Visual Arts

  • CFA AR 121: Foundation Sculpture
    Introduction to sculpture: the study of three-dimensional form and spatial organization. Students will learn the basic principles of sculpture and learn to communicate their own ideas through a series of original compositions. Students will will learn various sculpture techniques with a large selection of materials. Class is designed to help students understand the interplay of form and will involve translating drawings/ sketches into three dimensions. Class will include the study of sculpture in a historical and contemporary context.
  • CFA AR 123: Foundation Design: Introductory Principles, Practices
    This is an introductory course where you will learn the basic principles of design, composition, form making and color theory. We will examine each of these topics holistically, beginning with their historical origination, contemporary application and finally in the context of your own artistic practice. Two- and three-dimensional solutions will be explored. Projects and class meetings will be structured to help you develop a design process and critique skills. The goal of this course is to provide a rigorous understanding of these foundational principles and skills which will then serve as a strong base for all future visual arts course work. Recommended for freshmen intending to major in Graphic Design; open to School of Visual Art freshmen and sophomores. 2 credits. 3 teaching contact hours per week. Spring semester.
  • CFA AR 131: Drawing 1- Majors
    Drawing based on analysis and observation. Study of perception and proportion to establish spatial and volumetric implications. Use of line, shape and value in the context of visual description of various motifs, still life, landscape and the human figure.
  • CFA AR 132: Drawing 1 (contd)
    Undergraduate Prerequisites: CFA AR131
    A continuation of CFA AR131. Drawing based on observation and analysis. Study of perception and proportion to establish spatial and volumetric implications. Use of line, shape and value in the context of visual descriptions of various motifs, still life, landscape and the human figure. 4.0 credits.
  • CFA AR 141: Foundation Painting
    This studio course emphasizes 2-d composition and direct painting in oil. Exercises in representing still life, interior, and portrait introduce basic principles of drawing, composition, and color interaction. Working with specific limited color palettes acquaints the student with systems of color proportion and their role in creating a believable pictorial space and color light. Exercises in color mixing, preparing supports, and caring for tools and equipment, introduce technical and craft considerations. Individual and group critiques, slide presentations, and occasional assigned readings complement regular studio class meetings. 4.0 Credits
  • CFA AR 192: Intro to Drawing
    An introductory class for non majors to explore materials and methods of descriptive drawing. No previous experience required. 2 cr.
  • CFA AR 193: Visual Arts Drawing
    A studio course that introduces the student to the materials and methods of descriptive drawing. The sequence of study is devoted primarily to working from the human figure, but there is also some work done from still-life subjects and from the imagination. Class assignments are related to analyses of master drawings. Two three-hour studio sessions each week. Preference given to students who have completed CFA AR 191. Not applicable to the BFA degree 4.0 Credits.
  • CFA AR 221: Sculpture 2
    Students will be challenged to improve upon skills learned in Sculpture I, with more emphasis on new techniques and various materials as well as investigating how to communicate ideas through form. Students will sculpt from direct observation, and create a series of original compositions. Class will involve study of sculpture throughout history as it relates to students' own works and contemporary art as a whole.
  • CFA AR 222: Time Based Sculpture
    This class is designed for students to explore mechanical movement and the passage of time as it relates to sculpture. Setting sculpture in motion as an objective allows the student to start with the potential of simple mechanisms, to experiment with motors, and to develop content and narratives relating to discoveries of movement and time. In addition, there will be a video component to the class as a way of documenting student projects throughout the semester.
  • CFA AR 223: Installation
    Installation art and relational aesthetics have become an important part of the contemporary art dialogue. It is important for students to understand how context affects the reading of art. This course will focus on developing ideas, building models, hands-on creation of installations, seminars looking at various approaches by artists both historical and contemporary, as well as shorter workshops with introductions to various materials. Students will be encouraged to make site-specific and temporary installations that utilize locally purchased and found objects to explore both linear and non-linear narrative structures. Some possible formats may include earthworks, subverting the reading of already existing sites or sculpture, or presenting documentation of in-class demonstrations. Slide lectures, discussions, and site-trips for material sourcing will supplement studio work and critiques.
