Curriculum & Courses
Graduate Curriculum Overview
The Master of Fine Arts (MFA) program at the School of the Art Institute of Chicago (SAIC) is designed to offer maximum flexibility in addressing your individual needs as a student. Following admission through a department, you will design your two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. You are encouraged to seek out curricular advising as needed from a variety of available sources including the dean, graduate dean, graduate division chair, department heads, academic advising, the graduate admissions office, and your peers.
| Studio—MFA 6009 Graduate Projects, Seminars and/or maximum of 12 credits of 3000-level and above studios | 39 |
|---|---|
| Art History | 12 |
| |
| Electives—any course in any area at 3000 level or above | 9 |
| Participation in four graduate critiques | |
| Participation in ONE of the following as appropriate to artistic practice:* Graduate Exhibition, AIADO or Fashion Exhibition, Graduate Performance Event, Graduate Screenings | |
| Total Credit Hours | 60 |
*Students who wish to use an alternative venue or presentation outside of these options must receive permission from the Dean of Graduate Studies. The AIADO Department encourages students in their MFA design programs to participate in the AIADO and Fashion Graduate Exhibition.
Degree Requirements and Specifications
Completion schedule: You have a maximum of four years to complete your MFA in Studio degree. This includes time off for leaves of absence. Students will have access to studios for four semesters only.
Transfer credits: You must complete a minimum of 45 credit hours in residence at SAIC. You can request up to 15 transfer credits at the time of application for admission, which are subject to approval at that time. No transfer credits are permitted after a student is admitted.
Art History requirement: MFA students are required to take ARTHII 5002 Graduate Survey of Modern and Contemporary Art OR ARTHI 5120 Survey of Modern and Contemporary Architecture and Design. Art History courses must be at the 4000-level and above.
Undergraduate studio courses: Graduate students are permitted no more than one undergraduate studio course (3000-level and above) per semester without permission of the Dean of Graduate Studies. Courses at the 1000 and 2000-level are allowed only with permission.
Full-Time Status Minimum Requirement: 12 credit hours
MFA 6009 Graduate Projects
MFA 6009 Graduate Projects advising, an ongoing individual dialogue with a wide range of full-time and part-time faculty advisors, is at the heart of the MFA program at SAIC, encouraging interdisciplinary study across the curriculum. You are required to register for one MFA 6009 Graduate Projects advisor each semester, and we highly recommend you register for two.
In the registration process, you may elect to earn 3 or 6 hours of credit with each advisor. This option is designed to allow for maximum flexibility in designing your program. You can earn as few as 3 and as many as 6 credits with each advisor each semester, thus dedicating a maximum of 12 credit hours to your studio activity. The number of credits you earn has no correlation with the length or frequency of the advising sessions or to faculty assessment of student work.
The remainder of credits required for the full-time 15 credit hour load may include graduate seminars and academic or studio electives. MFA students are urged to take graduate seminars, and an introductory seminar in their department of admission is highly recommended. In addition, the MFA student may choose from all the art history, studio, and academic offerings across the curriculum (including undergraduate offerings above 3000 level) in any given semester to customize their degree experience.
Graduate Critiques
As one of the principle means of assessment each semester, you will be required to participate in Critique Week, a week-long schedule of critiques during which classes are suspended.
Fall semester critiques are organized by department with panels representing the discipline. This provides you with an opportunity to understand the department’s expectations, have your work reviewed from a disciplinary point of view, and to reiterate the expectations for graduate study.
Spring semester critiques are interdisciplinary, with panel members and students from across SAIC disciplines. Interdisciplinary critiques allow for a broad range of responses to your work, and are intended to assess the success of your work for a more general, albeit highly informed audience. Critique panels include faculty, visiting artists, and fellow graduate students.
Graduate Exhibition or Equivalent
At the conclusion of your studies, you will present work in the SAIC Graduate Thesis Exhibition, other end-of-year events at SAIC, or the Gene Siskel Film Center—or arrange with the graduate dean or division chair for an alternative thesis of equal professional quality. Each year more than 200 graduate students exhibit work, screen videos and films, and present time-based works, writings, and performance to a collective audience of 30,000 people.
