A display from The Sweetest 16, an exhibition at the John M. Flaxman Library celebrating Xerox Candy Bar's sixteenth anniversary.

A display from The Sweetest 16, an exhibition at the John M. Flaxman Library celebrating Xerox Candy Bar's sixteenth anniversary.

Curriculum & Courses

Graduate Curriculum & Courses

The Master of Fine Arts (MFA) program is designed to offer maximum flexibility in addressing the needs of each individual student. Following admission through a department, students design their two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. 

AreaCredit Hours

Studio

  • Graduate Projects 6009 (21)
  • Exhibition 6009 (3)

24

 

Seminar

  • Graduate Level Seminars
12

Art History

  • ARTHI 5002 OR ARTHI 5120 (3)
  • Art History Courses, 4000-level or above (9)
12

Electives

Any course in any area at 3000-level or above 

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

Students who wish to use an alternative venue or presentation outside of these options must receive permission from the dean of graduate studies. 

12
Total Credit Hours60

* 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 & 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 ARTHI 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

Graduate Projects 6009

Graduate Projects 6009 advising, an ongoing individual dialogue with a wide range of faculty advisors, is at the heart of the MFA program at SAIC, encouraging interdisciplinary study across the curriculum. Standard enrollment consists of two Graduate Projects 6009 advisors, one graduate-level seminar, and an art history course each semester. The remainder of credits required for the full-time 15-credit hour load may include academic or studio electives. All MFA students must register for a minimum of one and no more than two Graduate Projects 6009 sections each semester. Students may request permission from the Graduate Program Advisor to take a third Graduate Projects 6009 section after priority registration.

In their final year, students must take one Exhibition 6009 section. The advising and grade for this course will be tied to the final exhibition. When taking undergraduate studio coursework, the student is responsible for understanding the faculty member’s expectations about completion of assignments, attendance, and any other criteria for earning credit. MFA students interested in completing a written thesis must take a research course and Research 6009 section and obtain approval from the Associate Dean of Graduate Studies.

Graduate Critiques

As one of the principal 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

Description

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

Class Number

1646

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 308

Description

Wimmen¿s Comix (1972-1992) dove head first into topics that others within the underground comic movement refused to breach, such as abortion, menstruation, masturbation, queerness, witches, murderesses, and, of course, feminism. This studio course will use the history of the Wimmen¿s Comix movement as a scaffolding to investigate the inherently political nature of underground comics and what it means to create contemporary feminist comics in a post Roe v. Wade society.

Class Number

1647

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 306

Description

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

Class Number

1648

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 308

Description

It can be easy for students to become so focused on the final product of art making that they lose sight of the importance of process. To that end, this studio class aims to encourage students to play and experiment within the medium of comics, creating projects with methods they wouldn?t normally use, and avoiding the urge to fall back on their usual or expected ways of working. Students will not need to worry about making a great piece of art, and instead can learn more about their own art practice and what does or doesn?t work for them.

This class will look at a variety of artists, genres, and forms in the comics medium. The types of comics investigated may include everything from traditional superhero genre comics, to handmade art comics, graphic novels, abstract comics, newspaper gag comics, and even content that may or may not be considered comics, depending on how one defines ?comics.? Students will also be encouraged to share their favorite comics or whatever they?re currently reading, and to look into books and comics they aren?t familiar with.

After casual critiquing of the previous week?s work, each class begins a new project or exercise that starts with a prompt or general parameters, which students use as starting points to follow in whatever direction interests them.

