Art (ART)
ART 111. Visual Fundamentals: Design and Composition. (3; maximum 6)
This is an introductory course focusing on the elements and principles of design in two and three dimensions. Students will practice idea generation, good craftsmanship, and design vocabulary. Class will consist of discussions, presentations, quizzes, and critiques. Projects will be completed in some of the following media: paper, assemblage, cardboard, plaster, found object, Adobe Photoshop, and Adobe Illustrator. A laptop computer and Adobe Creative Suite/Cloud are required tools for this course.
ART 121. Observational Drawing. (3; maximum 6)
This studio course introduces the students to the basic theory and practice of drawing. Through variety of observational drawing activities, students will develop perceptual drawing skills; become versatile with achromatic drawing media such as graphite and charcoal; and gain conceptual and practical understanding of composing two-dimensional space. Lectures, demonstrations, critiques, and critical readings will complement the hands-on-learning process.
ART 122. Drawing Projects. (3)
This introductory level drawing class is designed to advance observational drawing skills; learn basic color theory and application in chromatic observational drawing; learn basics of linear perspective and other modes of composing a pictorial space; and explore advanced content and formal strategies combining direct observation and invented figures and spaces. Students will be engaged in variety of short and long-term drawing activities; deepen their conceptual and formal understanding of drawing; and learn from a wide range of traditional and contemporary drawings through lectures, demonstrations, critiques, and readings.
Prerequisite: ART 121.
ART 125. Beginning Printmaking. (1.5)
This seven week Sprint Course introduces beginning students to basics of hand printmaking. Coursework covers carving and printing woodblocks as well as monotype techniques. Learn use of printmaking tools and materials as well as designing images for printmaking.
ART 130. Lasercutting and Digital Design for Everyday Use. (1.5)
This course is an introduction to Computer Aided Design (CAD) processes and lasercutting for non-designers focusing on the techniques involved in the rapidly developing fabrication industry. By using digital fabrication tools and techniques, outcomes will focus on the creation of objects for practical application and everyday use.
ART 131. 3D Printing and Digital Fabrication for Everyday Use. (1.5)
This course focuses on learning techniques and design processes using 3D printers and associated computer software. Students will create unique design objects for practical purposes and their personal everyday use. Emphasis is placed on the techniques involved in the rapidly developing fabrication industry focusing on the modeling and creation of three-dimensional forms.
ART 140. Beginning Glass. (1.5)
Basic course to provide foundation exercises and instruction in various glass techniques such as kilnforming and some hot glass processes, ranging from fusing and beadmaking to casting.
ART 147. Beginning Art Photography. (1.5)
Basic 35 mm camera operation, black and white darkroom technique and theories of photographic composition. 35mm manually adjustable camera required.
ART 149. Beginning Digital Photography. (1.5)
Intro to digital photography. Camera controls, file management, digital editing, and printing. Emphasis will be placed on composition, lighting and subject matter.
ART 155. Beginning Drawing. (1.5)
Basic drawing instruction to non-art majors. Exploration of line, value, media measurement, and composition.
ART 160. Beginning Ceramics. (1.5)
Basic ceramic construction, composition, and firing techniques.
ART 162. Arts of Africa, Oceania and Native America. (3)
This course is a survey of the visual and performed arts of Africa, Oceania and Native America. These regions and their arts, often relegated to the constructed category of “non-Western,” will be considered from their religious, political, historical and cultural contexts. The course also explores the Western bias inherent in the study of “non-Western” art, providing students with a broader understanding to the ways in which cultures from around the world produce, employ and conceptualize what the West has conventionally label as “art.” In examining sculpture, multi-media installation, festivals, masquerade, textiles, dress, ritual spaces, international artists and many more, students are exposed to alternative ways of looking at and understanding visual and performed expression. IIA, IIIB. PA-3A, PA-4C.
ART 165. Beginning Metals. (1.5)
Introductory metalsmithing and design for the beginning student.
ART 170. Basic Woodworking. (1.5)
Basic course to provide foundation exercises and instruction in the use of woodworking tools and machinery.
ART 171. Visual Fundamentals: Narrative & Sequence. (3)
This is an introductory course structured as a thematic exploration that focuses on narrative and conceptual approaches to design and creative processes in two, three, and four dimensions. Students will practice idea generation, good craftsmanship, and design vocabulary. Class will consist of discussions, presentations, quizzes, and critiques. Projects will be completed in some of the following media: paper, assemblage, cardboard, plaster, found object, and digital media. A laptop computer and Adobe Creative Suite/Cloud are required tools for this course.
ART 177. Independent Studies. (0-6; maximum 10)
ART 181. Concepts in Art. (3)
Introduction to visual and thematic concepts as applied to art in various cultures and historical periods. IIA. PA-3A.
ART 187. Art and Society: Prehistoric to Medieval. (3)
This course explores the roles played by the visual arts in societies from the prehistoric to medieval periods (ca. 1300 CE), including ancient Mesopotamia, Egypt, Greece, the Roman Empire, the Byzantine Empire, the Islamic world and Medieval Europe. IC, IIA. PA-3A, PA-4B. CAS-B.