  • CFA AR 225: Sophomore Graphic Design Fall: Form-Making, Communication
    Sophomore graphic design focuses on form making and conceptual problem solving. Imagemaking techniques will be explored and integrated into graphic design contexts. Conceptual problem solving will be examined according to how forms suggest meaning. A student is expected to build upon the skills developed during foundation year to generate innovative and inventive form in both analog and digital formats. Static and dynamic design solutions will be explored.
  • CFA AR 226: Sophomore Graphic Design Spring: Form, Communication
    Students will investigate how ideas and messages can be interpreted visually through a variety of projects. Form--content relationships will be the context for all projects. Students will study the broad concepts of denotation and connotation through projects including information design, communication through proxy and juxtaposition and communication through symbols, metaphor and metonymy. Static and dynamic design solutions will be explored.Open to undergraduate sophomore graphic design students. This is a required course for graphic design majors.
  • CFA AR 236: Anatomy and Figure Drawing
    Undergraduate Prerequisites: CFA AR 131 and CFA AR 132.
    Drawing analysis of the human figure with emphasis on anatomical structure; study of the skeleton and muscle groups as they affect volume and surface definition. Drawing from the living model, prepared skeleton, and anatomical casts; as well as compositional work from memory.
  • CFA AR 238: Drawing Concepts
    Undergraduate Prerequisites: CFA AR 131 and CFA AR 132.
    Discussion of a broad range of drawing issues, including drawing from memory, and from secondary sources. Introduction of subjects explored in non-representational drawing traditions. Drawing process will be emphasized through a study of drawing media- such as water-based inks and paints, collage, and pastel- to address both aesthetic and technical concerns. 4.0 credits.
  • CFA AR 239: Figure Drawing
    Undergraduate Prerequisites: AR 131 AR 132
    The focus of this class will be to teach students to think and understand the principles of drawing as a visual language. Class will involve an in-depth study of the human figure. Students will make a series of drawings and sketches in a variety of mediums, including graphite, charcoal, conté, ink, etc. Students will study from a live model, and will use the human figure as a vehicle to better understand the fundamentals of organic form, proportion, and balance.
  • CFA AR 241: Painting II
    This studio course emphasizes direct painting in oil. Exercises in representing still life, landscape, portrait, and figure elaborate principles of drawing, composition, color, and technique. Discussions of historical color systems for representing light and shadow, and assignments with limited color palettes will introduce dialogue concerning both perceptual and conceptual approaches to representational painting. Individual and group critiques, demonstrations and presentations, museum and gallery visits, and selected readings complement the regular studio class meetings.
  • CFA AR 242: Painting 3
    Undergraduate Prerequisites: CFA AR241
    Painting from life in oil and other techniques. Emphasis on the description of the figure. Work from memory. This is a required course for painting majors.
  • CFA AR 250: Introduction to Printmaking
    This survey course introduces a range of printmaking methods including relief, monotype, and basic etching processes. Printmaking is varied, repeatable and tactile, with images printed as unique works, as multiples, or as variations, using an array of processes. Concepts of drawing, design, color, layering, mark, and space are emphasized. These skills support the production of independent work within the context of contemporary art and design. Students will build on process, experiment with print media, and think creatively and critically. 4.0 credits
  • CFA AR 251: Introduction to Printmaking (2 credits) Spring term
    This survey course introduces the printmaking processes of relief and monotype. Concepts of design, image development, color layering and experimentation, and markmaking are emphasized. Students will use these skills to produce independent work, and think creatively. Open to the University.
  • CFA AR 261: Introduction to Art Education
    This course is designed to introduce students to a range of ideas and philosophies that support teaching art in public education. Participants will be asked to examine and share school art experiences and influences, record personal artistic growth and development, and consider factors that affect classroom methodology. Strategies include thematic planning, identification of student and teacher characteristics that enhance learning, the observation and evaluation of student artwork, studio processes, and a review of learning styles. Visits are be made to local professional and student exhibitions, and museums. Aesthetics, culture, learner needs, and curriculum on local, state, and national levels are discussed. 2.0 credits