RISD Illustration Department Catalog 2013-2014

7/23/2019 RISD Illustration Department Catalog 2013-2014

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detailed course listing

rhode island school of design

illustration department

2013 - 2014


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his catalog is a comprehensive listing of courses offered in RISDs Illus-

tration Department for fall, wintersession and spring, 2013-14. There may be a

couple of new courses added in the coming year, but for the most part the pages

which follow offer detailed, illustrated descriptions of all classes as of spring 2013.

Each entry includes a narrative description of an Illustration Department class, a

few samples of work associated with the class activity, and a list of details whichare designed to better inform your course selection. Classes are listed by course

number, in numerical order, in the same way they appear in the RISD Course An-

nouncement, which may be found on the Registrars website (risdregistrar.word-

press.com). Also included among the listings may be courses under the Interdis-

ciplinary and Liberal Arts categories (idiscand lael).

This book is the result of significant effort on the part of Illustration faculty, sowe want you to use it and enjoy it. We think that youll benefit from the expanded

descriptions and illustrated class profiles when planning your studies for 2013-

14. Meanwhile, consult your advisor (listed herein), stay on top of your degree

requirements for graduation and enjoy the coming year at RISD.

T

Illustration Department Curriculum Committee:

Robert Brinkerhoff, Chair

Jean Blackburn

Susan Doyle

Fritz Drury

Nick Jainschigg

Fred Lynch

David Porter

cover illustration by Andi Dinkin, IL 2014


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Degree RequirementsBFA in IllustrationRhode Island School of Design

Foundation Studies Studio Credits (Drawing, 2D Design, Spatial Dynamics) 18credits

Liberal Arts Credits (including foundation year English and Art History) 42credits

Non-Major Studio Electives (any studio classes taken outside the department) 12 credits

Illustration Requirements 54credits

Sophomore Year Illus. Concepts 1 3 Illus. Concepts 2 3Drawing 1 3 Drawing 2 3

Painting 1 3 Painting 2 3

Junior and Senior Year Illustration Concepts Elective 3 * Computer Literacy Requirement 3 * Illustration Open Electives 30

Note: Any substitutions or exceptions to the degree requirements must be approved in consultation withthe Illustration Department Head. Under no circumstances does an advisor or individual instructor of acourse have the authority to assign credits toward degree matriculation.

* Please consult the list of acceptable courses which fulfill the Illustration Concepts Elective requirement. Thesecourses are listed in the introduction to the Illustration Department chapter of the RISD Course Announcement.

** Please consult the list of acceptable courses which fulfill the Computer Literacy requirement. These coursesare listed in the introduction to the Illustration Department chapter of the RISD Course Announcement.

Students are advised to pay close attention to program evaluations, which are peridocially provided by the Reg-istrar, combined with regular consultation with their advisor and (in special cases) with the Department Headto track fulfillment of the BFA requirements. The Registrars program evaluations are considered the definitiverecord of matriculation progress, and students bear primary responsibility for acting on advice based on infor-mation provided by the Registrar.

126 credits


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general advising; exceptions to degree requirements/distribution of credits; academic standing/disciplinary questions; ap-proval of independent study, interdisciplinary study and double major forms; Brown-RISD Dual Degree advising; ap-

proval of internships; grade disputes and grievances; international exchange applications; academic petitions; building

concerns; approval of crit applications for on-site installations; questions for non-majors; expertise in editorial illustration,

corporate and institutional illustration

general advising; expertise in drawing, painting, studio practice and gallery/museum representation, sculpture, installation,

3D illustration, museum/gallery internships and assistantships; artist residencies

general advising; expertise in drawing, painting, studio practice and gallery/museum representation

(returning from leave fall 2013) general advising; expertise in painting, studio practice and gallery/museum representa-

tion, printmaking, graphic deign, history of illustration, student competitions, community ser vice and sponsored studios/

partnered research

Illustration Department Advisors

Robert BrinkerhoffProfessor & Department Head

ISB Main Office 454-6241

[email protected]

Jean BlackburnProfessor

ISB 301454-6246

[email protected]

Trent BurlesonProfessor

ISB201 454-6252

[email protected]

Susan DoyleAssistant Professor

ISB 201 + 107 454-6244

[email protected]

All Illustration majors are assigned an academic advisor, whose name appears on student transcripts, available on WebAdvisor

(http.//wa.risd.edu). Students and advisors are equally responsible for establishing contact, but students are ultimately accountablefor completion of degree requiresments toward graduation. Listed below are full-time faculty who serve as advisors to Illustra-

tion majors, along with their duties in the area of advising, as well as specific areas of expertise. Our primary purpose as faculty

is to serve RISDs students, so take advantage of the counsel provided by us. We welcome the chance to get to know you as students

and future artists and designers. If you are unable to reach your advisor, please contact Marjorie Flynn in the Illustration office

at 454-6240 or [email protected]. Students whose advisors are on leave from teaching should contact Robert Brinkerhoff as a

temporary advisor.

For more information about individual instructors, including both full and part-time faculty, visit this link:


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general advising; Yale-Norfolk Summer Program; expertise in publishing, book illustration, drawing, painting, studio

practice and gallery/museum representation

general advising; expertise in childrens book illustration and publishing

general advising; expertise in science fiction and fantasy illustration, scientific illustration, publishing


general advising; additional advice about graduation requirements; expertise in editorial illustration, book illustration,

illustration concepts

Illustration Department Advisors

Bill DrewProfessor

ISB 300 454-6254 & 454-6240

[email protected], [email protected]

Fritz DruryProfessor

ISB200 454-6243

[email protected]

Judy Sue Goodwin-SturgesProfessor

ISB401 454-6257

[email protected]

Nick JainschiggAssociate Professor

ISB 301 454-6248

[email protected]

Nick PalermoProfessor

ISB 403 454-6250

[email protected]

David PorterAssistant Professor

ISB201 454-6245

[email protected]


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AcademicPlanningGrid

BFAinIllus

tration

RhodeIslandSchoolof

Design

courses

completed

tof

ulfillrequiremen

ts(126creditstotal)

faculty

semester|year

credits

gra

de

transfer|substitution

foundatio

ns

tudiesrequirements(18cr)

liberalar

tsrequirements(42cr)

historyofart&

visualculture(12cr)

-arth-h101

HistoryofArt&VisualCulture

-arth-h102

HistoryofArt&VisualCultureII(top

ics)

-havcelective

-havcelective

literaryarts&

studies(9cr)

-engl-e101

LiteratureSeminar:DesigninWords

-englelective

-englelective

history,philosophy&

socialsciences(9cr)

-hpss-s101

Topics:History,Philosophy&SocialS

ciences

-hpsselective

-hpsselective

liberalartselectives[lael,arth,engl,hpss(12cr)]

-laelelective

-laelelective

-laelelective

-laelelective

illustrationm

ajorrequirements(54credits)

sophomore

coresequence(18cr)

-illus5227

IllustrationConceptsI

-illus5232

IllustrationConceptsII

-illus5200

DrawingI

-illus5250

DrawingII

-illus5201

PaintingI

-illus5251

PaintingII

specialelec

tives(6cr)*

-illustrat

ionc

onceptselective

-computerliteracyelective

illustration

majorelectives(30cr)

