Painting and Drawing: Courses

In this team-taught three-week Winter studio intensive, students investigate painting problems and interests in detail. Faculty meet with students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

This studio will focus on the fundamentals of color starting with the basic materials for painting; oils, acrylic, canvas and stretcher. The mechanics of color are explored; mixing, principles of color, color phenomena and vocabulary. Introductions via display and objectives are outlines in each assignment, throughout the second half of the semester or sooner, students have the option to continue with assignments or the freedom to engage in personal work.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

This course will examine contemporary approaches to self-produced, independent comic making. Emphasis is on all aspects of making comics including classic cartooning conventions (character building, sequencing, storytelling, etc.), formal innovation, development of personal style, intuition and experimentation, simple graphic skills and craftsmanship, and tools of production. Comics will be defined and presented as a subversive cultural force and will be discussed and evaluated within the parameters of a rigorous critical discourse. This class will also provide a survey of groundbreaking American comics since 1945.

The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

This class emphasizes independent drawing projects that are informed by studio figure study. The use of the figure as a basis for this advanced course provides a focus for increasing skill, developing personal sensibilities and introducing conceptual directions.

This course will use drawing--particularly line--to investigate the body as a three-dimensional sculptural form. The student will work from the inside out, drawing internal volume and external topography, rather than an outside edge. The student will rotate the body, move it through space, study its structure, and through that learn to use drawing as tool for investigation: a way of exploring and creating space, weight, and form.

Study includes the second and third dimensional form, silhouette, planes and volume, movement and counter movement, rhythm and tension. The figure is used for its beauty of design. Drawing is conceptual and not observational. Required supplies are limited to charcoal, paper, and erasers.

Concentrating on the drawing of human and animal skeletons, this course explores drawing as the vehicle for the study of human anatomy.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

This course investigates a series of color problems to sensitize students to the interaction of color and color phenomena. Considering the problems of color use and color composition, the course emphasizes hue, value, and chroma and the application of such knowledge to the visual arts. A basic course for all disciplines in seeing and using color.

An advanced investigation of drawing as an organizing tool for thought and personal image exploration. Students work with both assigned and independently conceived problems. Topic: Form Invention - The exploration of representation strategies beyond direct perception and conventional visual modes. Procedures will include exaggeration and omission, stylization and abstraction, composite and hybrid forms, secondary and double images, visual puns and rhymes, and multi-perspectival representation. Examples will be drawn from the span of art history, East and West and from contemporary practice and visual culture. There will be studio problems and exercises, sketchbook assignments, individual projects, slide presentations, and museum visits.

Manipulate Space, Deconstruct Form, Re-Invent Your Visual World. This course will explore different form and space making systems as they relate to abstraction. Slide presentations throughout the semester will focus on abstraction and different artist, art movements, elements of visual language, and concepts past and present, all to engage and open students visual ideas and art making practice. Students will be encouraged to pursue their own ideas and imagery as they work with the course material. Painterly drawing will be explored, as well as drawing from a live model. Field trips are scheduled in the curriculum.

This studio class provides students the opportunity to engage their creative impulses and enthusiasms and bring them into the material world via the drawing modality. Each student chooses their own subject matter and approach. As instructor, I will give individual feedback and help students expand their notions regarding options in their particular focus area. The goal is to build creative muscle in the areas of self motivation, idea generation and organization.

This multi-level studio will cover all of the various traditional methods of assembling cut paper into a complete work of art. Additionally, we will touch upon the use of unorthodox materials for 2D assemblage and bas-relief. The class will review historic and contemporary approaches, using them as an inspiration for projects. Individual as well as group instruction will provide a flexible educational environment, accommodating both the novice and accomplished collagist. Examples from the rich history of collage will be shown, as well as field trips to related exhibitions.

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

Experimentation in studio problems according to the individual interests and direction of each student. In this particular section, The Dream, there will be special consideration, discussion, and critique with regard to the sub-conscious resources that stimulate the imagination as it is applied to painting. In the process of working we will consider how instinct, unconscious impulses, accidents, intuitions, as well as images emerging from dreams all tend to vitalize conscious determinations and foster change and invention.

Expressionism may be the single most important art movement of modern history, producing the best and worst in painting, and defining subsequent movements by their furtherance or rejection of its principles. This course brings together students with a common interest in this movement, combining an emphasis on individual studio work with weekly slide lectures, which deal with the formal and conceptual aspects of the style.

Extensive experimentation in studio problems and directions through individual idioms are emphasized. This course approaches PTDW with an emphasis on concept, idea, and language rather than percept and expressive intuition. It makes special reference to contemporary theory including art's use and function.