ART 188. Art and Society: Renaissance to Modern. (3)
Course covers roles played by the visual arts (painting, sculpture, drawing, etc.) in societies from the Renaissance (ca. 1300 CE) to the present day. Students will understand how the visual arts facilitate religious devotion; define group and individual identities; offer new ways to value the artistic creativity; and other functions that reveal how the visual arts across history shape, reflect, and are informed by societies different from our own. IIA, IC. PA-3A, PA-4B. CAS-B.
ART 189. History of Western Dress. (3)
Provides an overview of the dress of western civilization from ancient times to the 21st century. Special emphasis will be placed on the social, cultural, and technological factors that have influenced the development of clothing for men and women through the ages. IIA, IIB.
ART 194. Introduction to Art Therapy. (3)
Introductory seminar to the field of art therapy as a career, history and origins of the field, education standards and application, and art experientials.
ART 195. Facilitating Art Experiences. (3)
Thematic approaches to facilitating art experiences will be discussed and applied through a personal artmaking series, collaborative lesson planning, an educational digital animation and experiences in community settings. Students will visit sites for facilitating art and practice methods of digital documentation and reflective practice. Field experience hours required. Can be taken with ART 295 or ART 296. IIA. PA-3A.
ART 201. Popular, Media, and Visual Culture. (3)
In this course, we will critically investigate personal, national, and global identities. Personal and communal narratives surrounding popular, media, and visual culture (PMVC) define and construct meaning in our everyday lives. PMVC is investigated as a site through which social and cultural definitions, norms and values, and expectations are reinforced, constructed as well as challenged. The goals for this course are to develop students’ skills in critical thinking that revolve around artwork, writing, reading, and oral expression and foster an understanding of the pluralistic nature of institutions, society, and culture(s) of the United States and beyond. PA-3A.
ART 215. 3D Digital Sculpting. (3)
Digital sculpting is an essential part of 3D content creation. This course needs to be a requirement for students in the game program who want to work as an artist creating assets for video games. This course teaches industry standard software and the methodologies that game studios use when producing professional quality 3D assets for video games and other media. The course is project driven, and grades will be based on the visual quality and passion expressed in the work submitted for assignments, ability to follow instructions for submission and their ability to meet deadlines for assignments.
Cross-listed with IMS.
ART 218. 3D Shading and Texturing. (3)
In this course, students will learn the workflows necessary to create materials, textures, and shaders for physically based render systems. Students will learn how to edit shaders and materials through the creation and editing of textures in an image-editing program. Students will also be taught the theory behind physically based rendering and how it relates to rendering objects in real time through game engine technology. The course is project driven and grades will be based on the visual quality and passion expressed in the work submitted for assignments, ability to follow instructions for submission, and ability to meet deadlines for assignments.
Cross-listed with IMS.
ART 221. Figure Drawing. (3)
This drawing class focuses on the study of figure in assorted drawing media. Through various fast studies and extended drawing projects, students will learn to draw figures from observation; become familiarized with basic anatomy of the body; explore various media such as graphite, charcoal, soft pastel, and ink; and develop individual content through theme-based figure drawing projects. Presentations and critiques will complement the studio practice.
Prerequisite: ART 121.
ART 222. Intermediate Drawing 2. (3)
Intermediate-level drawing problems. This intermediate drawing class focuses on the study of figure in various drawing media. Through various fast studies and extended drawing projects, students will learn to draw figures from observation; become familiarized with basic anatomy of the body; explore various media such as graphite, charcoal, soft pastel, and ink; and develop individual content through theme-based figure drawing projects. Presentations and critiques will complement the studio practice.
Prerequisite: ART 121.
ART 227. Design Research + Integration. (3)
Great design starts with understanding people. This course teaches you how to uncover what people actually need—not just what they say they want. You'll learn research methods that reveal how people interact with design in their daily lives, from observing behavior patterns to conducting interviews that go beneath surface-level responses and uncover how these insights directly fuel creative making. Through hands-on projects, you'll gather detailed data, analyze findings, and translate insights into design directions that actually work. We'll also examine how research has exposed both the brilliance and failures of influential design—because understanding what went wrong is just as valuable as celebrating what went right. By the end, you'll approach design with evidence rather than assumptions, creating solutions that are grounded in real human experiences.
ART 230. Special Lecture Topics in Art History. (3; maximum 12)
Lecture in the history of art. Subjects vary, but will deal with a special topic related to the area of expertise of the particular faculty teaching the course.
ART 233. Global Perspectives on Dress. (3)
This course provides students with an overview of the study of dress. The emphasis will be on the relationship between dress and its meaning in a variety of cultures. Dress will be explored in its physical and social environments and as an art form. IIA. PA-3A.
ART 251. Typography Essentials for Designers. (3)
Typography makes words feel something. The right typeface whispers or shouts. Spacing creates tension or calm. Scale commands attention or invites intimacy. In this course, you'll learn how these choices shape emotional responses and guide reader experience. You'll practice typographic layout principles that make content accessible and usable for a wide range of audiences—understanding that beautiful typography must also be functional. Projects in this course will challenge you to create information hierarchies and page systems that organize content clearly while evoking specific responses. You'll explore technical type principles—and study influential designers whose innovations inform today's practice. Working with industry-standard tools and emerging technologies, you'll develop the confidence to make typographic decisions that shape how people think, feel, and navigate information.
Prerequisite: ART 111 or permission of instructor.