Students wishing to install work around prevalent themes, strategies or stylistic affinities can participate in a juried and curated section of the SAIC Graduate Thesis Exhibition. A faculty and staff committee conducts extensive studio visits and as a collaborative project with student participants, organizes and installs the show in designated space at the exhibition.
Undergraduate Courses
MFA students are advised to understand the expectations of their faculty when enrolled in undergraduate studio classes. Although graduate students are an asset to the group dynamic, faculty requirements for graduate students in undergraduate classes are variable. The student is responsible for understanding the faculty member's expectations about completion of assignments, attendance, and any other criteria for earning credit. To assure that graduate students are working at degree level, they are permitted no more than one undergraduate studio course (3000 level and above) per semester without permission of the dean of graduate studies. Courses at the 1000 and 2000 level are allowed only with permission.
Courses
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Introduction to Visual Communication | 1001 (001) | Jiwon Son | Mon
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (002) | John Bowers | Wed
8:30 AM - 11:15 AM All Online |
Description
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.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (003) | Eliza Rosen | Wed
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Visual Communication | 1001 (005) | Mary Krysinski | Thurs
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 1002. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (001) | Kimberly Karen Viviano | Tues
3:30 PM - 4:45 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (003) | Kimberly Karen Viviano | Wed
6:45 PM - 8:00 PM All Online |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (005) | Kimberly Karen Viviano | Thurs
3:30 PM - 4:45 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Illustration Technologies Lab | 1002 (006) | Kimberly Karen Viviano | Thurs
5:00 PM - 6:15 PM In Person |
Description
Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.
PrerequisitesCorequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Graphic Design | 2001 (002) | Jiwon Son | Tues
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.
PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Graphic Design | 2001 (003) | Jiwon Son | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.
PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Graphic Design | 2001 (004) | Jiwon Son | Fri
9:00 AM - 3:00 PM In Person |
Description
In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses.
PrerequisitesPrerequisite: VISCOM 1001 and 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Image Studio | 2002 (001) | Sofya Karash | Tues
8:30 AM - 11:15 AM All Online |
Description
Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Image Studio | 2002 (002) | Donald Pollack | Thurs
9:00 AM - 3:00 PM In Person |
Description
Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (001) | Martha Chiplis | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (002) | Maura M Frana | Tues
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (003) | Maura M Frana | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Beginning Typography | 2011 (004) | Riesling Dong | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages.
PrerequisitesPrerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (001) | Richard Bresden | Tues
3:30 PM - 4:45 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (002) | Richard Bresden | Tues
5:00 PM - 6:15 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (003) | Kristin J Maksymiw | Thurs
5:00 PM - 6:15 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Technologies Lab | 2012 (004) | Kristin J Maksymiw | Thurs
3:30 PM - 4:45 PM In Person |
Description
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.
PrerequisitesCorequisite: VISCOM 2011 or VISCOM 1102. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type and Image in Motion | 2041 (001) | John Bowers | Fri
9:00 AM - 3:00 PM In Person |
Description
2041 - Type + Image in Motion is a studio based introduction to the design of motion graphics. We will examine the methodologies, theories, visual and auditory principles, technical issues of motion design with an emphasis on the interplay of movement, time, imagery, typography and sound within the digital environment. The course focuses on the role motion plays in creating expressive and communicative experiences. Students will critically analyze and create a range of motion studies, and investigate the visual grammar and creative strategies of the time-based communication and motion graphics utilizing storyboarding and two-dimensional animation, Readings, screenings and discussions will provide students with a historical overview of motion design and time-based media. We will examine the work of various influential motion designers both past and present. Readings and lectures cover the theoretical foundations of the field, and assignments provide hands-on, project-based experience with production. Weekly in-class tutorials will be provided by the instructor and the student will be required to develop a working knowledge of software appropriate to concepts of time-based media. Students should expect to develop comprehensive storyboards and produce three short digital videos. The completed motion design studies and visual investigations will be presented in group and individual critiques during the course of the semester.