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

-illuselec

tive

nonm

ajorelectives(12credits)

-non-majo

relective

-non-majo

relective

-non-majo

relective

-non-majo

relective

student

advisor

anticipated

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date

*pleaseconsult

theofficialcourseannouncementforalistofcla

sseswhichfulfilltheillustrationconceptselectiveandthecomputerliteracyrequirement.

tran

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doublem

ajor

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brdd

changeofmajor


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ILLUS 1513and LAEL 1513

The Art of Communicating ScienceNick Jainschigg & Lucy Spelman

Tis 6-credit course invites undergraduate and graduate students to improve theirskills in communicating and illustrating science. Te general topic is changing bio-diversity, how humans impact plants, animals, and their environment. Examples willbe presented from around the world, as well as from Rhode Island. Trough a seriesof exercises, students will practice analyzing and interpreting scientific information

in order to both understand and present it. Te science content will be deliveredthrough lectures, visits to research labs, and to a nearby nature sanctuary. Te courseis designed to introduce students to relevant scientific concepts and challenge themto use their art to make these ideas more concrete and meaningful. In some cases, thegoal may be to educate; in others, it may be to raise awareness, stimulate debate, or en-tertain. Students will explore the use of different media, including 2D, 3D animated,and interactive modes. Tey will also target different audiences and venues, includ-ing: general interest or editorial publications, art for public spaces including galleries,educational and peer-to-peer science materials. Class work includes assigned reading,several minor projects, an exam, and a comprehensive final project. Students willchoose a recent research study on the topic of human impacts on biodiversity for thesubject of their final project, which is a written paper combined with original artwork

designed for a public space or public interaction. Te Departments of Illustration andHistory, Philosophy, and Social Sciences will teach the course collaboratively. Studentsmust register for both LAEL 1513 and ILLUS 1513.

Course Level: Junior, Senior; Fifth Year; Graduate; Elective(SPRING) 3 credits each for LAEL and ILLUS

c o u r s e d e s c r i p t i o n

d e t a i l s

prerequisites

professional affinities

media affinities

contact information

instructor website http://www.nickjainschigg.org

ISB 301 401-454-6248 [email protected]

open media: pen & ink/scratchboard; mixed

media/collage; drawing/painting; digital 2D/3D;

printmaking; animation; photography; film; video

scientific illustration, corporate/institutional illustration,

conceptual/problem solving, studio practice

Illustration Concepts 1 & 2; Drawing 1 & 2; Painting 1 & 2;

Students taking this class must also register for LAEL-1513

related studies

Editorial Illustration; Scientific Illustration;

Artistic Anatomy; The Human Figure in Context;

Anatomical Sculpture

g a l l e r y

content and concept

imaging skills

professional practice[thinking

m a k i n g

d o i n g


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ILLUS 5101

Comics: Grammar of the Graphic NovelR. Kikuo Johnson

Students will investigate the mechanics of comics storytelling through a series of exercises

designed to deconstruct the comics language. Clarity is key to engaging the reader, and this

course emphasizes communication regardless of style. Tis course is structured around a

series of cumulative exercises introducing a new element of the comics language each week,

designed to equip the student for further work in this important art form.

Some have called the last few years comics second golden age. After decades of genremyopia in this country, an explosion of variety has recently swept the field. oday, politics,

religion, art, existentialism, and Batman are all fair game as a growing number of American

readers become accustomed to the mediums versatility. Comics has come a long way since

the 1950s when comic books were stigmatized as a crude and harmful obstacle to literacy

in America and were burned in public demonstrations.

Tis class deconstructs the comics language and explores the tools you will use to build your

own stories. Starting with the most basic elements of narrative imagery, assignments will

add new components each week and quickly build in complexity of expression. Discussion

will include a history of the medium and the rise of manga and the graphic novel.

Course Level: Freshman, Sophomore, Junior, Senior; Fifth Year; Graduate; Elective

(WINERSESSION) 3 credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.seabread.com

isb main office 401-454-6240 [email protected]

open media: graphite, pen & ink,

drawing/painting/ digital 2D

comic book illustration, editorial illustration,

storyboarding, conceptual/problem solving

None

related studies

CoMix; Sequential Art; Character Creation;

Illustrating Dantes Comedy; Animation

Introduction for Illustrators; Cinematic Storytelling

g a l l e r y

content and concept

imaging skills


m a k i n g

d o i n g


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ILLUS 5102

Creature LabLars Grant-West

Tis class is designed to train students in the art of creature creation/design. We will be

studying animal anatomy and physiology with a focus on adaptions to meet specific envi-

ronments. We will follow a structured process to design beasts for a variety of genres. We

will also discuss the psychological implications of different aesthetic choices using existing

creatures from film and literature as case studies. Each assignment will deliver a specific set

of parameters within which students must generate multiple sketches. Students will each

be responsible for their own creations but are likely to need to make edits that come up

in class critique. Some of these edits will be suggestions (as they generally tend to be in

class critiques), while others will be mandatory (with the instrutor playing the role as art

director/employer in crit situations). We will primarily be exploring the genres of fantasy,

science fiction, and horror.

From ancient mythology and folklore to todays high-powered movie and video game in-

dustry, the creation of fantastic creatures is a well-established and revered craft. Tis class

builds on that long legacy. Expect to dredge the depths of your imagination to shape your

creations, flesh them out using the rich palette of real-world animal adaptations, then

breathe life into them with your own personal style. Class discussion of the natural world

will kickstart your out-of-class research as your beasties are captured in realistic renderingsusing media of your choice. Students will design inhabitants for specific fantastic environ-

ments or genres, illustrate creatures from literature and folklore, re-envision classic critters,

and create plenty of your own from scratch. Whether your interest is in concept art, sculpt-

ing in clay or pixels, or finished illustration, arrive ready to create!

Course Level: Junior, Senior; Elective

(FALL) 3 credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.larsgrantwest.com


open media, but with a high level of proficiency required:

graphite, pen & ink, drawing/painting/digital 2D

character design, book illustration, editorial illustration,

storyboarding, conceptual/problem solving

Illustration Concepts 1 & 2; Drawing 1 & 2; Painting 1 & 2

related studies

Character and Enviroment Design for 3D Gaming,;

Character Creation; Artistic Anatomy,;

Anatomical Sculpture; Scientific Illustration

g a l l e r y

content and concept

imaging skills


m a k i n g

d o i n g


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ILLUS 5103

Introduction to Oil PaintingJason Brockert

Oil painting is one of the richest, most powerfully expressive mediums in existence. It

offers a vast diversity of approaches and provides the most flexibility of all the painting

materials. o take advantage of that variety, certain technical knowledge is essential. Tis

class is geared as a thorough introduction to the novice oil painter. Our early class focus

will be on understanding materials through a variety of life study exercises. Focus on colorand composition will promote effectively orchestrated images. Our ultimate goal will be

to make powerful images that marry the variety of oil with our own personal vision. Te

class will balance the technical mastery of our materials with the clarity of effective visual

communication.