ART 252. Image Essentials for Designers. (3)
Images persuade, narrate, and evoke—they communicate messages in ways words cannot. This course develops your ability to create compelling imagery across traditional and digital media. You'll experiment with mixed media, from hand-drawn marks to AI-generated visuals, discovering how unexpected combinations produce powerful results. Through project work, you'll practice image manipulation, generation, and composition using industry-standard tools. But technical skill is just the beginning. You'll learn how compositional choices, visual metaphors, and symbolic content convey specific messages to different audiences. By studying influential image-makers and visual movements, you'll understand how images have evolved across media and cultural contexts. Whether you combine photography with illustration, create digital compositions, or explore non-traditional approaches, you'll develop a visual vocabulary that communicates memorable ideas.
Prerequisite: ART 111 or permission of instructor.
ART 253. Visual Systems + Publication Design. (3)
Grids are your foundation. Visual systems are your language. In this course, you'll learn to organize complex information across pages, screens, and environments using layout principles that prioritize how people use products, services, and systems. You'll design multipage publications where consistency meets pacing—considering whether readers will skim or study closely. But publications are just the beginning. You'll create visual language systems: pictograms that work at a glance, icons that guide wayfinding under stress, signage that makes unfamiliar environments navigable. Through sequential campaigns spanning print, digital, and environmental contexts, you'll maintain cohesive design standards while adapting to different use scenarios and user needs. By examining influential designers and how their systems shaped culture, you'll understand that effective layout serves real people completing real tasks—making information accessible, usable, and enjoyable.
Prerequisites: ART 251 or permission of instructor.
ART 254. Design Career Readiness + Portfolio Development. (3)
A portfolio showcases your skills and thinking and evokes your personal brand. This course prepares you to seek design internships and a career with confidence. You'll craft a cohesive portfolio—across website, print, and social platforms—that showcases not just what you've made, but how you think. Beyond the portfolio, you'll develop the professional skills that will get you hired: writing emails that get responses, networking without awkwardness, presenting your work compellingly, and navigating interviews with poise. We'll explore different career paths—in-house teams, agencies, freelance practice—so you understand where you might thrive. You'll learn to search strategically for opportunities, evaluating positions for genuine fit and growth potential. And because designers are often their own business managers, you'll gain essential knowledge about contracts, pricing, and professional ethics. This isn't just portfolio polish—it's preparation for professional life as an experience designer.
Prerequisite: ART 251 and ART 252 or permission of instructor.
ART 276. Introduction to the Art of the Black Diaspora. (3)
Introduces visual arts produced by black artists in Africa, the U.S., and the Black Diaspora. Examines seminal creative ideas, philosophies, and movements and focuses on the work of key artists in analyzing the contextual significance of art in society. CAS-B.
ART 277. Independent Studies. (0-6; maximum 10)
ART 281. Contemporary Art Forum. (1; maximum 8)
This is a lecture-based course that focuses on the discussion of contemporary visual art and design issues and their relationship to fundamental visual art practices. Students will attend lectures by visiting artists, write reflective responses, attend one field trip to a contemporary art venue, and attend break-out discussion sessions. The course uses a credit/no credit system based on attendance and written responses to lectures. Students will be exposed to current trends and issues in the art world causing them to think critically of their place in contemporary practice of art and design.
ART 283. Modern America. (3)
A chronological survey of 20th-century American art and visual culture that examines how modern artists challenged traditions of making art and the structure of the art world and addressed issues of gender, race, and class. Explores works of art and visual representation that shaped and reflected culture through the lenses of patriotism, politics, and progress.
ART 285. Writing and the Visual Arts. (3)
A course for students interested in a critical approach to reading texts, researching, and talking about works of art. Focuses on research methods, critical thinking, reading and writing, and formal presentation techniques. Students will learn how to recognize and use art historical methodology; how to read critically in order to determine an author's thesis, argument, approach(es), and biases; and how to perform specialized research using the methods discussed in class, resulting in a class presentation and research paper. ADVW. PA-1C.
ART 286. East Asian Art. (3)
This course offers a history of 5,000 years of East Asian art in 40 primary objects, presenting a selective survey of the major artistic traditions of China, Korea, and Japan from pre-history to the 21st century. Through analysis of these artworks, students learn how to connect visual and material developments in art to larger East Asian social and cultural phenomena, including constructions of group identity, religious belief, empire, and colonialism. IC, IIA. PA-3A, PA-4B. CAS-B.
ART 294. Digital Materials and Making in Arts Learning. (3)
This course is open to students with varied levels of comfort and experience with digital creative materials, who are curious about ways to include them meaningfully in making and teaching. This course explores the creative, critical, and expressive potentials of digital materials and digital environments in arts learning. In this course, students will experiment with free and open-source creative tools suitable for use in diverse learning settings, and explore mixed-media intersections of traditional and digital art materials for the classroom. Students will also gain experience creating web-based learning environments, including websites and immersive 3D spaces. Students will also engage critically with contemporary issues involving creativity and technology. Learning experiences include: weekly readings and discussion, creative projects, and leading activities in an after-school digital arts program. IC. PA-4A, SI-03.
