Gale Litchfield

Make no mistake about it; consumers are compelled to take action by the siren call of powerful words. Students in this course develop their writing skills for print, radio, television and the Web as they learn how ideas become ads and how ads become persuasive selling tools. Working with actual advertising scenarios, students start with small-scale assignments and eventually create complete campaigns. Weekly assignments provide the experience required to develop effective, creative copywriting skills.

Applies to: AD-R, GR-E, WE-E

Chris Amorosino

Despite whirlwind changes in technology, the goal of copywriting has remained the same: to craft a clear and compelling message. In this course, beginning copywriters (and anyone who writes about their business) learn how copywriting has changed in an online world, and how to write effectively for evolving Internet marketing and social media marketing platforms. Students develop creative strategies for presenting messages that get noticed, building reputation and visibility, and distinguishing their business or product from the competition.

Applies to: AD-E, GR-E, WE-E

Philip Gedarovich

The animator's challenge is to embody a static drawing with the illusion of life, making that doodle crawl, march, dance or soar. But where do you begin if your sole experience with cartoon movie-making is a flip book? In this introductory course, your instructor reveals the animator's toolkit (both digital tools and pencil/paper), and explains the mechanics that allow separate and distinct drawings to be sequenced so that they flow together. Students collaborate in exercises that demonstrate animation principles such as cycles, levels and squash and stretch. By the end of the course you will have completed a short movie, built frame-by-frame, and have gained a measure of artistic confidence.

Applies to: AD-E, AN-E, GR-E, SA-E, VE-E

Evan Villari

Movie-making is often seen as a mysterious, smoke-and-mirrors operation, but behind the scenes lies a collaborative form of communication that links art, science and commerce. This course unravels the details of that intertwined structure, peeling back the layers of a finished product to provide students with a deconstructed view of the movie-making process. Such important movie-making concepts as storytelling, mise-en-scene and non-linear editing are discussed, as students learn to connect vocabulary and theory with applied techniques. By the end of the course, students will have examined the complete pre- through post-production process -- and even touched upon distribution -- of this technologically rich art form.

Applies to: AD-E, AN-E, DI-E, SA-E, VE-R, WE-E

Jessica Jennings

Lighting the video image has never been easy, but there are dependable strategies that the low-budget filmmaker can use that will look like a million dollars to the audience. In addition to understanding lighting technology, it is important to know how to design a three-dimensional space for two-dimensional presentation. This intensive workshop covers it all: a tutorial in lighting hardware (meters, lights, doors, scrims and reflectors) framed by discussions of lighting philosophy and aesthetic. A practical demonstration allows participants to work with equipment in a hands-on simulation of the best that is possible with guerilla lighting scenarios.

Applies to: AD-E, AN-E, DI-E, SA-E, VE-E

Jorge Lacera

Video game characters seem to spring forth effortlessly from your game console into bright and bold simulated life; their creation, however, is a deliberate one involving research, thoughtful draftsmanship and revision. In this course, an experienced concept artist introduces the process, beginning with editorial interpretation and the adoption of themes and concepts that sustain player interest and enhance gameplay. As they create a suite of characters, students are exposed to lessons in advanced drawing techniques, moving between works on paper and Photoshop files and practicing composite workflow. The course is ideal for animators and illustrators interested in exploring the game design industry.
Prerequisite: Adobe Photoshop I
Applies to: AN-E, SA-E

Evan Villari

This course in advanced video editing production builds on students' existing knowledge of the Final Cut Pro interface. Lessons emulate a true movie-making environment, with a comprehensive workflow from production through prepping for release and distribution. Studio lessons include lighting and shooting for chroma keying, time remapping and multi-camera techniques. On-location lessons in audio sweetening and color correction techniques are designed to teach movie-makers how to resurrect video. The professional-level projects add dimension to a show reel and an opportunity for students to collaborate and network with like-minded video storytellers. Note: This course satisfies the Burn This! DVD Studio Pro requirement for certificate students.
Prerequisite: Final Cut Pro
Applies to: AD-E, AN-E, DI-E, VE-R

Jane Kernan

Why storyboard? Storyboards can be used to discuss ideas, describe a sequence, visualize a "look" and create a blueprint for implementing an animation, saving time by facilitating experimentation and exploration before the real animation begins. Professionals also use storyboards to communicate ideas to creative teams, clients or potential employers. In class, students translate their story ideas into visual images and accompanying text, describing the action, mood, setting and timing of the story. Storyboard conventions are covered, along with narrative development, production and presentation techniques. Students also learn how to choose the appropriate type of storyboard for their audience, as well as how to set and manage client expectations. A variety of film and animation projects are presented for discussion so that students emerge with brand new tools for successful animation project planning.

Applies to: AD-E, AN-R, VE-R

Anne Finelli

A well-executed pattern is critical to an apparel maker's ability to translate a design accurately into an attractive and cost-effective garment. This fundamental course in patternmaking introduces students to the techniques of flat-pattern drafting and draping on the dress form. After learning to draft the basic slopers for skirt, bodice and sleeve, students develop apparel concepts using various patterning and draping techniques. Patterns are proven in muslin. As a final project, students design and construct an original garment in muslin based on measurements taken on the figure. Note: Basic sewing skills are necessary.

Applies to: AP-R

Dawn Oliveira

Green design means something very particular to the textile designer, with today's textile industry facing critical choices about how to manufacture and/or specify products. For fashion, residential or commercial contract fabrics, one must consider sourcing environmentally considered fibers and dyes from GOTS (Global Organic Textile Standards) certified mills around the world. These standards aim to ensure textiles' organic status -- from harvesting of the raw materials to environmentally and socially responsible manufacturing, to labeling -- in order to provide credible assurance to the end-user. Students in this course engage in design with environmental concerns at the forefront, by incorporating green imperatives in global fabric sourcing and printing. With careful consideration of trends, each student conceptualizes and produces a well-considered storyboard presenting a vision of a small, sustainable textile collection.

Philip Sawyer

Designed for the sewer who wants to take their skills to the next level, this course focuses on useful techniques for obtaining professional-looking results. The instructor demonstrates proper measurement and basic manipulation of commercial patterns, as well as construction techniques for handling curves, hems and yokes, and for easily inserting zippers and setting in sleeves. We also cover design details and finishing methods. The student will use their own pattern to construct a garment, applying techniques learned in class. Note: This course is for those who have sewing experience and access to a sewing machine. Students should expect to work at home between sessions. Class takes place at an off-campus location; directions and a supply list are sent to registered students.
Prerequisite: Sewing 101 or instructor permission
Applies to: AP-R

Anne Emlein

Course Update: Students do not need to bring their own knitting machines, as printed in the Summer 2012 catalog. Knitting machines will be provided.

Karen Kaplan

Schedule Update: The schedule for this course changed after the Summer 2012 catalog was published. Class will now meet Thursdays, June 14 - July 26 (no class June 28).

Applies to: AP-R

Anne Finelli

Have you recently bought a sewing machine, but don't know where to start? This course familiarizes you with your machine while providing instruction in basic sewing skills. We review sewing kit equipment, needle position, stitch types, the impact of fabric types and qualities, as well as how to avoid bunching and jamming. In addition to learning basic stitches each week for a sample sewing notebook, students practice basic procedures by creating small items sewn in the first three sessions. We then advance to two larger projects for the next two sessions -- one simple pair of shorts or skirt, and one simple shirt or blouse -- both to be finished by the last session. This is followed by a group discussion and critique of our work. Note: Students must bring their own sewing machine to class; sewing accessories/kit optional. Students planning to enroll in the Apparel Design Certificate Program are advised to register for this course.

Karen Kaplan

Schedule Update: The schedule for this course changed after the Summer 2012 catalog was published. Class will now meet Tuesdays, June 12 - July 24 (no class June 26).

Applies to: AP-R

Rhonda Fargnoli

In this course, students design and knit a sweater with the appropriate scale and aesthetic for a child. The focus is on design and construction; measuring, fit, sizing and pattern details; as well as yarn selection. We look at a range of inspirational sources of design and color trends, as well as various fibers and their inherent characteristics. Discussion of stitches and patterns is covered, and we also explore embellishments and details that accentuate the overall design. Note: Knitters of all skill levels, including beginning, are welcome.

Rhonda Fargnoli

Color plays an essential role in the language of textile design, as do the fibers used and how they are dyed. This hand painting (a textile industry term for hand dying) course focuses on aspects of color forecasting and trends and, using Pantone: The Twentieth Century in Color, students create their own palettes and color ways. Students learn how to dye their own organic fibers using the finest organic dyes from the West Coast, and how to color hanks of wool and bamboo yarn. These yarns are then used to knit unique lace scarves. Note: Knitters of all skill levels, including beginning, are welcome.

Michelle DuBois

Thursday-Sunday, May 17-20
CLASS: May 17-19, 9am-7pm
EXAM: May 20, 9am-12pm

Applies to: AS-R

Brian Tierney

Boston is the home of two of the finest museum collections in the US. In this program for appraisers, we take guided tours of the Museum of Fine Arts and the Isabella Stewart Gardner Museum, both having recently undergone major expansion and renovation that allow more of the collections to be seen and highlighted. Our visit to the MFA focuses on the collections of fine and decorative art in the new Art of the Americas Wing, as well as the contemporary galleries. Following our visit to the MFA (a large public art museum) we visit the Isabella Stewart Gardner Museum, a private collection that reflects the taste and intellect of an individual. This eclectic collection of both fine and decorative art remains virtually unchanged from the time Mrs. Gardner assembled and opened it in 1903. These museums' recent expansions of space have breathed new life into both remarkable institutions -- don't miss this opportunity to experience their grand re-awakenings. Free time for individual exploration at each museum is planned. Note: Class meets in Boston; directions are sent to registered participants. Museum admission is included in tuition; lunch and transportation to and from Boston are not covered by tuition.

Applies to: AS-E

Brian Tierney

Louise T. Hall, Janan Archibald, Judith Vance

While successful appraisers have to know all about the art of appraising, they also have to know all about running a business. This intensive, one-day seminar helps prospective career appraisers explore how to establish a professional practice and identity. Louise Hall, a career appraiser, profiles her practice. Judith Vance, ASA discusses her transition from the New York publishing world to a successful fine art appraiser. Janan Archibald, president of Mind Your Manors, discusses her transition from the corporate environment to appraiser and estate liquidator. Participants have ample opportunity to discuss issues relevant to them during question-and-answer sessions with the presenters.

Applies to: AS-E

Tom Gastel

Watercolor is one of the best architectural presentation media for winning project approvals. Its mastery tests an architect's pedigree, as with illustrators and painters. Watercolor images have warmth and light that capture a proposed environment's energy, and subtly show design intent while leaving just enough detail to the viewer's imagination. This course provides the tools to create dynamic interior and exterior architectural illustrations using watercolor. Emphasis is on learning the general characteristics of watercolor, specific colors, paint brands, brushes, watercolor papers, color theory, composition, and on reviewing different architectural illustration styles. Students conclude the course by producing two final architectural illustrations, suitable for professional design portfolios. Bring your watercolor paints, brushes, watercolor paper and eager mind to the first class to learn and be inspired.

Cordelia Wheelock

This intensive weekend workshop exposes participants to a variety of hands-on art therapy techniques using drawing, painting and sculpture. These techniques focus on creative self-expression, a fundamental process often used by people to reflect upon themselves and their lives. Students follow individual and group art therapy directives -- designed to explore specific themes or topics of discussion -- and ways that these directives can be used in one's personal or professional life. This workshop is appropriate for students wishing to explore art therapy techniques, both for their own lives or to pursue education in the field.

Suzi Cozzens

Japanese Bookbinding + Suminagashi
BOOK-2164
This workshop begins with an introduction to suminagashi or "ink floating," an ancient Japanese paper marbling technique. After experimenting with various papers and pigments, participants use their papers to make books with Japanese-style bindings. A variety of traditional Japanese stitches is demonstrated, and special attention is paid to the unique proportions of traditional Japanese books. Students leave class with a completed blank book.

Suzi Cozzens

Japanese Box Making
BOOK-2131
Participants construct boxes featuring unique, traditional closures and covers made from beautifully patterned imported Japanese papers. These boxes may be constructed to fit papers and books created in the previous workshops.

Suzi Cozzens

Japanese Papermaking
BOOK-2163
Working with Asian fibers such as kozo and gampi, participants learn traditional papermaking methods to create thin, translucent sheets of paper. Flowers, grasses and fibers, or more unusual objects such as silk threads, photos, fragments of text and seed pods, may be layered between these sheets. Participants leave class with a variety of handmade papers.

Bryan Rodrigues

Glenn Gutmacher

In this highly competitive job market, your plans for landing a better job should include strategies for establishing your own personal brand by tackling the online world. You can showcase your subject matter expertise through social networks (including Facebook, LinkedIn and Twitter), with an online portfolio, by blogging, and by contributing comments to industry sites. In this course, Glenn Gutmacher, a popular online sourcer, shares methods to build -- or rebuild -- your personal brand on the Internet. He demonstrates how to optimize traffic to your online identity, and to discover what kind of presence your portfolio has online (hint: not just on your own domain). He also illuminates the power of blogging (by having your own blog and posting to others'), and of providing answers to relevant questions on expert networks. The course is perfect for job seekers or career changers, introverts and extroverts, and anyone looking to stand out in the crowd.

Allison Cole

Etsy.com is the artist's answer to eBay, connecting buyers with makers of handmade art and products. Since its start in 2005, this online marketplace has grown into a worldwide community offering alternatives to mass-produced objects. In this workshop, a successful Etsy artist/merchant shows you how to supplement your income by creating a compelling presence for your design works on Etsy. Topics include setting up your shop with an effective shop name, descriptions, key words and photographs; pricing your work; and how to market and publicize your shop. Your Etsy business doesn't have to be incorporated, nor is online sales experience required.

Stephanie Blanchard

Whether you're a business owner, freelancer or artist, you need to stand out from competitors to survive. One of the best ways to differentiate yourself is through a powerful brand story that entices customers. People crave the emotional connection that comes through storytelling. That's why social networking is popular; it connects people through stories or "status" updates. Your brand story needs to be compelling and authentic, and bring your brand to life. Starting with an overview of branding, this course teaches you how to develop your brand voice and craft a powerful story. We explore how to communicate your story on the web, through social media and in other communications. You'll also develop a communications plan for your business.

Nicole Aquillano

Sipping coffee or tea from one's favorite cup is one of the most pleasant of rituals. Creating work inspired by a cup from a personal collection and/or ceramic history is the focus of this course, as is discovering aspects of form and surface that draw an individual to certain objects over others. Emphasis is on both technical skills and exploration of personal expression in making functional ceramics. Students move quickly through the basic techniques of wheel throwing in an effort to realize and generate many different ideas in clay. Ultimately, students have the opportunity to explore what inspires and holds meaning for them, as they create fresh and vibrant work for their personal collections and potentially create that new favorite cup.

