportion, spatial relationship, and axial orientation.Sophomore electiveSculpture majors onlyFee: $30.00(FALL)

SCULP 4716 SURVEYING 20TH CENTURYSCULPTURE

3 credits Ann-Marie DumettThis course surveys the major movements in sculpture of the20th century.Sculpture majors only for elective creditNonmajors by permission of instructor(SPRING)

SCULP 4717 SENIOR SCULPTURE: STUDIO I6 credits Ellen Driscoll/tbaStudents are expected to clarify their objectives, fine tune theirtechnical abilities and develop a strong working attitude.Throughout the fall, students will engage in research into thesources which support their studio practice and present bothwriting and powerpoint presentations to support theirinvestigations. A thesis abstract, and draft of thesis writing arerequired by the end of the semester for approval by the SeniorThesis advisor, for development and execution in the springterm. Requirement for senior majorsSculpture majors only Fee: $150.00(FALL)

SCULP 4721 JUNIOR SCULPTURE: STUDIO I6 credits Dean SnyderThis course helps students develop a clear direction for theirsculpture. Readings, discussions and slide presentations on

2009 - 2010 Sculpture 207contemporary art and culture supplement the studio work andcritiques. Students are expected to research and present a talkon a subject of their choice. Requirement for junior majorsSculpture majors onlyFee: $150.00(FALL)

SCULP 4725 JUNIOR SCULPTURE SEMINAR3 credits Ann-Marie DumettThe junior seminar is an extension of the sophomore sculpturesurvey course. It is, in essence, the departments legacy course;New York, New York. The rhythm of this course is centeredupon alternate week trips to New York City. These visits arefocused around organized tours of Museum collections orexhibitions with curators, gallery exhibitions and meetinggallerists, sculptors studios. The writing component is focusedupon a professional proposal juried by a panel of two visitingart professionals. Requirement for junior majorsSculpture majors onlyFee: $240.00 (three trips to NYC)(SPRING)

SCULP 4739 JUNIOR SCULPTURE: STUDIO II6 credits Lee BorosonThis course helps students develop a clear direction for theirsculpture. Readings, discussions and slide presentations oncontemporary art and culture supplement the studio work andcritiques. Students are expected to research and present a talkon an artist or subject of their choice. Requirement for junior majorsSculpture majors onlyFee: $150.00(SPRING)

SCULP 4745 SOPHOMORE SCULPTURE: STUDIO I

6 credits Joy Wulke/Lee BorosonThe concepts and materials of sculpture are inextricably boundtogether. This course is a rigorous introduction to the majorissues and techniques of sculpture. Requirement for sophomore majorsSculpture majors onlyFee: $150.00Students are required to purchase a substantial selection oftools(FALL)

SCULP 4746 SOPHOMORE SCULPTURE: STUDIO II

6 credits Dean Snyder/DriscollThis course builds on the skills and concepts of the FallSophomore Sculpture Studio while encouraging a strongerconceptual base.Requirement for sophomore majorsSculpture majors onlyFee: $150.00(SPRING)

SCULP 4764 SURROUNDED, PLACED OR VALUED3 credits Lane MyerA frame will make anything look important, galleries arestripped stores, and a museum is a walk-through treasure chest.Confronting what happens to an object after it is created canprovide inspiration and direction for making better artwork.This class reverses some typical creative procedures andsearches for a next place to be noticed or successful.Assignments focus on investigating exhibits, newenvironments and different contexts for creating artwork.Students for this course should be articulate about what theymake and confident enough to explore other venues forexpression or sculpture.ElectiveEstimated cost of materials: $150.00(FALL)

SCULP 4765 THE ARTIST’S MACHINE:ELECTRICITY AND ELECTRONICSFOR ARTISTS

3 credits Paul BadgerStudents learn the basics of electricity and electronics whilefocusing on how to use microcontrollers (one chip computers)in conjunction with sensors, lights, motors, switchers, audiosignals, and basic mechanics in works of art. Projects includetimekeepers, simple robots, and interactive environments.Readings and slide/video lectures encompass artist-builtmachines and sculpture from 1900 to the present. Students canexpect to spend time outside of class reading andprogramming, as well as designing and constructing. Noprevious experience with electronics is required. Studentsshould have taken a basic computer art course and, ideally, asculpture course. Computer programming and machine shopskills are definitely a plus.ElectiveFee: $100.00(FALL)

208 Sculpture 2009 - 2010SCULP 4773 CASTING STUDIO3 credits Daniel LangstonStudents learn how to make sculpture by the casting and moldmaking processes in this hands-on studio course. Working inthe Metcalf Foundry, students create waste molds, plaster piecemolds, rubber molds, and sand and ceramic shell molds.Materials used include cast wax, concrete, bronze, and iron.Sculpture major electiveSculpture majors onlyFee: $265.00(FALL) CANCELLED

SCULP 4798 SENIOR SCULPTURE THESISPROJECT

6 credits tbaStudents are expected to pursue their individual work under theguidance of a full time member of the Sculpture faculty.Students will pursue independent studio investigation with thegoal of producing a body of work that culminates in a curatedexhibition. The body of work will have a written thesisdocument that supports in full the thesis abstract from the fallsemester, and which is submitted for approval by the Thesisadvisors.Prerequisite: Senior sculpture major in good academicstandingRequirement for senior majorsSculpture majors onlyFee: $150.00(SPRING)

SCULP 7013 ROBOTICS3 credits Paul BadgerThis is a hands-on introduction to robotics for artists class.Topics covered include: machine shop practices, electronicconstruction and theory, and computer programming. Studentswill build robots and utilize robotic technology. Students arefree to choose their own microcontroller platforms. Peripheraltechnology will employ servomotors and sensors. Readingswill explore the interface between art and technology. Open to senior, fifth-year, graduate; ElectivePermission of instructor requiredFee: $100.00(FALL)

SCULP 4691 KINETICS SCULPTURE3 credits Robin MandelThe two main goals of this course are: (1) to gain an awarenessand appreciation of the expressive potential of objects thatmove and change over time, and (2) to develop anunderstanding of the basic mechanical principles involved ina moving object. We will study basic mechanical movementsin order to understand how they work, and to attain the level ofprecision necessary for making kinetic sculptures. But thiscourse is not exclusively technical–we will also spend timelooking at contemporary and historical kinetic artworks in

order to understand what the visual and expressive impact ofsuch work can be. There is a physical dimension and anemotional dimension, and we will seek to understandboth–what are the expressive possibilities opened by movingartwork? This course will not incorporate the use of electronicsor computers, but will cover motors, pulleys, bearings, andother mechanical components that can help get things moving.Some shop fabrication skills necessary, as we will cover moreadvanced techniques in both the wood and metal shopsOpen to sophomore and aboveFee: $50.00(FALL)

NMSE 4719 ADVANCED FIGURE MODELING3 credits Jeffrey HesserA model is dedicated for the entire semester, and the objectiveis a three-quarter life-sized figure. Students begin bydetermining the pose through a series of quickly executedmaquettes, two from the model and one from imagination.Students learn scaling-up procedures, build a large rollingstand, and an armature. A primary objective remains therealization of form integrity - life charged from a center andorganized spatially by its anatomy or internal structure.Internalized core issues are repeatedly reaffirmed. Therefore,strong emphasis is given both to whole sight and to abstractionof essentials - proportion, spatial relationship, and axialorientation.(SPRING)

2009 - 2010 Sculpture 209

MFA Curriculum in SculptureDivision of Fine Arts

COURSE NO. CREDITSFall Spring Fall Winter Spring

First Year450G 451G Advanced Critical Issues Seminar I & II 3 3 471G 472G Graduate Sculpture Studio I & II 9 9

Studio Electives or Liberal Arts 3 3 Wintersession 3

Year Total 15 3 15

Second Year455G 456G Advanced Critical Issues Seminar III & IV 3 3473G Graduate Sculpture Studio III 9 0

474G Graduate Sculpture Thesis Project 0 12Studio Electives or Liberal Arts 3 0 Wintersession 3

Year Total 15 3 15

Curriculum notesAll graduate students must participate in Wintersession for aminimum of 3 credits each year.