In this class we will go to the galleries in the museum every week, looking at and talking about how paintings are made, focusing on the underlining pictorial structure: the way artist in the past created a pictorial tension that still give the paintings presence today despite what might seem to us as anachronistic subjects. We will spend the majority of the time in the studio working and hopefully applying what we learn in the museum to your paintings. There is no stylistic agenda for this class: It's not what it is; it's what it does.

This class emphasizes working from observation (including still life, interior space, self-portraiture) as a means for the student to develop painting skills and personal imagery. The first half of the class will include projects exploring formal elements such as composition, color, paint surface, direct vs. indirect painting; the second half will consist of an individualized series of paintings. Students select their own painting subjects.

Extensive experimentation in studio problems and directions through individual idioms are emphasized. This course approaches PTDW with an emphasis on concept, idea, and language rather than percept and expressive intuition. It makes special reference to contemporary theory including art's use and function.

Media for this class include materials such as acrylic, gouache, tempera and water color. Support materials include canvas, paper, board, Plexiglass, etc. Students are expected to generate their own ideas and methods of approach. I will give individual ongoing critiques responding to each student's unique exploration with the goal of helping them expand their ideas and options for realizing their visions.

Where traditional boundaries between media have all but disappeared, high quality digital printing and non-toxic screen printing and transfer techniques have made it possible for artists to combine mechanical reproduction and painting. This course combines printmedia's imaging processes with studio painting to create hybrid works complex in form and content. Technical demonstrations and critical discussion will drive independent projects that redefine the parameters of contemporary print and painting studio practice.

Through observation of the model in space, students investigate form, color, and composition. The course is designed for students who consider the figure as an essential image.

Through observation of the model in space, students investigate form, color, and composition. The course is designed for students who consider the figure as an essential image.

Learn to make good giant paintings This multi-level studio will teach you the methods and tricks of scaling up the figure to produce paintings that are life-size or larger. You will also learn about the technical and historical aspects of figure painting. Students of all levels and abilities will make rapid, significant improvements in the process of moving from concept to final product. Method and technique will be taught via clear examples and demonstrations. The model, drapery, costumes, and other aspects of the set will reinforce the technical lessons and allow the depiction of a variety of surfaces. Poses of three to four weeks will give students sufficient time to go from thumbnail sketch to finished painting. Visits to the museum and related local exhibitions will provide concrete examples of concepts presented in class.

This course examines the relationship of specific media and techniques to the content and activity of drawing. Studio work is complemented by study of works on paper in the collection of the Art Institute of Chicago.

This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.

This course is the second part of a two-semester sequence. The first semester presents the full array of materials used in painting with an introduction to some study of methods of construction. This course puts those materials to use and carries forward the study of methods and strategies of construction, beginning with Flemish and Venetian painters and carrying through late twentieth-century painting. The subject of painting is studied from the viewpoint of the language of material and process.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.

This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.

The contemporary form of comics is explored in this studio course, in which each participant creates and produces a self-published comic. Writing, storyboarding, penciling, inking, and prepress preparations are covered, and a range of comics are read and discussed.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

Visionary Drawing combines research and studio practice in the exploration of drawings and images that are uniquely compelling and have the power to advance visionary proposals in the realms of architecture, interior architecture and the more ephemeral landscapes of our dreams. The studio/seminar explores historic and contemporary sources while combining active studio practice by making drawings of proposals for spaces, buildings, sculptures and future monuments. We examine the works of artists, architects, filmmakers and mystics for crucial examples. Students have the opportunity to create their own studies, proposals and visionary drawings. ?????

This team-taught class is an intensive, three-week immersion in drawing. Students investigate drawing as a technique and consider it in terms of a language that is used to structure ideas. Students work with faculty one-on-one, participate in group critiques, and attend lectures prepared by the instructors. Lectures will focus on specific artists and approaches to drawing.

This is a team-taught, three-week intensive Summer studio class for students who want to investigate painting issues and explore formal and conceptual interests in detail. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. The faculty and visiting-artist-in-residence meet with the students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections. Individual studios are provided to each student enrolled this course.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

This is a team-taught, three-week intensive Summer studio class for students who want to investigate painting issues and explore formal and conceptual interests in detail. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. The faculty and visiting-artist-in-residence meet with the students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections. Individual studios are provided to each student enrolled this course.

This course explores the interpretation of the landscape using both drawing and painting mediums. The class works both inside and outside of the studio, taking advantage of the natural and architectural sites of Chicago adjacent to the School.

In this team-taught three-week Summer studio intensive, students investigate painting problems and interests in detail. Faculty meet with students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

This studio will focus on the fundamentals of color starting with the basic materials for painting; oils, acrylic, canvas and stretcher. The mechanics of color are explored; mixing, principles of color, color phenomena and vocabulary. Introductions via display and objectives are outlines in each assignment, throughout the second half of the semester or sooner, students have the option to continue with assignments or the freedom to engage in personal work.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.