Ari Warsaw

Good knife skills are one of the most important parts of the culinary arts: they help to speed preparation time, prevent accidents, improve the quality of the food you cook by ensuring uniform cooking times, and enhance visual appeal. In this hands-on class, private chef Ari Warsaw begins by instructing students how to select the appropriate knife for the job, as well as how to properly care for a knife including handling, sharpening, edging on a steel and cleaning. He guides students as they practice basic knife cuts such as batonnet, brunoise and julienne, and as they cut an onion, chiffonade basil, bone a chicken or fillet a fish. Note: Students should bring their best knife and personal cutting board.

Evelyn Herman

Topsy turvy cakes add a delightful element to any celebration. Learn to make a stacked cake in the topsy turvy style -- a fun optical illusion that makes a cake appear tilted. Through hands-on demonstration by a master sugar artist, learn how to sculpt, cover in rolled fondant, and stack two small cakes. Students practice construction techniques such as cutting layers and angles, and the use of dowels for support, and are given instruction on how to apply these methods to larger three- and four-tiered cakes. Once the mechanics of the cake structure are complete, we decorate and personalize our masterpieces. With an infinite number of decorative possibilities, these whimsical cakes are suitable for almost any occasion.

Haruki Kibe

Sushi -- popular because it lends itself to creative, colorful and delicious combinations of fish and vegetables -- is a great hors d'oeuvre for your next party, or can stand alone as the perfect entree for a light meal. This hands-on class held at Haruki's flagship restaurant in Cranston, RI offers the opportunity for you to learn from Chef Haruki himself how to make sushi at home. The class begins with an introduction to basic rice marinating for the sushi roll, and introduces tips and techniques for creating a variety of sushi using ingredients that are widely available to the home cook. The class concludes with a lunch at Haruki Restaurant, or participants may choose to take their sushi creations home with them. Note: Class meets at an off-campus location; directions are sent to registered participants.

Kristin Brennan

Boutique cupcake shops are popping up all over the country, each with its one-of-a-kind spin on the classic confections. Students in this workshop get a hands-on opportunity to create their own signature flavor by taking a basic vanilla or chocolate batter and incorporating unique and unusual ingredients for exciting and yummy results -- think Cupcake Wars, without the competition! Basic decorating techniques are also taught so that you can walk away with delights that are not only scrumptious, but beautifully decorated as well. Note: Class takes place at an off-campus location; directions are sent to registered students.

Timothy McFate

Two-thirds of the world's population eats most of its meals from some sort of bowl; for RISD's Chef Tim McFate, that makes for a journey of endless combinations. From China to Mexico, and Italy to India, Chef Tim enlightens and entertains us, as we learn what makes different cultures' comfort foods tasty and healthy. Rice and other grains form the foundation of diet and agriculture, and help to establish community when helpings are served to or from the bowl. Learn the secrets of indigenous stocks, local and regional techniques, historic rituals and even how bowl material choice (wood, clay or metal) can impact preparation and taste. Come discover the many simple hidden treasures in a bowl that are a classic part of the joy of cooking!

Katie McDonald

The raw food movement has grown in popularity, as people have embraced its health benefits and aesthetic appeal. Preparing raw food is a sensory, creative art that enables one to capture the bounty of the season and incorporate the color and diversity of our region's agricultural largesse. After a brief lesson on the philosophy behind the raw foods movement and how it connects us to greater themes, students prepare a vegan raw soup beyond the expected gazpacho or melon; and an appetizer bursting with flavor that paves the way for an entree that is complex in its simplicity. Students leave class inspired to find more innovative ways to create their own fresh, flavorful and beautiful raw food dishes.

Katie McDonald

You don't have to give up dessert if you're a raw foodist. Raw desserts satisfy our cravings for sweetness while quieting the drive to overindulge. Made without processed sugar and with whole ingredients, they leave us feeling nourished and whole. Together, we make ice cream without milk and eggs, pies without processed flours, and cookies without processed sugar. Instead, we look to whole plant foods to satisfy our instinctual sweet tooth. Led by a natural foods expert, this class is for those seeking ways to keep dessert in their lives without undermining a commitment to exceptional health. Additionally, sugar-sensitive people, vegans and those with allergies or intolerances to dairy or gluten will embrace this class with relief and delight!

Jo-Ann Ross

Throughout the ages, famous artists such as Picasso, DaVinci and Renoir have been inspired by wine as a symbol of joy, hospitality and sociability. Now, as wine tasters, we are inspired by works of art. In this workshop, you taste two wine selections, and together we decide which wine best suits our personal response to a work's visual and emotional cues, whether it be the colors, subject matter or other qualities. Expect words like "joyous," "magical," "exhilarating" and "inspired" to come to mind as you describe your experience. Please plan to attend this very inventive, interactive art event pairing wine with art, which may forever change how you look at creative works. Note: Registrants must be 21 or older.

Kaitlyn Roberts

Join the executive chef and owner of Providence-area Easy Entertaining for a tour focused on ecological, cultural and agricultural sustainability. We explore and savor the best locally-raised foods available from small-scale New England farmers, cheesemakers and other food artisans. Class participants accompany Chef Roberts to a local farmers' market, where she discusses aspects of ingredient selection and seasonal specialties. Local growers share their insights on sourcing and item selection, and where to save money without sacrificing healthfulness or quality. The class continues in the studio of Easy Entertaining, where students learn the most nutritious and flavor-enhancing cooking methods for seasonal ingredients. Note: Class takes place at an off-campus location; directions are sent to registered students.

Kaitlyn Roberts

Join the executive chef and owner of Providence-area Easy Entertaining for a tour focused on ecological, cultural and agricultural sustainability. We explore and savor the best locally-raised foods available from small-scale New England farmers, cheesemakers and other food artisans. Class participants accompany Chef Roberts to a local farmers' market, where she discusses aspects of ingredient selection and seasonal specialties. Local growers share their insights on sourcing and item selection, and where to save money without sacrificing healthfulness or quality. The class continues in the studio of Easy Entertaining, where students learn the most nutritious and flavor-enhancing cooking methods for seasonal ingredients. Note: Class takes place at an off-campus location; directions are sent to registered students.

Bryan Rodrigues

Adobe Illustrator is known for its drawing capability using a vector-based system that allows for smooth instead of pixelated curves. Specific shapes can be organized in a predetermined stacking order to produce complex forms that seem to exist in a convincing spatial context. The beauty of this feature is that with shading, overlapping or color, artists can create the illusion of three-dimensional objects receding in space. Whether drawing a logo, figure or complex illustration, participants in this course become familiar with the tools used to depict space, light and color as they enrich their drawings through a computer-realized process. A variety of projects, each with its own idiosyncrasies, give students an understanding of the full range of Illustrator options.
Prerequisite: Adobe Illustrator I
Applies to: AD-E, CB-E, GR-E, WE-E

Bryson Dean

This course helps novice users become more confident -- and intermediate students more competent -- with computer-based design. We introduce the Apple computer and its operating system along with Adobe Photoshop, Illustrator and InDesign, and discuss the capture, transfer, manipulation and delivery of images. Proper digital workflow is revealed through class exercises and lecture, as students learn to output content for the printed page. Completion of this course provides you with valuable skill sets relied upon by all productive graphic designers, illustrators and draftsmen.

Applies to: AD-R, CB-R, DI-R, GR-R, NS-R, SA-R

Joanna Gammel

This course helps novice users become more confident -- and intermediate students more competent -- with computer-based design. We introduce the Apple computer and its operating system along with Adobe Photoshop, Illustrator and InDesign, and discuss the capture, transfer, manipulation and delivery of images. Proper digital workflow is revealed through class exercises and lecture, as students learn to output content for the printed page. Completion of this course provides you with valuable skill sets relied upon by all productive graphic designers, illustrators and draftsmen.

Applies to: AD-R, CB-R, DI-R, GR-R, NS-R, SA-R

Anne-Marie Byrd

Adobe Illustrator -- a popular vector graphics editor used by designers and illustrators to produce print or Web designs -- is particularly helpful in creating unique images and graphics that require a high degree of precision and scalability, allowing an artist control of images as small as a bottle cap or as large as a billboard. Because the program is vector based, curves do not pixelate as they do in other graphics applications. In this course, students learn to create illustrations and free-form sketches, explore how this program of choice for professional artists and designers makes it possible to trace and alter scanned images in order to create a variety of special effects, and learn to save their files in the most often used output options (EPS, PDF, VML).
Prerequisite: Digital Tools for Print Design or Digital Design for the Screen
Applies to: AD-E, AN-E, CB-E, GR-E, NS-E, SA-E, VE-E, WE-E

Bryan Rodrigues

Whether images are scanned, photographed or digitally drawn, Adobe Photoshop is the industry-standard program for manipulating them. This introduction to Photoshop focuses on combining, retouching and modifying images through class exercises and projects in which students work with Photoshop tools like the airbrush, paintbrush, cloning and pattern stamps, eraser and crop tool. By the end of the course, students understand Photoshop's capabilities and are able to handle basic file formats and layers, combine images, and create effects using grayscale, color and filters.
Prerequisite: Digital Design for the Screen, Digital Tools for Print Design or equivalent experience
Applies to: AD-E, AN-R, CB-R, DI-R, DS-E, GR-E, NS-R, SA-R, VE-R, WE-E

Bryan Rodrigues

Whether images are scanned, photographed or digitally drawn, Adobe Photoshop is the industry-standard program for manipulating them. This introduction to Photoshop focuses on combining, retouching and modifying images through class exercises and projects in which students work with Photoshop tools like the airbrush, paintbrush, cloning and pattern stamps, eraser and crop tool. By the end of the course, students understand Photoshop's capabilities and are able to handle basic file formats and layers, combine images, and create effects using grayscale, color and filters.
Prerequisite: Digital Design for the Screen, Digital Tools for Print Design or equivalent experience
Applies to: AD-E, AN-R, CB-R, DI-R, DS-E, GR-E, NS-R, SA-R, vE-R, WE-E

Bryan Rodrigues

As the industry standard for graphic design, Adobe InDesign integrates effortlessly with the Adobe software suite (Photoshop, Illustrator) to give graphic artists superior control over every element of their page layouts. Designers can use it to combine text and illustrations for single- or multi-page documents and to prepare them digitally for output to press, printer or PDF. Students in this course gain technical know-how of the application's basic tool layout, image manipulation, and vector integration tools. Concepts of visual communication and design are reinforced through hands-on exercises and practical assignments that culminate in a final project in book design. The project may then be printed commercially to be included in a graphic design portfolio.
Prerequisite: Digital Tools for Print Design or equivalent experience
Applies to: AD-E, AN-E, CB-E, GR-R, SA-E, WE-E

Greg Nemes

The screen is the entryway through which we view our digital world. This introductory but fast-paced course begins with the real hardware assets (processors, monitors, memory) needed for digital design work, and from there moves on to the software tools and protocols that impact what can be viewed on the screen -- QuickTime, HTML and the components of Adobe's Creative Suite of software tools. All the elements can be daunting, but once explained, we're well on the way to digital fluency which, in turn, leads to original and unexpected visual solutions. This course enables students to better understand computer aided design and digital workflow as we gather, preserve, modify and combine images, text and information until they comprise examples of well considered design.

Applies to: AD-R, AN-R, CB-E, JM-R, VE-R, WE-R

Bryan Rodrigues

The screen is the entryway through which we view our digital world. This introductory but fast-paced course begins with the real hardware assets (processors, monitors, memory) needed for digital design work, and from there moves on to the software tools and protocols that impact what can be viewed on the screen -- QuickTime, HTML and the components of Adobe's Creative Suite of software tools. All the elements can be daunting, but once explained, we're well on the way to digital fluency which, in turn, leads to original and unexpected visual solutions. This course enables students to better understand computer aided design and digital workflow as we gather, preserve, modify and combine images, text and information until they comprise examples of well considered design.

Applies to: AD-R, AN-R, CB-E, JM-R, VE-R, WE-R

Amy Wynne-Derry

Class meets:
Mondays, June 11-July 2, 6:30-9:30pm
Saturday, June 30, 10am-4pm

Applies to: AN-E, CB-E, DS-E, SA-E

Jeanne Sturim

Notable illustrator and pastel artist Jeanne Sturim shares her knowledge, technique and expertise in this two-day intensive workshop on both drawing and the use of pastels. Jeanne helps students to sharpen their observational skills, develop their own approach to design and build a drawing with pastels. Demonstrations are given on how to begin the drawing with charcoal, followed by a watercolor underpainting to establish light and dark values, and finally on ways of applying pastels. Cross-hatching and layering are discussed in terms of color mixing to achieve a desired luminous effect. Students work from still-life set-ups with the complex combination of subject and medium providing a challenging, exciting and ultimately, rewarding experience. All levels of students are welcome, as participants work at their own speed.

Applies to: CB-E, DS-E, NS-E

Emily Slapin

When drawing or sculpting the human form, the more complex elements of heads, hands and feet often prove difficult to render convincingly. Students in this course begin with the skeletal form, move into musculature and then address the topographical information of these specific forms. Starting with the head, students develop a conceptual model drawing based on measurements taken from the skull, which represents the "hard form" that makes us human. Students then explore the "soft forms" (such as musculature, fat distribution, cartilage, skin folds and hair growth patterns) that create an individual's specific likeness. Moving to the hands and feet, students create conceptual forms, code joint movements, study the anatomical structures and address issues of proportion. In the end, students have a consistent process for creating naturalistic features that can be applied to any pose or position.

Applies to: CB-E, DS-E, NS-E, SA-E

Mara Metcalf

Technique and medium are interchangeable in mixed media, where the premise is to mix whatever you want in whatever ways you want, with the most unexpected combinations often yielding the most interesting results. While this class facilitates practice and play to allow for individual discovery, directed exercises ensure a solid introduction to the possibilities of working with charcoal, watercolor, ink, gouache and acrylic. Techniques for gluing, drawing, painting, cutting, transferring, layering, collage and assemblage -- using cardboard, ribbon, paper, fabric, graphite and even found objects -- are investigated. Many artists today work in a wide range of mixed media; the ability to experiment proves invaluable as individuals look for the best medium to optimally express their ideas.

Applies to: CB-E, DS-E, NS-E

Eleanor Sabin

In this class, students learn the fundamentals of mastering mark-making with pen and ink. Students experiment with the tools of the medium including crowquill and brush, on surfaces such as mylar, bristol board and various papers. They learn how to render values, grade tones and apply them to drawing simple objects. Using techniques of line weight variation, stippling, cross-hatching and washes, students establish value systems from subtle to dynamic to create illusions of space, distance and shadow. Laying down washes and building layers, as well as integrating pen work with brush work, are demonstrated and then experimented with. Fundamental issues of composition, scale and proportion are introduced as work is done on different sizes of paper.