ART 295. Elementary Art Methods. (3)
Philosophy, methodology, and application of art education at the elementary level. Planning for artistic growth and early creative development in students from Pre-K through elementary grades will be explored including thematic planning, backwards design, instructional strategies, curriculum mapping, assessment, advocacy, and arts integration. Lecture, discussion, and hands-on course for students majoring in art education. Field experience hours required. Can be taken with ART 195.
ART 296. Secondary Art Methods. (3)
Philosophy, methodology, and application of art education at the secondary level. Planning for artistic growth in students from middle to high school art education will be explored including thematic planning, backwards design, instructional strategies, curriculum mapping, assessment, advocacy, and arts integration. Lecture, discussion, and hands-on course for students majoring in art education. Field experience hours required. Can be taken with ART 195.
ART 305. 3D Character Design. (3; maximum 6)
In this course, students will create fully realized characters using 3D animation software to be implemented in a game engine. Students will learn a complete workflow for taking a character concept through all stages of a 3D character-creation process. This includes concept art, proper scene setup, 3D modeling, digital sculpting, degrading assets, UV Unwrapping, texture painting, and character rigging, posing, rendering, and importing into a game engine. The course is project driven and grades will be based on the visual quality and passion expressed in the work submitted for assignments, ability to follow instructions for submission, and ability to meet deadlines for assignments.
Prerequisites: ART/IMS 215, ART/IMS 218, and IMS 319 or permission of instructor.
Cross-listed with IMS.
ART 309. The Arts of African Peoples. (3)
Introduction to the arts of Africa and exploration of the central function of the arts in African systems of thought. The role of ancestors and deities will be explored, as will the context within which the arts are produced and used.
ART 311. Chinese Painting History. (3)
A thematic and chronological study of the various genres of Chinese painting, emphasizing major issues and artists from the Han period to the twentieth century. Recommended prerequisite: ART 286.
ART 314. The Renaissance in Italy. (3)
Surveys the visual arts of Italy from 1300 to 1500 and especially the artistic centers of Florence, Rome and Venice. Examines the individuals, corporations, as well as the various historical, social, and religious phenomena driving the production of painting, sculpture, and architecture.
ART 315. Art in the Age of Michelangelo. (3)
Information and insight toward an understanding of the major developments in the history of art from the late fifteenth through sixteenth century in Italy, centered around the long career of Michelangelo. Students will learn about Michelangelo's role in spurring the High Renaissance and Mannerist periods as well as the relationship between the artistic culture and concurrent political, social, religious, and philosophical ideas of his time. PA-3B, SI-04. CAS-B.
ART 316. Baroque Art in Europe. (3)
This course covers the painting, sculpture and architecture of Europe from the late sixteenth century through the early eighteenth century. It will focus on the individuals, corporations, as well as the various historical, social, and religious phenomena driving the production of painting, sculpture, and architecture.
ART 317. The Arts of Colonial Latin America. (3)
Explores the art of Iberia and Latin America, with a particular emphasis on the latter, from 1492 to 1810. Topics to be examined include conquest, assimilation, integration, and resistance as it informed the predominantly religious art and urban fabric of Latin America.
Cross-listed with LAS.
ART 320. Thematic Studio. (3; maximum 12)
Topics in art/drawing methodologies that are extensions and/or applications of skills and concepts offered in previous drawing courses. Thematic subjects include such topics as animation, experimental media, and advanced drawing.
Prerequisite: ART 222 or permission of the instructor.
ART 326. Modern & Contemporary East Asian Art. (3)
This course is an investigation of the various modern and contemporary art movements in East Asia from the nineteenth century through the twenty-first century. What did the modern ideal mean in the various regions of China, Japan, Korea, and the diaspora? What forms did it take? The establishment of traditionalist movements will be equally as important to tracing the development of Asian modernism(s). Can one exist without the idea of the other? Taking art objects and their related texts as our core evidence, this course will also consider the ways that the politics, literatures, popular cultures, and pasts of modern East Asia nations have intersected with one another and with the world. Coming forward into the present, what does it mean to be an artist from East Asia in the contemporary art world of global biennials and art fairs? Key concepts will include: post-colonialism, Marxism, nationalism, socialism, gender, ethnicity, modernism, traditionalism, post-modernism, diaspora, etc.
ART 331. Painting Studio. (3; maximum 15)
Studio exploration in painting using traditional painting media with emphasis on pictorial structure, color relationships, and compositional strategies. Projects address both representational and abstract approaches to image-making while encouraging experimentation with materials, processes, and concepts. Through critical dialogue and individualized guidance, students apply technical and formal principles to develop a distinctive visual language and personal direction in their work. Materials fee. 3 Lab includes Lec. Prerequisite(s): ART 121 or permission of instructor.
ART 335. Arts of West Africa. (3)
This course examines the visual and performed expressions of West Africa. Due to Africa's long and layered history with neighboring regions and global interactions, the course also addresses connections to North Africa, the trans-Saharan trade network, the trans-Atlantic slave trade, Diaspora cultures and international artists who identify with West Africa. West Africa is well known for its rich artistic culture: wooden sculpture, masquerades, ritual, elaborate textiles, dress, architecture, multi-media installation, beadwork, festivals and many more. This course explores these artistic genres, learning about the role of art in the lives of the people who make and use it. A major focus of this class is engaging with the inherent dynamics of power and inequalities that surround this material and region of the World. Students will thus develop strategies to be more civic minded and conscious of the importance of social justice and change. IIIB. PA-4C, SI-02.