We will communicate ideas of light and space as a means to explore effective design and

color. A major focus will be how to interpret the complexity of our world into luminous

and vibrant color and especially the exploration of warm versus cool color relationships.

Powerpoint and the RISD Museum will open our eyes to masters of oil paint both old and

new and they will help serve as our guides. No painting experience is required.

Course Level: Freshman, Junior, Senior; Elective

(WINERSESSION) 3 credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.jasonbrockert.com


oil painting

painting & drawing as illustration and fine art,

color design, portraiture, studio practice

none

related studies

Drawing 1 & 2; Painting 1 & 2; Landscape Painting;

Color for Portrait and Figure; Artistic Anatomy;

Color Works; Watercolor and Gouache;

The Human Figure in Context;

Watercolor: An Introduction to the Medium

g a l l e r y

content and concept

imaging skills


m a k i n g

d o i n g


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ILLUS 5105

Public Art WorkshopJanet Zweig

Students will develop and install two temporary public projects in Providence, a group

project and an individual project. Te course is widely interdisciplinary, so the projects

can take any form: from objects or imagery, to performance, to social practice or

community-based work, to network-based work, and beyond.

o develop the skills necessary for the creation of successful public projects, we will

look at the history of contemporary public practice and examine the ways it has

evolved and changed with pivotal events. Among other topics, we will explore diverse

approaches to making work in the public sphere Students will engage in debates

around such issues as s ite-specificity; ideas of community and audience; defining the

public and public space; and temporary vs. permanent work. Students will learn real

world skills to navigate the business of public art and we will discuss career possibili-

ties in the field.

Tere will be readings, videos, and class discussions, as well as studio time during class

for research, project development, and group meetings. A large online database of

readings, websites, and other resources will be provided.

Course Level: Freshman; Sophomore; Junior; Senior; Fifth Year; Grad; Elective

(WINERSESSION) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.janetzweig.com/public.html


conceptual/problem solving, studio practice;,

public policy & community service, public art,

fine art studio practice

none

related studies

3D Illustration; Words, Images, Ideas;

Intro to Digital Illustration; Type in Motion; Web Design;

Electric Book; Design for Good; Premises and Projects

g a l l e r y

content and concept

imaging skills

professional practice

[

thinking

m a k i n g

d o i n g

open media: sculpture, mixed

media collage, drawing/painting, digital 2D/3D,

printmaking, animation, photography, film, video


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ILLUS 5110

Design for GoodAnnalisa Oswald

Te goal of this course is to allow students to apply conceptual skills and image-mak-

ing talents to issues that matter to society and the world. Tis course combines image-

making, infographics, graphic design, brand identity, and story-telling. Working across

print, digital, mobile, and social media platforms, this course will challenge students

with assignments that will cause them to think and create innovative visual communi-

cation that motivates people around a social cause.

Students will learn to visually and verbally present their ideas and their work, to

understand what makes a compelling story one that motivates and persuades the au-

dience. Students will research and organize data that is relevant to their subject matter.

Trough a series of weekly & bi-weekly assignments, students will build a portfolio of

pieces that ties together a unified campaign around a social cause. Tis course prepares

students to apply visual and verbal communication across a broad spectrum of plat-

forms digital, mobile, print, and social media.

Students will research their cause and incorporate facts and findings into their work.

Readings will be required from online sources. Students are encouraged to conduct

their own research and interviews as part of this course. Individual presentations andgroup critiques are an essential part of this course.

Course Level: Junior; Senior; Elective

(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.anaphase.com/


graphic design, book illustration,

conceptual/problem solving, studio practice,

public policy and community service, public art

Completion of sophomore year; junior status & above

related studies

Typography for Illustrators; Type in Motion; Web Design;

The Entrepreneur; Words, Images, Ideas;

Illustrator as Designer; Intro to Digital Illustration;

Public Art Workshop; Premises and Projects

g a l l e r y

content and concept

imaging skills


[

thinking

m a k i n g

d o i n g

open media: pen & ink/scratchboard, mixed

media/collage, drawing/painting, digital 2D/3D,



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ILLUS 5111

Speak, Memory: Painting as MetaphorBill Drew

Te visual journal is an invaluable tool in a young artists development. Based on

memory, dreams, fantasy, travel, and intuitive stirrings, each students journal will be the

source of a group of paintings executed in a variety of mediums such as oil, acrylic and

watercolor. In addition to their individual journals, students may create images/paint-

ings based on pertinent film, memoirs, essays, or other reflective texts by well-known andlesser-known authors.

Suggested references may include: Christopher Isherwoods I Am A Camera; Arthur Koes-

tler, Darkness At Noon; Allen Ginsberg, Howl; Jack Kerouac, On Te Road; Elie Weisel,

Night; Vladimir Nabokov, Speak, Memory; Francis Ford Coppola,Apocalypse Now;

Sylvia Plath, Te Bell Jar; William Styron, Darkness, Visible: A Memoir of Madness; Ju-

lian Schnabel, Te Diving Bell and the Butterfly;Jonathan Swift, Gullivers ravels; Frank

Baum, Te Wizard of Oz.

Course Level: Junior; Senior; Elective; Open to Non-Majors.

(SPRING) 3 Credits (SPRING)


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.risd.edu/Illustration/William_Drew/


oil and mixed media painting



Foundation Studies

related studies

Drawing 1 & 2; Introduction to Oil Painting; Fantasy

Painting; Speak, The Human Figure in Context;

Painting 1 & 2; Color Works; Color for Portrait and Figure;

Landscape Painting; Watercolor: Intro to the Medium

g a l l e r y

content and concept

imaging skills


[

thinking

m a k i n g

d o i n g


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ILLUS 5200Drawing 1Staff

Visual articulation of ideas is the most important ability an illustrator has; drawing

is fundamental to such articulation. Tis course is designed to develop the studentsdescriptive and communicative skills through weekly exercises in drawing from direct

observation. Fall semester focuses primarily on organizing pictorial space and defining

a composition in relation to a unified viewpoint.

Understanding how point of view can influence an image, both physically and con-

ceptually, gives the student tools to construct more complex themes and to work more

more confidently from imagination. Frequent slide lectures will expose students to

spatial and compositional approaches from art history.

Course Level: Sophomore; Required

(FALL) 3 credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website see listings for individual instructors

isb main office 401-454-6240

charcoal, conte, graphite and other drawing media


portraiture, studio practice

Foundation Studies

related studies

Drawing 2; Painting 1 & 2; Visible Cities;

Artistic Anatomy; Drawing With Color; Means and An End;

The Human Figure in Context; Scientific Illustration

g a l l e r y

content and concept

imaging skills


[thinking

m a k i n g

d o i n g


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ILLUS 5201

Painting IStaff

Tis oil painting/color course instills lessons on the use of color to establish spatial rela-

tionships, light, shadow, and expressive inflection, as drawn from and related to visual

fact.