Class Number

1649

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 306

Description

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

Class Number

1650

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 306

Description

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

Class Number

1651

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 308

Description

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

Class Number

1652

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

Online

Description

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

Class Number

1656

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 306

Description

This course explores comics as a space for play, exploration, and critical inquiry. Students will engage with drawing and writing as intertwined practices, using comics to examine memory, thought, and storytelling. Through a mix of diary comics, experimental exercises, and structured assignments, students will challenge their own ideas of what makes a comic a comic and develop a personal approach to the medium. In addition to making work, students will read and discuss texts by artists and thinkers. Selected readings include works by Lynda Barry, Cintra Wilson, Julia Kristeva, Jean Little, Lela Lee, J. Jefferson Farjeon, Allie Brosh, and others. These texts will serve as a foundation for discussions on creativity, nonlinear storytelling, and the relationship between image and text. The class will also consider how comics operate as both personal expression and cultural commentary, thinking critically about the ethics of storytelling, subjectivity, and artistic voice. Students will produce a body of work over the course of the semester, including weekly exercises, process-based experiments, and a final project that explores comics as a mode of thinking. Regular critiques will focus on development rather than refinement, reinforcing the idea that comics are a process rather than a product. No prior drawing experience is required¿only a willingness to engage in playful, iterative, and messy creation.

Class Number

1663

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 308

Description

Good stories can come from anywhere, and any story can be interesting no matter the subject matter. This class will focus on the best way to create concepts for stories and how to properly execute them, with a strong emphasis on writing, revision, using the proper tools, artistic process and drawing technique. Students will complete short, one to two page stories each week, while also working toward three six to eight page stories that will be compiled into their own printed comic at the end of the semester. Various comic samples will be provided from a range of diverse sources. Short story assignments will be assigned in the beginning of the semester that will focus on specific aspects of making comics (i.e. perspective, using reference, creating mood, etc). Students will also be making three longer stories that will be compiled into one comic at the end of the semester.

Class Number

1666

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 308

Description

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

Class Number

1668

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 306

Description

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

Class Number

1596

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 124

Description

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

Class Number

1597

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 315

Description

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

Class Number

1598

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 320

Description

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

Class Number

1599

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 124

Description

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

Class Number

1600

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 315

Description

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

Class Number

1601

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 124

Description

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

Class Number

1602

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 320

Description

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

Class Number

1603

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 124

Description

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

Class Number

1604

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 315

Description

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

Class Number

1605

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 124

Description

Are you curious about creating figure drawings life size or larger?

This multi-level studio will introduce you to the exciting challenge of drawing the human form from observation on large supports while learning about drawing techniques spanning the pre-modern era into the present day. Students working with figurative subjects will be able to experiment with scale changes on 3? x 6? paper. Students who want to work even larger are encouraged. Formal points of departure are presented clearly through daily morning lectures and demonstrations, using a full array of examples from art history, contemporary art as well as frequent museum visits.

The class exercises begin with quick monochromatic sketches and progress to full color extended studies. There is one final project assignment. The majority of the required work is completed during class time. The large format allows students of all abilities to make significant improvements quickly.

Class Number

1669

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 315

Description

Structuring, Sequencing, Series explores how photographic meaning is shaped through sequences and series¿fundamental ways we encounter images in books, exhibitions, installations, and digital spaces. This course examines how structure influences interpretation, considering both narrative and non-narrative approaches across diverse genres. Through hands-on assignments, students will experiment with serial imagery in photobooks, zines, portfolios, web-based projects, installations, video, and projection. By analyzing historical and contemporary examples, students will develop a deeper understanding of photography¿s evolving role and refine their ability to construct compelling visual narratives.

Prerequisites

Prerequisite: 3 credits of PHOTO 2000 level courses.

Class Number

1539

Credits

3

Department

Photography

Area of Study

Books and Publishing, Comics and Graphic Novels, Digital Imaging

Location

280 Building Rm 215

Description

This course will engage the artists' book through the lens of the everyday. The relationship between traditional and emerging technologies will be emphasized with found and self-produced book forms. We will pursue numerous conditions, contemporary strategies and histories surrounding the book as an everyday object. Students will explore through making, ideas of parody/homage, the multiple, mass production, self-publishing, narrative, appropriation, value structures and the influence of the everyday in contemporary art discourse.

Class Number

2137

Credits

3

Department

Printmedia

Area of Study

Books and Publishing, Comics and Graphic Novels, Community & Social Engagement

Location

280 Building Rm 113

Description

This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.

Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context.

This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge.

The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary.

Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary.

Prerequisites

Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.

Class Number

1629

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 320

Description

This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.

Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context.

This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge.

The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary.

Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary.

Prerequisites

Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.

