Visual Communication Design: Courses

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

This course explores the varied techniques and processes available to create images and compose them in order to communicate an idea/message. We begin by exploring a diverse range of reproduction techniques and technologies, moving on to photography using analog and digital technology for image creation and manipulation. Image Studio challenges the student?s ability to self-generate inventive images and visual language. Form studies examine organic and constructed elements along with design aspects such as perspective, juxtaposition, progression and interpretation. Assignments include images created in the design studio, image layout for publication, team projects exploring the idea of narrative imagery and an individual final project. Studio time includes readings and relevant excursions.

This course explores the varied techniques and processes available to create images and compose them in order to communicate an idea/message. We begin by exploring a diverse range of reproduction techniques and technologies, moving on to photography using analog and digital technology for image creation and manipulation. Image Studio challenges the student?s ability to self-generate inventive images and visual language. Form studies examine organic and constructed elements along with design aspects such as perspective, juxtaposition, progression and interpretation. Assignments include images created in the design studio, image layout for publication, team projects exploring the idea of narrative imagery and an individual final project. Studio time includes readings and relevant excursions.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This course will examine the relationship between graphic design and time-based mediums such as film, video, television and the internet. Students will choose from film, video, performance or text sources to create time-based sequences which activate text and imagery. The process will begin by developing 2D storyboards which will then be translated into motion graphics concepts and formats. Students will be introduced to motion-based computer graphics sequences, extending their capabilities as graphic designers into the realm of 4D.

Using a variety of media, this course builds on the animation skills learned in Computer as a Motion Graphics Tool. Combining text, graphics, photographs, video and sound, the class will explore traditional and alternative narratives, collage techniques, time manipulation, and film, television as well as web-influenced rhythms and compositions. While refining surface and experimenting with structure, the class will create expressive, political and communicative time-based sequences.

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/

Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.

Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.

Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.

How does graphic design facilitate the ways we gather, give and receive information? How might we use typography and pictures, diagrams and symbols, sequence and spatial configuration to untangle a raw mass of data, guide a complex procedure, open (or suppress) correlations or satisfy multiple users' needs? This course explores principles and concepts of information design and visual display. Emphasis will be placed on analysis and mapping of raw data, structuring hierarchical and parallel pieces of information, enforcing statistical honest, picturing nouns (maps, timetables...) and picturing verbs (representation of mechanisms and motion, narrative...). This course is a core requirement for all Visual Communication students.

How does graphic design facilitate the ways we gather, give and receive information? How might we use typography and pictures, diagrams and symbols, sequence and spatial configuration to untangle a raw mass of data, guide a complex procedure, open (or suppress) correlations or satisfy multiple users' needs? This course explores principles and concepts of information design and visual display. Emphasis will be placed on analysis and mapping of raw data, structuring hierarchical and parallel pieces of information, enforcing statistical honest, picturing nouns (maps, timetables...) and picturing verbs (representation of mechanisms and motion, narrative...). This course is a core requirement for all Visual Communication students.

Formal portfolios are evaluated and assembled to represent the student?s individual design skills, abilities, and interests. This course includes resume writing, interview techniques, general business practices, and strategies for locating and contacting various types of design employers locally to internationally. This course is ideal for visual communication students preparing for internships or seniors preparing for design practice. This course may be repeated.

Formal portfolios are evaluated and assembled to represent the student?s individual design skills, abilities, and interests. This course includes resume writing, interview techniques, general business practices, and strategies for locating and contacting various types of design employers locally to internationally. This course is ideal for visual communication students preparing for internships or seniors preparing for design practice. This course may be repeated.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

This course examines how the moving image communicates, combining theory, skills labs, and studio creations. Students are introduced to the major critical theories of how moving images communicate, create narrative, and transmit information. The course moves, semi-historically, through concepts of animation, framing, sequence and montage, materiality in moving media, live-video, and interactivity. Students learn basic techniques of stop-frame animation, video editing, live-effects, and compositing.

Students produce simple and complex three-dimensional studies. Principles of abstraction combined with packaging construction techniques serve as the basis for developing solutions. A variety of assignments are given that explore the integration of typography, image, and form.

A topical review of issues affecting the contemporary design field. This course includes reading, lectures, and discussions of design developments within their social context.

This class is designed to develop classical drawing skills as well as various techniques used in Scientific Illustration. Drawing from life: measuring, modeling and rendering space are studied. Ink techniques such as stipple and parallel line are used to render birds, mammals, insects, shells and other museum collections. Colored pencil and watercolor systems are demonstrated. The Field Museum's many opportunities and departments are visited and explored.