Tis course introduces the use of color in image-making, developing understanding from

the experience of light in direct observation of still-life, landscape and gure. Te unify-

ing effects of light source are described as the basis for color harmony, complimented by

the abstract principles of color design and the organization of the color wheel. Te course

will review strategies for organizing and linking colors on the palette, concepts of com-

plimentary and simultaneous contrast, properties of hue, saturation and value and the

creation of harmonies through linked mixture. Te manipulation of spatial effect and

color issues in building narrative associations are explored while reinforcing drawing skills

necessary to build effective representational images. Te methods and mechanics of oil

painting are covered in depth, and the history of painting in ne art and illustration is

explored through slides and demonstrations.


(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information



oil painting


color design, portratiture, studio practice

Foundation Studies

related studies

Drawing 1 & 2; Introduction to Oil Painting; Fantasy

Painting; Speak, Memory; The Human Figure in Context;

Color Works; Color for Portrait and Figure;

Landscape Painting; Watercolor: Intro to the Medium

g a l l e r y

content and concept

imaging skills


[thinking

m a k i n g

d o i n g


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ILLUS 5202Intro to Animation Techniques for IllustratorsAgnieszka Woznicka, Ann LaVigne

Tis course provides students with practical, hands-on creative experience in animation

production. Te course is primarily designed to introduce students to the fundamental

principles of animation: timing, movement, staging, design, and editing. Class exercises

explore a variety of traditional and experimental techniques and processes including:

drawn animation, direct-to-film, cutouts, modified base, and pixilation. Tis class is more

concerned with process than finished product. Personal expression and experimentation are

emphasized.

A wide range of independent animated films is screened and discussed to provide creative

stimulus and demonstrate a variety of aesthetic and technical approaches.

Te course is reserved for sophomore illustration majors and is a prerequisite for all other

animation classes in the Film/Animation/Video department.


Fee: $85.00 Estimated Cost of Materials: $40.00

(FALL/SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website woznicka.com harrietandmickey.com

mkt 108d 401-277-4910 [email protected]

auditorium 401-454-6233 [email protected]

open media: drawing and painting, collage,

3D media, film, sound, photography

animation, storyboarding

pictorial narrative, comic books

None

related studies

Character and Environment Design for 3D Gaming;

Sequential Art; Photography I; Photo for Ilustrators

3-D Illustration; Comics: Grammar/The Graphic Novel;

Character Creation; Cinematic Storytelling; CoMix

g a l l e r y

content and concept

imaging skills


[thinking

m a k i n g

d o i n g


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ILLUS 5204

Pen, Ink and ScratchboardNick Jainschigg

Tis course is an introduction to the surprising and challenging medium of pen and ink.

Among the simplest of mediums to use, it is also quite difficult to master. It can be as

expressive as handwriting and as precise and elegant as engraving. It is also intimately

bound up with the history of illustration and of printed images: it was the first medium to

be successfully reproduced and remains as contemporary as the latest comic or magazine

illustration.

Te structure of the course leads students quickly through the very few tools needed (pen,

nib, ink, paper) so that a major portion of the time can be spent on the truly important

and challenging aspect of the medium understanding the way pen and ink affects the

viewer and learning how its special qualities can be used to articulate eloquent images.

Scratchboard will be introduced at mid-semester, both as an adjunct to pen and ink

work and as a medium in its own right. Scratchboard ties closely to woodcut and wood

engraving, two mediums with a close relationship with illustration across many times and

cultures.


(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor websitewww.nickjainschigg.org


pen & ink/scratchboard

graphic design, printmaking, book illustration,


Illustration Concepts 1 & 2; Drawing 1 & 2or permission of instructor

related studies

Mixed Media; Visible Cities;

Printmaking Techniques for Illustrators;

Serial Imagery in Printmaking; The Two-Legged Print

g a l l e r y

content and concept

imaging skills


[

thinking

m a k i n g

d o i n g


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ILLUS 5205

Illustrator As DesignerRafael Attias

Tis course explores the role of illustrator as graphic designer with a focus on the fun-

damentals of designing with imagery, the relationship between verbal and visual com-

munication, and the complementary partnership between graphic design and illustration.

Students are encouraged to have some fundamental experience with computers before

enrolling in this course.

How does design differ from art? In many ways, design is distinct from art. Design, in the

purest sense, is a definable aspect of art: a set of visual forces which contribute to the effect

of two- and three-dimensional visual experiences. On another level, design often refers to

utility or function and can be described as an act of creating with purpose. Design in

the functional sense takes many forms, is made of many different parts and media, and

exists for different reasons. An industrial designer may design useful things, an architect

may design useful spaces, and a graphic designer may design useful messages. Tis class is

about making images for graphic design and designing with imagery. As illustrators, you

are uniquely sensitive to the way images communicate. Tis class is about understanding

the role of design in image-making and designing contexts for images. Almost every as-

signment will involve the synthesis of picture and word so by the time the semester is over

you should feel fairly confident in orchestrating words and pictures.



d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.rafalicious.com

CIT: 169weybosset st 401-454-6139 [email protected]




graphic design, book illustration,


related studies

Typography for Illustrators; Type in Motion;

Image Design; Web Design; Words, Images, Ideas;

The Two-Legged Print; Cover to Cover; Design for Good

g a l l e r y

content and concept

imaging skills


[

thinking

m a k i n g

d o i n g

Illustration Concepts 1 & 2 or permission of instructor


19/86

ILLUS 5210

Editorial IllustrationChris Buzelli

Magazines, newspapers and other publications rely heavily on pictures to illuminate

messages initiated by writers, and more than any other genre of illustration, the editorial

field gives voice to the artist. In this alternately reactive and expressive line of work, theillustrator engages in a powerful partnership with the written word, effectively becoming

an author of opinions and ideas. Tis class will approach several editorial assignments, all

of which involve an illustrated response to written text.

What makes a reader stop and read an article? Te right picture draws the reader into the

story. Tis class responds to modern editorial assignments from social, environmental and

political issues. It also deals with the business s ide of being a professional illustrator: How

do I get freelance illustration jobs?; Can I make a living as a freelancer?; and How/

where do I start?

Te final project is a real life editorial job that will be published in a magazine.


(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.chrisbuzelli.com




magazine and book illustration, graphic design,


Illustration Concepts 1 & 2; Drawing 1 & 2; Painting 1 & 2

related studies

Contemporary Illustration; New York New Yorker;

Words, Images, Ideas; Illustrating Dantes Comedy;

XX/XY; Propaganda; Cover to Cover; Wits End

g a l l e r y

content and concept

imaging skills


[

thinking

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20/86

ILLUS 5211

Artistic AnatomyFritz Drury

Students in this course will investigate the specific physical structure of the human body,

with the aim of producing drawings of greater structural and visual integrity and more

fluid descriptions of movement and weight in the figure. We will proceed through the

skeletal and muscular systems at a brisk but reasonable pace, learning names, points of

articulation and the dynamic functions of each component of the body. Each weekly

assignment will consist of a careful, descriptive drawing of an element of the skeletal ormuscular system, and a dynamic drawing in which that same element is shown in action

in the living figure.

We will also review the work of artists, both contemporary and historical, who have made

vital artistic use of the elements of anatomical study. Te course includes an optional field

trip to the Brown University Evolutionary Biology Lab to draw from cadavers. Tere will

be at least one written test on anatomical facts and terminology. Te course culminates

in a final project on the theme of A Human Ideal, exploring past concepts of idealized

form in the figure in relation to anatomical reality and contemporary cultural perspec-

tives.