General eligibility requirements for the master’s degree arelisted in the front section of the book.

210 Sculpture 2009 - 2010

Graduate CoursesSCULP 450G ADVANCED CRITICAL ISSUES

SEMINAR I 3 credits Barbara BernsteinA graduate level seminar that provides an intensive study ofcurrent critical issues in sculpture and glass. The course is ayear-long course taught by a different critic and/or curator eachsemester. The class is divided into two segments: a seminarand a studio. Each week the seminar lasts for three hoursfollowed by studio visits with each student. This helpsstudents to carry the dialogue of the contemporary art issuesinto the studio more effectively.Requirement for first & second-year graduateSculpture majors only(FALL)

SCULP 451G ADVANCED CRITICAL ISSUESSEMINAR II

3 credits tbaThe Spring term version of SCULP 450G. Requirement for first & second-year graduateSculpture majors only(SPRING)

SCULP 455G GRAD III SCULPTURE SEMINAR3 credits Lee BorosonIn this class, we go to the source, exploring the richness anddiversity of art forms being made and exhibited across the fiveboroughs of New York city. Our focus is contemporary work,the structure of the gallery-based art market,experimental/performative, artist run projects and the criticalmedia that surrounds these worlds. As artists, we mustconstantly increase our knowledge of other practices in ourfield. It's essential for a student of current art to see it inperson; towards that end, the class will spend six days in NewYork over the semester. We will travel to a range of galleries,studios and non-profits, museums, and cultural spaces in avariety of the city's neighborhoods. The group will meet withartists, gallerists, curators, and critics. The classroomcomponent focuses on discussion and analysis of the work seenduring each New York visit. Required writings put each artistin the critic's shoes, as well as allowing each student toapproach exhibited works in light of their own studio practice.The extended format of this seminar will allow us to attendvarious cultural events that are associated with the arts in NewYork on Friday evenings.Sculpture majors only; Graduate electivePermission of instructor required(FALL)

SCULP 456G GRADUATE IV SCULPTURESEMINAR

3 credits tbaThis seminar is reserved for second year MFA SCULPstudents and is taught in conjunction with SCULP. 451G.(SPRING)

SCULP 471G GRADUATE STUDIO I9 credits Ellen DriscollStudents pursue individual work under advisement of residentfaculty, visiting artists and critics during the semester.Individual objectives are clarified and professional practicesare discussed. Group interaction and discussions are expected.Requirement for first-year graduateSculpture majors only(FALL)

SCULP 472G GRADUATE STUDIO II9 credits Dean SniderStudents pursue individual work under advisement of residentfaculty, visiting artists and critics during the semester.Individual objectives are clarified and professional practicesare discussed. Group interaction and discussions expected. Requirement for first-year graduateSculpture majors only(SPRING)

SCULP 473G GRADUATE STUDIO III9 credits Dean Snyder Students pursue individual work under advisement of residentfaculty, visiting artists and critics during the semester.Individual objectives are clarified and professional practicesare discussed. Group interaction and discussions are expected.Requirement for second-year graduateSculpture majors only(FALL)

SCULP 474G GRADUATE SCULPTURE THESISPROJECT

12 credits Ellen DriscollStudents present a body of work supported by a written thesisto a thesis committee for evaluation. Requirement for second-year graduateSculpture majors only(SPRING)

2009 - 2010 Teaching + Learning in Art + Design 211

Master of Arts in Teaching (MAT) CurriculumOne Year ProgramDepartment of Teaching + Learning in Art + Design, Division of Graduate StudiesDepartment Office: 20 Washington Pl., telephone x6695

CREDITSCOURSE NO. Summer Fall Winter Spring

Summer605G Lifespan: Human Growth & Development 3654G Digital Media Design Studio 3

Term Total 6

Fall601G Curriculum Mapping for Visual Arts Learning 3604G Lab School: Learning Through Art + Design 3606G Lifespan: Exceptionality 3652G Context, Content, and Practices in Art + Design Education 3

Term Total 12 1

WinterW62G Design Education Studio Workshop: Place-Based Learning 3

Studio or Liberal Arts elective 3Term Total 6

Spring608G Student Teaching in Elementary School 4.5609G Student Teaching in Secondary School 4.5610G Degree Project 3

Term Total 12 1

Footnote1 MAT students are not permitted to enroll in more than thetwelve (12) required course work credits during the Fall orSpring semesters.

212 Teaching + Learning in Art + Design 2009 - 2010

Master of Arts (MA) – Art + Design Education Curriculum Two Year Program

Choose one of two tracks: Museum Education (ME) or Community Arts Education (CAE)

CREDITS COURSE NO. Fall Winter SpringFall651G Research Topics in Art + Design Education 1 (all tracks) 3 601G Curriculum Mapping for Visual Arts Learning (ME and CAE tracks) 3602G Museums, Histories & Critiques (ME track) 3

Guided Electives (all tracks) 3 or 6 Term Total 12/15

Wintersession Guided Electives 1(CAE track) 3 or 6Internship in Museum Education (ME track) 6

Winter Total 3/6

Spring (all tracks)658G Drawing Objectives: A Guided Drawing Seminar (all tracks) 3656G Contemporary Issues in Arts Education (all tracks) 3

Guided Electives 1 (all tracks) 6 or 9Term Total 12/15

Second Year: Independent Study Off Campus (all tracks)671G Thesis Research 2 3 0 3

Footnotes1 Guided electives, which include studio, liberal arts,internships, and graduate seminars, are determined by theselection of study track and in consultation with the student’sacademic advisor. Students in the community arts track arestrongly advised to enroll in two 3 credit internships in artsorganizations during Year 1 of the program.

2 In addition to eligibility requirements for RISD Master’sdegree, MA candidates are required to: (1) enroll in ThesisResearch in year two of the program, and only after successfulcompletion of 30 credits of required course work, and (2)submit an approved thesis in partial fulfillment of MA degreerequirements. An approved thesis requires the candidate to beawarded a minimum grade of “B” for the final semester ofThesis Research.

2009 - 2010 Teaching + Learning in Art + Design 213

Courses in Teaching + Learning in Art + Design

Collegiate TeachingARTE 044G Collegiate Teaching + Learning, Reflection + Preparation Nancy FrieseARTE 055G Collegiate Teaching: Studio-Based Learning Nancy Friese

Community-Based PracticesARTE W402 Artist-Teacher in Schools * John Chamberlin

Curriculum StudiesARTE 601G Curriculum Mapping for Visual Arts Learning Paul Sproll/John ChamberlinARTE 604G Lab School: Learning Through Art + Design John Chamberlin

Directed StudiesARTE 8920 Independent Study in Visual Arts Education Staff

Philosophical FoundationsARTE 602G Museums, Histories & Critiques Sarah Ganz BlytheARTE 652G Context, Content and Practices in Art + Design Education John ChamberlinARTE 656G Contemporary Issues In Arts Education John Chamberlin

Psychological FoundationsARTE 605G Lifespan: Human Growth and Development Janice DeFrancesARTE 606G Lifespan: Exceptionality Janice DeFrances

Professional PracticeARTE 8960G Professional Internship * Paul SprollARTE 608G Student Teaching in Elementary School John ChamberlinARTE 609G Student Teaching in Secondary School Paul Sproll

ResearchARTE 610G Degree Project Paul Sproll/JohnChamberlinARTE 651G Research Topics in Art + Design Education Paul SprollARTE 671G Thesis Research Paul Sproll

Studio InvestigationsARTE 658G Drawing Objectives: A Guided Drawing Seminar Nancy FrieseARTE 654G Digital Media Design Studio Kelly DriscollARTE W62G Design Education Studio Workshop: Place-Based Learning * Nadine Gerdts

* Wintersession Courses

214 Teaching + Learning in Art + Design 2009 - 2010

Courses in Teaching + Learning in Art + DesignARTE 044G COLLEGIATE TEACHING +

LEARNING, REFLECTION +PREPARATION

3 credits Nancy FrieseHow can we add to the future enrichment of our disciplines?How do we make our future teaching a more meaningfulpractice? This is a professional practice course for artists,designers, architects, and educators who want to enhance theirTeaching Assistantships at RISD and who are interested infuture collegiate teaching within their expertise. The goal ofthis seminar is to introduce graduate students to reflectiveteaching principles, and to provide an orientation to thecollegiate teaching and learning experience.