This course deals with painting plants, birds, and various types of animals in a representational manner. Botanical structure and basic anatomy are covered, as well as specific morphological information on plant textures, feathers, and fur. Watercolor and gouache are used.

In this team-taught studio course, students have the opportunity to explore a specific design problem in the student's area of concentration and develop it thoroughly and comprehensively as a thesis throughout the semester. Work is carried out independently and discussed twice a week in a critique seminar format. It is expected that the thesis work generated in this class be exhibited in the BFA show or in another venue or format. Students must submit a proposal to be admitted to Advanced Studio and have the signature of one of the two instructors to register for this course. Open to seniors only.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

In this advanced studio course, students research, design and apply identity systems of varying levels, from simple to complex, personal to public. Students explore various practical facets of identity development: audience research, strategic planning, client proposals, look and feel, identity standards, application, and extension. The course examines identity as visual and strategic device that shapes the perception and understanding of individuals and groups.

This course covers detailed production issues when preparing digital-based art for printing. A wide range of information is included, such as color calibration, film separation for both flat color and four-color process printing, issues related to translation into reflective color, and traditional offset printing, as well as smaller edition computer-based printing.

'Packaged' consumer products and environment will be analyzed for their ability to attract and motivate audience involvement. Controlling form and content relationships as well as depictions of products and ideas are design strategies for motivating audiences. Students will produce packaging solutions - addressing issues of containment, transportability, attraction, presentation, communication, reuse - for a variety of products and ideas.

Design Studio is a course that provides a professional studio experience. Students work under the guidance of SAIC Marketing and Graphics Communications designers and a Visual Communications Design department faculty to design print and web material for the school. Open to upper-level undergraduates; portfolio review required for acceptance.

How are the conventions of Design being re-invented for new screens? Who and where are the leading innovators? How would you conceive and produce work for new screen technology? New Screens introduces graduate and advanced BFA students to the new trends in media art, including historical, aesthetic, and theoretical analysis, with special emphasis on the changing role of design and it?s relationship to the screen. The course combines praxis studio work with readings, lectures, visiting speakers, and surveys of outside works. Topics for focus: multiplicity and framing, interactive screens, database imaging, public screen installations, live computed video.

This studio seminar is for students who wish to continue working at the Field Museum and/or to develop both traditional and contemporary illustration skills. The class requires independent work and we will meet weekly early on in the semester to discuss examples of professional work, past and present. The second half of the semester includes visiting artists as well as group critiques of personal projects.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

In a studio workshop environment, we focus on the design, development and creation of electronic publications. Students create or source their own text and media to create publications for mobile phones, tablet computers, and e-readers. Two main technical formats are explored: HTML5 based e-readers, and engine based tablet-computer publication through platforms like Adobe Digital Editions and/or Unity. All software are available on in-class computers. No pre-requisites; a working knowledge of Adobe InDesign and DreamWeaver useful. Students from all departments welcome. Click here to read the report on student work from the Electronic Publication class from Summer 2012: http://www.adobe.com/education/resources/articles/designing-electronic-publications-at-the-school-of-the-art-institute-of-chicago.edu.html

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

This course explores the varied techniques and processes available to create images and compose them in order to communicate an idea/message. We begin by exploring a diverse range of reproduction techniques and technologies, moving on to photography using analog and digital technology for image creation and manipulation. Image Studio challenges the student?s ability to self-generate inventive images and visual language. Form studies examine organic and constructed elements along with design aspects such as perspective, juxtaposition, progression and interpretation. Assignments include images created in the design studio, image layout for publication, team projects exploring the idea of narrative imagery and an individual final project. Studio time includes readings and relevant excursions.

Data Viz Collaborative is a new class that will be team taught in the summer of 2013 by a group of interdisciplinary faculty based at both the School of the Art Institute of Chicago (SAIC) and Northwestern University (NU). The course has two primary goals: (1) to establish a critical dialogue about information visualization across multiple disciplines and (2) to engage students in collaborative research on information visualization using existing data sets. The first goal will be accomplished by engaging students in a series of short lectures delivered by both the science and studio faculty that discuss how images that picture complex data sets help move their own research projects forward or how images might enhance/problematize/critique/promote new knowledge acquisition in science, art, and/or design. The second goal is addressed by inviting students to join one of three research teams, which meet weekly to collectively work on a large data set to experiment with translation of numeric information into various forms. Open to both undergraduate and graduate students from either institution, the course will meet for six weeks and culminate in a group exhibition. (Note: Students taking the course for science credit in Liberal Arts will be grouped together on the same research team).