Applies to: CB-E, DS-E, NS-E

Michele Noiset

Fresh, pure and instant color -- without tubes to squeeze, paint to mix or brushes to clean -- is the hallmark of pastels. This versatile medium lends itself to a large range of stylistic possibilities, from softly blended surfaces to free, sketch-like layering. Students in this workshop are introduced to materials and techniques, as they learn to create different visual effects depending on the supports (paper, board, etc.) and grounds. Demonstrations are given on the various ways to build drawings, including mapping and mark-making -- such as blocking, optical mixing, scumbling and feathering -- as well as other drawing fundamentals. Working primarily with soft pastels on colored paper, students learn to build composition through light and value, form, tone and color.

Applies to: CB-E, DS-E, NS-E

Johnny Adimando

The sketchbook has a long history as an indispensable tool and repository for creative research and new ideas. This immersive course provides fertile ground for experimentation and spontaneity so that students can create an active, organic and dynamic sketchbook. From urban archaeology to Internet surfing, diverse projects introduce a myriad of technical skills and approaches, helping students to understand the vast potential of the visual arts. Media to be explored include charcoal, pencil, collage, photography, photo and image transfer, and photocopy, as well as various digital tools. Drawing is explored as a means of gathering information and reinforcing basic skills, and projects are designed to trigger the imagination, as well as help develop different ways of seeing and working. Ultimately, students discover many options for interpreting what they see.

Applies to: CB-E, DS-E, NS-E, SA-E

Katie Reaves

Design is the discipline underlying all forms of visual expression, and an understanding of two-dimensional design principles is the basis for all 2D art forms. This course introduces students to the formal elements of design: line, shape, pattern, value, texture, color and space. Working through a variety of challenging exercises, students use these elements to solve problems of visual organization. The placement of visual elements into an organized whole is the basis of composition, and skills acquired in this class have direct applications to anyone working in two-dimensional media, from advertising art directors to illustrators, interior designers and painters.

Applies to: AD-E, AN-E, CB-R, DI-E, DS-R, ID-R, JM-R, NS-R, SA-R

Robin Wiseman

For amateur and professional alike, drawing skills are fundamental to the artist's visual education. Through guided practice, beginning students sharpen their powers of observation as they learn to translate what they see into drawings. Using basic tools and materials, students develop their drawing skills by exploring concepts such as line, form, value, proportion, perspective and composition. Through a series of graduated exercises, students learn to draw the figure, still lifes and the environment with confidence and prepare for further work in a variety of art media.

Applies to: AD-E, AN-E, CB-R, DS-R, GR-E, JM-R, NS-R, SA-R

Carlotta Danzante Miller

Van Gogh, Matisse, Titian and even Warhol were masterful colorists who used color deliberately to create powerful drama in their work. Indeed, the dynamics of color are fundamental to virtually all design, illustration and painting. In this course, students explore how the concepts of value, hue and intensity relate to design and how the use of color is integral to a piece's effect and ultimate success. As students explore the specific applications of color used by professionals in advertising, illustration and two- and three-dimensional design, they come to understand the integration of art and science we call color theory.

Applies to: AD-E, AN-E, CB-R, DI-E, DS-R, GR-E, ID-E, NS-R, SA-E

Bill Riker

The art of glass blowing is enjoying a lively revival in specialized facilities throughout the country. Join us at a professional glassblower's studio to learn the basics of working molten glass, and see how this transparent medium both accommodates and challenges the imagination. Through demonstrations and hands-on experience, students explore contemporary glass-working techniques under the guidance of a skilled artisan, with historic and modern examples of glass works providing inspiration and perspective. As the course progresses, students are encouraged to experiment as far as their newly acquired skills take them. Note: Space is limited in this course, which meets at an off-campus studio, so early registration is encouraged. Directions are sent to registered participants.

Bill Riker

The art of glass blowing is enjoying a lively revival in specialized facilities throughout the country. Join us at a professional glassblower's studio to learn the basics of working molten glass, and see how this transparent medium both accommodates and challenges the imagination. Through demonstrations and hands-on experience, students explore contemporary glass-working techniques under the guidance of a skilled artisan, with historic and modern examples of glass works providing inspiration and perspective. As the course progresses, students are encouraged to experiment as far as their newly acquired skills take them. Note: Space is limited in this course, which meets at an off-campus studio, so early registration is encouraged. Directions are sent to registered participants.

Bill Riker

A master glassblower takes years to perfect his or her craft. This course is designed for those ready to further develop and refine their glass blowing skills. Here, students are guided to move beyond the beginning level to include exploration of complex multi-part forms and shapes. With the fundamentals fully digested, students can concentrate on defining their individual viewpoint and conceptual thinking skills, and start to work in teams on group projects. Please note that the course takes place at a professional glassblower's studio with demonstrations and techniques tailored to each student's needs and interests. In all cases, however, experimentation is highly encouraged. Note: Space is limited in this course, which meets at an off-campus studio, so early registration is recommended. Directions are sent to registered participants.
Prerequisite: Introduction to Hot Glass or equivalent experience

Anther Kiley

The poster offers a rich opportunity for a designer to create work that must be presented in a meaningful and visually interesting way. In this advanced course, we mimic the experience graphic designers face in the real world as they consider the unique but prominent art form that the poster has become. Your instructor assumes the role of art director and introduces the design brief that propels you, the student/designer, to develop innovative print media solutions from concept and design through to presentation and delivery. Each stage is critical and is the basis for a lesson in this honest rehearsal for the aspiring graphic designer. An overview of contemporary and historic poster design provides students with sufficient context to imagine their own solutions that will become an eye-catching duet of type and image.
Prerequisites: Digital Tools for Print Design and Typographics I or equivalent experience
Applies to: AD-E, DI-E, GR-R, SA-E, VE-E, WE-E

Wayne Vieira

Prepress technology is critical to graphic designers, who are required to prepare digital files for translation onto the press. In this course, students learn how to produce print-ready electronic files while learning various aspects of prepress. Topics covered include color naming, bleeds, image resolution, color correction, preflighting, proofing methods, and on-screen versus CMYK or spot color usage. Students are also introduced to Adobe Acrobat with a focus on creating industry-standard high-resolution PDFs, and get to visit a high-end printing firm to learn firsthand how to preflight files, how to read a proof, and what to look for on a press check. By the end of the course, students will have a clear understanding of what exactly the designer's obligation is to the prepress vendor.
Prerequisite: Digital Tools for Print Design
Applies to: AD-E, CB-E, GR-R, NS-E, SA-E

Mary Beth Cryan

Vector drawing is the often-misunderstood digital design process used by graphic artists and Web developers to create nearly infinitely scalable icons, type and logos of delirious complexity. Fluency in vector design and Adobe Illustrator, the product most closely associated with it, is bound to add depth to your portfolio and broaden your marketability in today's competitive economy. Students in this course are assigned three graphic illustration projects in a structured step-by-step format, starting with an illustration project that covers blends, effects and skillful pen tool techniques. Following this are a wallpaper project that introduces the repeat concept and, finally, a project employing die lines that can take the form of a pop-up card or a package design. Registration, layers and file types are consistent topics throughout.
Prerequisite: Digital Tools for Print Design, Digital Design for the Screen or Adobe Illustrator I
Applies to: AD-E, CB-E, GR-E, SA-E, WE-E

Dina Zaccagnini Vincent

A graphic designer is a creative problem solver who conceptualizes, plans and executes a design that communicates a message. This course introduces students to the fundamentals of working in the field of graphic design by examining the meaning of graphic design, the design process and the role the graphic designer plays in society. Students respond to lecture presentations and engage in hands-on assignments intended to provide a glimpse of the RISD|CE Graphic Design Certificate Program and the broader field of the professional graphic designer.

Applies to: AD-E, AN-E, DI-E, GR-R, SA-E, VE-E, WE-E

Bryan Rodrigues

This online course examines the chronological development of visual aesthetic communication -- or, more simply, graphic design -- as it has been shaped by technological advancements, artistic and cultural movements, and social, political and economic change. Through a series of images and audio commentary, students study the evolution of graphic design, as they learn to identify the graphic style, time period or movement for any given piece. Students contribute to the online classroom experience and connect with fellow students by completing essays and written exercises. Note: Students should have Internet access and understand basic Web browsing. Course material is posted weekly throughout the term, and students are expected to participate in online discussions. Registered students are contacted via email by the instructor prior to the start date of class with detailed information.

Applies to: AD-E, AN-E, GR-E

Cathy Wilkerson

Your windows are your visual channels to the outside world. For this reason, window dressings and treatments, along with knowledgeable choices of fabrics and styles, can add immeasurably to the beauty and comfort of your home. In this class, we explore the range of styles, fabrics and hardware available. We discuss the differences between draperies and curtains, the aesthetic value vs. the practicality of using decorative hardware, as well as the implications of using sheers vs. blinds. Whether you are decorating a home, an apartment or a converted loft space, and whether you have tall, small or bay windows to transform, this class provides stimulating and practical solutions to your design challenges.

Amy Bartlett Wright

This advanced-level course expands upon the basic concepts of depicting form and structure first explored in Drawing from Nature: Form + Structure and Painting from Nature: Color + Light, and emphasizes composition, realistic rendering, directional lighting and the range of tonal values, challenging the student to depict the natural object as it relates to a background of realistic scenery. Discussions and demonstrations focus on composition and successful integration of subject and background. In addition, students are encouraged to think beyond representing an isolated natural object to painting a full, complete image of the living entity in its environment.
Prerequisite: Painting from Nature: Color + Light or permission of the instructor
Applies to: NS-E

Jack Purcell

Black India ink drawing techniques have historically been the finishing step for comic book pages on their way to publication, as the medium's higher contrast complemented printing techniques. Fans of comic book illustration have remained faithful to the dramatic shapes and subtle tonalities that were established in that tradition. This project-based course examines and emphasizes techniques built on a solid understanding of drawing and the tools used to render in black India ink. Comic book artists like Steve Rude, Alex Raymond and Jim Lee are used as models for students' original comic book work, as they add layers to their portfolio samples. The course concludes with a look at the digital tools that have revolutionized the delivery of finished comic book illustrations.

Applies to: AD-E, AN-E, GR-E, SA-E

Jon B. Cooke

The fusion of words and pictures -- what we call sequential art or comics -- makes for both a powerful storytelling vehicle and unique art form. This online course examines the art and industry of the American comic book tradition, shaped by its artists, authors and characters. Join us for this mixture of image rich presentation, forum discussion and self directed investigation that reveals where American comics have been and where they might go. Our examination takes us from the first newspaper strips that captured a mass audience, to the "undergrounds" of the 1960s that emerged from 1950s hysteria. We finish with modern-era independent mavericks and corporate titans, who have taken different approaches to chronicling the prevailing American mythology. Note: Students should have Internet access and understand basic Web browsing. Course material is posted weekly throughout the term, and students are expected to participate in online discussions. Students are contacted via email by the instructor prior to the start date of class with detailed information.

Applies to: AD-E, AN-E, CB-E, GR-E, SA-E, VE-E

Susan Mullins

If you're into flapper dresses, poodle skirts or the "Mod Look", or can't wait for the return of the zoot suit or bell-bottoms, then shopping for vintage clothing and accessories is for you! In this workshop, Boston fashion stylist Susan Mullins helps you to polish your shopping and bargaining skills, and reveals her fashion and wardrobe secrets for women and men, so that you can shop vintage with confidence. We are introduced to basic clothing construction, historic costume, and the skills of buying and collecting -- including where to find vintage stores worldwide. We study popular designers -- from the Victorian era to the "padded shoulder craze" -- and learn about fashionable trademarks. Join us to master the art of shopping for vintage clothing and accessories as you learn to cultivate your own sense of style.

Beverly Ferguson

Schedule Update: The schedule for this course has changed since the Summer 2012 catalog was published. Class will now meet Thursdays, June 21-July 26.

Nancy Laurienzo

The materials that engage our senses play an integral role in defining our interior spaces. Indeed, understanding the unique characteristics of various materials is an important aspect of selecting and designing with them. This survey course explores a variety of materials used in interior design, including fabrics, wall coverings, paints, wood, stone, metal, glass, laminates, solid surfacing, tile, carpet, resilient flooring and more. The course covers appropriate and creative uses of these materials in commercial and residential applications, in addition to code considerations, specification writing and identification of sources.
Prerequisite: Successful completion of all ID Required Foundation Level courses
Applies to: ID-R

Libby Slader

Lighting is a crucial component in defining the function and atmosphere of an interior space. It can be used to define architectural space, enhance texture in surface materials, and reveal form in furnishings. This course introduces students to the equipment, techniques and concepts of lighting design. With a focus on new technologies and sustainable lighting solutions, students learn about lamps and fixtures as they develop creative, functional lighting plans for a variety of spaces.
Prerequisite: Successful completion of all ID Required Foundation Level courses
Applies to: ID-R

Victoria Dryden

This introductory course focuses on the process of design as it applies to the formation of interior space. Students build an acute awareness of core elements -- scale, proportion, light, circulation and progression -- and the interdependence of space and form. Functional, utilitarian, economic and safety requirements of interior spaces in an architectural framework are examined. Armed with a visual lexicon to define interior space and explore its characteristics, students begin to integrate color, materials and texture as a means to convey their original intent. Through project assignments, students learn to apply the basic principles of visual design to interiors, and how functional, aesthetic and expressive needs can be translated into design decisions to develop 3D space.

Applies to: ID-R

David Paolino

To stay competitive, interior design and architecture professionals need to become proficient in computer-aided drafting (CAD) skills for drafting and design layouts. Autodesk's AutoCAD and Revit -- along with other CAD programs like Google's SketchUp -- are becoming industry standard. Through lectures, demonstrations and hands-on experience, students learn to use these visualization and productivity software tools to take a project from the initial design stages to a finished two-dimensional plot. Students learn to generate solid models and photorealistic color renderings and more to produce scale and color plots for blueprints or digital presentations.

Applies to: ID-R

Karen Triedman

When product development requires 12 to 18 months' advance planning, designers rely on forecasts to determine which colors will be "hot" next year. This course explores the origins of color trends, and how they impact all types of design solutions. Participants examine the process behind trendsetters' color initiatives, including the evolution and development of concept palettes and their use for specific industry applications. Color concepts and terminology essential for trend identification and understanding color schemes are discussed, as well as consumer behavior and the psychological and social responses to color. Participants learn to effectively communicate their understanding of color trends in both visual and written form and prepare professional-quality graphic presentations. Coursework culminates in a final project that evaluates and utilizes a seasonal color story for a home-goods product line or interior design. Note: This course satisfies the Applied Color for Interior Design requirement for certificate students.

Applies to: ID-R

Cathy Wilkerson

Schedule Update: The end date for this course changed after the publication of the Summer 2012 catalog. Class will now meet Mondays, June 18 - July 9 (no class July 2).