Cross-listed with CRE.
ART 340. Internship. (0-20)
ART 341. Printmaking Studio. (3; maximum 15)
Studio investigation of printmaking media and processes with emphasis on intaglio, relief, lithography, silkscreen, or alternative methods in printmaking. Images will be developed through drawing, photography, digital media or collage and hand printed onto paper or other alternative substrate such as fabric or wood. Experimentation is encouraged while students develop technical mastery and independent problem solving through print. In addition to demonstrations and hands-on guidance, the course provides an expanded technical vocabulary. Materials fee. 3 Lab includes Lec.
ART 350. Experimental Animation. (3; maximum 6)
In this experimental animation class, students will learn fundamental concepts, elements, and principles of animation; become familiarized with historical and contemporary experimental animations; gain hands on experience of camera-based animation process; explore various processes of stop-motion animation such as claymation, silhouette animation, drawn/painted animation, rotoscoping, and pixilation; and learn creative sound and video editing. Students taking this class for a second time will learn advanced storyboarding and animation techniques; deepen their knowledge and skills in animation medium and process of their choice; and develop a semester-long individual animation project that includes a storyboard, an animatic, and a short animation. Lessons, demos, and group critiques will complement the studio practice.
Prerequisites: ART 121 or with instructor's permission.
ART 351. 2D Digital Animation. (3; maximum 6)
In this introductory level 2D animation class, students will learn fundamental concepts and techniques of animation such as timing, spacing, principles of animation, frame-by-frame and keyframe animation, and essential tools and processes of 2D digital animation. Students taking this class for the second time will learn advanced storyboarding and animation techniques; deepen their knowledge and skills in animation medium and process of their choice; and develop a semester-long individual animation project that includes a storyboard, an animatic, and a short animation. Lessons, demos, and group critiques will complement the studio practice.
Prerequisite: ART 121 or with instructor's permission.
ART 352. Branding Across Media. (3)
Brands aren't just logos—they're ecosystems of experience. You'll learn to design comprehensive brand systems across packaging, environmental graphics, digital interfaces, and human interactions. We’ll start with strategy: researching our audiences, analyzing competitors, and defining brand values that differentiate. Then, you'll translate that strategy into cohesive visual identities that adapt intelligently across various contexts—a coffee brand needs different expressions on packaging, in cafés, and through apps, but it remains one brand. You'll map complete service ecosystems, understanding how every touchpoint shapes perception and guides behavior. Through case studies of influential brand designers and packaging systems, you'll see how brands reflect and shape culture. You'll also learn to present your strategic thinking to clients and partners who need to understand not just what you designed, but why it works.
Prerequisites: ART 251 and ART 252 or permission of instructor.
ART 354. Designing Service Experiences. (3)
Services are when screens and printed designs make the world more usable and meaningful. This course teaches you to design the complete experience—not just what people see, but the systems that make services work. Service blueprinting becomes your primary tool for mapping every touchpoint: the visible interactions users have, the backstage operations supporting them, and the people delivering the service. Whether designing a hospital check-in, a museum visit, or a retail experience, prioritize helping people complete tasks while considering how wayfinding, environmental graphics, and spatial design guide behavior. Physical installations integrate with digital screens to create cohesive experiences anchored in specific locations. Studying influential examples reveals how great service design anticipates needs and removes friction. The course prepares you to coordinate complex service ecosystems where design, space, and human interaction work together.
Prerequisites: ART 251, ART 252, and ART 227, or permission of instructor.
ART 357. Photography Studio. (3; maximum 15)
This course provides a foundation for the photographic medium, beginning with technical aspects of the camera, chemical, and digital processing. Students will be
introduced to using a traditional 35mm film camera for chemical processing and making
black and white prints, as well as digitally manipulating color images in Adobe
Photoshop and Lightroom. The class then moves beyond technique to address formal
issues, history, and conceptual ideas, ultimately using photographic processes as a
powerful, personal, creative art making process. Materials fee. 3 Lab includes Lec.
ART 361. Ceramics Studio. (3; maximum 15)
Studio exploration of clay as a medium for sculptural and functional expression. Students investigate forming processes including wheel throwing, handbuilding, mold fabrication, and casting while developing an understanding of clay and glaze materials, surface design, and firing methods. Traditional and contemporary approaches are examined through lectures, demonstrations, and research into historical and current ceramic practices. Emphasis is placed on experimentation, technical refinement, and the development of an individual creative direction. Students are expected to produce a cohesive body of work that reflects conceptual depth and craftsmanship, supported by a professional portfolio and critical discourse. Materials fee.
3 Lab. includes Lec.
ART 364. Jewelry Design & Metals Studio. (3; maximum 15)
Studio investigation in jewelry design and metalsmithing emphasizing conceptual development and technical refinement through fabrication, casting, digital design, color processes in metal, and alternative material exploration. Students develop jewelry and design objects through iterative prototyping and both analog and digital approaches. Experimentation is encouraged as students build technical mastery, material fluency, and independent problem-solving skills. The course combines demonstrations, critical discussion, and individualized guidance to expand technical vocabulary and promote creative growth. Materials fee. 3 Lab includes Lec.