The course meets partially in Fall, Wintersession andSpring semesters with the credit applied only to the springterm. A key component of this course is development of areflective Teaching Portfolio, including a curriculum vitae, aproposed course syllabus, class projects, teaching reflections,and an artist/designer statement.

Brown University’s Sheridan Center of Teaching andLearning’s Certificate I is incorporated into the seminar andincludes 5 lectures, 5 workshops, a micro-teaching session,and an Individualized Teaching Consultation. The SheridanCenter’s Certificate I is only available to RISD graduatestudents enrolled in this seminar.Open to graduate students; ElectiveSections (01 & 02) Open to all gradsSection (03) Open to incoming gradsPermission of instructor required Fee: one- time fee of $180.00, non-refundable, and applied toFall Term registration.Attendance starts in Fall 2009 onlyThe first required meeting to continue in all sections occurs at5:30pm on Monday, September 14 (before classes begin) atBrown University’s Salomon Hall, Room 001.Also offered as GRAD 044G. Register into the course forwhich credit is desired.(FALL/WINTERSESSION/SPRING)

ARTE 055G COLLEGIATE TEACHING: STUDIO-BASED TEACHING & LEARNING

3 credits Nancy FrieseThis course uses RISD as a research site for the exploration ofa pedagogy for studio-based teaching & learning. It is designedfor students who will be teaching during the course of study atRISD as well as for those who plan to teach after receivingtheir degree. The course draws upon the varying expertise andteaching methodologies of RISD faculty from all disciplinesproviding graduate students in this course with models ofpractice that can inform the development as future faculty oftheir own teaching philosophy and practice. In addition toRISD faculty, students will have the opportunity to engage in

dialog concerning a pedagogy for art teaching and learningwith faculty from other institutions of higher education. Thecourse is based on the premise that learning to teach in agenerative and attentive manner can bring teaching closer toone's studio practice and therefore make the teaching andlearning experience more authentic. The course is composed ofreadings, reviews, discussion, research assignments, lectures,and peer presentations.Open to graduate studentsAlso offered as GRAD 055G. Register into the course forwhich credit is desired.(SPRING)

ARTE 601G CURRICULUM MAPPING FORVISUAL ARTS LEARNING

3 credits Paul Sproll/John ChamberlinThis course explores the development of a conceptualframework for studio-based teaching and learning for childrenand adolescents. The course introduces an approach topedagogy for art and design that isinformed by artistic practice and which revolves aroundmeaning-making. Students examine the principles ofcurriculum mapping and instructional design through thedevelopment of a series of units of instruction basedrespectively on themes, subjects, and media - all of which arecrafted to meet the cognitive, social, and personal interests ofchildren and youth. The course explores the relationshipbetween curriculum, instruction, and assessment and wherecurriculum and instruction is focused on deepening K-12students’ understandings of art and design as expressions ofenduring ideas. In explorations of assessment, studentsconsider and design various formative and summativestrategies to capture and evaluate levels of studentunderstanding. Throughout this course, there is an emphasis onthe development of curriculum design and instructionalstrategies for elementary and secondary students thatencourage discovery, creativity, innovation, personal voice,and even play!Requirement for MAT; MA (ME & CAE tracks) Open to MAT & MA only(FALL)

ARTE 602G MUSEUMS, HISTORIES &CRITIQUES

3 credits Sarah Ganz BlytheThis course offers a historical and theoretical examination ofthe art museum from its eighteenth century inception tocontemporary expectations and institutional critiques. We willexplore the philosophical and social implications of collectingand classification, architecture and display practice;institutional mission and audience experience; interpretivestrategies and educational goals; curatorial practice and the

2009 - 2010 Teaching + Learning in Art + Design 215artist as curator; ethics and civic responsibility. This criticalframework will offer a means to examine the museum's role instructuring knowledge and facilitating experience and its placewithin intellectual discourse and public life.Open to graduate students; Requirement for ME Track(FALL)

ARTE 604G LAB SCHOOL: LEARNINGTHROUGH ART + DESIGN

3 credits John ChamberlinThis field-based class provides graduate students with anopportunity to experience and examine the dynamics ofteaching and learning within an elementary school setting –particularly, Providence’s CVS Highlander Charter School.The course is predominantly concerned with the developmentof teaching and learning strategies with which to incorporateart and design into general education while at the same timemaintaining both disciplines’ integrity. There is a specialemphasis on utilizing art and design to support any school’sliteracy initiative. The course is constructed with twocomplementary elements – a participatory component in whichpairs of graduate students work collaboratively with a non-artspecialist or general classroom teacher. Graduate students havethe opportunity to lead small groups of children in formalteaching and learning experiences and to use theseopportunities to reflect on matters of content, studentunderstanding, and the effectiveness of communication. Thesecond component of the course is a seminar that uses thegraduate students’ authentic classroom experiences as anopportunity to examine a broad range of educational issues thatinclude: the impact of teaching and learning environments, thediversity of learners, arts integration, culturally responsiveteaching, technology in the classroom, and classroommanagement.Requirement for MAT; MAT only(FALL)

ARTE 605G LIFESPAN: HUMAN GROWTH &DEVELOPMENT

3 credits Janice DeFrancesThis course provides the prospective teacher with an extensiveoverview of child and adolescent development. It is designedto introduce the beginning teacher to the excitement ofstudying the individual through the childhood and adolescentyears from a lifespan perspective. The course provides aframework for thinking about the developing child andadolescent in relation to the significant social environments ofhis or her life, including family, school, the peer group, thecommunity neighborhood, the media, work, etc. It is the intentof this study to emphasize the reciprocal and dynamicinteraction of the person and her/his environment. This courseis designed and will be presented in a way that will relatetheory, research and the principles of child and adolescent

development in a pragmatic, holistic format.Requirement for MAT; MAT only(SUMMER)

ARTE 606G LIFESPAN: EXCEPTIONALITY3 credits Janice DeFrancesThis course is designed to provide an overview of theeducational psychological and social needs of learners withdisabilities, to discuss the impact of special education law onpublic school programs, and to provide a background fordesigning appropriate interventions for students with a varietyof special learning needs in the art and design classroom. Thecourse will focus on the identification of various disabilities,their characteristics, and the legal and philosophical basis forinterventions and adaptations needed in the art and designclassroom.Requirement for MATMAT & MA only (all tracks)(FALL)

ARTE 608G STUDENT TEACHING INELEMENTARY SCHOOL

4.5 credits John ChamberlinA field-based student teaching (clinical teaching) experienceat the elementary level in a public school in Rhode Island orMassachusetts, supervised by school-based cooperatingteachers and faculty from RISD’s Department of Art + DesignEducation. A student teacher’s performance during this six-week teaching assignment is assessed using the performancebenchmarks of the Rhode Island Beginning Teacher Standards.Requirement for MAT; MAT only(SPRING)