Marla Whitford

Successful design goes far beyond creativity, aesthetics and a passion for details. It also involves communication, brand identity, design appropriateness, logistics, economics, compliance, specifications, project management and more. This course guides students through the steps professional designers take to develop and design nonresidential spaces. We deal with volume and scale in larger spaces, and also balance aesthetics with function and accessibility required by ADA, local health and safety codes. As students work on assignments including offices, retail designs and healthcare facilities, they learn to understand technical criteria, establish a design philosophy, and prepare concept drawings from initial space planning to presentation drawings. Executing in new and existing spaces, students select furnishings and lighting, while gaining the skills to develop attractive and functional configurations.
Prerequisite: Successful completion of all ID Required Foundation Level courses
Applies to: ID-R

David Paolino

An extensive knowledge of building materials and their use in the construction of interior spaces is a prerequisite for the interior designer. In this course, we survey the impact of design on construction methods and choices, from fundamental necessities to ornamental trim. We also investigate the main concepts and vocabulary underlying interior systems and materials, and the effect of mechanical systems (plumbing, heating, etc.) on interior design. We further examine the many functional, physical and visual variables of designing floor and wall surfaces and discuss how to select the right products from the wide range available today. Students learn to write specifications for a variety of materials and interpret manufacturers' specifications as well. Other topics include: building codes, energy conservation, indoor pollution and the use of "green" products.
Prerequisite: Successful completion of all ID Required Foundation Level courses
Applies to: ID-R

Jennaca Davies

Prerequisite Update: The Summer 2012 catalog listed a prerequisite for this course. Experience with Adobe Illustrator or AutoCAD is not necessary.

Applies to: JM-E

Jennaca Davies

Like a fantastic frame for a piece of art, the right setting for a precious stone or gem intensifies its visual impact and beauty. This beginner course focuses on two aspects of jewelry ornamentation techniques -- simple stone settings and the ancient art of filigree. The stone setting methods introduced include bezel, prong and flush settings. Filigree, meaning "wirework," is an ancient technique that combines the curling, twisting and bending of fine threads of wire into intricate designs joined with solder. By the middle of this course, students begin to use their newfound stone setting and filigree abilities to complete their own rings, earrings and other unique pieces of handmade jewelry. This course is for beginners as well as and more advanced students wanting to learn a specialized technique. Note: Students must purchase a basic jewelry kit at the RISD Store 3D.

Applies to: JM-E

Heather Guidero

Beginning with the basic building block of jewelry design -- the wire jump ring, or starting link of a chain -- this workshop gives students an introduction to a variety of handmade chain options. Using pliers available from any hardware store and easy-to-make jigs, students learn how to form jump rings of all sizes and shapes. Students then use their jump rings to make samples of different chain patterns and select their favorite to create their own necklace, bracelet and/or earrings. Basic wire wrapping techniques, perfect for incorporating stones and found objects, are introduced. Additionally, ways to alter the wire’s surface and texture by hammering, twisting, carving and drilling are presented, and students learn how to apply various finishes to their pieces. Students explore the possibilities for unique forms by going beyond the basic circle chains and hoops. No jewelry experience is necessary, and everything learned in class can easily be practiced at home.

Applies to: JM-E

Elena M. Pascarella

In this class, we examine what causes a landscape to become overgrown, and what to do to reclaim it. Common issues are addressed, including the appropriateness and location of plants, changing conditions and poorly maintained plots. We analyze existing plants in terms of size, shape, location and surroundings, as well as light level, soil conditions and climate. We also identify the major invasive plants and how to best get rid of them. Then we look at what needs to be removed, pruned and changed. Students leave this class with a plan for how to address their own green space and with great online resources to refer to later. Note: Students should bring photos of their landscape to class.

Elena M. Pascarella

We are becoming increasingly aware of the limits of our water supply and the impact that excessive use of pesticides and herbicides can have on our environment. Although many of us desire attractive landscapes for our residential properties, few have the time and resources to properly maintain landscapes that require fertilization, pest management applications and frequent pruning and irrigation. As a result, periodic droughts and insect infestations can cause many landscapes to suffer greatly. A sustainable landscaping approach can be an invaluable way to create a more easily maintainable property that is also more ecologically sound and adaptable to nature's whims. Through slides, handouts and hands-on work, participants learn to appreciate the advantages of a low-maintenance and ecologically sensitive approach to landscaping. Note: Participants are asked to bring photographs of their site for discussion purposes.

Richard Marthers

Producing a well-designed and dynamic watercolor is no accident; success comes through careful planning. In this course, students learn to develop a "road map" to more effectively attain the results they desire in their finished paintings. Along with planning and learning control, an understanding of the transparent qualities of the medium is essential. Students explore tonal handling, light, volume and composition as they master the subtleties and complexities of this transparent medium. Both wet and dry techniques are covered, as are washes, color transparencies and glazing. Demonstrations and class exercises promote an understanding of watercolor's possibilities and limitations. Design principles are incorporated to make this a great primer or refresher course for both beginners new to the medium and veteran watercolorists.

Applies to: CB-E, DS-E, SA-E

Paul Olson

Paint in the open air and experience Rhode Island's visual riches. This intermediate-level course both reviews oil-painting fundamentals and focuses on expanding the student's understanding of space, form, light and color. Participants work primarily from observation, using elements of the landscape as subjects for a myriad of representational and expressive possibilities. Demonstrations and group critiques augment this outdoor painting experience. Students meet at Blithewold Mansion and Gardens, a spectacular 33-acre estate located in Bristol, Rhode Island. The property offers striking and varied gardens, glades of native and exotic trees, charming footpaths and sweeping lawns that meet the shore of Narragansett Bay, perfect for plein air painting. Note: The lab fee covers daily admission to Blithewold. Class meets at an off-campus location; directions are sent to registered students.

Applies to: CB-E, DS-E, NS-E

Sean Thomas

Through drawing and painting demonstrations, lectures and project assignments, students in this course explore the relationships between drawing and painting, focusing on the principles of composition, painting materials, tonal field techniques and developing a color palette. Several painting techniques are covered, ranging from direct oil painting to indirect methods, such as underpainting and transparent color glazing. By applying these lessons, students begin to develop their own visual language, fully empowered to navigate their way between these two powerful media. Surprisingly enough, the transition from drawing to painting turns out to be a complex matter, so the objective here is to facilitate the move. Please note that the course is appropriate for artists of all levels.

Applies to: CB-E, DS-E, NS-E, SA-E

Amy Wynne-Derry

From the elegant expanse of lawns, to the extensive plant and flower specimens and the English Country Manor style architecture of the house itself, the seaside setting of Blithewold Mansion and Gardens is an ideal painting subject. In this workshop, specific strategies for working in outdoor conditions -- including fast-moving and sometimes dramatic changes in light -- are explained. Ways to approach direct painting, including how to consider large areas of tiny details (leaves, grass, bricks, plants) and different parts of the landscape such as rocks, water, trees and architecture are covered. On the first day of the workshop, emphasis is on compositional drawings and quick painted sketches. On second day, longer, more sustained studies are made using work from the first day. This course helps to demystify the process, and gives students the skills to approach landscape painting with confidence. Work can be done in either oils or acrylics, depending on the student's skill set; some painting experience is recommended. Note: The lab fee covers daily admission to Blithewold. Class meets at an off-campus location; directions are sent to registered students.

Applies to: CB-E, DS-E, NS-E

Amy Bartlett Wright

Experience with acrylic paint lays a foundation for learning to work with other water-based paint and is invaluable in skill-building for any painter, illustrator or designer. This short format class introduces acrylic painting through examples of work done in this versatile medium, followed by a demonstration on mixing. Students practice simple painting methods, including the application of thin and thick washes of paint. Students first prepare a background wash, then a preliminary drawing, and learn how to transfer the drawing onto that background. Everyone works from the same simple subject, provided by the instructor. Clear, step-by-step instructions enable students to fully understand the process. This workshop is intended for absolute beginners, as well as for experienced painters who want to gain confidence and skill with the medium.

Applies to: CB-E, DS-E, NS-E

Amy Wynne-Derry

Without the right first steps, oil painting can be a daunting medium. This class aims to get students on the right track by emphasizing technique and strategy, while encouraging experimentation and individual development. Students are given an introduction to paint, brushes, medium and palette set-up. They then learn mixing, direct paint application, and consideration of value, color and composition, gaining knowledge and confidence in beginning and sustaining a painting. Learning to quickly establish design elements within a composition and assert a specific point of view, and understanding the importance of directional lighting are crucial to critical first steps. A survey of the fundamentals of representational painting is presented. The class is structured around hands-on demonstrations and painting a variety of subjects.

Applies to: CB-E, DS-E, NS-E

Michele Noiset

Gouache is an often-favored medium for illustrators, art directors, surface and fashion designers for its unique properties of opacity, speed of drying and matte finish. From loose sketches to more formal, rendered work, many exciting and expressive results are possible. It is very easy to control and allows for a rapid and fluid working style, making it a valuable addition to everyone's artistic repertoire. Techniques, including color mixing, wash techniques, and brushwork are explained and demonstrated in this class, allowing students to experience gouache's spontaneity and immediacy. Composition and color theory, integral elements of painting with gouache, are also presented. Students work from direct observation from multiple references in order to gain a solid understanding of the medium's broad applications.

Applies to: CB-E, DS-E, NS-E

Shane Gutierrez

A well-executed landscape photograph conveys not only the reality but the soul of the scene it surveys. This course is for photographers who want to develop that inner eye. Our classroom is all around us as we meet at nearby gardens, shorelines, and historic and wooded sites throughout the region. Together we review ways to engage our subject matter, exploring qualities of light, line, pattern, texture and color that combine to become the most successful photographic composition. Throughout the experience we experiment with lenses, exposure, point of view and filters as we capture images that are at times sublime, quaint or ironic. By the sunset of the course, students leave with a body of new work and renewed respect for the power of the natural landscape. Note: This course meets at various off-campus locations; directions are sent to registered students.
Prerequisites: Photography: An Introduction or Digital Photography I
Applies to: DI-E, VE-E

David Fleurant

Your family photos on the mantle are evidence of the deep tradition of the photograph as an object of great importance. The photographic print as an object of beauty and value underlies this course, which examines the generation, presentation and preservation of the digital photographic image. In this age of pixels and camera RAW files, image longevity requires a complete understanding of archival inks and the image's digital profile. Students in this course build upon their existing knowledge of Photoshop as they learn to properly balance the variables that create a stunning image on paper. Throughout the experience, participants become more familiar with the digital workflow as they gain a new understanding of this final step in the digital photographic printmaking process.
Prerequisite: Photoshop: Navigating the Digital Darkroom
Applies to: AD-E, DI-R, GR-E, VE-E

John Hames

This course for new and amateur photographers introduces ways of seeing through the lens and makes plain the underlying two-dimensional design issues and visual concepts hidden within the photographic image. Through weekly assignments and critiques, students explore ways to use photography and photographic conventions for their own unique personal expression. Classroom discussions cover everything from portraiture and landscape to abstract work, and introduce methods for students to expand their personal creativity and increase their self-confidence behind the camera. Whether you are interested in black-and-white, color or digital photography, this course provides a strong foundation for any subsequent photographic pursuit.

Applies to: AD-E, CB-E, DI-R, DS-E, GR-E, NS-E, SA-E, VE-E, WE-E

John Hames

This course for new and amateur photographers introduces ways of seeing through the lens and makes plain the underlying two-dimensional design issues and visual concepts hidden within the photographic image. Through weekly assignments and critiques, students explore ways to use photography and photographic conventions for their own unique personal expression. Classroom discussions cover everything from portraiture and landscape to abstract work, and introduce methods for students to expand their personal creativity and increase their self-confidence behind the camera. Whether you are interested in black-and-white, color or digital photography, this course provides a strong foundation for any subsequent photographic pursuit.

Applies to: AD-E, CB-E, DI-R, DS-E, GR-E, NS-E, SA-E, VE-E, WE-E

Lindsay Elgin

With the digital revolution in full swing, the challenge in digital photography is to manage this burgeoning technology. Through lecture, demonstration and hands-on practice, students in this course learn to operate digital cameras and to utilize them as precise tools for image capture. Discussions include the many camera, lens and equipment options available to digital photographers and how to establish a digital workflow. As students develop technical and aesthetic skills, they explore shooting techniques, composition and framing, as well as the basics of light control. Other topics covered include image management, adjustment and editing in Photoshop, and printing and archiving digital images. Whether the student's interest is in fine art, portraiture, event photography or product advertising, or simply in making the move from film to digital, this course provides a solid foundation for future work.
Prerequisites: Photography: An Introduction and Digital Tools for Print Design or Digital Design for the Screen
Applies to: AD-E, CB-E, DI-R, DS-E, GR-E, NS-E, SA-E, VE-E, WE-E

Lindsay Elgin

For centuries, people have tried to use lenses to capture their world on paper, but it wasn't until the period from 1826 to 1840 that this possibility was realized. Surprisingly, what began as a scientific venture ultimately became a tool for art and culture. Indeed, the world of photography expanded exponentially as George Eastman brought photography to the masses with the Kodak camera. Later, with motion and sound added, photography became inextricably linked to every part of life, from the news of the world and visions of the unseen to exploration of the universe beyond. Photographic images have helped to mold public opinion, from the realm of politics to seismic shifts in fashion. At the same time, artist-photographers have continued their efforts to broaden what photography can do as a medium. This course examines that timeline in a unique and engaging lecture format. Note: Students should have Internet access and understand basic Web browsing. Course material is posted weekly throughout the term, and students are expected to participate in online discussions. Students are contacted via email by the instructor prior to the start date of class with detailed information.

Applies to: AD-E, AS-E, DI-R, VE-E

David Fleurant

Beyond the basics of the Photoshop tool kit lies a sea of possibilities for image adjustment and manipulation. Intended as a followup to Adobe Photoshop I, this in-depth course pays particular attention to advanced image controls for color correction, exposure with contrast adjustment and overall image refinement. We revisit selection tools and explore their advanced uses for creating masks, layer masks and paths. Lectures and demonstrations are supported by in-class and homework assignments, where students have the opportunity to investigate new techniques and apply them to their own photographs. Emphasis is given to developing an image workflow, and we cover the particulars of file formats and organization, as well as color management and calibration. We also begin to explore the finer points of digital printing.
Prerequisite: Adobe Photoshop I
Applies to: AN-E, DI-R, GR-E, VE-E, WE-E

Lulu Locks

Sexy, playful, fun: These are the watchwords for portraits in the pinup tradition. Whether they are rendered as photorealistic paintings as those by Gil Elvgren or as lensed images, the pictures of models like Betty Page and Sophia Loren have become significant to modern visual culture. This digital photography course embraces their spirit, as students participate in the process that leads to eye-catching images of glamorous women. The course begins with a historical context, lessons in casting your subject and the styling of hair, makeup and costume. Students then practice lighting, exposure and framing techniques that result in images certain to add dimension and allure to any photographer's portfolio.
Prerequisite: Photographic Lighting I
Applies to: AD-E, DI-E, VE-E

Ronald Zincone

Pushing photographic services and products in a highly competitive and over-saturated marketplace requires focus and confidence. This presentation shows you how you can be profitable as a photographer by gaining exposure for not only your artwork but for your talents as an artist. Topics include promotion through online social media, blogging and search engine optimization. Traditional marketing methods such as personal networking and printed materials are also presented to help you to steer your sole proprietorship in new directions.