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional (and non-traditional) methods of image-making covered in the First Year Program. Students will begin with and introduction to the computer as a graphic design tool: the relationship of different design software packages to one another, the relationship of vector to raster graphics, resolution types and an overview of the peripherals (scanners, printers, burners) available in the labs. The rest of the course will focus on building proficiency with illustration software (mainly Adobe Illustrator and a little Adobe Photoshop) in a design context. Information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students begin to apply this technical skillset to formal design problems in the following semester's Beginning Graphic Design and Beginning Typography classes.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

The principles of visual communication are explored in the studio by making designed objects as two-dimensional printed comprehensives and as three dimensional, functioning mock-ups. Stress is placed on process and development; idea generation and targeted form exploration; image and text research and development; compositional structure and hierarchy; verbal, technical and hand skills. Students develop their projects hand-sketching ideas, concepts and layouts, then progress through a series of more refined prototypes or comprehensives. Final iterations are realized using appropriate computer software for digital output. The course also covers the technical aspects of graphic design, such as printing methods, papers, binding and color models used by commercial printers. Coursework shall be included in VisCom's obligatory portfolio review for advancement into the intermediate VisCom courses.

This course explores the varied techniques and processes available to create images and compose them in order to communicate an idea/message. We begin by exploring a diverse range of reproduction techniques and technologies, moving on to photography using analog and digital technology for image creation and manipulation. Image Studio challenges the student?s ability to self-generate inventive images and visual language. Form studies examine organic and constructed elements along with design aspects such as perspective, juxtaposition, progression and interpretation. Assignments include images created in the design studio, image layout for publication, team projects exploring the idea of narrative imagery and an individual final project. Studio time includes readings and relevant excursions.

This course explores the varied techniques and processes available to create images and compose them in order to communicate an idea/message. We begin by exploring a diverse range of reproduction techniques and technologies, moving on to photography using analog and digital technology for image creation and manipulation. Image Studio challenges the student?s ability to self-generate inventive images and visual language. Form studies examine organic and constructed elements along with design aspects such as perspective, juxtaposition, progression and interpretation. Assignments include images created in the design studio, image layout for publication, team projects exploring the idea of narrative imagery and an individual final project. Studio time includes readings and relevant excursions.

This course explores the varied techniques and processes available to create images and compose them in order to communicate an idea/message. We begin by exploring a diverse range of reproduction techniques and technologies, moving on to photography using analog and digital technology for image creation and manipulation. Image Studio challenges the student?s ability to self-generate inventive images and visual language. Form studies examine organic and constructed elements along with design aspects such as perspective, juxtaposition, progression and interpretation. Assignments include images created in the design studio, image layout for publication, team projects exploring the idea of narrative imagery and an individual final project. Studio time includes readings and relevant excursions.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies.

This course explores experimental code-driven typography using Processing, a programming language for artists and designers. Students learn how to use mathematic expressions, computer algorithms and libraries to implement typographic explorations in Processing. Projects combine physical computing methods such as video tracking and real time sound input with Processing to build experimental and typographic forms and practical applications.

This course will examine the relationship between graphic design and time-based mediums such as film, video, television and the internet. Students will choose from film, video, performance or text sources to create time-based sequences which activate text and imagery. The process will begin by developing 2D storyboards which will then be translated into motion graphics concepts and formats. Students will be introduced to motion-based computer graphics sequences, extending their capabilities as graphic designers into the realm of 4D.

Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.

Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course.

How does graphic design facilitate the ways we gather, give and receive information? How might we use typography and pictures, diagrams and symbols, sequence and spatial configuration to untangle a raw mass of data, guide a complex procedure, open (or suppress) correlations or satisfy multiple users' needs? This course explores principles and concepts of information design and visual display. Emphasis will be placed on analysis and mapping of raw data, structuring hierarchical and parallel pieces of information, enforcing statistical honest, picturing nouns (maps, timetables...) and picturing verbs (representation of mechanisms and motion, narrative...). This course is a core requirement for all Visual Communication students.