Class Number

2197

Credits

3

Department

Painting and Drawing

Area of Study

Comics and Graphic Novels, Illustration

Location

280 Building Rm 315

Description

First impressions are everything when it comes to comic books. The goal of this course is to understand, and create comic book covers with confidence and understanding of one's audience. The class is divided into five distinct projects, studying and creating different types of covers, from single figure dominance to wrap around covers with multiple figures and full backgrounds. A variety of media are explored and used to finish the covers.

Prerequisites

Prerequisite: FASH 2007

Class Number

2369

Credits

3

Department

Fashion Design

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

Sullivan Center 734

Description

In this course, students will use 3D software to animate characters for narrative and non narrative films. Lectures and discussions will focus on both traditional and less-than-traditional 3D character pipeline with a strong emphasis on Character and Acting.

Screenings will include a variety of films utilizing 3D character and puppet animation, especially those with exceptional use of personality and performance. Filmmakers screened include: Aaron and Amanda Kopp; Géraldine Gaston; Nikita Diakur.

After a brief introduction to the fundamentals of the software (Maya), students will work on multiple short projects designed to develop skills as 3D character animators including those pushing strong animation mechanics and dialogue. These early animations will be critiqued rigorously. Projects will engage students as animators and actors, and will include a final project that focuses on creating engaging animation for a longer piece.

Prerequisites

Prerequisite: FVNM 2015

Class Number

1453

Credits

3

Department

Film, Video, New Media, and Animation

Area of Study

Animation, Comics and Graphic Novels, Digital Imaging, Game Design

Location

MacLean 819

Description

This course introduces students to the use of RISOgraph image duplication as a creative, independent publishing tool. Attention will be paid to ways artists' publishing has publishing has been used to bypass traditional cultural and institutional gatekeepers, to foster community, as well as the distribution of independent ideas and content. Studio work will be supplemented with readings, visits to SAIC special collections and class discussion addressing contemporary and modern artists. Studio experimentation and research will be encouraged.

Class Number

1571

Credits

3

Department

Printmedia

Area of Study

Books and Publishing, Comics and Graphic Novels

Location

280 Building Rm 220

Description

This course offers a survey of the history of manga (Japanese comics) from its premodern predecessors to the present. Beginning with narrative picture scrolls in the medieval period, it will touch on forms of humor and political cartooning in the 19th and early 20th centuries, before moving onto multi-page stories, serials, and standalone books within the serially paneled comics medium. Related developments in non-Japanese comics and media like film, animation, illustration, and painting will also be considered.

Among the major artists to be considered in this course are: Hokusai, Tagawa Suiho, Tezuka Osamu, Tatsumi Yoshihiro, Shirato Sanpei, Tsuge Yoshiharu, Hagio Moto, Otomo Katsuhiro, Takahashi Rumiko, and Tagame Gengoro.

Students will be required to complete weekly readings, including translated manga and historical/interpretive essays, in addition to occasional reading responses, a research paper, and a final exam.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1070

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

Online

Description

Horror, Science Fiction and Fantasy comics began as popular entertainment, intended to sell units on newsstands with lurid cover art and shocking story titles, but artists have always used the genres to investigate such complex topics as identity, illness and the body, and to lay bare the structural forces behind racism, sexism and political oppression. Students will read some classic works as well as a handful of contemporary pieces that use genre as a jumping-off point. Throughout the class, they will make a number of short comics that investigate contemporary life through the lens of the fantastic, to be collected and presented in the form of a printed zine.

Prerequisites

Pre: PTDW 2002 or Grad Student

Class Number

2509

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Narrative

Location

280 Building Rm 306

Description

This seminar introduces and develops professional practices for students pursuing a freelance career in comics, illustration, animation, or the like. By creating promotional material, portfolios, contracts, and invoices, students learn how to market themselves as freelance artists. In tandem with learning the ins and outs of industry standards, they have access to insight and advice from a variety of guest speakers whose careers and professional paths have paved the way for future creators.

Readings will vary but typically include 'The Freelancer's Bible: Everything You Need to Know to Have the Career of Your Dreams- On Your Terms' by Sara Horowitz, 'The Graphic Artist Guild Pricing and Ethical Guidelines Handbook,' and 'Burn Your Portfolio' by Michael Janda.