Applies to: AD-E, DI-E, VE-E

Ronald Zincone

For the photographer new to digital photography, an understanding of raw file capture and processing techniques is essential. Because a raw file contains so much information, it gives you greater control over the interpretation of an image, allowing you to change your mind about settings even after you've taken a photograph. In this class, your instructor presents the various options available, their advantages and disadvantages, and demonstrates conversion and editing workflows. We then shift through the various conventions and formats (RAW, JPEG, TIFF). Students leave the session filled with newfound confidence in their ability to capture and process photographic images.

Applies to: DI-E, VE-E, WE-E

Jennifer Doumato

Shooting weddings and other personal milestones can be the golden goose of a photographer's profession. Documenting these events comes with the unique responsibility for a photographer to apply his or her vision to a subject's cherished history. In this workshop, a successful wedding photographer presents students with a complete picture of the potentials and challenges that come with these once-in-a-lifetime assignments, augmented with an image-rich slide show illustrating aesthetic and technical considerations. Business best practices like promotion, contracts, rights and permissions are also discussed, along with the ethical expectations that are assumed in the role of the wedding photographer.

Applies to: AD-E, DI-E, VE-E

Tyson Jacques

This course focuses on the versatility and immediacy of the pronto plate, or polyester plate, a non-toxic and straightforward alternative to the traditional lithographic stone or plate. Students explore hand-drawn techniques, as well as the polyester plate's particular suitability for digital output and watercolor monoprinting. The medium, also known as alternative lithography, is capable of reproducing lithographic marks -- including hand-drawn brush strokes, ink wash, texture, crayon and pencil marks -- and is equally well-suited for digital imaging. An emphasis is placed on registration techniques for multi-color printing. All plates are printed by hand (without a printing press), offering a new world of environmentally friendly and non-toxic options to the press-less printmaker. Used by artists and designers alike, the creative scope of this alternative method is virtually unlimited.

Applies to: CB-E, DS-E, NS-E

Kelly Goff

Many sculptures begin with the finding of an object -- a Eureka! moment, in which the artist becomes enamored by a rusty old sprocket, a familiar stuffed animal or a piece of driftwood. The question is how to transform these "found objects" into something more. This beginning sculpture course introduces students to the history of artists who use found objects in their work, and helps them to give new life to objects reclaimed from attics, discovered in thrift stores, or rescued from dumpsters. The history and status of a "found object," created for a purpose other than art, is considered. Its role is then re-envisioned by breaking it down for use as raw material, or up-cycling its parts to rebuild it into a sculpture. Altering the object's form modifies its meaning and significance, elevating it to a higher level of visual understanding. Relying on simple building methods and hand tools, students have the additional advantage of access to a well-equipped woodshop. Advanced techniques are demonstrated as required.

Applies to: DS-E, JM-E, NS-E

Mikhail Mansion

WordPress is a powerful, open-source content management system (CMS) that allows for ease of use and a consistent Web presence. It uses standards-compliant Web technologies, and is written with an abstraction philosophy that allows for an incredibly high level of customization. This course introduces you to the WordPress community, and includes a comprehensive introduction to technology requirements, the installation process, and implementation advantages and pitfalls. Your instructor explains its installation and support network, with a look at how the experienced user may customize themes and plug-ins. The course concludes with strategies for using WordPress as an advertising and social media tool to promote yourself, your artwork or products.

Applies to: AD-E, AN-E, DI-E, SA-E, VE-E, WE-E

Bruce Campbell

JavaScript is a platform-independent, event-driven, interpreted programming language that enables a Web designer to add exciting features to what might otherwise be a static webpage. The course starts with an introduction to the document object model and a review of basic programming concepts and builds momentum as students learn to use and customize freely available scripts and to avoid common pitfalls. Browser integration with a JavaScript enhanced page is also a lesson topic that pays heed to the primary objective of all Web authors as they create an attractive site with full data retrievability. Class exercises give students the experience of setting up a small set of webpages using examples of JavaScript, such as status bar messages, event handlers and image rollovers.
Prerequisite: HTML: The Language of the Web
Applies to: AN-E, WE-R

Donna Salisbury

Dreamweaver is one of the most widely used programs for webpage creation. This powerful application allows designers to assemble graphics, text and other media in a visually friendly environment, while retaining the ability to work directly with the HTML code. Participants in this course create a website using Dreamweaver to organize files, import elements, create layouts and edit and link pages in a number of ways. In the process, they explore methods for incorporating interactivity, animation and sound. Students discover time-saving features for reusing elements or styles and learn to integrate Dreamweaver with other Web applications. The class also reviews methods for uploading and managing a site from within one easy-to-use environment.
Prerequisite: Digital Design for the Screen or equivalent experience
Applies to: AD-E, AN-E, DI-E, GR-E, VE-E, WE-R

Bruce Campbell

Although your computer may physically sit on your desk, it is virtually connected to a wide array of devices on an emergent global network. Web architecture is, in broadest terms, everything that allows traffic to speed along this electronic superhighway of interconnectivity. In this course, we examine the origins, design, and implementation of computer networks, and classify them by scale, protocol and connection method. Network topology, both physical and logical, is introduced, as well as the hardware (hubs, switches and routers) and protocols that allow for smooth communication and flow of data. An understanding of Web architecture is critical to Web designers, digital media artists, and anyone needing to learn the rules of the virtual road. Note: Students should have Internet access and understand basic Web browsing. Course material is posted weekly throughout the term, and students are expected to participate in online discussions. Students are contacted via email by the instructor prior to the start date of class with detailed information. Sessions, as noted here, refers to course content equivalent to an 18 contact hour traditional-format course.

Applies to: AD-E, AN-E, DI-E, VE-E, WE-E

Mikhail Mansion

If you are acquainted with JavaScript, you know it as a platform agnostic, event-driven, interpreted programming language that delivers the dynamic user interfaces, response times and exciting features Web users expect. This course helps Web designers to broaden their existing knowledge of the language. Students explore programming concepts to develop a better instinct for writing the popular emerging code styles such as Asynchronous JavaScript and XML (Ajax), as well as learn how to use JavaScript libraries such as jQuery. We investigate available frameworks that are ideal for JavaScript-based development, and discuss advanced interactive data processing design and application development.
Prerequisite: JavaScript for Non-Programmers or equivalent experience
Applies to: WE-E

Fred Spencer

The Web landscape changes so rapidly that designers, developers and end users must continually update their skills to stay current. This lecture addresses the most recent seismic shifts in semantics, presentation and behavior (HTML, CSS and JavaScript), with a review of their history, form and purpose. A special focus of this forecast is HTML5 and its role as the new industry standard, adopted for our interactive future. An implementation timeline for these programs is suggested, with a practical estimation of what will change on the Web, when and how. The lecture promises to be lively, content rich and engaging to Web users of varying abilities.

Applies to: AD-E, WE-E

Mikhail Mansion

The Max visual programming language makes it possible for artists and musicians to create interactive media without having to write code. Its object oriented programming, hospitable interface and extensible design have made it the premier interactivity matrix for composers, researchers, artists and performers for the past twenty years. In this course, students learn how Max can give them greater fluency with their own projects. Your instructor reveals the program's basic language and that of its data-flow system, which is made up of objects that are part of dynamically linked libraries. Lessons reinforce the fundamental processes of signal input to output, which allow students to connect and control video cameras, MIDI components, lighting and other location specific remote devices.

Applies to: AN-E, DI-E, VE-E, WE-E

Christine Enos

Bent lamination -- which is simply multiple thin, flexible strips of wood, glued together and clamped into a curved mold or form -- can be used to make instruments, furniture, boxes and even boats. Bent lamination adds not only an elegant look to any woodworking project, but when used as a structural element, it actually adds strength to a piece. The strength of the glue and the grain of the wood -- which runs parallel to the shape of the piece -- result in a shape-retaining piece that is stronger than the original boards. Wood choices for laminates can include solid wood, plywood and veneer; even the hardest woods can be bent and molded. Students learn key aspects of the bent lamination process, including preparing wood for the lamination process, cutting and maintaining grain alignment, mold and form construction, assessing necessary pressure for gluing, refining the bend, cleaning and finishing.

Amy Lynn Budd

Enter the world of Dramarama, where all the world's a play. Using basic visual, performing and literary arts concepts, students collaborate to create original short pieces of theatre. From creative brainstorming to acting, and from improvising to planning and revising scenes, Dramarama is a one-of-a-kind experience. Everyone acts, writes and makes design decisions to express action and character. With a little imagination, everyday objects and clothing pieces transform into witty props and costumes. In the end, students all work together to create a totally unique final performance. Join us to explore the territory where multiple art forms collide, a place limited only by the imagination.

Angela Ackerman

Kids love fashion too! They often have fabulous ideas on what they would like to wear, so it makes great sense to offer this course as a prelude to the fashion design offerings available to older students. The world of fashion is exciting and fun, with great emphasis placed on creative personal expression. That's what students can count on as they learn the basics of fashion design, from brainstorming original concepts to the unveiling of their final creation. Everything is open for investigation, from fabric choices to running one's own fashion design business! Some basic sewing and patternmaking techniques are reviewed, as well as how to assemble a fashion portfolio combining design work and sewing samples. Students even create their own label and magazine ads!

Hope Chella

Paintbox is all about possibilities. Children have the opportunity to share the joy of learning while exploring the intricacies of a variety of media. Drawing, painting, printmaking, working with clay, building constructions and making sculptures all combine to heighten the children's imagination and sensory awareness, introducing them to a panoply of visual art concepts and skills. In the process, instructors acquaint children with great works of art and stress a greater degree of technical proficiency than was required in Artstart.

Jennifer Ashley Singleton

Paintbox is all about possibilities. Children have the opportunity to share the joy of learning while exploring the intricacies of a variety of media. Drawing, painting, printmaking, working with clay, building constructions and making sculptures all combine to heighten the children's imagination and sensory awareness, introducing them to a panoply of visual art concepts and skills. In the process, instructors acquaint children with great works of art and stress a greater degree of technical proficiency than was required in Artstart.

Elizabeth Fortier

To young artists, the opportunity to explore a variety of media, including pen and ink, paints, pastels, printmaking and Paris Craft is, to put it simply, eye-opening. The most ambitious students seek to explore the very limits of their imaginations and memories. In this class, we stimulate the children's innate creativity by visiting the RISD Museum and Nature Lab, as well as by providing other thought-provoking resources to help them find inspiration for their artwork. We emphasize personal expression, problem solving and efficient, inventive use of media as children participate in group discussions about their artmaking.

Ruth Shouval

To young artists, the opportunity to explore a variety of media, including pen and ink, paints, pastels, printmaking and Paris Craft is, to put it simply, eye-opening. The most ambitious students seek to explore the very limits of their imaginations and memories. In this class, we stimulate the children's innate creativity by visiting the RISD Museum and Nature Lab, as well as by providing other thought-provoking resources to help them find inspiration for their artwork. We emphasize personal expression, problem solving and efficient, inventive use of media as children participate in group discussions about their artmaking.

Jana DeSimone

To young artists, the opportunity to explore a variety of media, including pen and ink, paints, pastels, printmaking and Paris Craft is, to put it simply, eye-opening. The most ambitious students seek to explore the very limits of their imaginations and memories. In this class, we stimulate the children's innate creativity by visiting the RISD Museum and Nature Lab, as well as by providing other thought-provoking resources to help them find inspiration for their artwork. We emphasize personal expression, problem solving and efficient, inventive use of media as children participate in group discussions about their artmaking.

Elizabeth Fortier

This early art experience introduces young children to a variety of materials and basic art concepts, such as color, line, shape and texture. Storytelling is integrated with drawing, painting, printmaking and sculpture. A nurturing environment stresses experimentation and fun, rather than end product, as the course aims to heighten sensory awareness and build confidence in basic artmaking skills. Most especially, the course serves as an exciting introduction to the world of art and all its possibilities.

Elizabeth Fortier

This early art experience introduces young children to a variety of materials and basic art concepts, such as color, line, shape and texture. Storytelling is integrated with drawing, painting, printmaking and sculpture. A nurturing environment stresses experimentation and fun, rather than end product, as the course aims to heighten sensory awareness and build confidence in basic artmaking skills. Most especially, the course serves as an exciting introduction to the world of art and all its possibilities.

Amy Lynn Budd

What makes that Renaissance Queen so imposing? How do we know a space alien is not of our world? How does a play, TV show or movie evoke character before the actors even start talking? Through costumes, of course! Since cavemen first donned furs, clothes have been humankind's great visual communicators, telling us about the personality of the person wearing them. Explore building a character through theatrical improvisation and visual research. Then experiment with shape, color, texture and line using textiles, found objects and basic craft techniques to create unique costumes that will amaze an audience. This class is a great companion to Dramarama, but is also lots of fun on its own.

Philip Gedarovich

Let's animate! This course exposes students to the many faces of animation which, at its core, is the art of creating the illusion of moving pictures. Whether it's one of the Totoros of Miyazaki, Disney's winter fairies creating poetry on ice, or the wacky instructional animations of Sesame Street, animation is an art form that wears many masks. Each week, students in this course explore a different style of animation, functioning as animator, actor, camera operator and editor. Using a variety of drawn and two-dimensional media, they go on to create several exclusive short animations. Ultimately, students are introduced to a variety of techniques, including drawing, cut-outs, and pixilation, and learn to combine images with sound, producing a DVD of their work to share with family and friends.

Ellen Blomgren

Here is a welcome opportunity for children to design and create pots, cups or boxes to contain their favorite snack or keepsake, or perhaps form and decorate clay tiles or sculptures that tell a story. In this course, students continue to develop their clay building skills and explore the fundamentals of sculptural and functional ceramic art. They also pose a few new questions: Can a sculpture have a useful function, or can a ceramic mug or bowl be a sculpture? As they refine their skills in using the pinch, slab and coil methods of clay construction, students dig deeper into the function of their clay works and finish their pieces with surface decorations, embellishments and glazes.

Ellen Blomgren

Here is a welcome opportunity for children to design and create pots, cups or boxes to contain their favorite snack or keepsake, or perhaps form and decorate clay tiles or sculptures that tell a story. In this course, students continue to develop their clay building skills and explore the fundamentals of sculptural and functional ceramic art. They also pose a few new questions: Can a sculpture have a useful function, or can a ceramic mug or bowl be a sculpture? As they refine their skills in using the pinch, slab and coil methods of clay construction, students dig deeper into the function of their clay works and finish their pieces with surface decorations, embellishments and glazes.