ARTE 609G STUDENT TEACHING INSECONDARY SCHOOL

4.5 credits Paul SprollA field-based student teaching (clinical teaching) experienceat the secondary level in a public school in Rhode Island orMassachusetts supervised by school-based cooperatingteachers and faculty from RISD’s Department of Art + DesignEducation. A student teacher’s performance during this six-week teaching assignment is assessed using the performancebenchmarks of the Rhode Island Beginning Teacher Standards.Requirement for MAT; MAT only(SPRING)

ARTE 610G DEGREE PROJECT3 credits John Chamberlin/Paul SprollThe Degree Project is the capstone event of an MAT student’sprogram in which she/he presents comprehensivedocumentation of her/his coursework and teaching to a reviewcommittee consisting of RISD faculty, cooperating teachers,and external critics. The work presented includes the followingrequired components: Online Program Portfolio, TeachingPortfolio, K-12 Student Case Study, and an Interpretive

216 Teaching + Learning in Art + Design 2009 - 2010Exhibit. The Degree Project is reviewed and evaluated in thecontext of the assessment framework of the Rhode IslandBeginning Teacher Standards (RIBTS)Requirement for MAT; MAT only(SPRING)

ARTE 651G RESEARCH TOPICS IN ART +DESIGN EDUCATION

3 credits Paul SprollThis course provides students with a primer to art and designeducation as a field of education. In this context, art and designeducation is defined within the broadest of parameters toinclude the role(s) played by art and design in individual’slives in school, museum, and community settings. While thecourse draws upon a wide range of research methodologies, itsfocus is primarily on qualitative methods--ethnographic,historical, philosophical, phenomoenological, case study, andinterview. Exploration of how these methodologies have beenused by scholars provides students with an introduction to theproblems, topics and issues highlighted within the field of arteducation’s literature and will provide a foundation uponwhich an individual student’s thesis research can beconstructed. Students will design and submit a thesis researchproposal at the completion of the course.Requirement for MA; MA only(FALL)

ARTE 652G CONTEXT, CONTENT, ANDPRACTICES IN ART + DESIGNEDUCATION

3 credits John ChamberlinThis course examines the development of visual arts educationin its connection to general education. At each stage of theinvestigation, issues are examined in terms of the relationshipbetween, context, content, and pedagogical practice. There isa particular emphasis in this course on exploring the manner inwhich belief systems shape curriculum construction withinelementary and secondary schools. Major topics ofinvestigation include: varying curricular shifts in visual artseducation, standards and accountability, the diverse classroom,political mandates, public school re-design, and the role ofunions and professional associations.Requirement for MAT and MA MAT & MA only(FALL)

ARTE 654G DIGITAL MEDIA DESIGN STUDIO3 credits Kelly DriscollThis course introduces art and design education graduatestudents to digital media. The emphasis is on the use ofinteractive multimedia as a creative medium, as a learning tool,and as a teaching tool for K-12 contexts. Digital mediatechnology is changing education by creating new, flexiblelearning environments and allowing for new methods ofteaching and learning. Learning environments are no longer

locked within the boundaries of a classroom. Throughout thecourse, students dive into various digital media software forcreating 2D computer graphics, building animation and non-linear interactivity, and editing digital audio and video.Students will gain a basic understanding of the potential ofdigital media as a design, learning, and presentation tool in K-12 schools, museums, and community centers. Additionally,students have the opportunity to gain skills specifically gearedtoward creating interactive learning tools and a digitalportfolio.Requirement for MAT; MAT only(SUMMER)

ARTE 656G CONTEMPORARY ISSUES IN ARTSEDUCATION

3 credits John ChamberlinWhile compelling arguments abound concerning thetransformative potential of the arts in the education of childrenand youth, the arts’ position within public education in an ageof accountability and standardization continues to bevulnerable. This seminar examines arts education within thecontexts of school, museum, and community and uses reports,position papers, visiting scholars, arts educators, artists,performers, and arts administrators to inform the discussionand analysis of the current regional and national landscape ofarts education.Requirement for MA (all tracks); Elective for other graduatestudents(SPRING)

ARTE 658G DRAWING OBJECTIVES: A GUIDEDDRAWING SEMINAR

3 credits Nancy FrieseDrawing has been called the distillation of an idea. Drawingsensibilities pervade all visual media yet drawing can beindependent of all other media. Can we make our drawingventures have resonance? The goal is to understand drawing ina multivalent way through paced experiences andinvestigations via short research projects, three generativeseries and development of a sited-drawing plan. Methods willinclude teamed technical presentations of expertise or interestas well as examples of ancient and historical means ofsilverpoint, transfer drawings, panoramas and dioramas.Drawing epochs represented in the RISD Museum of Artcollection will be examined (through works by artists such asWilfredo Lam, Gego, or the Rimpa period Korin Gafu).Focused critiques, readings, and guided and self-directedindependent studio production are components. This seminarcould be paired with the GRAD course, Object Lessons.Requirement for MAMAT & MA onlyAlso offered as GRAD 658G as an elective for all othergraduate students(SPRING)

2009 - 2010 Teaching + Learning in Art + Design 217ARTE W62G DESIGN EDUCATION STUDIO

WORKSHOP: PLACE-BASEDLEARNING

3 credits Nadine GerdtsThe urban landscape is comprised of designed elements atmultiple scales, ranging from a city’s infrastructure to thearchitectural details of street furniture and building façades.Although people are more and more likely to inhabit urbanplaces, whether a small town or large metropolis, it is rare thatwe look carefully at the details and making of a place in sucha way that we truly know the “genius loci “ or spirit of theplace. The unique meeting of the geographic underpinnings ofa place, its natural resources and amenities that made it a likelyplace for settlement and the layers of design undertakings overtime that build the structure of a city are critical to place-making. Knowing and understanding the environment is acritical piece of design education that can take many forms andbe addressed through projects at many scales.

This course is designed to build your vocabulary forunderstanding the design of place and then provideopportunities to use your skills as teachers of art + design totranslate that vocabulary into projects that can open up thedesigned world to young people. We will look at design ofplace and urban space from three vantage points relating tochildren: PLACES FOR CHILDREN; PLACES ANDCHILDREN; and PLACES BY CHILDREN. To address theseissues, we will conduct a series of design exercises exploringthe urban environment working with scale, perspective, andmapping elements of the city’s built and natural environment.In addition, we will look at the local and global role ofsustainable design in the fields of architecture and urbanismand work to develop ways to present these integrated designchallenges to young people.Open to MAT only(WINTERSESSION)

ARTE 671G THESIS RESEARCH3 credits Paul SprollThesis Research is a web-based e-course in which studentscomplete a written thesis during the non-resident second yearof the MA program. Students are required to enroll in ThesisResearch during Fall and Spring semesters. The thesis is aninvestigation of a personal area of interest within the field ofart and design education and is developed from ideas firstsubmitted by the student in a research proposal in the fallsemester of her/his first year of study, subsequent course work,and professional practice experiences. Requirement for MA (all tracks) Open to MA only(FALL/SPRING)

ARTE 8920 INDEPENDENT STUDY IN VISUALARTS EDUCATION

3 credits StaffThis independent study course provides an opportunity for

undergraduate and graduate students to select a facultysupervisor for a student-initiated and faculty approved visualarts education project.Open to undergraduate, graduate Permission of instructor required(FALL/WINTERSESSION/SPRING)

2009 - 2010 Textiles 219

BFA Curriculum in TextilesDivision of Fine ArtsDepartment Office: College Building 501, telephone 454-6162

COURSE NO CREDITS Fall Spring Fall Winter Spring

First YearFirst-year Program—see First-Year Experience 15 15Wintersession 3

Year Total 15 3 15

Second Year4800 Surface Design 3 0 4819 From an Idea to Meaning 3 0 4801 Fibers and Dyeing 3 0