(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.fritzdrury.com


open media: all drawing media, painting

figurative painting, portraiture, animation,

concept art, sci-fi/fantasy illustration

Drawing 1 & 2 or permission of instructor

related studies

Color for Portrait & Figure; Visible Cities;

Character Creation; Creature Lab;

Anatomical Sculpture; Scientific Illustration

g a l l e r y

content and concept

imaging skills


[

thinking

m a k i n g

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21/86

ILLUS 5213

Watercolor: An Introduction to the MediumJoe McKendry

Tis course attempts to present the transparent watercolor medium in a manner both

logical and painless. Students will explore wet into wet, dry-brush, masking, and other

techniques through exercises designed to create an understanding of the vastly differentways watercolor can be used. Tese methods and approaches will be studied through slide

presentations and then applied in the creation of landscapes, still lives, and figure paint-

ings. echnical aspects of brushes, paper, and paint quality will be discussed. Museum

visits, guest critics and demonstrations will augment class discussion.

Te facility of watercolor in developing luminous atmospheric harmonies, abrupt notes

of contrast, and saturated color effect will be discussed. echniques for assuring the clarity

and precision of mixture on the palette as well as the properties of diffusion and blend-

ing unique to this medium will also be considered. Te crucial role of paper selection and

preparation will be covered in full.


(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.joemckendry.com


watercolor


color composition, portraiture, studio practice

Painting 1 & 2; Drawing 1 & 2 or permission of instructor

related studies

The Collaged Image; Watercolor & Gouache;

Color for Portrait and Figure; Mixed Media;

Colorworks; Landscape Painting

g a l l e r y

content and concept

imaging skills


[

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m a k i n g

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22/86

ILLUS 5215

Landscape PaintingTrent Burleson

Troughout history, the natural environment has been a subject of charm and awe for the

artist, from the delicately painted frescoes in ancient Roman homes to the 16th century,

when the landscape transcended the role of background and gained momentum as a

sublime subject in its own right. Tis is a course on the history of techniques, concepts,

possibilities, and purposes in landscape painting. Te class will encourage exploration of

landscape as sublime subject, as metaphor for human experience, or as the battleground

for politically charged debate of environmental issues, among other possible approaches.

Students will work on location and in studio, learning approaches to plein air painting as

well as incorporation of references in the construction of natural environments.

We begin in the balmy days of September so students can study directly from nature and

work on-site in the open air. When cold weather closes in, we rely on a mix of resource

materials (photographs, sketches) in the warmth of the studio. During the last part of the

semester, we review each students work and progress in weekly group critiques. Major

emphasis is placed on developing a personal vision of nature and an individual approach

to transforming landscape into art.

Course Level: Junior, Senior; Elective; Open to Non-Majors

(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.burlesonart.com


oil painting



Drawing 1 & 2 or permission of instructor

related studies

Drawing/Painting 1 & 2; Renaissance Painting Tech-

niques; Color for Portrait and Figure; The Human Figure

in Context; Landscape Painting; Color Works;

Watercolor: An Introduction to the Medium

g a l l e r y

content and concept

imaging skills


[

thinking

m a k i n g

d o i n g


23/86

ILLUS 5217

Color for Portrait and FigureTony Janello

Portraiture in oils does not simply begin and end with a likeness. In this class , we will

explore ideas and techniques employed by great painters since the Renaissance to create

truly lifelike representations. We will begin with limited color underpaintings and thereby

establish the basic image which frees us up to explore color through glazing. As the

semester progresses, we will move on to opaque painting techniques and finally to thickly

applied paint using the palette knife. Emphasis is placed on color mixing and the use of a

limited palette. We will examine how color can convey life and how this can be achievedthrough the use of subtle warm and cool color relationships. Te mastery of color is essen-

tial for the artist who wishes to create portraits and figures that seem alive to the viewer.

Initially, life painting in the classroom creates a bridge between tonal painting and color.

Te use of glazes versus opaque oil color, once explained and demonstrated, are then

applied by the student and thereby understood. By employing a simple palette of three

primaries, the student learns to mix all the colors he/she needs. Palette knife is used later

in the semester to create very accurate warm-cool color effects that are difficult to achieve

with brush alone. Along with gaining a mastery of color, the student is exposed to a

variety of techniques aimed at improving ones ability to capture a faithful likeness. Te

study of portrait painters of the past and present from Velazquez and Rembrandt to Lu-

cian Freud and Jenny Saville is an integral part of this course. Students are encouraged to

design homework assignments tailored to their specific needs.


(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.slowart.com/articles/janello.htm

ISB401 401-454-6257 [email protected]

oil painting



Drawing 1 & 2; Painting 1 & 2 or permission of instructor

related studies

Artistic Anatomy; Senior Painting Seminar; Watercolor: An

Introduction to the Medium; The Human Figure in Context

Advanced Painting; Color Works; Drawing With Color;

Between Painting and Drawing; Watercolor & Gouache

g a l l e r y

content and concept

imaging skills


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24/86

ILLUS 5219

Printmaking Techniques for IllustratorsRandy Willier

Tis course surveys a range of low-tech printmaking processes with the aim of broaden-

ing the students range of markmaking skills and experimenting with new visual effects

with which to create engaging images. Te fast-paced course is gives students exposure tomethods such as monotype, relief printing, and drypoint.

Rather than emphasizing disciplined editioning, ass ignments will utilize printmaking pro-

cesses for producing multiples that explore variations in color, compositional emphasis,

and tonal adjustment. We are looking for exciting, image-making means that communi-

cate outside of what the hand can directly draw.


Fee: $200.00

(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.risd.edu/Illustration/Randy_Willier/

ISB main office 401-454-6240 [email protected]

printmaking, collage, installation, artists books

drawing & printmaking as illustration and fine art,

color design, poster and book design,

editorial and book illustration

Drawing 1 & 2; Painting 1 & 2 or permission of instructor

related studies

The Silkscreened Poster; The Collaged Image;

Illustrator as Designer; The Two-Legged Print;

Image Design; Traditions, Trappings, Culture, Kitsch;

Design for Good; Picture and Word; The Artists Book

g a l l e r y

content and concept

imaging skills


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25/86

ILLUS 5225

Introduction to Digital IllustrationRichard Gann, Paul Olson

Tis course introduces digital media for Illustrators using three types of computer ap-

plications: image editing (Photoshop), vector graphics (Illustrator), and digital painting

(Painter). While orienting students to the technical aspects of digital media, the class also

provides an essential link to the Illustration Departments drawing, painting, and conceptual

curriculum.

Te purpose of this course is to introduce students to the ways of working with digital imag-

ing in such a manner as to maximize creativity and enjoyment and minimize intimidation

and confusion. Te students are not presumed to have previous experience with comput-ers or digital imaging programs. Tey will leave the class with proficiency in Photoshop,

Illustrator, and Painter. Te benefits of digital fluency are many, and not merely to produce

purely digital art. It can be extremely helpful in the preparation of promotional materials,

the gathering of references, or in experimentation and sketching prior to final execution in

traditional media. Te goal will be to introduce the students to the basic concepts of work-

ing digitally and to demonstrate the flexible and forgiving nature of the tools as a means to

encourage experimentation.