ART 371. Sculpture Studio. (3; maximum 15)
Studio investigation of sculptural concepts, processes, and materials emphasizing the development of technical proficiency and personal expression in three-dimensional form. Students explore a range of fabrication methods—including additive, subtractive, and assemblage techniques—using both traditional and contemporary materials. Coursework integrates conceptual inquiry, material experimentation, and research into historical and contemporary sculptural practices. Through critiques, demonstrations, and independent studio work, students refine their ability to interpret ideas spatially, develop a body of work, and build a professional portfolio that reflects creative and critical engagement with sculptural form. Materials fee.
3 Lab. includes Lec.
ART 377. Independent Studies. (0-6; maximum 10)
ART 383. Greek and Roman Painting. (3)
Greek and Roman painting; examination of the development of Greek vase painting with special emphasis on red and black figure vase painting; examination of tomb paintings of Etruscan civilization with study of Roman painting from Pompeii and Herculaneum with attention to styles, perspective, methods of painting, and uses of color.
ART 389. The History of Photography. (3)
This course will trace central developments in photography's history, from its nineteenth-century origins to its present digital afterlife. Rather than attempting a comprehensive survey of the medium, we will examine a series of case studies taken from the diverse discourses in which photography functions, including art, science, law, journalism, criminology, urban planning, and entertainment. Particular attention will be paid to theoretical and methodological questions underpinning the medium. Recommended prerequisite: ART 188.
ART 391. Field Study in Art and Architecture History. (3)
Structured experience outside the classroom through internship at Richard and Carole Cocks Art Museum or other arts/cultural institution. EL.
ART 395. Art Across the Curriculum. (3)
Philosophy, art education theory and cross-curricular teaching and learning methodology. Students will apply methodology to both coursework and field experience, collaborating with non-art areas. Students will design and produce lessons and sequential curriculum that takes into account both visual arts and common core standards. Upon completion of this course, students will conceptualize art as an interdisciplinary subject as well as demonstrate a competency for designing and implementing interdisciplinary art lessons. Field experience hours required. EL.
Prerequisites: ART 195, ART 295, ART 296, or permission of instructor.
ART 406/ART 506. Art Since 1980. (3)
This course surveys contemporary art from 1980 to the present. By examining major themes and critical issues, this course will chart historical genealogies and continuous threads through the incredibly diverse nature of art today. Looking at traditional media, new media, performance, and socially engaged art, this course explores the nature of artistic production in the contemporary, interconnected world. Students will regularly engage primary sources, work collaboratively on interpretive projects, and complete an original research paper and presentation.
ART 407/ART 507. Moving Image Art. (3)
Since the dawn of moving image media, artists and filmmakers have found means of artistic expression outside of both commercial entertainment and narrative cinema. This class examines this exciting history and experiences artworks that push our expectations and limits as spectators and challenge the dominant forms of film and television. Special attention is paid to creating a genealogy of experimental approaches to moving image media and connecting to art historical developments in painting, sculpture, conceptual art, and installation art as well as major social and political movements. Class includes regular screenings in addition to class discussion and lecture.
Cross-listed with FST 407.
ART 419. Supervised Student Teaching in Art. (15)
Supervised teaching in a public school or approved social agency. Regularly scheduled seminars with university supervisor. Completion of assessments including edTPA and content and pedagogy exams for certification. Regular assessments by cooperating teacher for the purpose of assisting the student teacher in practice teaching. Required overall GPA of 2.80 and expected GPA of 3.00 in the major field. Cannot be taken concurrently with any other courses. EL.
Prerequisite: all Professional Ed and Art Ed courses must be taken last (or second to last semester before graduation with instructor approval).
ART 430. Immersive & Reactive 1: Tools. (3)
Students will learn to use the current immersive and reactive software in the creation of digital art installations, projection mapping, XR productions, Virtual Production, and other real-time, immersive reactive visual content.
Prerequisites: IMS 213 or IMS 359 or IMS 319 or CSE 386 or ART 350 OR ART 351.
Cross-listed with IMS 430/IMS 530.
ART 436/ART 536. Applied Experience Design: Walt Disney World. (3)
The Walt Disney World Resort is a leader in entertainment, where multisensory design facilitates memorable guest experiences. This course will pull back the curtain to reveal how the resort's architecture, service, interaction, graphic, and interior design decisions create “magic” while meeting functional needs and balancing complex logistics. Through two weeks of engaged online learning, learners will explore experience design from a story-based Disney perspective. This will be followed by one week of on-site, experiential learning at The Walt Disney World Resort to explore experience design in action via immersive learning activities at the parks and resorts. The course will conclude with two weeks of online study, where the immersive experience will enable learners to apply Disney’s approaches and attention to detail to their design-related practices. SI-04.
ART 449/ART 549. Design Career Readiness. (3)
An introduction to basic business issues relevant for designers in today's competitive marketplace, including the development of strategic marketing skills, finances, and budgeting, the creation of client contracts, basic production knowledge, and other business management issues. Students will learn about various design career pathways through regular interactions with practicing designers in communication design and experience design.