PrerequisitesPrerequisite: VISCOM 1002 or VISCOM 2941. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Design Strategies | 2900 (086) | Alex Karenina Kostiw | Wed
8:30 AM - 11:15 AM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Design Strategies | 2900 (087) | Alex Karenina Kostiw | Wed
12:15 PM - 3:00 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Intermediate Graphic Design | 3001 (001) | Donald Pollack | Mon
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Graphic Design | 3001 (002) | Mark Stammers | Tues
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Typography | 3011 (002) | Timothy Bruce | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Intermediate Typography | 3011 (003) | Mark Stammers | Fri
9:00 AM - 3:00 PM In Person |
Description
This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Interface and Structure: Web Design | 3045 (001) | Mark Stammers | Thurs
9:00 AM - 3:00 PM In Person |
Description
HTML defines the structure of a web page, while CSS lends style by controlling the presentation of elements. This online course caters to students with little or no prior coding experience. Through hands-on coding modules, students will use a text editing program to acquire proficiency in standards-compliant HTML and CSS. A strong emphasis on redundancy will ensure that coding concepts are fully understood and best practices reinforced. Students will undertake research, design, and coding tasks to create a fully functional, responsive website. With a solid understanding of HTML and CSS, students will explore opportunities to develop dynamic web pages that adapt seamlessly to different devices and screen sizes. Additionally, students will investigate interface possibilities, evaluate site navigation opportunities, and analyze the effectiveness of various page structures in communicating information effectively and efficiently. There are no prerequisites for this course.
PrerequisitesPrerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Letterpress Bookworks | 3111 (002) | Catherine Ruggie-Saunders | Fri
9:00 AM - 3:00 PM In Person |
Description
Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium?s boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. This course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects.
PrerequisitesPrerequisite: VISCOM 2011 or permission of instructor. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Package Design | 3131 (001) | Jacob Ristau | Fri
9:00 AM - 3:00 PM In Person |
Description
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.
PrerequisitesPrerequisite: VISCOM 2001 and VISCOM 2011. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Truth, Perception and Story-Telling in Artists' Books | 3191 (001) | Alex Karenina Kostiw | Tues
9:00 AM - 3:00 PM In Person |
Description
Stories are a fundamental way that we share and understand information to make meaning. Storytelling, then, is in part an investigation of ?truths??of various realities that shape how we see the world. The intersection of content, internal narrative structure, and physical form, storytelling can illuminate ?truths? in ways that cause us to more deeply examine our perceptions, ideas, and beliefs. This course focuses on notions of truth in expression: how a fictional approach can express emotional truths; how multiple and contradictory views of a situation can reveal a truth; and how perceptions and beliefs can be called into question through story construction. A selection of readings and works, as well as visits to the Joan Flasch Artists' Book Collection, will provide examples of traditional vs. nontraditional, linear vs. nonlinear, and fiction vs. nonfiction narratives. Together with exercises in paper-based forms, they are starting points for exploring physical structures, methods, and devices of narrative discourse. The course treats the book form in broad terms: sequencing that reveals content or meaning over time. In 3-4 projects, students will develop their own content, work within project parameters to construct stories through image and/or text, and experiment with possibilities in narrative structure and form, whether paper-based or in other media.
PrerequisitesPrerequisite: VISCOM 3001 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Type Design and Lettering | 3311 (001) | Mary Krysinski | Tues
9:00 AM - 3:00 PM In Person |
Description
Typeface design is a specialized sub-category of typography. Not every graphic designer designs type, every designer must be proficient in the more general topic of typography for their profession. Type design differs from typography because it involves the design and production of letterforms, which are a part of typography, but does not involve the details and setting of type in a format that conveys a particular message. This course is for students who want to learn the technical skills necessary to design a font that can be used in a professional setting, and with the software tools used by graphic designers. Students will learn about the history of type design, and explore various methods of letterform drawing, learning the minute details and characteristics required for legibility. This will be used as a basis for experimenting with different styles of letterforms to create their own font, and learn how to use the necessary software to publish their font for commercial use. Readings by type designers will be included: 'Designing Type' by Karen Cheng, and 'House Industries Lettering Manual' by Ken Barber are two of the books which readings will be taken from. 'Sign Painters: The Movie' is one of the movies that will be shown. Guest speakers from the Chicago area will be brought in. Students will be expected to produce one complete font design by the end of the semester. Before starting their font, smaller assignments will be given which involve different lettering techniques, researching and drawing a historical style of lettering, and semi-weekly readings.