Rather than treat digital imaging as a phenomenon without precedents, this class will con-

centrate on the tools of digital imaging as part of a continuum of media ranging from pencil

through photography. As in any choice of medium, a consideration of the strengths and

weaknesses of the tools will be central. Te assignments are designed to play to the strengths

of digital tools, but the final quality of the illustrations produced will be dependent on the

creativity of the artist.


(FALL/SPRING) 3 Credits


d e t a i l s

prerequisites


contact information

instructor websites rbgann.com olsonpaintings.com

01-454-6247 (Gann) 401-454-6254(Olson)

ISB 3041 [email protected]; ISB 400 [email protected]

collage, drawing/painting, digital 2D/3D,

printmaking, animation, photography, video

game design, animation concept art, book/CD covers;

graphic design, editorial/book/scientific illustration

None

related studies

VR Design for Science; Advanced Digital Painting;

Web Design; Type in Motion; Digital 3D for Illustrators;

Character & Environment Design for 3D Gaming;

Typography for Illustrators; Illustrator as Designer

g a l l e r y

content and concept

imaging skills


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d o i n g

media affinities


26/86

ILLUS 5227

Illustration Concepts 1Staff

Illustration is the visual communication of ideas and feelings. Te fine arts, in contrast,

merely require expression. But in illustration, where communication is paramount, lucid

articulation is essential. An illustration that is not understood by its audience is a failure.

In this context, art is not an end but a means: it is a delivery system for the percep-tions of the mind and the heart. Mastery of the means of expression is admirable, but the

underlying concept is fundamental. How? is subservient to Why?

Illustration Concepts 1 is the first of two sequential required courses that acknowledge

and embrace the primacy of concept, idea, and perception in the creation of an illustrative

statement. While the individual sections of each course may vary in method and empha-

sis, they share a single goal: to develop and deepen each students conceptual reach and

grasp, and to enlist his or her unique imagination as the driving force in the solution to a

broad spectrum of illustrative problems. Tey incorporate the premise that it matters little

how well you speak if you have nothing to say.


(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website check listings for individual instructors


open media: pen & ink/scratchboard, mixed media/

collage, drawing/painting, digital 2D/3D, printmaking,

animation, photography, video

conceptual/problem solving, graphic design,

editorial illustration, corporate & institutional illustration,

book and poster illustration/design

Foundation Studies

related studies

Illustration Concepts 2; Propaganda; Whats Your Story?;

XX/XY; Style & Substance; Traditions, Trappings, Culture,

Kitsch; Contemporary Illustration; Editorial Illustration;

New York, New Yorker; Illustrating Dantes Comedy

g a l l e r y

content and concept

imaging skills


[

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27/86

ILLUS 5228

Advanced PaintingFritz Drury

Tis course will build on the skills established in Sophomore Painting, while broadening

the students understanding of options available to the painter. Te primary work of the

semester will be on individually directed projects to be worked on both in and out of

class. Overall, a goal of establishing a personal visual vocabulary of facture and image will

be emphasized. Students will be encouraged to particularize their use of the painting me-

dium and their approach to subject and statement through color, painterly touch, format,

use of materials, drawing and compositional decisions, stylistic reference, and impliednarrative.

Te core medium of the class will be oil paint, but this may be augmented or extended by

other media. Te course will include group exercises designed to solidify a basic under-

standing of drawing, the use of the medium and the principles of color. Periodic outside

assignments will extend this practice while emphasizing personal choice and expressive

adjustment based on individual priorities.

A exible format for in-class work on personal projects will allow group interaction to co-

exist with individually directed work. Te semesters goal for each student will be to dene

a direction for future work in painting through a connected ar tistic investigation

completed during the course.


Fee: $50.00

(FALL) 3 Credits

c o u r s e d e s c r i p t i o n g a l l e r y

content and concept

imaging skills


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.fritzdrury.com


open media: painting and drawing,

mixed media/collage

painting & drawing as fine art and illustration,

studio practice

Painting 1 & 2

related studies

Visible Cities; Master Painting Techniques;

Color for Portrait and Figure; The Human Figure in

Context; Fantasy Painting; Landscape Painting;

Speak, Memory; Painting Seminar

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28/86

ILLUS 5230

Putting It All TogetherJudy Sue Goodwin-Sturges

Tis course is an opportunity for seniors to follow their own passions by developing a

series of original projects. Students are encouraged to work in the media and technique

of their choice painting, illustration, 3D, etc and will present weekly progress for

discussion and critique while formulating a body of work for professional presenta-

tion and portfolio. Assignments are self-directed; the class is a collective independentstudy. Professor and student will work closely to focus the development of the students

desired project, whose ultimate goal might be creating material for graduate school

applications, a cohesive and well-directed portfolio, or simply artwork that is reflective

of their RISD career. Te semesters work culminates in a presentation to an objective

group of outside professionals who will critique the merits of the final body of work

and offer suggestions for future exploration and development.

Course Level: Senior; Elective

(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.studiogoodwinsturges.com


illustration, corporate & institutional illustration, studio

practice, book and poster illustration/design

open media: all illustration and drawing media, painting

Ilustration Concepts 1 & 2; senior level status

related studies

The Portfolio; Professional Practice; Picture and Word;

The Entrepreneur; Editorial Illustration; Whats Your

Story?; New York, New Yorker; Contemporary Illustration

g a l l e r y

content and concept

imaging skills


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ILLUS 5232

Illustration Concepts 2Staff

Illustration Concepts 2 is the second required course in a two-semester sequence. Like

its antecedent it embraces the primacy of concept, idea, and perception in the creation

of an illustrative statement. While the sections of the course may vary in method and

emphasis (due to the proclivities of individual faculty), they share a single goal: todevelop and deepen the students conceptual reach and grasp and to enlist his or her

unique imagination as the driving force in the solution to a broad spectrum of illustra-

tive problems. Tey incorporate the premise that it matters little how well you speak if

you have nothing to say.


(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website check listings for individual instructors





conceptual/problem solving;, graphic design,



Foundation Studies

related studies

Illustration Concepts 1; Propaganda; Whats Your Story?;

XX/XY; Style & Substance; Traditions, Trappings, Culture,

Kitsch; Contemporary Illustration; Editorial Illustration;

New York, New Yorker; Illustrating Dantes Comedy

g a l l e r y

content and concept

imaging skills


[

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d o i n g


30/86

ILLUS 5233

XX/XYMelissa Ferreira

We are not governed by our genitals. While our behaviors are fractionally determined by

our physical sex (and the underlying genetics), we are also shaped by cultural traditions

and expectations that influence us profoundly. Welcome to the world of gender stud-

ies. You may endorse or oppose our societys definition of masculine and feminine and

its sexual practices and pressures; this semester will give you an opportunity to closely

consider what you do (or dont) and why (or why not). Tis course, however, is by no

means a seminar in social psychology. Rather it examines gender issues that youd find

on the newsstands and Oprah: dating, marriage, parenting, fashion, body image, careerchoice, and stereotypes. Well deal with safe sex campaigns and the treacherous terrain of

grade school sex education, not to mention the hormonal vicissitudes of adolescence.