ART 451. Place-Based Experience Design. (3)
Places tell stories. Stadium concourses pulse with anticipation. Themed restaurants transport diners to other worlds. Museums become portals to imagination. Worship spaces inspire contemplation. This course teaches you to design immersive environments where narrative, space, and sensory design work together to create memorable experiences. You'll develop narrative angles that guide every design decision—from environmental graphics wrapping walls to carefully sequenced moments of revelation as visitors move through space. Projects will challenge you to design for a variety of contexts, and each requires understanding how people use places. Through analyzing influential themed environments and immersive installations, you'll see how designers have shaped spatial storytelling throughout history. The course culminates in detailed implementation plans—specifying materials, fabrication methods, and installation requirements—because great concepts must become buildable realities. EL.
Prerequisite: ART 251, ART 252, ART 227 or permission of instructor.
ART 452. Graphic + Experience Design Degree Project. (3)
This is it—your chance to design something that matters to you. In this capstone course, you'll identify a design problem, conduct research, and create a comprehensive solution that demonstrates everything you've learned. Your project might be a complete stadium wayfinding system, a museum installation that teaches through play, a service redesign that improves healthcare experiences, or a branded environment that transforms how people connect with a cause. The challenge isn't just designing—it's planning, implementing, specifying materials and production methods, and communicating your thinking clearly to audiences. Your work culminates in an exhibition-quality presentation that showcases not only beautiful outcomes but the rigorous research and strategic thinking behind them. The degree project becomes the centerpiece of your professional portfolio, demonstrating your ability to tackle complex design challenges with confidence, craft, and purpose.
Prerequisites: ART 253, ART 352 or permission of instructor.
ART 453. Highwire Brand Studio. (4)
Highwire Brand Studio is a senior capstone practicum where students from communication design, marketing, and other relevant majors create comprehensive, professional-grade branding campaigns and solutions for real-world clients. Working in multidisciplinary teams, students apply and integrate primary research, market analysis, strategic planning, and creative execution using industry tools and methods. Teams compete to deliver the most effective campaign, with deliverables typically including brand positioning, visual identity, promotional programs, merchandising, social media strategies, and packaging design. The course culminates in formal client presentations, with many partner organizations implementing the students' recommendations. This course provides students with authentic agency experience while delivering actionable solutions that clients often incorporate into their marketing efforts. Students develop skills in teamwork, leadership, written and oral communication, critical and creative thinking, and both quantitative and qualitative analysis. Partner clients, including major brands like P&G, Nestlé, Pepsi, and Hasbro, engage with Highwire to gain fresh perspectives from Miami's top students. SC.
Prerequisites: ART 352 or MKT 345 or permission of instructor.
Cross-listed with MKT 453.
ART 455/ART 555. A History of Design. (3)
Overview of the history and cultural context of various design disciplines. The prevalent styles and design traditions expressed in the mass-produced products of both Europe and America from the Industrial Revolution to the present.
ART 460. Special Topics Design Seminar. (3)
Design crosses boundaries. This transdisciplinary seminar brings together students from different design disciplines to explore contemporary issues through collaborative making and thinking. Topics shift based on the instructor's research—you may explore sustainable design practices, emerging technologies, healthcare design, or how cultural identity influences the creations we produce. You'll read what designers are publishing now, lead discussions that challenge assumptions, and create design work that responds to real issues. The seminar thrives on collaborative inquiry, where you work in teams to investigate deeply, produce thoughtfully, and communicate your findings through discussion and multimedia making. By analyzing how society and culture influence design decisions, you'll develop the critical lens necessary for ethical practice. This isn't design in isolation—it's design in conversation with the world.
ART 477. Independent Studies. (0-6; maximum 10)
ART 480. Seminar in Art History. (3; maximum 6)
Seminar for advanced students. Topics vary.
ART 487/ART 587. Art of the Early 20th Century. (3)
Development of modernist painting and sculpture in Western Europe and the United States from 1900 to 1945.
ART 488/ART 588. Art in the Age of Revolution: 1789-1848. (3)
This course explores the artistic production of Europe and the United States from 1789-1848. Topics include the influence of political revolutions and colonialism, the invention of modern forms of visual culture such as photography and lithography, the traditions of academic painting, and rebellions against those traditions.
ART 489/ART 589. Postwar to Postmodern, 1945-1980. (3)
Painting, sculpture, architecture, and allied arts from 1945 through post-modernism.
ART 492. Professional Artist's Portfolio and Exhibition Experience. (3)
The Professional Artist’s Portfolio and Exhibition Experience course is for any student that has developed a collection of artworks or creative artifacts, and wishes to participate in a professional-quality group exhibition that celebrates their creative vision. Students will think critically and deeply about all aspects of their creative work through a variety of conceptual, historical and cultural lenses, and develop a portfolio of documents appropriate to advance them to the next stage of their creative career while developing the exhibition. The course culminates knowledge gained throughout the undergraduate experience with the creation of an individual professional artist's portfolio, and participation in the student-initiated professional quality exhibition in the Hiestand Galleries. Scheduled meetings and critiques with art professionals and faculty mentors in the Studio Art areas support ongoing research in the field of visual art. The final exhibition is open to the public, includes broad promotion of the exhibition, and a public reception for the participating artists. SC.
Prerequisite: Senior standing (93+ hours) and completing a 300+ level course in ART, FAS or Arts Management or permission of Instructor.