The contemporary form of comics is explored in this studio course, in which each participant creates and produces a self-published comic. Writing, storyboarding, penciling, inking, and prepress preparations are covered, and a range of comics are read and discussed.

The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.

This class will explore both the language and production of comics, focusing primarily on independent, alternative and art comics. Students will learn about making comics beginning with an idea, following through the writing and drawing process, and including aspects of design, business, reproduction and publication. From overcoming writer's block and the blank canvas dilemma to dealing with bad reviews, this course will introduce students to a range of theoretical and practical concepts while they practice drawing comics. Studio time will include exercises dealing with writing, drawing style, materials and production.

This course investigates a series of color problems to sensitize students to the interaction of color and color phenomena. Considering the problems of color use and color composition, the course emphasizes hue, value, and chroma and the application of such knowledge to the visual arts. A basic course for all disciplines in seeing and using color.

This course investigates a series of color problems to sensitize students to the interaction of color and color phenomena. Considering the problems of color use and color composition, the course emphasizes hue, value, and chroma and the application of such knowledge to the visual arts. A basic course for all disciplines in seeing and using color.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Concentrating on the drawing of human and animal skeletons, this course explores drawing as the vehicle for the study of human anatomy.

You will work with a series of projects designed to (literally) expand your definition of figure drawing. Our 'small beginnings' measure no less than 6' square--and we continue from there. Introduction to a range of technical approaches and strategies: from traditional direct observation from the nude; micro to macro; drawing from memory; drawing from digital and photographic sources; collaboration, re-interpretation, multiplication, site specific installation--to name just a few. Readings and written assignments present an historical trajectory that traces figure drawing on a large scale from the ritual of cave painting to 21st c. site-specific institutional critique, including graffiti.Visiting artists and frequent study trips to venues throughout Chicago, as well as to AIC's Goldman Study Center for Prints and Drawings.

This course will use drawing?particularly line?to investigate the body as a three-dimensional sculptural form. The student will work from the inside out, drawing internal volume and external topography, rather than an outside edge. The student will rotate the body, move it through space, study its structure, and through that learn to use drawing as tool for investigation: a way of exploring and creating space, weight, and form.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Study includes the second and third dimensional form, silhouette, planes and volume, movement and counter movement, rhythm and tension. The figure is used for its beauty of design. Drawing is conceptual and not observational. Required supplies are limited to charcoal, paper, and erasers.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Concentrating on the drawing of human and animal skeletons, this course explores drawing as the vehicle for the study of human anatomy.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.

You will work with a series of projects designed to (literally) expand your definition of figure drawing. Our 'small beginnings' measure no less than 6' square--and we continue from there. Introduction to a range of technical approaches and strategies: from traditional direct observation from the nude; micro to macro; drawing from memory; drawing from digital and photographic sources; collaboration, re-interpretation, multiplication, site specific installation--to name just a few. Readings and written assignments present an historical trajectory that traces figure drawing on a large scale from the ritual of cave painting to 21st c. site-specific institutional critique, including graffiti.Visiting artists and frequent study trips to venues throughout Chicago, as well as to AIC's Goldman Study Center for Prints and Drawings.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

Manipulate Space, Deconstruct Form, Re-Invent Your Visual World. This course will explore different form and space making systems as they relate to abstraction. Slide presentations throughout the semester will focus on abstraction and different artist, art movements, elements of visual language, and concepts past and present, all to engage and open students visual ideas and art making practice. Students will be encouraged to pursue their own ideas and imagery as they work with the course material. Painterly drawing will be explored, as well as drawing from a live model. Field trips are scheduled in the curriculum.

This studio class provides students the opportunity to engage their creative impulses and enthusiasms and bring them into the material world via the drawing modality. Each student chooses their own subject matter and approach. As instructor, I will give individual feedback and help students expand their notions regarding options in their particular focus area. The goal is to build creative muscle in the areas of self motivation, idea generation and organization.

From the sublime to the technological, contemporary artists are reinventing the landscape genre and examining its relevance. This multi-level studio course provides an opportunity to explore individual perceptions of the natural world in light of current landscape painting narratives. There will be presentations and readings on issues pertinent to the landscape as subject.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

Simply put, this class is about exploring possibilities-- the use of various combinations of materials used, wet and/or dry, on any paper related products, from fine drawing sheets to left over cardboard, as long as the what and how of it is on/with a paper support...the individual pursuit for a personal visual voice is encouraged...during the first several weeks, various 'problems' will be given to start things moving?

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Studio Drawing Multi-Level B classes.