We will consider the prurience of both pornography and political correctness. Weekly

illustration assignments will proceed from assigned readings, documentaries, films, and

Podcasts. Whatever the topic, we follow important illustration protocol: identifying the

target audience, clarifying and strengthening concepts, and keeping to the deadline.

Our goal is inventive communication and the artriculation of individual sensibility;

virtually any media and method can be used as we explore what it is to be female, male

or something in between.

Course Level: Junior, Senior, Elective

Tis course fulfills the Illustration Concepts requirement for Juniors.

(WINERSESSION) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://melissaferreira.net/blog/









related studies

New York, New Yorker; Illustrating Dantes Comedy;

Whats Your Story?; Propaganda; Style & Substance;

Making Play; Traditions, Trappings, Culture, Kitsch;

Contemporary Illustration; Editorial Illustration

g a l l e r y

content and concept

imaging skills


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ILLUS 5234

Photography for IllustratorsHenry Horenstein

Photography is a core resource for the illustrator, but it can also function as a final me-

dium or as a component of an image in concert with painting, drawing or 3D materials.

Tis course will strengthen the students understanding of the factors which combine to

make a powerful photographic image and the adjustments which permit the fusion of

multiple image sources and diverse media.

Beyond technical considerations, we will explore the creation of a unique approach to

engage the viewers attention and suggest narrative depth and expressive purpose; the

aim is to penetrate the shell produced by the image glut in todays society. Students will

be encouraged to work within a theme in order to explore variations in composition and

medium.

Te student must have access to a camera (preferably 35mm SLR) and a willingness to

think outside of the box.

Course Level: Junior, Senior; ElectiveRefundable Equipment Deposit: $100.00

Estimated Cost of Materials: $100.00

Materials Fee: $100.00


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.horenstein.com

DC 411 401-454-6366 [email protected]

photography, printmaking,

digital imaging, film/video

advertising, editorial illustration, portraiture,

fine art studio practice

None

related studies

The Silkscreened Poster; Photography 1;

The Collaged Image; Image Design; Serial Imagery in

Printmaking; Printmaking Techniques for Illustrators;

The Two-Legged Print; Illustrator as Designer

g a l l e r y

content and concept

imaging skills


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ILLUS 5241

Style & SubstanceFred Lynch

Illustration is an art of visual communication: style is the illustrators vocabulary, and

substance is what the illustrator has chosen to express. Te success of an illustration

depends on the seamless connection of these two entities. In this course, students en-

counter a wide variety of subject matter drawn from a variety of fields. Tey are asked tocreate illustrations with a particular emphasis on the development of a personal vision as

well as the successful communication of wisely chosen ideas. Te strengths and limita-

tions of style are examined in the light of s tyles importance in the marketplace.


Tis course fulfills the Illustration Concepts requirement for Illustration majors

(FALL and SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.fredlynch.com


open media: pen & ink/scratchboard, mixed media/col-

lage, drawing/painting, digital 2D/3D,

printmaking; animation, photography, video

conceptual/problem solving, graphic design,editorial il-

lustration, corporate & institutional illustration,



related studies


Words, Images, Ideas; Whats Your Story?; Propaganda;

Making Play; Traditions, Trappings, Culture, Kitsch;


g a l l e r y

content and concept

imaging skills


[

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ILLUS 5243

Premises and ProjectsDavid Porter

A premise is an idea with consequences. Students in this course will conceive a premise

for each of three distinct projects. Te first is for children, the second for adults, the

third at the students discretion. Each project will develop and test its premise: it will

expose inspiration to proof. No project will be completed in this course. Te object,

rather, is to give in each instance sufficient visible evidence of your imaginations poten-

tial; to demonstrate delight. Such promising projects may be continued and/or com-pleted after the course itself is over. While the commercial potential for all projects

will be considered and discussed, the primary emphasis will be on ways to generate,

recognize, and make manifest the students own best ideas.

Classes will be of seminar size. Tey will consist of speculation, discussion, suggestion,

and critique: skull sessions. Such dialogue is essential to the generation and development

of both premise and project, and will comprise the vast majority of class time.


Tis course fulfills the Illustration Concepts requirement for Illustration majors(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.fredlynch.com









related studies


Words, Images, Ideas; Making Play; Propaganda;

Traditions, Trappings, Culture, Kitsch; Wits End;


g a l l e r y

content and concept

imaging skills


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ILLUS 5249

Traditions, Trappings, Culture, KitschSusan Doyle

Troughout time, man has punctuated his existence with ritualized celebrations honor-

ing life, death, time, nature, love, god and community. Tis course considers how

objects and concepts that constitute culture evolve through shifts in attitude about what

is unknown, profound, or taboo. We look at the ways that traditions become commer-

cialized and how that translation changes our understanding of them. We examine theboundary between fine art and kitsch and how passage between the two articulates ar-

tistic choice. We will in addition discuss how the definition of a target audience inflects

communication. Tus students will strive to invent imagery and objects inspired by tra-

ditions but informed by a contemporary sensibility. Tere are several readings required

during the semester with consequent seminar-styled discussion. Te goal is to make art

that piques the curiosity and engages the imagination through symbolism, structure,

revelation, humor, and surprise.

Tere are no limitations on materials, media or dimensionality.

Course Level: Junior; Senior; ElectiveTis course fulfills the Illustration Concepts requirement for Juniors

(FALL) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.doyle-art.com

ISB 201 &107 401-454-6244 [email protected]








related studies


Whats Your Story?; Propaganda; Style & Substance;

Contemporary Illustration; Editorial Illustration;

Words, Images, Ideas

g a l l e r y

content and concept

imaging skills


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ILLUS 5250

Drawing 2Staff

Building on skills developed in Drawing I during the Fall semester, this class will focus

primarily on the human figure through weekly observational drawing. Basic anatomi-

cal considerations will be addressed in order to help the students better understandand depict the complexities of the human form. As the course progresses, students will

integrate the figure into a spatial context, engaging issues of composition, figure and

ground, and effective lighting. In increasingly challenging projects students will ex-

plore how viewpoint, both physical and conceptual, can effect the viewers experience

of a drawing. Experimentation with materials, concepts and approaches is strongly

encouraged.

Course Level: Sophomore, Required

(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information



charcoal, conte, graphite and other drawing media


portraiture, studio practice

Drawing 1 or permission of instructor

related studies

Drawing 1; Painting 1 & 2; Visible Cities; Artistic Anatomy;

Fantasy Painting; Speak, Memory; Means and An End;

The Human Figure in Context; Scientific Illustration

g a l l e r y

content and concept

imaging skills


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ILLUS 5251

Painting 2Staff

Tis course extends the lessons of Painting 1, reinforcing concepts of color organization

and compositional construction. Te influence of color choice on the emotional and asso-

ciative expression of an image is explored. Te course covers various strategies for engag-

ing the viewer through color harmony and tension, spatial illusions, the tactile properties

of the painted surface and depicted forms.