4802 Weaving I 0 3 4803 Fabric Silkscreen 0 3 4817 Knitting Machine Techniques 0 3

Liberal Arts 6 6 Wintersession 3

Year Total 15 3 15

Third Year Drawing Elective 3 or 0 0 or 3

4826 or 4826 Cad in Textiles 0 or 3 3 or 0 Major electives 1 6 or 3 6 or 3Liberal Arts 3 3 Wintersession 3

Year Total 12 3 12

Fourth YearSee footnote 2 for course choices 9 0

4898 Textile Degree Project 3 0 9 Liberal Arts 3 or 6 6 Wintersession 3

Year Total 15 3 15

Footnotes1 Including “Drawing Elective” in the Fall and “CAD inTextiles” in the Fall or Spring (it will be offered in bothsemesters), the student is required to take nine (9) studiocredits each semester of the third year. Of the 18 studio creditsfor the year, at least 9 should be in TEXT courses. Theremaining credits can be taken in elective studio coursesavailable from other departments or in TEXT courses. TheTEXT choices are listed here:

FALL4804 Weaving II (3 credits)4805 Changing Fabric Surface (3 credits) 4820 Woven Structure for Pattern (3 credits)4832 Knitted Fabrics (3 credits)

SPRING4806 Computer Interfaced Dobby Weaving and

Design (3 credits)4807 Design for Printed Textiles (3 credits)4821 Jacquard For Pattern4832 Knitted Fabrics (3 credits)

220 Textiles 2009 - 20102 In the fall semester of the fourth year, the student is requiredto select a minimum of nine (9) credits, in any combination,from these five courses, e.g. three courses for three credits eachor two courses with one taken for six credits and the other forthree credits. Review the course descriptions to see whichclasses are available for only three credits and which for threeor six credits. Check with your advisor for more information.4830 Apparel Fabrics (not offered 2008-2009)4840 Interior Fabrics 4828 Fine Arts Textiles 4813 Jacquard Design 4842 Design for Industrially Knitted Fabrics

3 Mid-year graduates may work with their advisor to takeDegree Project during the Fall and Wintersession.

Curriculum noteSufficient elective courses must be completed successfully tofulfill the minimum total of 126 credits necessary for a BFAdegree. Elective courses are to be selected in consultation withthe department head or faculty advisor.

2009 - 2010 Textiles 221

Courses in TextilesTEXT 4800 SURFACE DESIGN 3 credits Doug Johnston This is an introductory course in the design of patterns.Proceeding through structured projects, the class focuses onbasic design issues and color as they apply to continuouspatterns. Students gain experience in finding ideas anddeveloping them into finished designs while learning to usetools and techniques suitable for this medium. Requirement for sophomore majors; Elective for nonmajors Fee: $8.00 (FALL)

TEXT 4801 FIBERS AND DYEING3 credits Angie Rockett/Sarah BarkerThis course introduces the student to a wide variety ofmaterials and processes involved in the production of bothhand and industrially produced textiles. Topics include fiberproperties and identification, spinning and yarn construction,natural and chemical dyeing, textile constructions and fabricfinishing. Both historical and contemporary examples arestudied. Class time is divided equally between lecture and labwork. Lectures are supplemented with weekly readings in thetext, videos, museum visits, quizzes and a final exam. Eachstudent also prepares spinning and dyeing samples to bepresented in notebook form. Requirement for sophomore majors; Elective for nonmajorswith permission of instructor requiredFee: $75.00 (FALL)

TEXT 4802 WEAVING I3 credits Susan SklarekThis course is an introduction to the use of structure, color, andtexture in weaving through a series of experimental samplesand finished projects. Students learn to set up and use a 4-harness loom, and a study of drafting and fabric analysis isincluded. A variety of techniques including hand-manipulatedtapestry and loom controlled patterns are taught and exploredas a vehicle for the translation of ideas in this medium. Theemphasis is on invention and developing a personal approach.Requirement for sophomore majors; Elective for nonmajorswith permission of instructor requiredFee: $130.00 (SPRING)

TEXT 4803 FABRIC SILKSCREEN3 credits Maria TulokasStarting with making their own screens, students learn variousstencil making methods for water base dyes and pigments. Thedesign of a continuous surface pattern with a repeating unit is

explored in printing. Such methods as dyeing, painting andfabric construction can be used in conjunction with printing. Requirement for sophomore majors; Elective for nonmajors Fee: $100.00 (SPRING)

TEXT 4804 WEAVING II3 credits Susan SklarekStudents develop their chosen themes through drawing andexecuting a series of woven samples. The samples explorestructures and materials relevant to the chosen subject matter.Fine arts oriented or design projects which evolve from theinvestigation are woven. Prerequisite: TEXT 4802 Weaving I or Permission ofinstructor required Open to junior majorsFee: $130.00 (FALL)

TEXT 4805 CHANGING FABRIC SURFACE3 credits Harel Kedem/Maria TulokasStudents work on a specific theme of their choosing and derivedesigns and concepts from this theme for work in fabricsilkscreen. After completing assignments that focus onspecific techniques and design problems, student plan andexecute a more defined and larger project relying on theexperience incorporated during the first part of the course.Fabric construction and dyeing techniques can be integratedinto the work. Prerequisite: TEXT 4803 Fabric Silkscreen or Permission ofinstructorOpen to junior majors Fee: $85.00 (FALL)

TEXT 4806 COMPUTER INTERFACED DOBBYWEAVING AND DESIGN

3 credits Lisa Scull This course is an investigation of the technical, formal andmaterial potential of multi-harness weave structures on 24-harness dobby looms. Through extensive sampling of assignedstructures, students expand their skills while developing theirvisual and tactile vocabularies. Stipulations coming from theintended end use of the fabric as well as production methodsbecome part of the design considerations. Advanced draftingboth by hand and on computer, as well as fabric analysis is part

222 Textiles 2009 - 2010of the course. There is a field trip to New York studios andshowrooms and a visit to a mill.Prerequisite: TEXT 4804 Weaving II or Permission ofinstructorOpen to junior majors Fee: $90.00 (SPRING)

TEXT 4807 DESIGN FOR PRINTED TEXTILES3 credits Anais Missakian This course emphasizes the design process — how to come upwith an idea and how to develop it to a finished design — aswell as skills. Using tools, techniques, and materials fromprofessional studios, students work on paper exploring andanalyzing layouts, color, and other design elements withinrepeated patterns. As students develop their individual styles,they are exposed to design requirements stemming fromproduction methods and the intended end use. Successful workfrom course becomes part of students’ portfolios. A field tripto New York studios and showrooms complements the classes.Prerequisite: TEXT 4800 or Permission of instructorOpen to junior majors(SPRING)

TEXT 4813 JACQUARD DESIGN: FROMCOMPUTER TO WOVEN FABRIC

3 credits Lisa Scull This course investigates pattern in the context of jacquardweaving. Students develop their ideas on paper and executetheir designs on the computer, which are used for drafting thestructures as well. At least one design from each student iswoven on the electronic jacquard loom. Students explore theirpatterns through color and material experimentation at theloom. During the course, each student develops a smallportfolio of jacquard designs. Slides and samples of historicaland modern application of the technique are also studied. Prerequisite: TEXT 4806, 4821Open to junior Textile majors onlyPermission of instructor requiredFee: $175.00(FALL)

TEXT 4817 KNITTING MACHINE TECHNIQUES3 credits Anne EmleinWhile learning about the technical possibilities of the manuallyoperated knitting machine, students explore color, pattern,materials and structure. Finishing techniques, such as feltingand dyeing are introduced. Through weekly assignments,students develop a sample library that serves as a resource forsubsequent work. A final project involves planning andsampling for a final garment of the student’s own design, that

is then executed at the end of the course. Consideration of thegarment form, its proportion to the body, and the coherence ofthese elements are integrated into the course.Requirement for sophomore majors; Elective for nonmajorswith Permission of instructor requiredFee: $75.00(SPRING)