TBA TBA

In this exciting, multi-sensory experience, children playfully interact with and explore a variety of art media and materials, poetry, stories and drama to bring their imaginations to life. The class encourages interest in the written word through a variety of sources, and then integrates the development of literacy skills in fun and imaginative ways. Exploring two-dimensional and three-dimensional art forms, young artists soon develop ways to connect the imaginative process to all aspects of learning, empowering them by developing their confidence in their own voices, abilities and imaginations.

Amy Lovera

Punch it, pull it, make it move. Clay has a lot of character -- wouldn't Gumby or Wallace and Gromit agree? Their talented animators certainly would. Join us to learn the secrets of frame-by-frame moviemaking, using clay as a medium to make moveable creatures, people and objects for an animated video. While relying upon traditional animation techniques at first to develop the idea, style the characters and put them through their paces on a miniature set, soon enough we find ourselves employing digital still cameras to shoot our Plasticine players and capture them for computerized moviemaking. In the process, all aspects of pre-production, storyboarding, using the camera, lighting, basic editing and post-production techniques come together, resulting in a stop-motion animated film to take home on a DVD for home viewing.

Jennifer Ashley Singleton

What would it be like to transform yourself into something or somebody else? Well, with masks, you can do just that. In this course, children explore various techniques involved in mask-making and theatrical sculpture to create a variety of multimedia masks. First we view art examples from a variety of cultures and artistic periods to understand the nature of handcrafted disguises throughout history. Then we build our very own assortment of mask creations. Emphasis is placed on casting, molding, shaping and covering the students' three-dimensional designs. Young artists explore this type of "wearable art" through a multitude of exciting art materials, learning how to properly apply papier-mache and plaster of Paris, use modeling clay, paint, make handmade papers, and even recycle objects to create a number of original masks.

Michael DiMucci

The sky's the limit as students fold, cut and paste their hearts out while exploring a variety of paper airplanes, soaring kites, fluttering windsocks and cool moving kinetic art. In this two-week course, students explore their way through basic to advanced techniques to create innovative and whimsical creations that can only be properly tested outdoors! Students learn how they can construct all sorts of "flying art" for distance, stunts, speed or just for play. The young aviators work with a wide array of construction materials such as fabric, plastic, foam board and more. They're then able to personalize and decorate their airborne inventions with paints and protective varnishes for use outdoors. The class takes wing with each student bringing their prototypes for several test flights around the RISD campus!

Alison Plump

"Drawing is the art of taking a line for a walk," said artist Paul Klee. This workshop teaches young artists the fundamentals of drawing and sketching as they learn to interpret "line" in their own way. Drawing assignments include still lifes, landscapes, cityscapes and portraits, all of which serve to expose students to work in pencil, colored pencil, pen and ink, felt-tip marker and charcoal. This course is ideal for students with little or no experience who want to discover the sheer fun and satisfaction of drawing. Group discussion and one-on-one instruction are provided to meet the specific needs of each student.

Philip Gedarovich

Don't believe everything you see! Nearly every photograph that appears in print has been changed or manipulated in some way via the computer. The results of this computer-manipulated art can be found in magazines, newspapers, posters and comics -- in just about all printed matter. In this course, learn the secrets of digital magic that professional artists use to alter the truth and create fantastic works of art. Here young artists get to create original work from photographic or other printed resources after learning the tools that Adobe Photoshop provides to create comics, CD covers, posters and more. You won't believe the techno-wizardry that magically springs forth from your printer!

Mary Geisser

If you can redo, remix and refry, why can't you re-art? It's just a matter of whether you have the willingness to experience the sheer joy of making art. In this exciting multi-sensory class, children create fantastic images, sculptures and constructions limited only by their imagination! Using common objects -- even found materials like cardboard tubes and shapes, foam scraps, plastic bottles, buttons, beads and more -- in uncommon ways, the most amazing things can happen. But first you've got to mix in such traditional materials as paint and clay in a process that provides children with opportunities for play and exploration. From building three-dimensional cities and creatures to printmaking, painting, collage and sculpting, young artists quickly discover innovative ways to rethink, recreate and revive the world around them.

Michael DiMucci

Based on the fundamentals of design and engineering, this exciting workshop focuses on the playful but well-considered use of materials. With unique opportunities for brainstorming and problem solving, each week brings a new design challenge (i.e., build a two-wheeled race car that travels down an inclined string, or use air compression to power a plane). Participants use real hand tools and work with a variety of materials like wood, recycled items, Legos, paper, cardboard, metal, rubber bands, wire and fabric. As they have fun drawing, experimenting, testing and building, students increase their scientific awareness, gain knowledge of the design process and build upon both two- and three-dimensional design skills.

Megan Jeffery

This course invites young 'toonists to get funny, silly or scary as they get serious about learning to create their own cartoon characters. Using basic pencil and pen-and-ink drawing techniques, students play with line and learn to experiment with personality on paper. Inspired by the rich tradition of cartooning found in children's books, comic strips and animated cartoons, young artists bring their most whimsical ideas to life. So, when it's time to return to reality, students will have increased their confidence with both words and pictures, and had some rollicking good fun in the process.

Jennifer Ashley Singleton

Paintbox is all about possibilities. Children have the opportunity to share the joy of learning while exploring the intricacies of a variety of media. Drawing, painting, printmaking, working with clay, building constructions and making sculptures all combine to heighten the children's imagination and sensory awareness, introducing them to a panoply of visual art concepts and skills. In the process, instructors acquaint children with great works of art and stress a greater degree of technical proficiency than was required in Artstart.

Michael DiMucci

Imagine building a city out of cardboard or a robot from clothes hangers . . . the possibilities are endless with a dash of imagination and ingenuity. This course challenges students to reimagine the use of materials and media to create sculptures, paintings, prints, installations and anything else they can imagine. Working both cooperatively and independently, the class explores how artmaking can transcend the classroom walls, to utilize the outdoors and materials from nature. Students reexamine found objects such as tubes, boxes, fabric and buttons, and combine them with more traditional materials to create original works of art. See how far your imagination will take you!

Michael DiMucci

Artist Keith Haring once said, "Drawing is still basically the same as it has been since prehistoric times. It brings together man and the world. It lives through magic." Young artists in this workshop discover the nature of that magic, as they take command of the marks they make, and are provided with a thorough grounding in the fundamentals of drawing and sketching. Assignments utilize a rich array of drawing materials, while expanding on traditional subject matter: still lifes, landscapes, cityscapes and portraits, as well as both observational and abstract applications of making marks. The course is ideal for students with little or no experience who want to explore the magic of drawing. Group discussion and one-on-one instruction are provided to meet the specific needs of each student.

Corbin Rodriques

In this introduction to building with clay, the focus is on fun as younger students explore many ways of constructing basic ceramic art works. Children discover how easy it is to make inventive forms using the pinch, slab and coil methods to create oodles of inventive objects, and enjoy squishing their hands into this fabulously tactile medium! Students finish their projects by adding surface patterns and colored glazes and then, through the magic of fire (safely contained in the kiln), their raw materials are transformed into cherished works of ceramic art. Children's creativity explodes through this rich approach to making sculptural and even functional art.

Corbin Rodriques

In this introduction to building with clay, the focus is on fun as younger students explore many ways of constructing basic ceramic art works. Children discover how easy it is to make inventive forms using the pinch, slab and coil methods to create oodles of inventive objects, and enjoy squishing their hands into this fabulously tactile medium! Students finish their projects by adding surface patterns and colored glazes and then, through the magic of fire (safely contained in the kiln), their raw materials are transformed into cherished works of ceramic art. Children's creativity explodes through this rich approach to making sculptural and even functional art.

Michael DiMucci

Based on the fundamentals of design and engineering, this exciting workshop focuses on the playful but well-considered use of materials. With unique opportunities for brainstorming and problem solving, each week brings a new design challenge (i.e., build a two-wheeled race car that travels down an inclined string, or use air compression to power a plane). Participants use real hand tools and work with a variety of materials like wood, recycled items, Legos, paper, cardboard, metal, rubber bands, wire and fabric. As they have fun drawing, experimenting, testing and building, students increase their scientific awareness, gain knowledge of the design process and build upon both two- and three-dimensional design skills.

Mary Geisser

In this exciting, multi-sensory experience, children playfully interact with and explore a variety of art media and materials, poetry, stories and drama to bring their imaginations to life. The class encourages interest in the written word through a variety of sources, and then integrates the development of literacy skills in fun and imaginative ways. Exploring two-dimensional and three-dimensional art forms, young artists soon develop ways to connect the imaginative process to all aspects of learning, empowering them by developing their confidence in their own voices, abilities and imaginations.

From noon to 1pm, RISD staff monitor children enrolled in CHILD classes (ages 5-12) from June 25-July 6 while they enjoy their lunch break. This option is open to students registered in CHILD classes only; i.e., 12-year-olds registered in TEEN classes are not eligible. Parents must provide children with a bag lunch and a beverage each day.

From noon to 1pm, RISD staff monitor children enrolled in CHILD classes (ages 5-12) from July 9-20 while they enjoy their lunch break. This option is open to students registered in CHILD classes only; i.e., 12-year-olds registered in TEEN classes are not eligible. Parents must provide children with a bag lunch and a beverage each day.

From noon to 1pm, RISD staff monitor children enrolled in CHILD classes (ages 5-12) from July 23-August 3 while they enjoy their lunch break. This option is open to students registered in CHILD classes only; i.e., 12-year-olds registered in TEEN classes are not eligible. Parents must provide children with a bag lunch and a beverage each day.

Mary Geisser

In this exciting, multi-sensory experience, children playfully interact with and explore a variety of art media and materials, poetry, stories and drama to bring their imaginations to life. The class encourages interest in the written word through a variety of sources, and then integrates the development of literacy skills in fun and imaginative ways. Exploring two-dimensional and three-dimensional art forms, young artists soon develop ways to connect the imaginative process to all aspects of learning, empowering them by developing their confidence in their own voices, abilities and imaginations.

David Fleurant

Discover the basics of shooting, manipulating and printing your digital photographs in RISD|CE's digital photo studio. Students first learn about the settings and functions of their digital cameras, as well as the basic techniques of shooting digital photos. Each week, we photograph various subjects and review and critique each others' images. Using scanners and Adobe Photoshop, we import our images into Macintosh computers and learn how to manipulate various elements before printing, offering endless possibilities for special effects. Note: Bring your digital camera and either a disk of Photoshop images or a photo CD to each class.

Applies to: PH, YM

Matthew E. Paquin

The pop music experience is much more than the tracks on a CD -- it's a billion-dollar industry comprised of live events, endorsements, trademarked merchandise and carefully crafted images designed for the artists and their promoters. Bands become brands, which graphic designers craft with innovative logo design, costuming and display imagery. In this course, students are introduced to design through the scope of popular music history. Students work with the latest digital design tools and software to create artwork for CD jewel cases, tour posters and tee-shirt designs for an imaginary pop music idol or to reinterpret the identity for their favorite band. Whether your taste is for the Black Eyed Peas, Lady Gaga or the Misfits, this course inspires you as you design to rock.

Applies to: AT, YA, YC, YG

Philip Gedarovich

American comics are filled with wild characters like musclemen, monsters, robots, villains and freaks, but you need more than a wild character to make a good comic book. It takes a story that, when combined with convincing pictures, draws the reader into the page and doesn't let him go. In this course, students learn from a published professional how to pull all the components of great comic book creation -- word balloons, captions, panels and personalities -- together. Important topics such as character design, perspective drawing and page layout are considered and, in the end, students leave with a finished book to share with friends, family and, with luck, possibly even a big shot comic book publisher.
Prerequisite: Start Cartooning
Applies to: YA, YC, YG

Kristin Street

Every day, in magazines and newspapers, we see models showing off the latest fashions. But what makes the pictures so appealing to look at? The answer lies in the work of fashion photographers, who have a great understanding of photography, color, fashion, lights and location. This intensive one-day class helps develop skills in producing and managing street fashion photo shoots. Following a brief historical tour of fashion photography and a closer look at current trends, students are introduced to narrative styles. They then work as a team on a series of location story shoots, gaining experience with working with a model. Students learn how to light outdoor shoots, from simple flash effects to the manipulation of available lighting sources. Finally, students share in a group critique to select a small body of their best work from each venue.

Applies to: PH, YF

Christina Miles

Drawing architecture is a phenomenal way to strengthen observational drawing, practice rendering three-dimensional form, and develop skills in seeing and representing perspective. Right outside RISD's front and back doorsteps, Providence offers artists one of the most exciting urban landscapes. Historical buildings, modern skyscrapers and Waterplace Park's walkways and bridges create endless subject matter for this one-day intensive workshop. Students spend time both outdoors and in the studio -- working with a variety of drawing materials and through a range of assignments -- to produce a collection celebrating the built environment. Note: This workshop will run rain or shine.

Applies to: AT

Philip Gedarovich

In many ways animation has not changed since Gertie the Dinosaur came to life under the expressive pen of Winsor McCay; it is still an art form that instills the illusion of life in fantastic characters simply composed of multiple views put into motion. This course is for students who wish to advance their knowledge of core cartooning skills learned in Start Cartooning, as they enable creations to first walk, and then run, leap and dance. Through an in-depth look at how leading artists in the field create their work, students get an insider's view of hand-drawn animation in a professional setting. As they develop their own stylized characters, they participate in exercises that include storyboarding, volumetric drawing, perspective studies and foreshortening of the cartoon figure. Animation principles and devices -- such as model sheets, motion studies, flip books and cycles -- are explained and practiced, and projects are burned to a take-home disc to share with family and friends.
Prerequisite: Start Cartooning
Applies to: YA, YG, YM

Adrienne Benz

Successful architectural design is both responsive to its immediate surroundings and the intended function of the built structure. Inspiration for design is everywhere -- from the natural world around us to common objects and elements in our daily lives. Architects use observation to fuel the design process and create connections between the important components of their design. In this course, students engage in idea generation, model making, sketching and fabrication. This design-build process begins in RISD's Nature Lab, where students investigate various natural structures. Investigations into personal or cultural artifacts and interests create additional ideas for the "tank." Then, in the studio, they explore transforming these beginnings into functional architectural designs.

Applies to: AT

William McKenna

In this course, students receive a strong, broad-based foundation in the visual arts through instruction in drawing, painting, design, printmaking and sculpture, all in a studio setting. We emphasize concepts and principles of art and design, originality, communication of ideas, and skill development in new and familiar media. Students visit the RISD Museum to connect art history to their work, and they use the natural treasures of the RISD Nature Lab as inspiration for their projects. In a surprisingly short time, students find new confidence in their ability to express themselves through art.