Students are encouraged to develop personal approaches to color and paint application.

While continuing work from direct observation, the course proceeds to explore strategies

for building synthetic, layered compositions from a variety of visual sources while using

color to unify an image, create emphasis and suggest narrative sequence.


(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information



oil painting


color composition, portraiture, studio practice

Painting 1 or permission of instructor

related studies

Advanced Painting; Speak, Memory; Fantasy Painting;

Color for Portrait and Figure; Painting Seminar;

The Human Figure in Context,; Landscape Painting

g a l l e r y

content and concept

imaging skills


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ILLUS 5252

Color WorksTrent Burleson

For students, color is often one of the most intimidating elements of designing a piece,

as the choices can seem endless and arbitrary. Anxiety and stress often result in hit or

miss approaches, repetition of a particular palette or avoidance of color altogether. Tis

class encourages awareness of color as one of the most dynamic components of an im-

age and emphasizes the need for achieving a balance between acquired knowledge and

instinct. Students will be required to investigate: value, harmony, limited palettes, color

grounds, layering, mixing, opacity, transparency, temperature, mood, contrast, compli-mentary color, spatial relationships, vibration and reflection as part of their in-class and

homework assignments. Students will work from models dressed in costume, with poses

changing every three weeks, and will be given instruction in a combination of acrylics

and watercolor in a variety of technical applications. Te expectation is that individuals

will gain a level of expertise in the designated media and then apply that knowledge to

other media.

Tis course will involve in-class critique, working from the model, and homework

assignments that will include portrait, still life, color charts, a master copy, and a final

series of illustrations/images of their choosing. Te four week final project will be at the

end of the semester allowing students to explore a style, material, media and subjectmatter of their choice that includes an investigation of color related issues.


(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://www.maryjanebegin.com


open media: acrylic painting, watercolor



Illustration Concepts 1 & 2; Drawing 1 & 2;Painting 1 & 2; or permission of instructor

related studies

Renaissance Painting Techniques; Painting Seminar

Color for Portrait and Figure; Advanced Painting;

Drawing With Color; Watercolor & Guoache;

Painting 1 and 2

g a l l e r y

content and concept

imaging skills


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ILLUS 5254

The PortfolioJulia Rothman, Ellen Weinstein

Te term portfolio is used here to mean the entire delivery system that explains who an

artist is to the professional world. Tat identity, or brand, consists of a resume, web-

site, printed samples, mailers, business cards, video clips and any other representation

of the skills offered and the work created. Tis class prepares each artist properly for real

world experiences in the disciplines and industries that fit the work developed. A design

project in their entirety, portfolios serve as the gateway to job opportunities, freelance

work, gallery exhibitions, artist residencies, and internships.

Te primary focus of the portfolio is on four main areas of discussion: the creation of

the artwork itself; the portfolio as a delivery system for the work; the charging of fees

and the creation of contracts; and the connection to client, employer, or art buyer. Each

student will develop an individual program and portfolio, including a proposal for a

body of work, a website, a business card, advertising materials, a resume, and a client list

with contact information.

Class will meet each week and review in a group or individual critique format, aug-

mented with guest lecturers, attendance at a portfolio and resume workshop, as well as

participation in a Portfolio Review Day sponsored by Career Services.

Course Level: Senior; Elective

(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor websitehttp://www.juliarothman.com

http://www.ellenweinstein.com

ISBmain office [email protected]; [email protected]




conceptual/problem solving, editorial illustration, corpo-

rate & institutional illustration, book illustration,

graphic design, packaging and 3D illustration

Illustration Concepts 1 & 2 and senior level status

related studies

Professional Practice; Editorial Illustration;

Advanced Projects; Picture and Word;

Putting It All Together; The Entrepreneur;

Contemporary Illustration;

g a l l e r y

content and concept

imaging skills


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ILLUS 5259

The Magic of BooksJudy Sue Goodwin-Sturges

How often do we stop to appreciate a beautiful book jacket or a well-designed book?

What are the elements that go into their making? How do images and text relate to one

another and produce an object that is somehow greater than the sum of their parts?

Tis course examines books of all kinds for readers of all ages. Selections from a wide

variety of genre will be studied and discussed in class. Students will experiment to find the

best imagery and style to complement the text. Composition, design, media, and color

will all come into play. During each class session, we will discuss students work from the

prior week. In the second half of the semester, students will use what they have learned to

create a final project: a book that epitomizes the interaction of words and images.

At the end of this course, students should have gained a heightened awareness of books

and bookmaking, of the relationship of images to text, and of picture-making in general.

Course Level: Junior, Senior; Elective(SPRING) 3 credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website www.studiogoodwinsturges.com

isb 401 401-454-6257 [email protected]

open media:drawing/painting,

animation, pastel, gouache, acrylic ,

collage, photography

book/editorial illustration, graphic novel,scfi/fantasy illustration, narrative

painting & drawing as illustration or fine art

None

related studies

Putting it All Together; Whats Your Story?; Sequential Art;

Cover to Cover; CoMix; Editorial Illustration;

Picture and Word; Serial Imagery in Printmaking

g a l l e r y

content and concept

imaging skills


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ILLUS 5260

Scientific IllustrationJean Blackburn

For centuries, science has posed widely divergent creative models for the physical world.

From the Greek philosophers to String Teory, ways of visualizing the world arein con-

stant evolution. How we examine things and seek to understand them are among our

first concerns in this class. What do an egg and an aqueduct, a bubble bath and

a bee hive, or a tree branch and a highway system have in common? With millions of

years for Research and Development, natures diversity of forms is an enormous library

of inspiration for designers and artists.

Tis class serves as an introduction to the enormous field of Scientific Illustration. Te

scientific illustrator must organize scientific information in an efficient, clear, and vi-

sually compelling manner. It must satisfy the needs of the scientist, the format, and the

audience. Major areas of concern will be in developing professionalism, strong compo-

si- tion, craftsmanship, and nuanced observational skills. Te influence of belief systems

on the depiction of factual information will be examined in historic scientific illustra-

tions. Students will be expected to produce several portfolio quality pieces.


Fee: $50.00(SPRING) 3 Credits


d e t a i l s

prerequisites


media affinities

contact information

instructor website http://blackburnartspace.com/home.html


open media: drawing, painting, digital

scientific and medical illustration,

archaeological illustration, book illustration,

painting & drawing as illustration and fine art

Illustration Concepts 1 & 2; Drawing 1 & 2; Painting 1 & 2or permission of instructor

related studiesDrawing 1 & 2; Painting 1 & 2; Visible Cities;

Creature Creation; Artistic Anatomy; Anatomical Sculpture;

Creature Lab; The Art of Communicating Science

g a l l e r y

content and concept

imaging skills


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ILLUS 5263

Type In MotionRafael Attias

Learn basic typography, page layout and the many new and evolving applications of

computer-generated art. Tis class will introduce the basics of Flash, InDesign,

RISD Illustration Department Catalog 2013-2014

Documents

Transcript of RISD Illustration Department Catalog 2013-2014