ART 493. Professional Partnerships. (3)
This Miami Plan Senior Capstone course is designed to engage students in the development of a professional partnership, and includes articulation and implementation of professional dispositions and preparation in being effective, confident, and productive in their chosen profession. Students will network with alumni and practicing professionals, hone philosophy statements and understandings, maintain a professional ePortfolio website, develop and utilize professional resources, and will be encouraged to participate in local and national professional organizations. SC.
Prerequisite: ART 395 or permission of instructor.
ART 495. Art Education Practicum. (3; maximum 6)
Supervised participation in practicum at art education site. Students will develop proficiency in curriculum planning, instructional methodology, effective communication in and outside the classroom, and self and program assessment. Often referred to as Saturday Art, students will have the opportunity to directly plan, teach, and assess a class of K-12 students. This course can be taken with ART 493. 495 can be taken multiple times. EL.
Prerequisites: ART 195, 295, 296, and 395.
ART 496/ART 596. Seminar on Theory for Visual Artists. (3; maximum 6)
Links theoretical contexts influential in educating visual artists to varied thematic structures and practical issues as utilized by visual artists.
Prerequisite: ART 221.
ART 498. The Curatorial Experience. (3)
A culminating course for students who wish to curate a museum exhibition at the Richard and Carole Cocks Art Museum. With the guidance of art history faculty and the RCCAM's staff, students will be responsible for all aspects of the curatorial process, including the selection and research of appropriate works of art, exhibition design, and writing object labels and wall text. Emphasis will be placed on individual research and collaborative decision making to communicate the exhibition's theme to the museum's public audience. EL. SC.
ART 601. Graduate Assistant Seminar. (1-3; maximum 6)
Addresses relevant practices, concerns, and problems confronting the art teacher in college studio setting. Addresses professional practices for studio artists pursuing a career as a visual artist.
Prerequisite: admission to Department of Art graduate program.
ART 602. Graduate Seminar in Studio Practice. (2; maximum 18)
Seminar course exploring individual formal, aesthetic, historical, and conceptual concerns present in graduate level studio work. Course encapsulates individual critiques of student work and student presentations on work by other artists or topics relevant to the individual student. Graduate students should take this course each semester except during the semester they complete their thesis.
Prerequisite: Enrollment in the MFA program in Studio Art.
ART 627. Design Research Methods. (3; maximum 9)
Introduces primary and secondary research methods that support the discovery of unarticulated needs and opportunities for design innovation. Learners will gain familiarity with design research methods by operating several research projects individually and collaboratively. Special attention paid to operating design research in varied contexts while respecting the wishes and needs of research participants. Includes qualitative and quantitative methods that render data like observations, surveys, interviews, focus groups, and design outcome analysis.
ART 630. Graduate Study in Painting. (3-6; maximum 48)
Application of advanced techniques and pictorial concepts to problems in painting directed toward individual professional performance. Appropriate research and related studio work.
Prerequisite: graduate standing in studio art.
ART 640. Internship. (0-12; maximum 6)
ART 645. Graduate Study in Printmaking. (3-6; maximum 48)
Research and related laboratory work in fine print media. Advanced study in intaglio, relief, and planographic media.
Prerequisite: graduate standing in studio art.
ART 650. Experience Design Studio. (3; maximum 18)
A synthesis studio where design theory and methods are applied via goal formulation, problem definition, and design solution production. Design, development, deployment, and testing of experience design outcomes involves independent and collaborative work. Learners will meet off-site for one “Destination Weekend” each semester to research and design in a different location.
ART 651. Design Research Theory. (3; maximum 9)
This course examines the principles and application of design practice and research through coordinated readings in interdisciplinary theory. By engaging in a mix of qualitative and quantitative theoretical approaches, learners situate their individual interests and research in both scholarly inquiry and professional practice.
ART 652. Experience Design Project. (3; maximum 9)
A course where a learner-selected experience design project is ideated, developed, operated, and tested and results are disseminated. Designed as a community of practice, this course engages learners in a unified process to test the validity of existing knowledge claims, propose new theories, and/or generate new knowledge in the field of design.
ART 657. Graduate Study in Photography. (3-6; maximum 24)
Application of advanced techniques and pictorial concepts to problems in photography directed toward individual professional performance. Appropriate research and related studio work.
Prerequisite: Graduate standing in Studio Art.
ART 660. Graduate Study in Ceramics. (3-6; maximum 48)
Intensive studio problems in ceramics stressing professional orientation and personal interpretation. Materials fee.
Prerequisite: graduate standing in studio art.
ART 664. Graduate Study in Metals. (3-6; maximum 48)
Provides qualified graduate student with intensive study in metal craftsmanship as an art form.
Prerequisite: graduate standing in studio art.
ART 670. Graduate Study in Sculpture. (3-6; maximum 48)
Intensive studio problems in sculpting emphasizing professional orientation and personal interpretation.
Prerequisite: graduate standing in studio art.
ART 677. Independent Studies. (0-6; maximum 10)
ART 680. Graduate Seminar in Art History. (3; maximum 9)
Special studies in the history of art centered upon a designated topic or area of study which may vary with each offering.
Prerequisite: graduate standing in art or permission of instructor.
ART 690. Special Problems. (1-3; maximum 18)
Individual studio problems for graduate art student.
Prerequisite: graduate standing in art.
ART 700. Thesis. (1-12; maximum 18)
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