Students will create, revise, workshop, and submit a variety of professional documents that culminate in a compendium over the course of the semester. These are all documents that will prove to be necessary for a freelancing career. There will be weekly responses to readings, and rotating guest speakers to provide in-sight on their professional journeys.

Prerequisites

Prerequisite: Sophomore seminar course

Class Number

1579

Credits

3

Department

Arts Administration and Policy

Area of Study

Books and Publishing, Comics and Graphic Novels

Location

Sharp 409

Description

This course teaches students how to use language creatively and practically in the development of animated media. As well as the role of art direction in the development of animation works. Students will develop skills in writing for the animated short, in relation to dialogue and visual description, treatments, and full scripts. The class will also cover in-depth art direction and pre-production. The goal of this class is to make students literate in the use of language and visuals in the creation of their work, as well as the utilization of these skills in professional animation studios. The class will also cover skills like pitching stories, writing project proposals and creating look books, decks etc.. Books will include; Writing for Animation, Comics, and Games by Christy Marx; Art Direction for Film and Video by Robert Olson Students will complete a series of assignments, based on their own ideas, and adapting existing texts, as well as each other¿s writing into visuals. The class will culminate in a final project proposal that will contain a script, synopsis, and visual art direction for an animated work.

Prerequisites

Prerequisite: Sophomore seminar course

Class Number

1576

Credits

3

Department

Film, Video, New Media, and Animation

Area of Study

Animation, Comics and Graphic Novels, Illustration

Location

MacLean 717

Description

Students will develop professional practices including collaborative and independent work situations, via roles as commissioned artist, master printer, or artist-designer. Students will seek real-world clients to complete assignments, foster relationships with graphic designers, small presses, or their artist peers. Contemporary alternative print production and distribution models such as the integration of art, music and publishing prevalent in DIY scenes (1990s and 2000s), to emerging artist multiple/subscription programs and book/print fairs will be also be studied.

Prerequisites

Prerequisite: Sophomore seminar course

Class Number

1583

Credits

3

Department

Printmedia

Area of Study

Books and Publishing, Collaboration, Community and Locality, Comics and Graphic Novels, Social Media and the Web

Location

280 Building Rm 203

Description

This course explores narratives of illness, stigma, and marginalization told through comics and graphic novels. Students engage in reading, discussing, and making comics dealing with topics of physical and psychiatric illness, caregiving, and recovery. The current 'graphic medicine' movement, applications of comics in art therapy, and graphic novels and comics dealing with narratives of illness outside of a therapeutic or medical context are discussed and used as inspiration to generate content for student projects.

Class Number

1109

Credits

3

Department

Art Therapy

Area of Study

Gender and Sexuality, Books and Publishing, Comics and Graphic Novels

Location

Sharp 403

Description

In this class, we will be making printed zines and mini-comics in small editions, using non-traditional book-making techniques. The focus of the class will be for students to consider how form can emphasize content. Projects will include making books within books, books with cut-out or pop-up elements, books with fold-out pages, books with pockets, etc. In each project, students¿ choices should help further their story or subject matter. The class will look at a number of artists who have made these kinds of books. We will start with Bruno Munari¿s picture books which use features like die cuts and translucent pages to help tell his stories. We'll also look at comics by John Pham, whose books also often include interactive
elements. The class will visit the Joan Flasch Artist Book library to explore their collection of artist books. For technical instruction, we will refer to several of Esther K Smith¿s books about making books as well as the Brooklyn Educational Manual. The class will consist of 5 projects. Projects 2-4 will have required elements; the final project will be up to each student. By the end of the class, students will have a better understanding of how best to embellish their stories and ideas through form. They will also have a solid understanding of zine-making and simple bookbinding techniques.

Prerequisites

Pre: Student must have completed two (2) PTDW 2002 classes, or be a Graduate Student

Class Number

2508

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Narrative

Location

280 Building Rm 306

Description

With an emphasis on production, this comics course focuses on developing and critiquing a culminating body of work that will be created from idea to completed printed publication. Students' work will be formatted, discussed, and placed in the context of their post-SAIC life and careers. This may include a variety of methods such as ashcans, pitches, conventions, tabling, anthologies, minicomics, and/or long form narratives. Experience in comics or illustration is highly recommended.

Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include Growing Gills by Jessica Abel, Draw Stronger by Kriota Wilberg, Asterios Polyp by David Mazzuchelli, and How to Not Always Be Working by Marlee Grace

Students will spend the semester creating a culminating body of work for publication as well as documenting their process throughout development and evolution.

Prerequisites

Prerequisite: Professional practice course

Class Number

1153

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 306

Description

With an emphasis on production, this comics course focuses on developing and critiquing a culminating body of work that will be created from idea to completed printed publication. Students' work will be formatted, discussed, and placed in the context of their post-SAIC life and careers. This may include a variety of methods such as ashcans, pitches, conventions, tabling, anthologies, minicomics, and/or long form narratives. Experience in comics or illustration is highly recommended.

Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include Growing Gills by Jessica Abel, Draw Stronger by Kriota Wilberg, Asterios Polyp by David Mazzuchelli, and How to Not Always Be Working by Marlee Grace

Students will spend the semester creating a culminating body of work for publication as well as documenting their process throughout development and evolution.

Prerequisites

Prerequisite: Professional practice course

Class Number

2514

Credits

3

Department

Painting and Drawing

Area of Study

Books and Publishing, Comics and Graphic Novels, Illustration

Location

280 Building Rm 120

Description

This critique seminar frames the definition and structure of comics through a wide interdisciplinary lens. As a means of visual communication, comics adapts and configures elements of a variety of disciplines to produce a multimodal reading experience. Students will examine how comics are constructed and develop discourse on what constitutes comics through conceptual investigation and comparative studies. By experimenting with comics beyond the page, students will deepen and expand their understanding of comics and its vast possibilities.
We will explore art and design works in relation to comics as points of departure for students¿ research. This may include Lilli Carre¿s animations and artist¿s books; Seth¿s Dominion; the Chicago Imagists¿ paintings and sculptures; Lorna Simpson¿s series of photographs with text; Dadaist posters; 20th-century Japanese woodblock prints; experimental films, such as La Jete; pictographic writing systems, such as Mayan script; comics exhibition design at the MCA; and works in the Joan Flasch Artist¿s Book Collection.
Students can expect to synthesize their research into interdisciplinary approaches to comics generating 3-4 outcomes. The coursework builds skills and methodologies to prepare students for dynamic professional practices.

Class Number

2500

Credits

3

Department

Visual Communication Design

Area of Study

Comics and Graphic Novels, Narrative

Location

Sharp 1115

Description

Will Eisner was a trailblazer in many ways, one of which was to put the term 'graphic novel' on his 1978 book, A Contract with God. He was a tireless advocate for comics and wanted them to be included in scholarly discussions, reach a wide audience, but most importantly be appreciated as a medium, not a genre. A storytelling medium that could be used to tell an infinite number of stories in vastly different ways. By labeling his book as a graphic novel, he was able to do all of that and more. Comics aren't visual arts and they're not prose. They're a medium that exists in the tension between images and text. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include This One Summer by Jillian and Mariko Tamaki, From Hell by Alan Moore and Eddie Campbell, Persepolis by Marjane Satrapi, BTTM FDRS by Ezra Claytan Daniels and Ben Passmore, and The Best We Could Do by Thi Bui. Course work will be largely focused on developing, writing, workshopping, and beginning the visual planning stages for a long form narrative in graphic novel format. Work will be primarily created with the intention to communicate a plan (thumbnails and sketching) not finished artworks. Depending on each individual's needs, there will be varying supplemental material that is created, including but not limited to sketches, visual studies, and research. You don't need to be a master draftsperson to take this course, but you should be ready to visualize what you write.

Class Number

2474

Credits

3

Department

Painting and Drawing

Area of Study

Art/Design and Politics, Books and Publishing, Comics and Graphic Novels

Location

Lakeview - 808

Take the Next Step

MFA in Studio Admissions Information

Visit the graduate admissions website or contact the graduate admissions office at 800.232.7242 or gradmiss@saic.edu.