TEXT 4819 FROM AN IDEA TO MEANING3 credits Harel KedemThis course investigates the connection between the subjectmatter, the initial intention, and the final result. The focus ison the process using diverse media from charcoal, pen and inkto acrylics. Although the class works from model, still-livesand existing objects, these are used as symbols that expressideas. Requirement for sophomore majors; Elective for nonmajors (FALL)

TEXT 4820 WOVEN STRUCTURE FORPATTERN

3 credits Susan SklarekThis elective course is intended for those whose main interestis pattern but who also want to acquire skills to apply this towoven structures. Using both handlooms and dobby looms,students will explore structural possibilities for buildingpatterns in weaving. Material quality, color, and potential enduse will be part of the criteria for analyzing work. Exercises indrafting -- both by hand and on the computer -- as a means ofunderstanding woven structures in a three-dimensional wayand generating new structures for patterns will be a strong partof this course.Prerequisite: TEXT 4802 or Permission of instructor requiredOpen to junior majorsFee: $90.00(FALL)

TEXT 4821 JACQUARD FOR PATTERN3 credits Brooks HaganThis is an elective course for juniors who want to continuestudying woven pattern. Using the NedGraphics software forpattern and Point Carre jacquard software for drafting wovenstructures, students will design within the patterns throughexperimentation with material and color. The intended end useof the fabric will figure throughout in the design decisions.Prerequisites: TEXT 4820/4826Open to junior; Textiles majors onlyFee: $175.00(SPRING)

2009 - 2010 Textiles 223TEXT 4826 CAD IN TEXTILES3 credits Regina GregorioThrough demonstrations and practice in the department’scomputer lab, students learn to use InfoDesign’s print designprogram. Assignments help students to incorporate the toolsand functions available in this professional software into theirown ideas. By the end of the course it is hoped that studentshave gained a readiness to integrate computer-aided methodsinto their design processes in appropriate courses.Requirement for junior majors; Permission of instructorrequiredFee: $45.00(FALL/SPRING)

TEXT 4828 FINE ARTS TEXTILES3-6 credits Maria TulokasIn this course emphasis is placed on the development anddefinition of individual direction. Students’ work can rangefrom installations to two-dimensional pieces and can employany techniques and materials, from weaving, printing, knitting,or any improvised construction techniques.Open to senior majors; Open to nonmajors with permissionof instructor requiredFee: According to materials used(FALL)

TEXT 4830 APPAREL FABRICS3 credits Liz CollinsThis senior level elective course is offered to those studentsinterested in designing and making apparel fabrics andaccessories. Students are encouraged to explore a variety oftechniques including silkscreen and digital printing, weaving,knitting, sewing, and invented techniques, along withdesigning on paper for industrial and hand production. Whilestudents will develop their ideas through samples anddrawings, they gain a thorough understanding of therelationship between fabric and the human form, and willeventually bring their work to final form as prototypes orfinished designs on paper. Researching the field will generatetopics for discussion in class.Open to senior majorsOpen to non-majors with permission of instructor requiredFee: According to materials used(FALL)

TEXT 4832 KNITTED FABRICS3 credits Liz Collins/tbaStudents who already have basic machine knitting skillscontinue to explore technical matters, along with material,color, structure, and form. The focus is on sources for ideas,awareness of the field, and an individual approach to themedium. Experimentation with finishing techniques such asfelting, dyeing, printing, stitching, embellishing, and cuttingcan be integrated into the work. A final project, emerging from

the student’s experimentation and development of an idea,results in a collection of garments or interior fabrics, as well aspieces.Prerequisite: TEXT 4816 or TEXT 4817 or basic machineknitting experienceOpen to junior, senior, graduateOpen to nonmajors with permission of instructor requiredFee: $75.00(FALL/SPRING)

TEXT 4840 INTERIOR FABRICS3-6 credits Anais MissakianThis senior level elective course is offered to those interestedin pursuing work for an interior end use, such as furnishingfabric, wall covering, or carpeting to be produced by hand orindustrially. At the start, students select an architectural spaceas a framework. Through analysis and sampling, they willarrive at their own design solutions, which will be showcasedas a collection at the end. Researching the design field willgenerate topics for discussion in class. Techniques includesurface pattern, printing, weaving, knitting, along withinvented techniques.Open to senior majorsOpen to nonmajors with permission of instructor requiredFee: According to materials used(FALL)

TEXT 4842 DESIGN FOR INDUSTRIALLYKNITTED FABRICS

3 credits Liz CollinsThis course is an advanced level course for students who havea good understanding of knitted fabrics. This senior levelcourse provides an introduction to design for industriallyproduced knits. Students explore material, color, pattern, andknit structure using specialized software and an electronicindustrial knitting machine. The intended end use will guidestudents’ pattern and material studies throughout the course.Awareness of the field and an individual approach to themedium can lead to fabrics for interior and apparelapplications, as well as pieces. Examples of historical andmodern applications of the technique are studies.Prerequisite: TEXT 4817 and 4832Open to senior majorsFee: $150.00(FALL)

224 Textiles 2009 - 2010TEXT 4898 TEXTILE DEGREE PROJECT9 credits A. Missakian/M. Tulokas

S. Sklarek/L.CollinsThe student’s project, designed in consultation with the faculty,can be in one of the textile areas or in combination with otherareas of the school. The project, which will be evaluated bythe faculty and visiting critics at the end of the semester, canentail a collection of designs or fine arts work representing thecurrent conclusive state of student’s work or an investigationof a new area. If the project involves such an investigation, thefinal presentation consists of a review of the investigatoryprocess. The level of concepts, skills, and commitmentconstitute a major part of the criteria in the evaluation of thework. Open to senior majors; Permission of instructor requiredFee: According to materials usedMid-year graduates should see the department head abouttaking this course in Fall and Wintersession.(SPRING)

ARTH H550 WORLD TEXTILES: TRADE,TRADITIONS, AND TECHNIQUES

3 credits Laurie BrewerInterdisciplinary by their very nature, textile traditions share aglobal history. Around the world textiles have found place incultures as signifiers of social identity, from the utilitarian tothe sacred, as objects of ritual meaning and as objects of greattangible wealth. The evolution of textile motifs, designs,materials and technology across Asia, Africa and the Americaswill be explored utilizing the RISD Museum of Art withfrequent visits to the textile and costume collections. We willexamine such topics as: the function of textiles in the survivalof traditional cultures, the impact of historic trade routes andensuing colonialism, industrialization and its subsequent effecton traditional techniques of textile manufacture. Students willalso have opportunity to examine various methods of textiledisplay, analysis and storage appropriate to items of culturalheritage via case studies of specific objects in the RISDMuseum.Open to sophomore and above(SPRING)

LAEL LE82 HISTORY OF WESTERN TEXTILES:FOCUS ON EUROPE AND AMERICA

3 credits Laurie BrewerFrom Coptic fragments to 15th-century Italian trade silks, early20th-century apparel fabrics to mid-century modern casementcloths, this course will utilize the extensive textile and apparelcollections of the RISD Museum of Art as points of departurefor the study of Western textile design. By way of illustratedlecture (both in the classroom and at the Museum), discussionsand readings, students will come to understand the stylistic andcultural significance textiles have played in the history ofWestern art and culture from antiquity to the modern era. Themanner in which social, economic, technological, and political

changes have impacted advancements in textile fibers, fabricstructures, color, and design will be explored. Researchprojects utilizing the textile and apparel collections will affordstudents the opportunity to partake in hands-on objects basedstudy.Open to sophomore and above(FALL)

2009 - 2010 Textiles 225

MFA Curriculum in TextilesDivision of Fine Arts

COURSE NO. CREDITS Fall Spring Fall Winter Spring

First Year480G 481G Graduate Studio 1 or 3 or 0 6 or 3 or 0

Elective(s) 1 or 0 or 3 3 or 6 or 9 or 04826 or 4826 CAD in Textiles 0 or 3 3 or 003xG 03xG Graduate Seminar 3 3 484G Textile Seminar 6 0 4819 From an Idea to Meaning 3 0

Wintersession 3Year Total 15 3 15

Second Year03xG Graduate Seminar 3 0 484G Textile Seminar 6 0 482G Graduate Studio 1 3 or 6 or 0 3 or 0

Elective(s) 1 3 or 0 or 6 0 or 3483G Thesis Project 0 9 498G Thesis Writing 0 3

Wintersession 3/62

Year Total 15 6 15

Footnotes1 During their two years in the program, students are required

to take three drawing or color electives. For a semester inwhich a drawing or color elective is taken, the graduatestudio credits will be adjusted to bring the total program forthe semester to fifteen credits.