Formal portfolios are evaluated and assembled to represent the student?s individual design skills, abilities, and interests. This course includes resume writing, interview techniques, general business practices, and strategies for locating and contacting various types of design employers locally to internationally. This course is ideal for visual communication students preparing for internships or seniors preparing for design practice. This course may be repeated.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This intermediate level typography class begins by examining information theory in relation to the use of type and the organization of language in print. The course then progresses through a study of experimental typography in contemporary design movements.

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

This course examines how the moving image communicates, combining theory, skills labs, and studio creations. Students are introduced to the major critical theories of how moving images communicate, create narrative, and transmit information. The course moves, semi-historically, through concepts of animation, framing, sequence and montage, materiality in moving media, live-video, and interactivity. Students learn basic techniques of stop-frame animation, video editing, live-effects, and compositing.

Students produce simple and complex three-dimensional studies. Principles of abstraction combined with packaging construction techniques serve as the basis for developing solutions. A variety of assignments are given that explore the integration of typography, image, and form.

This multilevel critique seminar is an expanded exploration of color in design, considering alternative perceptual, chromatic, technical, and conceptual theories, as well as relevant literary mediations on color. Students' design processes are informed by the histories, theories, associations, stylizations and symbolisms of color; their design work will be transformed and activated by deploying alternative strategies of coloration. Students develop, present and discuss new or recolorized design projects in their area of interest-2-D, 3-D or 4-D-to articulate a critique of their own work as well as the work of others.

A topical review of issues affecting the contemporary design field. This course includes reading, lectures, and discussions of design developments within their social context.

This class is designed to develop classical drawing skills as well as various techniques used in Scientific Illustration. Drawing from life: measuring, modeling and rendering space are studied. Ink techniques such as stipple and parallel line are used to render birds, mammals, insects, shells and other museum collections. Colored pencil and watercolor systems are demonstrated. The Field Museum's many opportunities and departments are visited and explored.

This course deals with painting plants, birds, and various types of animals in a representational manner. Botanical structure and basic anatomy are covered, as well as specific morphological information on plant textures, feathers, and fur. Watercolor and gouache are used.

Visiting Designer Seminar Series is a studio workshop seminar in which 4 visiting designers will each give an open public lecture and 2 day workshop (to enrolled students), on a topic related to their design research and practice. Students will be exposed to a variety of design issues (e.g., authorship, ownership, and sustainability); methodologies and processes (e.g., collaboration, play, and audience participation); and practices (e.g., identity, storytelling, and digital interaction). Lectures and accompanying workshops will be presented every third week throughout the semester. Advance workshop readings and post-workshop personal assessments, as well as process and outcome documentation will be required. Open to graduate students and upper-level undergraduates; portfolio review required for acceptance.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

Extensive development of the visual impact of language. Through typography, students communicate metaphor, humor, contradiction, and the multidimensional aspects of language. Students explore the complex possibilities of visualizing the verbal language.

In this advanced studio course, students research, design and apply identity systems of varying levels, from simple to complex, personal to public. Students explore various practical facets of identity development: audience research, strategic planning, client proposals, look and feel, identity standards, application, and extension. The course examines identity as visual and strategic device that shapes the perception and understanding of individuals and groups.

This course covers detailed production issues when preparing digital-based art for printing. A wide range of information is included, such as color calibration, film separation for both flat color and four-color process printing, issues related to translation into reflective color, and traditional offset printing, as well as smaller edition computer-based printing.

Design Studio is a course that provides a professional studio experience. Students work under the guidance of SAIC Marketing and Graphics Communications designers and a Visual Communications Design department faculty to design print and web material for the school. Open to upper-level undergraduates; portfolio review required for acceptance.

In a studio workshop environment, we focus on the design, development and creation of electronic publications. Students create or source their own text and media to create publications for mobile phones, tablet computers, and e-readers. Two main technical formats are explored: HTML5 based e-readers, and engine based tablet-computer publication through platforms like Adobe Digital Editions and/or Unity. All software are available on in-class computers. No pre-requisites; a working knowledge of Adobe InDesign and DreamWeaver useful. Students from all departments welcome. Click here to read the report on student work from the Electronic Publication class from Summer 2012: http://www.adobe.com/education/resources/articles/designing-electronic-publications-at-the-school-of-the-art-institute-of-chicago.edu.html

This studio seminar is for students who wish to continue working at the Field Museum and/or to develop both traditional and contemporary illustration skills. The class requires independent work and we will meet weekly early on in the semester to discuss examples of professional work, past and present. The second half of the semester includes visiting artists as well as group critiques of personal projects.