Applies to: AT

William McKenna

In this course, students receive a strong, broad-based foundation in the visual arts through instruction in drawing, painting, design, printmaking and sculpture, all in a studio setting. We emphasize concepts and principles of art and design, originality, communication of ideas, and skill development in new and familiar media. Students visit the RISD Museum to connect art history to their work, and they use the natural treasures of the RISD Nature Lab as inspiration for their projects. In a surprisingly short time, students find new confidence in their ability to express themselves through art.

Applies to: AT

Steven Hayes

In this course, students receive a strong, broad-based foundation in the visual arts through instruction in drawing, painting, design, printmaking and sculpture, all in a studio setting. We emphasize concepts and principles of art and design, originality, communication of ideas, and skill development in new and familiar media. Students visit the RISD Museum to connect art history to their work, and they use the natural treasures of the RISD Nature Lab as inspiration for their projects. In a surprisingly short time, students find new confidence in their ability to express themselves through art.

Applies to: AT

Philip Gedarovich

Breathe life into your drawings! This course teaches the 12 principles of animation as laid down by Disney animators. Techniques and artistic styles in animation have come a long way since that golden age, and this exciting course opens the doors to the vibrant world of animation creation in the digital age. From character development and background settings to storyboarding action, students practice balancing technique and individual creativity, and gain a foundation of essential design concepts. Students build on this knowledge of the basics to create a final project animated story with accompanying music and effects sound track. This project can be burned to disc for use in a student's portfolio or to entertain friends and family. Note: This course was previously titled Computer Animation.

Applies to: YA, YG, YM

Candace French

Fashion tells us much about our lives, our values and ourselves. Why else do we make such stars of Karl Lagerfeld and his colleagues? Discover what it takes to be a successful fashion designer in this introductory course. Students learn how fashion designers communicate visually by means of color, fabric, texture and pattern. We discuss design elements, styles, trends and couture as students explore sketching, pattern drafting, fabric, color choices and basic sewing. Creative projects include designing your own garments, patternmaking, draping on the mannequin, designing from fabric swatches, and creating a miniature garment. This is a great chance for students not only to learn the basics of designing their wardrobes, but to make a substantial addition to their portfolios. Note: Previous drawing experience is not required.

Applies to: YF

Candace French

Fashion tells us much about our lives, our values and ourselves. Why else do we make such stars of Karl Lagerfeld and his colleagues? Discover what it takes to be a successful fashion designer in this introductory course. Students learn how fashion designers communicate visually by means of color, fabric, texture and pattern. We discuss design elements, styles, trends and couture as students explore sketching, pattern drafting, fabric, color choices and basic sewing. Creative projects include designing your own garments, patternmaking, draping on the mannequin, designing from fabric swatches, and creating a miniature garment. This is a great chance for students not only to learn the basics of designing their wardrobes, but to make a substantial addition to their portfolios. Note: Previous drawing experience is not required.

Applies to: YF

Ben Macomber

"There is nothing that obeys the artist's hand so exquisitely, nothing that records the subtlest pleasures of sight so perfectly." This is how noted writer John Ruskin described watercolor, a medium of exquisite delicacy and unique translucence. Join us for this rare opportunity to explore and develop drawing and painting skills with a professional watercolorist and member of the Rhode Island Watercolor Society. Instruction highlights the proper use of materials, color theory, composition and several other techniques. Demonstrations, individual instruction and group critiques help each student find his or her unique approach to watercolor. Photographs, still lifes and striking panoramas of Providence provide inspiration for this painting adventure.

Applies to: AT

Megan Jeffery

This course introduces students to the basic techniques of drawing human and animal characters in cartoon style. Students learn to give expression, action and motion to their characters as they create gag cartoons, caricatures and comic strips. The class also reviews the basics of paneling and composition, and studies the widely divergent styles of such classic strips as Boondocks and Calvin and Hobbes. As students gain experience with black-and-white drawing materials, they become more confident draftsmen and become familiar with rendering as a basis for comic exaggeration. Young artists are encouraged to expand upon their drawing and cartooning skills and to develop their own signature styles.

Applies to: YA, YC, YG, YM

Frank Piccirillo

Have you ever looked at a great drawing and thought, "How was that done? It looks so real!" This class uses an easy, step-by-step approach that unravels the mysteries of successful drawing. Emphasizing observation and exercises based on both traditional and innovative techniques, we focus on the concepts that are vital to any artist's education: composition, line, value and perspective. Using a variety of media, including pencils, pens and charcoal, students strengthen their skills through a series of projects from small to large: from beetles and butterflies in the RISD Nature Lab to the architectural panorama of Providence. See how going back to the drawing board prepares you for a future in the world of art and design.

Applies to: AT, YA, YC, YG

Steven Hayes

Have you ever looked at a great drawing and thought, "How was that done? It looks so real!" This class uses an easy, step-by-step approach that unravels the mysteries of successful drawing. Emphasizing observation and exercises based on both traditional and innovative techniques, we focus on the concepts that are vital to any artist's education: composition, line, value and perspective. Using a variety of media, including pencils, pens and charcoal, students strengthen their skills through a series of projects from small to large: from beetles and butterflies in the RISD Nature Lab to the architectural panorama of Providence. See how going back to the drawing board prepares you for a future in the world of art and design.

Applies to: AT, YA, YC, YG

Steven Hayes

Have you ever looked at a great drawing and thought, "How was that done? It looks so real!" This class uses an easy, step-by-step approach that unravels the mysteries of successful drawing. Emphasizing observation and exercises based on both traditional and innovative techniques, we focus on the concepts that are vital to any artist's education: composition, line, value and perspective. Using a variety of media, including pencils, pens and charcoal, students strengthen their skills through a series of projects from small to large: from beetles and butterflies in the RISD Nature Lab to the architectural panorama of Providence. See how going back to the drawing board prepares you for a future in the world of art and design.

Applies to: AT, YA, YC, YG

Angela Ackerman

From complex architecture to the simple zipper, design is basic to both visual expression and functional problem solving. This course introduces students to the "grammar" of art: line, shape, color, texture and space. Working on a series of projects to explore each principle, students become fluent in the language of design by using a variety of art media and applying them to the real world of design. The skills developed in class provide a valuable foundation for a career in the arts and are directly applicable to just about any visual arts pursuit.

Applies to: AT, YA, YC

Christina Miles

If you are only familiar with stained glass from having visited museums and churches, now is your chance to experiment with a unique and fascinating art form. This course shines a new light upon the traditional medium of stained glass, as you design and assemble your own stained glass panel. After looking to Frank Lloyd Wright and Tiffany for inspiration, we cover techniques in cutting and grinding glass in a variety of shapes, and then joining those pieces to create a complete work of art. The final product will be a beautifully designed and well-constructed colorful glass panel that can be hung in any window.

Applies to: AT

Bruce Lenore

Many, if not most, sculptural pieces cast in bronze begin life as clay on an armature. In this class, students explore the basic three-dimensional aspects of clay as a sculptural medium. In a wide variety of projects, students create individual solutions to problems of form, scale and surface, using slab work, coiling, extrusions and press molds. We also review slips and alternative glazing techniques to expand the students' design vocabulary and help them create pieces that reflect their inner visions. Finally, the RISD Museum's collection of ceramic art serves as a valuable resource and inspiration for students as they investigate the design and construction possibilities of the many new techniques they learn in class.

Applies to: AT

Ellen Blomgren

Many, if not most, sculptural pieces cast in bronze begin life as clay on an armature. In this class, students explore the basic three-dimensional aspects of clay as a sculptural medium. In a wide variety of projects, students create individual solutions to problems of form, scale and surface, using slab work, coiling, extrusions and press molds. We also review slips and alternative glazing techniques to expand the students' design vocabulary and help them create pieces that reflect their inner visions. Finally, the RISD Museum's collection of ceramic art serves as a valuable resource and inspiration for students as they investigate the design and construction possibilities of the many new techniques they learn in class.

Applies to: AT

Eleanor Sabin

Drawing and observation are essential skills for all visual artists. This course gives students the opportunity to learn about composition and proportion as they study the techniques necessary to interpret the human form. Working with live models, students experiment with a broad range of drawing materials in a variety of creative exercises, including quick gesture drawings and larger studies. Weekly discussions and critiques introduce students to various aesthetic issues and to the work of important figurative artists. Budding cartoonists can also use this course to better their understanding of the human form. Note: This class uses nude models. Students must be 13-17 ONLY.

Applies to: AT, YA, YC, YF

Ruth Shouval

Drawing and observation are essential skills for all visual artists. This course gives students the opportunity to learn about composition and proportion as they study the techniques necessary to interpret the human form. Working with live models, students experiment with a broad range of drawing materials in a variety of creative exercises, including quick gesture drawings and larger studies. Weekly discussions and critiques introduce students to various aesthetic issues and to the work of important figurative artists. Budding cartoonists can also use this course to better their understanding of the human form. Note: This class uses nude models. Students must be 13-17 ONLY.

Applies to: AT, YA, YC, YF

Jessica Lee Perry

Think back to your childhood, when playing with miniature representations of our world kept you busy for hours. Dollhouses and model train sets are just some of the examples of our fascination with miniatures. Artists have been captivated by miniature sculpture as well, from Alexander Calder's circus to set designs for stop motion animated films. In this course, students use a variety of materials such as foam, wire, papier mache, clay, wood, cardboard and other recycled materials to create their own 3D set design/small sculpture environment. Students consider concepts of scale, depth of field, material choice and lighting for the purpose of evoking a sense of time and place. This is an excellent course for students interested in sculpture, architecture and stop action animation.

Applies to: AT, YA

Pat Ubaldi Nurnberger

Did you know that Napoleonic uniforms and gowns were the inspiration for Dolce & Gabbana's Fall '06 collection, or that Marie Antoinette influenced Dior in 2006? In this course, students learn how fashion designers look to the past to design some of today's high fashion! Students come to embrace the relationship between historic costume and contemporary fashion by examining couture collections and the costumes worn in hit movies in light of their historic influences. During lively class sessions, students learn to identify historic time periods, garments, fabrics and construction and fitting methods of the era. Then, with a single time period as a starting point, we produce our own design, construction and presentation drawings of historically accurate garments and contemporary fashions based upon them. Note: Students use both hand and machine sewing to construct a simple garment based on historic design. Some sewing skill needed.

Applies to: YF

Jessica Lee Perry

We often think of sketchbooks as places to store ideas or practice skills before applying them to our final masterpieces; in fact, sketchbooks can be works of art in themselves. In this course, students experiment with their sketchbooks as an evolving work of sequential art, combining drawn imagery, mixed media, collage, printmaking, altered photos, and connections between words and images. There are no limits as students get to explore their inner self while documenting their experiences. Class time is used to both explore new materials and processes and share discoveries. As the course progresses, each student becomes that much more connected to the wellspring of his/her creativity.

Applies to: AT

Pat Ubaldi Nurnberger

Central to the design of a fashion collection is the investigation of innovative materials and textiles that nowadays define the uniqueness of a style and, more and more often, provide the initial inspiration behind a whole fashion collection. In this course, we explore the world of innovative materials in order to push creativity to its limits. Students create a personal project, beginning with a mood board and fashion sketch and ending with a complete garment made of non-traditional materials, while learning some basic construction techniques. The course culminates with an informal fashion show for parents and friends. Note: Previous sewing or patternmaking experience is not required.

Applies to: YF

Lauren Conti

From the clothes we wear to the MP3 devices we play our music on, the cars we drive and even the soda we drink, our decision to buy something is often determined by both how cool it looks and its functionality. Students in this course are challenged to create such business prototypes as a skateboard company, a beauty salon, a snack food or a clothing boutique, and then design the components that will sell the product. The course bridges multiple aspects of 2D and 3D design including, but not limited to, graphics, product models, package design and interior architecture. In the process, students gain a solid foundation in applying design principles to real world design challenges as they create a portfolio of the next "must-have" trend!

Applies to: AT

Lynda Shoup

Got talent? Got products? Who knows it? This course shows you how to develop an online artist's identity and market yourself using blogs and social networks like Twitter and Facebook to create an online portfolio and network. Students craft an online artist's identity and develop a platform for promoting their work, while creating content that supports your chosen identity. A review of available online resources helps students choose appropriate applications. By the end of the class you will be on your way to creating your own marketable identity; you'll be familiar with Web applications that can set you apart, know the facts about privacy, copyright and ethical considerations, and have ideas for presenting your work in ways that show you are a creative force to be reckoned with. Note: Students must be 13-17 ONLY. Laptops are not required, however, WiFi access will be available to those who choose to bring laptops to class. This course was previously titled Brand Yourself.

Applies to: AT

Daniel Langston

How do you turn your avatar or your sketchbook superhero into a three-dimensional clay figure? A good question, to be sure, but what if you want even more? Is it unreasonable, for example, to ask "How do I turn my clay action figure into a more durable material like plastic?" The answer is finally at hand, as students discover when they enroll in this sculpture and mold-making workshop. The course starts with lessons in sculptural anatomy and exaggeration, both of which play into how you shape a clay hero. Students then participate in the casting process with a new composite model that can be painted to your specifications. How long can it be, we ask, before Hasbro comes knocking on your door?

Applies to: YA, YG

Crystal Cavaco

"The whole world, as we experience it visually, comes to us through the mystic realm of color." This is how artist Hans Hofmann described color -- as being everywhere around us. In this class, students explore the dynamic world of color through self-expression and imagination. First, students investigate the wide range of color concepts and theories, as well as the expressive use of color through various materials including oil pastels, watercolor, chalk pastels, colored pencil, and acrylic paints. Visuals from various artists -- Henri Matisse, Pablo Picasso, Franz Marc, Wassily Kandinsky, and others -- are then discussed in class. Finally, using color concepts and a vast array of materials, students experiment with subject matter such as nature, still life, cityscapes, collage, all in living color.

Applies to: AT

Ruth Shouval

Drawing and observation are essential skills for all visual artists. This course gives students the opportunity to learn about composition and proportion as they study the techniques necessary to interpret the human form. Working with live models, students experiment with a broad range of drawing materials in a variety of creative exercises, including quick gesture drawings and larger studies. Weekly discussions and critiques introduce students to various aesthetic issues and to the work of important figurative artists. Budding cartoonists can also use this course to better their understanding of the human form. Note: This class uses nude models. Students must be 13-17 ONLY.

Applies to: AT, YA, YC, YF

Candace French

The realization of a designer's sketched idea is the true challenge for any three-dimensional artist. Whether the artist works in marble or in fabric, a foundation of skills and knowledge of materials are required. This course emphasizes the fundamentals of garment construction while deconstructing and reconstructing a garment of the student's choice. By using new fabrics (each student selects a fabric) and design changes, the old garment is transformed into a totally new look. Through pattern drafting, draping using the mannequin, and various hand and machine sewing techniques, students move on to sewing their original designs created in class. The course also includes a continuing discussion of design, styles, trends and couture. Finally, students can showcase their design and leave with their newly created garment. Note: Some sewing knowledge is helpful, but not necessary.