2 Those students who do not have professional experience bytheir second Wintersession should spend this Wintersessionon an internship.

Curriculum notesStudents must seek departmental advice when choosing creditoptions in variable credit courses.

General eligibility requirements for the master’s degree arelisted in the front of this book.

226 Textiles 2009 - 2010

Graduate CoursesTEXT 480G GRADUATE STUDIO I3 credits Liz Collins/Anais MissakianThis course, a major component in the student’s curriculum, istailored to individual needs and can entail two types of activity:1. Participation in junior or senior level courses to strengthentechnical skills and design vocabulary, and 2. Individualprojects under graduate advisors to clarify personal conceptsand format of the work. This semester’s emphasis is onenlarging and solidifying the student’s background anddefining direction for the work. Open to graduate; MFA Textiles only Fee: According to materials used (FALL)

TEXT 481G GRADUATE STUDIO II3-6 credits Anais Missakian/Lisa ScullThis course, a major component in the student’s curriculum, istailored to individual needs and can entail two types of activity:1. Participation in junior or senior level courses to strengthentechnical skills and design vocabulary. 2. Individual projects under graduate advisors to clarifypersonal concepts and format of the work.

This semester’s emphasis is on enlarging and solidifyingthe student’s background and defining direction for the work.Prerequisite: TEXT 480GOpen to graduate; MFA Textiles only Fee: According to materials used (SPRING)

TEXT 482G GRADUATE STUDIO III3-6 credits Liz CollinsIn this second-year course, the emphasis is on clarifyingstudent’s specific area of interest, format of the work, itscontext, and personal concepts. Open to second-year graduate; MFA Textiles onlyFee: According To materials used (FALL)

TEXT 483G THESIS PROJECT9 credits Anais Missakian/Maria Tulokas

Susan Sklarek/Liz Collins/Lisa ScullThis project represents the culmination of a student’s study inthe Graduate Program. The design projects can encompassvarious textile fields in the areas of interior or apparel textiles.A specific architectural context, an area of apparel design, aninvestigation of a particular technique, or a visual designsensibility and language can provide a framework for theproject. The work, executed using any established textiletechniques or technique that a student has developed, shouldmanifest advanced original concepts, high quality of execution,and a strong commitment to the field. Written documentation

and analysis of the sources of the work, how it relates to thetextiles tradition or larger field of art and design, and of thedevelopment of the project should accompany the studio work.Open to graduate; MFA Textiles onlyPermission of instructor requiredFee: According To materials used (SPRING)

TEXT 484G TEXTILE SEMINAR 3 credits Anais Missakian/Maria Tulokas

Harel Kedem/tbaThis course focuses on issues in the professional textile field,such as the effect of production parameters and end use ondesign decisions. While helping students become more familiarwith the wide ranging market, from the most innovative to thetraditional, this course aims at providing an awareness of howone’s own work fits into this context. Lecturers includeprofessionals from the field, who advise on the studio workrequired in this class. Open to graduate; MFA Textiles onlyMay be repeated for credit.(FALL)

TEXT 498G THESIS WRITING3 credits Maria Tulokas This written portion of the Thesis Project helps students toanalyze their working process and its results, as well as informfuture work. While the length and style of the written thesismay vary, the paper should contain: an identification of theproject goals and an analysis of the sources of inspiration; thecontext in which the work fits into the textile area and largerfield of art and design; a description of the working process,techniques, and materials used and their connection toapplication and end use; and finally, an evaluation of theproject. Accompanying the paper will be visual documentationof the project.Open to graduate; MFA Textiles onlyPermission of instructor required(SPRING)

2009 - 2010 Academic Calendar 227

Academic Calendar for 2009 - 2010Date Day Time Description

2009June 11 Thurs 9am Orientation begins for Summer Foundation Studies, Summer English Language Studies,

and Fall Transfer students; through Sunday, June 14.Residence halls open

June 15 Mon Summer Foundation Studies classes (formerly called Summer Transfer Program) andEnglish Language Studies (ELS) program beginCE Summer Studies classes begin

June 27 Sat 9am Housing check-in for CE Pre-College.

June 29 Mon CE Pre-College programs begin

July 3 Fri Summer Foundation Studies and ELS classes held; CE Summer Studies and SIGDS andPre-College classes heldIndependence Day observed--offices closed

July 13 Mon Classes begin for Master of Arts in Teaching program (Summer term ends on Thursday,August 20)

July 24 Fri Summer Foundation Studies classes endEnglish Language Studies program classes end

July 25 Sat noon Summer housing closes for Summer Foundation Studies and English Language Studiesprogram

July 31 Fri Landscape Architecture Design Foundations/ Field Ecology class begins

August 3 Mon Classes begin for Fall for European Honors Program in Rome

August 7 Fri CE Summer Studies, SIGDS and Pre-College programs end

August 8 Sat noon Summer housing closes for CE programs

August 10 Mon Victory Day; Offices open

August 17 Mon Library closed through August 30

Sept. 5 Sat 9:00am Residence Halls open for new students in the Brown/RISD Dual Degree program

Sept. 7 Mon 9:00am Residence Halls open by reservation for RISD students taking a class at BrownLabor Day--offices and Library closed

Sept. 9 Wed Brown University classes begin; RISD students may register for Brown classes

Sept. 12 Sat 8:30am Residence halls open for first year students; New student orientation through the 15th

Sept. 13 Sun 8:30am Residence halls open for returning students

228 Academic Calendar 2009 - 2010

Academic Calendar for 2009 - 2010Date Day Time DescriptionSept. 14 Mon 8:30 a - 11a Academic Advising for new transfer and graduate students

1:00pm - Convocation2:00pm

Sept. 15 Tue In-person Degree Program Registration for Readmits, Mobility, Exchange, Visiting andnew Admissions who did not register using the web

Sept. 16 Wed Fall Semester degree program classes begin

Sept. 19 Sat Rosh Hashanah (two-day holiday begins evening of September 18)

Sept. 23 Wed Final day for adding courses and dropping courses without penalty

Sept. 28 Mon Yom Kippur (holiday begins evening of Sept. 27)

Oct. 9-11 Fri-Sun RISD By Design Weekend (Parent & Alumni Weekend)

Oct. 12 Mon Columbus Day holiday-- Offices and library openDegree program classes held; No CE classes held

Oct. 27 Tue Mid-Semester

Oct. 30 Fri Mid-Semester reports due in Registrar's Office

Oct. 31 Sat Wintersession Course Selection begins (by appointment)(Check WebAdvisor for individual web course selection appointments.)