An advanced investigation of drawing as an organizing tool for thought and personal image exploration. Students work with both assigned and independently conceived problems. Topic: Form Invention - The exploration of representation strategies beyond direct perception and conventional visual modes. Procedures will include exaggeration and omission, stylization and abstraction, composite and hybrid forms, secondary and double images, visual puns and rhymes, and multi-perspectival representation. Examples will be drawn from the span of art history, East and West and from contemporary practice and visual culture. There will be studio problems and exercises, sketchbook assignments, individual projects, slide presentations, and museum visits.

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.

Experimentation in studio problems according to the individual interests and direction of each student. In this particular section, The Dream, there will be special consideration, discussion, and critique with regard to the sub-conscious resources that stimulate the imagination as it is applied to painting. In the process of working we will consider how instinct, unconscious impulses, accidents, intuitions, as well as images emerging from dreams all tend to vitalize conscious determinations and foster change and invention.

In this class we will go to the galleries in the museum every week, looking at and talking about how paintings are made, focusing on the underlining pictorial structure: the way artist in the past created a pictorial tension that still give the paintings presence today despite what might seem to us as anachronistic subjects. We will spend the majority of the time in the studio working and hopefully applying what we learn in the museum to your paintings. There is no stylistic agenda for this class: It's not what it is; it's what it does.

This course will explore the possibilities of non-Western approach to painting. Class will begin with an introduction to the basics of Sumi-e (water and ink) painting, learning how to use tools, materials and techniques. The ancient Eastern philosophy of Zen will be introduced in the class that students could learn Zen practices of meditation, self-reflection, concentration and so on so forth. Students are expected to develop basic skills in the medium of water and ink; they will be encouraged to explore their creativity by experimenting with the possibilities of the medium. This course is especially appropriate for students interested in drawing and water color.

This studio class will be an exploration of the premise that all paintings are abstract. Whether an image is found and formed from observation or imagination, that image is ultimately an abstraction of its source. We will address issues of Abstraction, Representation, and Conceptualism. Shape, color, composition and intent--no matter what the image--will be the class's focus.

Media for this class include materials such as acrylic, gouache, tempera and water color. Support materials include canvas, paper, board, Plexiglass, etc. Students are expected to generate their own ideas and methods of approach. I will give individual ongoing critiques responding to each student's unique exploration with the goal of helping them expand their ideas and options for realizing their visions.

Extensive experimentation in studio problems and directions through individual idioms are emphasized. This course approaches PTDW with an emphasis on concept, idea, and language rather than percept and expressive intuition. It makes special reference to contemporary theory including art's use and function.

Visionary Drawing combines research and studio practice in the exploration of drawings and images that are uniquely compelling and have the power to advance visionary proposals in the realms of architecture, interior architecture and the more ephemeral landscapes of our dreams. The studio/seminar explores historic and contemporary sources while combining active studio practice by making drawings of proposals for spaces, buildings, sculptures and future monuments. We examine the works of artists, architects, filmmakers and mystics for crucial examples. Students have the opportunity to create their own studies, proposals and visionary drawings. ?????

Where traditional boundaries between media have all but disappeared, high quality digital printing and non-toxic screen printing and transfer techniques have made it possible for artists to combine mechanical reproduction and painting. This course combines printmedia's imaging processes with studio painting to create hybrid works complex in form and content. Technical demonstrations and critical discussion will drive independent projects that redefine the parameters of contemporary print and painting studio practice.

Through observation of the model in space, students investigate form, color, and composition. The course is designed for students who consider the figure as an essential image.

Through observation of the model in space, students investigate form, color, and composition. The course is designed for students who consider the figure as an essential image.

Through observation of the model in space, students investigate form, color, and composition. The course is designed for students who consider the figure as an essential image.

Figure painters have used photographs since its invention, using it as an efficient recording tool. This class seeks to examine the role photography plays as a source for subjects, while measuring its strengths and limitations against older, traditional methods. Students will combine work based on observation of the model with photographs, either self generated or from clipped/scanned sources, with recalled memories, inventions and fantasies. Examples from art history and contemporary art will be shown in addition to frequent visits to the museum and related local exhibitions.

This course examines the relationship of specific media and techniques to the content and activity of drawing. Studio work is complemented by study of works on paper in the collection of the Art Institute of Chicago.

This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.

This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.

This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.

This is a studio course with accompanying lectures working from a basis in the sacred, spiritual, and visionary traditions of art making. Its purpose is to assist and facilitate the students' encounters and explorations of these forms, whether representational or abstract, and to discuss the work created. This course consists of studio work, lectures, visiting artists, students' readings, visual research, journal work, and a final presentation.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This course engages issues of painting, art world, and art school significance in a discussion format. It explores these issues in relation to students' own work and discusses the uses to which art is put by the artist and the culture. Mainstream, interculturalism, and social, political, economic, and gender issues are explored. Discussion of students' work and visiting artist participation supplement the seminar.

This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.

This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.