Applies to: YF

Jana DeSimone

In this course, students receive a strong, broad-based foundation in the visual arts through instruction in drawing, painting, design, printmaking and sculpture, all in a studio setting. We emphasize concepts and principles of art and design, originality, communication of ideas, and skill development in new and familiar media. Students visit the RISD Museum to connect art history to their work, and they use the natural treasures of the RISD Nature Lab as inspiration for their projects. In a surprisingly short time, students find new confidence in their ability to express themselves through art.

Applies to: AT

Christina Miles

Schedule Update: The schedule for this course has changed since the Summer 2012 catalog was published. Class will now meet in the morning, 9am-12pm.

Applies to: AT

Rhonda Fargnoli

Have you ever wanted to dye yarn to create your own one-of-a-kind skein, and a color that no one else has? In this exciting hands-on course, students learn how to dye their own yarn using the finest organic dyes from the West Coast. Once these skeins of yarn are created, students learn to hand knit swatches for a knitted journal that can be utilized for Designer Knitting: Color + Shape Inspired by the Work of Spencer Finch, also offered this summer. Note: The material in this course is appropriate for all levels of experience.

Applies to: YF

Amy Lovera

From King Kong's wrestling match with an obnoxious T-Rex to Gromit's frenzied chase on a model railroad, the process of building a movie frame by frame has generated incredible cinematic images -- despite the fact that the resulting dynamic activity is simply an illusion. Each individual movement is recorded and then projected at a speed that fools the eye into seeing uninterrupted movement. Students in this course form production teams in which they assume the role of camera operator, set designer and storyteller. Using a variety of two- and three-dimensional media, they go on to create a believable reality as seen in several unique short digital video experiments. By the end of the course, students will have learned to combine the images with sound and produced a DVD to share with family and friends.

Applies to: YA, YC, YM

Ruth Shouval

Shepard Fairey, the controversial RISD alumnus, manipulates found images to create his dynamic posters, following in the tradition of Andy Warhol's graphic icons. Through printmaking -- a process used to duplicate an image -- both original and found imagery can be layered to create original collages in multiple editions of identical or altered variations. In this course, we learn several non-press printing techniques that can be replicated at home, such as relief prints, silkscreen and pronto plates. We also learn how to make handmade paper, which we can then use to create three-dimensional prints called paper casts. A special visit to the Print Room at the RISD Museum allows students a unique opportunity to see unframed prints in their original state. Throughout the course, students enhance their creativity and problem solving skills, while using printmaking to create special visual effects that can be achieved in no other way.

Applies to: AT

Pat Ubaldi Nurnberger

Fashion designers can find inspiration for a collection from almost anything: nature, literature, pop culture, masterpieces of art and architecture, the weather or even geometry. This intensive fashion design "think tank" focuses on the kind of idea development professional designers use in assembling a fashion collection. From concept to critique, illustration, theme boards, fabric selection, sources of inspiration and methods of fabrication, many variables play a role in creating a consistent and memorable line. Students in this course develop concepts for thematic collections while viewing and discussing notable industry trends by designers past and present. By the final session, students should have a solid foundation in critical thinking, as well as a portfolio of work that may one day lead to a fabulous fashion collection!

Applies to: YF

Philip Gedarovich

Maya, the world's most popular 3D modeling software, is the first choice of animators who must create the unbelievable and make it real. Fortunately, learning Maya has never been easier. Students in this introductory course learn the Maya interface, and practice polygon modeling by building vehicles and machines that start with symmetrical geometry, clear edges and uniform planes. We also experiment with the Hypershade tool to create and apply custom materials for chrome, gold plating and other outrageous combinations. As students become more confident, their projects become increasingly sophisticated, until they are creating hot rods, motorcycles and aircraft with unique style. Students exit with a project disc that demonstrates their ability to design in 3D.

Applies to: YA, YG, YM

Rhonda Fargnoli

The RISD Museum's major exhibition Painting Air: Spencer Finch and the artist's investigations of light and color serve as the inspiration for this knitting design course. Students explore Finch's site-specific new installation that evokes Monet's water garden, as well as his other recent works. They then design and create hand knitted accessories and/or a knitted tank top -- all stylized in a geometric and color design. Note: This course is designed to be a follow-up to Hand Dyed Yarn + Knitting.
Prerequisite: Hand Dyed Yarn + Knitting or basic knitting skills
Applies to: YF

Kurt Van Dexter

This course serves as an introductory experience for students interested in exploring the exciting field of architecture -- where innovative design, aesthetics, practicality, cost and materials all intersect. Topics to be covered include directly relevant issues such as the design process, design development and presentation preparation, as well as secondary issues such as protecting and enhancing the fabric of the community, working with recycled materials and using cutting-edge "green" approaches. Video/DVD documentaries featuring key architects are presented in brief each week to enrich the students' learning experience, and to help provide a sense of context. In the process, we view both historical and contemporary examples of notable architecture to help us address issues of style, space and materials. During the last class, students present their completed projects.

Applies to: AT

Frank Piccirillo

Here is a chance to capture the sheer exuberance of painting while developing skills in a supportive environment that stresses process and expression, not just end product. Using imagination and a range of media (watercolor, ink, acrylics), students experiment with painting still lifes, interior spaces, the figure and landscapes -- the sky's the limit! Explore concepts of color, composition, line, form, value and texture in order to create ever more complex and expressive works of art. Note: Basic drawing experience is helpful, but not required.

Applies to: AT

Crystal Cavaco

Often when we think of fabric as a material for creating images or design, we think of quilting; however, textiles are used in a variety of ways in contemporary art and design. From functional design in the decorative arts, to alternative strategies in illustration, students in this course use fabric to create unique works of art. We use fabric and recycled materials to create a variety of projects that explore a tactile approach to drawing and two- and three-dimensional design, while developing skills in color theory, and designing with pattern and texture. Come join this unique class and explore the possibilities of fabric!

Applies to: AT

Heather Cronin-Bachstein

Creative mark-making is the foundation for both drawing and painting -- comparable to penmanship or a signature. As various drawing and painting endeavors call for different styles of marks, students in this course develop unique mark-making sets for a variety of applications, using innovative strategies and exercises. Working in different size scales and time frames, and inspired by sensory motivations including music, sound and movement, students investigate alternative drawing and painting processes with both familiar and unconventional materials. This course is both a kinetic and reflective adventure in which emerging artists gain confidence, building a repertoire of techniques and skills for drawing and painting, while discovering their unique artistic process and identity. Make your own mark in the world with your art!

Applies to: AT

Daniel Langston

Let free your inner zombie! In this course, students explore the world of Hollywood special effects makeup artists, and learn skills that are essential on Halloween or whenever a believable (or unbelievable) disguise is essential. A practiced makeup artist demonstrates techniques for creating effects that are as realistic (with pores, wrinkles and creases) or as otherworldly (with scales, wounds and craters) as you can imagine. The makeup designs begin as well-considered drawings and then are translated to the real-life world of the flesh. Throughout the process students reinforce their abilities to conceive and execute from drawings, to sculpt and make the imagined monsters and villains real for both homemade video thriller or costume party.

Applies to: YA, YC, YG, YM

Kurt Van Dexter

Sculptural trees, multi-textured greenery, exploding palettes of floral color. Exotic locations? Royal palaces? Not necessarily! Designed landscapes -- including gardens -- are art and design, using nature as the palette. They can be as formal as a city park, or familiar as your own back yard. Designing a successful garden, whether vegetable, floral or container, involves all the principles of art and design so that the ultimate creation transforms a space in a truly magical way. In this course, students learn basic concepts and processes of garden and landscape design, including an exploration of potential materials, hands-on site exploration, and the use of such architectural or sculptural elements as fences, arbors or garden benches. Students complete the course with a plan for their own hypothetical garden. Note: This course was previously titled Gardens: Art + Design with Nature and the Earth.

Applies to: AT

Heather Guidero

Piled high and hidden deep in a "secret lair" are thousands of remnants of Rhode Island's storied jewelry manufacturing history. Our job? To select the best and brightest and remake them into highly personal, imminently wearable, one-of-a-kind creations. Using our basic jeweler's tools, we hammer, cut, link, draw, paint, sand, rubber coat, stitch, epoxy and patina our way to a unique finished piece of jewelry, using costume jewelry components from all eras -- all without soldering. We learn how to make our own findings such as clasps and ear wires, as well as how to use creative cold connections like rivets and basic prong settings. Come with a sense of adventure and a willingness to try new techniques as we transform these dusty treasures -- no previous jewelry experience required!

Applies to: AT

Heather Guidero

Have you ever wanted to design and fabricate your own jewelry? This course (geared specifically to the young metalsmith) gives you the tools to do just that! Students learn and master the basic techniques of sawing, piercing and filing, with the goal of having a cohesive collection of work at the end of the course. Through practice, students develop skill and confidence in using basic jewelry hand tools. A part of each class is devoted to talking about the history of jewelry and adornment, with special attention paid to contemporary designers as well as opportunities for jewelers and designers today. Casual group critiques are held throughout the course as a way for students to evaluate each other's ideas and work. Note: Brass and copper are provided; students are responsible for buying silver, should they wish to use it.

Applies to: AT

Heather Guidero

If you've ever wondered how chains are made, this course shows you how to make your own using the basic building block of jewelry design -- the wire jump ring. We begin with learning to form jump rings of all sizes and shapes using pliers and easy-to-make jigs. From there, students use their jump rings to make samples of different chain patterns and select their favorite to create their own unique necklace, bracelet and/or earrings. Basic wire wrapping techniques, perfect for incorporating stones and found objects, are taught. Students learn how to alter the surface and texture of the wire by hammering, twisting, carving and drilling the metal rings; how to apply various finishes; and how to go beyond the familiar structures of circle chains and hoop. No previous jewelry experience is necessary. Note: Brass and copper are provided; students are responsible for buying silver, should they wish to use it.

Applies to: AT

Adrienne Benz

To map is to take the measure of a world. A mapped record can be real or imagined, and can include fragments or all of a place's whole. Unlike photography, which bears a closer resemblance to what it depicts, drawing must by necessity be abstract if it is to sustain meaning and utility. Drawing an environment by traveling through it offers new and exciting ways of seeing and representing its specific world. Providence's historical and industrial landscape offers artists a wide range of opportunities to draw and paint. Students in this course spend most of their time outdoors, producing a sketch-painting journal. They work with a variety of media to produce a collection of mappings, drawings and paintings of Providence, all within one sketchbook. The final product is a mapping of their own journey through Providence.

Applies to: AT

Phil Oliveira

This course introduces students to the basic techniques of drawing human and animal characters in cartoon style. Students learn to give expression, action and motion to their characters as they create gag cartoons, caricatures and comic strips. The class also reviews the basics of paneling and composition, and studies the widely divergent styles of such classic strips as Boondocks and Calvin and Hobbes. As students gain experience with black-and-white drawing materials, they become more confident draftsmen and become familiar with rendering as a basis for comic exaggeration. Young artists are encouraged to expand upon their drawing and cartooning skills and to develop their own signature styles.

Applies to: YA, YC, YG, YM

Philip Gedarovich

Like cake and ice cream, sound and picture just go together. When your sound is a musical track, there is no better choice for the picture than animation. Building a video frame by frame is similar to building a song note by note, so it is no wonder that the most memorable music videos are made by animators. In this course, students advance in their understanding of moviemaking by reinterpreting a favorite musical video and then creating an original music video project. New concepts and tools are introduced throughout, including cycles using Flash animation, as well as more complex computer tools such as Soundtrack Pro. The resulting music video is bound to draw more attention to your animation reel or your YouTube line-up than anything you've done before. Note: Please provide a snack, a bag lunch and a beverage each day.
Prerequisite: 2D Animation Techniques, previously titled Computer Animation
Applies to: YA, YG

Steven Hayes

Explore a world of sculpture that just can't sit still. Moveable art takes on a life of its own, as it winds through the trees, leaps from the water and tumbles across the field. In this camp, we are inspired by Christo's environmental masterpieces that flutter and sway with the breeze; Theo Jansen's kinetic beach creatures that walk on the wind; and the strangely beautiful works of Shih Chieh Huang, who repurposes common, everyday objects such as plastic bags, old computers and household fans to create magical, life-like creatures. Moveable Feats gives each student the chance to design, build and mobilize his or her own designs, and the entire class creates amazing works that bring Tillinghast Farm to life.

Donald Chabot, Patricia Huntington

Using the enchanted Tillinghast Farm as setting, young artists explore myths and folklore as a basis for their artmaking. What creatures dwell in the forest, and what do they look like? How do they disguise themselves, and where do they sleep? Students encounter a variety of forest myths that feature fantastic figures such as the Green Man, water sprites, bewitched beasts, imps, fairies and gnomes. We bring these ethereal beings into our world through drawing, painting, printmaking, mixed media, sculpture and installation, with inspiration from illustrators Arthur Rackham and Jamie Wyeth, sculptors Charles Simonds and Deborah Butterfield, and costume designers Julie Taymor (Lion King) and Colleen Atwood (Alice In Wonderland). Camp culminates in a transformation of the idyllic landscape into a mysterious world populated by enchanted creatures.

Donald Chabot, A.J. Morse

Exploration of one of our greatest resources, Narragansett Bay, is the theme of this camp. Young artists look at the natural environment and create works of art that reflect, enhance and distort what they see. What is hidden beneath the dark waters of the bay? That is up to the artists' imaginations. We investigate a variety of art forms including painting, drawing, collage, sculpture and printmaking, as we look for inspiration in the works of artists like Cornell, Wyland, Homer and Warhol. Come and join this artistic adventure as we create 3D sea creatures, imaginative environments, seascape collages and more.

Patricia Huntington, A.J. Morse

Think and work like a designer, as you have fun dreaming up flying machines, futuristic footwear, or even a do-nothing machine. In this camp, we think two- and three-dimensionally with design drawing and model building, as we explore form and function. Our inspirations juxtapose Dada, da Vinci, Rube Goldberg, Charles and Ray Eames, Isamu Noguchi, and even Mother Nature, as we build design journals and model ideas from paper, clay and recyclables. We collaborate as we play with creative problem solving, including writing and performing a television commercial and designing a large-scale poster. Join your fellow inventors and innovators to come up with the next new fad while having fun in the process.

Jane Kernan

Behind every great 3D video game is a concept designer, who designs creatures, characters, swords, guns and other game assets that visually represent a virtual world such as the ones experienced in games like Avatar or Batman: Arkham Asylum. Young artists in this course are introduced to this profession, and to the state-of-the-art software tool, ZBrush, a digital sculpting program that combines 3D modeling, texturing and painting. With ZBrush, artists can create characters and creatures as if they were shaping clay, and give them dramatic surface treatments that result in high-resolution models. More than a software tutorial, this course is an exercise in unfettered imagination, as well as a peek into the fascinating world of the concept designer. Note: Please provide a snack, a bag lunch and a beverage each day.

Applies to: YA, YC, YG, YM