PrerequisitesPrerequisite: VISCOM 3011 or a Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Professional Practice | 3900 (001) | Beth Roman | Wed
8:30 AM - 11:15 AM In Person |
Description
This course includes guidance on the preparation and design of a resume and business card; the planning, development and design of an online portfolio; interview strategies and techniques; professional connections with practicing designers; and resources and advice for locating and contacting various types of design employers. This course is ideal for visual communication students preparing for internships or seniors preparing for entrance into the design profession. This course may be repeated.
PrerequisitesPrerequisite: VISCOM 3001 and 3011 and a 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Scientific Illustration | 3921 (001) | Margaret Macnamara | Tues
9:00 AM - 3:00 PM In Person |
Description
This class will begin with a demonstration on traditional drawing techniques used to illustrate scientific material. Students will develop pencil and ink renderings as well as watercolor illustrations of animal, plant and insect species. Work will also include relevant habitat and scale information. Each Class will include a lecture and /or visit behind the scenes to a lab at the Field Museum. Working scientists will expose the students to common collection methods as well as specimen preparation such as bird and mammal taxidermy. Course work will be described at the beginning of each class. Midterm critiques, small groups of 5, will determine and promote individual projects to be presented in the Final Critiques.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Natural History Illustration | 3922 (001) | Olivia Petrides | Mon
9:00 AM - 3:00 PM In Person |
Description
This course deals with painting plants, birds, reptiles and mammals. Botanical structure and basic anatomy are covered, as well as specific morphological information on textures, scales, feathers, and fur. Classes are held at the Lincoln Park Zoo, the Garfield Park Conservatory, the Chicago Botanic Garden (Fall Semester only) and the Field Museum of Natural History. We tour and work with specimens in the Field Museum research areas as well as work in the public collections. The most difficult part of this class is drawing a moving creature. Tackling this issue at the zoo enables the student to understand structure in the light of behavior and physical action. The importance of seeing and drawing live animals cannot be underestimated. Watercolor and gouache are used, so basic painting methods, color mixing, color layering and spatial dynamics are emphasized. This is an excellent class in which to improve observational skills. A point of departure for the course will be historical scientific illustrators such as Maria Sybilla Meriam, John James Audubon, Louis Agassiz Fuertes, as well as contemporary artists and illustrators like Walton Ford and Alexis Rockman. There is a new assignment each class, with many examples on an assignment sheet provided for guidance. There is a group critique every week, with discussion of how each student solved problems of accurate representation. Students are expected to have 10 excellent pieces by the end of the semester, to be presented at the final critique.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Heavy Cardboard: Designing Boardgames | 4020 (001) | Stephen Farrell, Jacob Ristau | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores boardgame design as an expression of data visualization and user interface (UI) within a play environment. Teams of students will develop their chosen research areas into fun, strategic, well-crafted integrations of theme, game mechanics and world order. Resource management will provide a framework for developing mechanics, while playtesting and prototyping will drive teams’ iterative process. The only way to truly understand how boardgames work is to play boardgames and analyze the play experience. To this end, much of our in-class time will be spent 1.) playing existing games that highlight certain game mechanics and levels of difficulty, and 2.) repeatedly play-testing each others' evolving games. How does each game immerse us? Do their themes come forth and flow through the game mechanics? Are they fun, unpredictable, balanced? How does each one situate its players in a point of view? How does graphic design facilitate immersion and theme and an understanding of structures and actions. Lectures, team presentations, and individual team meetings with teachers will supplement game play. The course will begin with one-week studio exercises focused on theming, game mechanics and visualization techniques for boardgames. Over the semester, teams of students will research, design and prototype a Eurostyle boardgame of their choosing. The final will include a prototype of the game, rulebook, and overview teach video.