Nov. 9 Mon Final date for Course Withdrawal, "W" Grade

Nov. 11 Wed Veteran's Day Holiday; Offices and Library open; degree program classes held

Nov. 16- 30 M-M Spring ‘10 Registration advising

Nov. 25 Wed No classes held, degree program recess begins; Offices and Library open

Nov. 26-29 Th-Su Offices closed; RISD Housing remains open

Nov. 30 Mon Degree program classes resume

Dec. 1 Tues Course Selection via WebAdvisor for Spring ‘10 for grads, seniors

Dec. 5 Sat Course Selection via WebAdvisor for Spring ‘10 by Juniors, Sophomores

Dec. 11 Fri Last day of Fall Semester degree program classes; final exams and studio reviews (crits)are next weekBrown University classes end

Dec. 12 Sat Brown University final exams through the 21st

Dec. 14 Mon Liberal Arts exams

Dec. 15 Tue Studio Review Days through December 18

2009 - 2010 Academic Calendar 229

Academic Calendar for 2009 - 2010Date Day Time DescriptionDec. 18 Fri Final day of Fall term

Dec. 19 Sat Student vacation through January 3, 2010RISD residential Quad and Hill Houses close at noon. Benefit Street Apartments,Moshassuck (aka Charles Landing), and 15 West remain openEnd of EHP semester; EHP Campus/Pallazzetto Cenci closes for Fall term

Dec. 22 Tue Final grades due in Registrar's Office

Dec. 24 Th Offices closed through January 3rd

2010Jan. 3 Sun 9:00 a All RISD Housing opens

Jan. 4 Mon Wintersession classes begin Wintersession Add/Drop period begins

Jan. 11 Mon Last day of Wintersession Add/Drop

Jan. 18 Mon Dr. Martin Luther King, Jr. Day (observed)--Offices closed; Library openNo degree program classes held. Instructors are to make up this class at a time agreedupon with the class

Jan. 27 Wed Brown University classes begin; RISD students may register for Brown classesFinal date for Wintersession Course Withdrawal; "W" Grade

Feb. 12 Fri Wintersession ends RISD Housing remains open

Feb. 18 Th In-person Degree program Registration for Mobility, Exchange, readmits, and newAdmissions who did not register on the web

Feb. 22 Mon Spring Semester degree program classes beginWintersession grades due in the Registrar's Office

Feb. 26 Fri Freshmen declare majors

March 1 Mon Final date for adding courses and dropping courses without penalty

March 27 Sat Spring recess begins for Degree programs and goes through April 4;RISD Housing remains open

March 30 Tu Passover (8 day observance starts preceding evening)

April 4 Sun Easter Sunday

April 5 Mon Degree program classes resume

April 9 Fri Mid-Semester

April 13 Tue Mid-Semester reports due in Registrar's Office

230 Academic Calendar 2009 - 2010

Academic Calendar for 2009 - 2010Date Day Time DescriptionApril 15 Th Final date for Course Withdrawal, "W" Grade

April 26 Mon Vacation week for European Honors Program through April 30

May 3 - 10 M-M Fall ‘10 Registration advising

May 11 Tues Course Selection via WebAdvisor for Fall ‘10 for grads, next year’s seniorsBrown University classes end

May 12 Wed Brown University final exams through the 21st

May. 15 Sat Course Selection via WebAdvisor for Fall ‘10 by next year’s Juniors, Sophomores

May 21 Fri Last day of Spring Semester degree program classes; final exams and studio reviews(crits) are next week

May 24 Mon Liberal Arts exams

May 25 Tues Studio Review Days through May 28

May 28 Fri Final day of Spring term

May 29 Sat 12:00 n Housing closes for students not graduating June 5, 2010

May 31 Mon Memorial Day (Offices & Library closed)

June 1 Tues 12:00 n Graduating student grades due in the Registrar's Office

June 5 Sat 10:00 am Commencement

June 6 Sun 12:00 n Graduating student housing closes

June 7 Mon Non-Graduating student grades due in the Registrar's Office

June 12 Sat End of EHP semester; EHP Campus/Pallazzetto Cenci closes for Spring term

Sept. 15 Wed Fall Semester 2010 degree program classes begin

2009 - 2010 Index 231

To help you locate information, the index includes selected items to be found in other College publications.H-- See Student Handbook C--See Admission Catalog

INDEXAbsence from Class, 5Academic Advising, HAcademic Appeals, 5Academic Dishonesty, 5Academic Probation and withdrawal, 6Academic Records, release of, 28Academic Standing, 5Academic Year, 5Accreditation, 2Adding/Dropping Courses, 11Address, changes to, 17Admission: undergraduate/graduate student, CAdmission as Special Student, 26Advanced Standing, 6Advising, HAlumni Office, HApparel Design, 21Application: for leave of absence, H; for withdrawal, H; for readmission, H; for graduation, 12, 15Architecture, 25Art Education, see Teaching + Learning in Art + DesignArt History, see History of Art + Visual CultureAthletics, C, HAuditing Classes, 6Brown University Cross- Registration, 16; grading, 11Brown/RISD Dual Degree, 11, 17Buckley Amendment, SEE Notice of Student Rights... , 28Building Hours, 17Calendar, Academic, 225Career/Alumni Services, C, HCeramics, 35Change of Major, Internal Transfer, 17Closed courses and waitlists, 13Code of Conduct for Students, HCollaborative Study, 12Computer Facilities, HContinuing Education Programs, CCounseling, HCourse Offerings, see individual departmentCourses, guide to, 32Course Withdrawal, 13Credit and Course Loads, 6Declaring Majors, 17, HDegree Requirements, 12Department Directory, HDigital + Media, dept of, 41Directions to RISD, C, HDouble Major, 17, HEnglish: department, 49;

concentration in, 23, 172Enrollment Statistics, CEntertainment Information, HEuropean Honors Program, 16Facilities, C, HFaculty Evaluation, HFaculty Listings, CFamily Educational Rights and Privacy Act of 1974,

FERPA,18Film/Animation/Video, 57Final Examination dates, see Academic Calendar, 229Financial Information (see Tuition and Fees), 18Fine Arts, division of, 65First-Year Experience, 67Foundation Studies, First-year program, 11, 68, 69Freshman Evaluation, 8Furniture Design, 69Glass, 75Grade Appeals, 7, HGrade Changes, 7Graduate seminars, studios, 86Graduate Studies, division of, 83Graduation Requirements, 9 - 10Grading System, grades, 7; “W” grades, 13Graphic Design, 91Guide to RISD courses, 20History of Art + Visual Culture (HVAC): department, 103; concentration in, 15, 170History, Philosophy, Social Science (HPSS), 111HPSS, concentration in, 15, 171Holds: on registration; on grades, CHonors, 8I.D. Cards, HIllustration, 123Incomplete Grade, 7Independent Study, 12Industrial Design, 135Interdisciplinary Study Option, 16, CInterior Architecture, 141International Exchange, 16Internship, 12, for Wintersession, 14 for Summer, 30Jewelry + Metalsmithing, 153Landscape Architecture, 161Laptop program, Leave of Absence, HLiberal Arts, division of, 169Liberal Arts, additional electives, 173Lockers, HLost and Found, H

232 Index 2009 - 2010

To help you locate information, the index includes selected items to be found in other College publications.H-- See Student Handbook C--See Admission Catalog

Masters Degrees, 10Mail Services, HMedical Forms, HMid-Semester Report, HMobility Program, 16Multicultural Affairs, Office of, HMuseum of Art, C, HNature Lab, C, HPainting, 179Parking, HPayment Plans, C, HPhotography, 187Plagiarism, see Academic DishonestyPrintmaking, 197Probation, academic, 6Professional Baccalaureate Degree, 14Providence, C, HReadmission, HRefunds, C, HRegistration policies, 12; pre-registration, HRepeating Courses, 7RISD Store, HSculpture, 205Special Academic Programs, 15Special Student Status, 17Student Government, HStudent Handbook, HSummer Studies, 18, CSupply Store, H

Telephone Directory, RISD, HTextiles, 219Transcripts, 19Transfer Credit, 6, 8Trustees and Staff, CTuition and Fee Charges, 12, C, HTuition degree requirement, 10 Veteran’s Information, HVisiting Artists/Critics, CVisiting Student Program, 17, CWaitlist and closed courses, 13Web access to records, 19Wintersession, 14Withdrawal from Courses, 13Withdrawal from School, H