PrerequisitesStudent must have completed one of VISCOM 3002/3045/4535/4590, or be a graduate student. |
Class Number |
Credits |
DepartmentLocation |
| Heavy Cardboard: Designing Boardgames | 4020 (001) | Stephen Farrell, Jacob Ristau | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores boardgame design as an expression of data visualization and user interface (UI) within a play environment. Teams of students will develop their chosen research areas into fun, strategic, well-crafted integrations of theme, game mechanics and world order. Resource management will provide a framework for developing mechanics, while playtesting and prototyping will drive teams’ iterative process. The only way to truly understand how boardgames work is to play boardgames and analyze the play experience. To this end, much of our in-class time will be spent 1.) playing existing games that highlight certain game mechanics and levels of difficulty, and 2.) repeatedly play-testing each others' evolving games. How does each game immerse us? Do their themes come forth and flow through the game mechanics? Are they fun, unpredictable, balanced? How does each one situate its players in a point of view? How does graphic design facilitate immersion and theme and an understanding of structures and actions. Lectures, team presentations, and individual team meetings with teachers will supplement game play. The course will begin with one-week studio exercises focused on theming, game mechanics and visualization techniques for boardgames. Over the semester, teams of students will research, design and prototype a Eurostyle boardgame of their choosing. The final will include a prototype of the game, rulebook, and overview teach video.
PrerequisitesStudent must have completed one of VISCOM 3002/3045/4535/4590, or be a graduate student. |
Class Number |
Credits |
DepartmentLocation |
| Interface and Interaction: Design Experiences | 4041 (002) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
What are the factors that drive a product designer’s practice, and how do user empathy, Design Thinking, and human-centered design create effective, navigable experiences? In this course, students will analyze atomic theory, research design systems, and deploy responsive products using tools that generate semantic code. A critical examination of interaction trends, from service design to multi-channel narratives, will uncover the complexities of architecture, journey mapping, microinteractions, and animation. Students will deploy code to a live environment for quality assurance and audience-based usability testing. Readings and screenings typically include Brad Frost, author of Atomic Design, as the primary point of departure. The class will also examine works, tutorials, and interviews with Nicholas Felton from Apple, Elizabeth Churchill at Google, Vlad Magdalin from Webflow, and Dylan Field at Figma. Resources for students will include access to Mobbin.com as well as Apple’s Human Interaction Guidelines (HIG) and Google’s Material 3. Tutorials will also be provided for Lottie animation, 3D Spline, and advanced content management systems. Coursework will vary but typically includes weekly tutorial exercises, creation of digital artifacts like journey maps, an individual midterm project, and an individual final project. Critiques will be screen-based on a variety of devices, including projector, desktop, tablet and/or handset.
PrerequisitesMust have completed VISCOM 3001 or be a VISCOM PBACC/MFA Student |
Class Number |
Credits |
DepartmentLocation |
| Identity Systems | 4121 (001) | Michael Konetzka | Tues
9:00 AM - 3:00 PM In Person |
Description
This is an advanced studio course focusing on developing the methodology and skill sets required to shape a comprehensive visual identity system for commercial application. Students explore various practical facets of identity development: research, communication strategy, visual form, graphic standards, and implementation, with particular emphasis on mark-making, testing and refinement. Multiple approaches to identity design are examined and explored, including static, iterative, dynamic and kinetic systems. Suggested readings and screenings vary and may include excerpts from Graphic Design, Now in Production (Blauvelt, 2011), Designing Brand Identity (Wheeler, 2013), Marks of Excellence (Mollerup, 2013), Logo Design Love (Airey, 2015), Signs and Symbols, Their Design and Meaning (Frutiger, 1978), Graphic Design/The New Basics (Lupton, 2015), and Saul Bass?s Bell System Pitch. The identity work of major branding firms, such as Pentagram, Sagmeister, and Chermayeff & Geismar & Haviv are examined as well as the work of independent, highly regarded design professionals. Students will work on a progressive sequence of assignments as a way to build skills, learning and confidence in a didactic manner, culminating in a large-scale identity system, prepared for professional grade presentation.
PrerequisitesPrerequisite: VISCOM 3001 and VISCOM 3011. |
Class Number |
Credits |
DepartmentLocation |
Take the Next Step
Visit the graduate admissions website or contact the graduate admissions office at 312.629.6100, 800.232.7242 or gradmiss@saic.edu.