Drawing I focuses on multi-dimensional visualization and delineation as well as drawing as a process of perception and projection. Students are introduced to visual structures and concepts in their historical and contemporary contexts.

In Drawing II students continue to refine their skills in multi-dimensional visualization and delineation and in drawing as a process of perception and projection. The uses of digital as well as traditional drawing tools will be explored. Students continue to investigate visual structures and concepts in their historical and contemporary contexts.

In Life Study I, students study the human figure as expressing and reflecting concepts of nature. Approaches to the figure include formal structural analysis as well as the figure used as a medium itself, as an object of representation. And as the embodiment of human consciousness.

In Life Study II, students explore the human figure as expressing and reflecting concepts of nature. Approaches to the figure include formal structural analysis as well as the figure used as a medium itself, as an object of representation, and as the embodiment of human consciousness.

Drawing Poetics investigates philosophical and practical methodologies of drawing from outside traditional fine art models. Through readings, studio practice, and discussions students will consider how practices in writing, poetry, choreography, music and handcrafts are analogous to drawing and may be used to understand one's practice. We will study how others define their art forms to further understand the rules and definition we have inherited for the act of drawing. From this perspective, students will then re-imagine how to define the act of drawing and what form their productions might take.

Nomadic Drawing is an observational drawing class focused on dealing with relationships between the figure and unusual environmental spaces. The class will meet in different locations throughout the burrows of NY to draw. Emphasis will be on capturing the visceral value of diverse environmental locations while using a selective eye to organize the visual chaos of the world outside the studio.

Drawing Installation is designed as an experimental laboratory where students explore the potentials of drawing in conceptualizing spatial and/or time-based installations. With an emphasis on drawing as a research tool, students will be assigned a site specific, architectural space where they transform 2D plans into 3D or 4D installations.

In Drawing III students will continue to build their technical skills and critical awareness so that they can begin to work independently at an advanced level. Students will consider drawing as a discipline in its own right, set off from those it has historically supported. Students will begin with assignments and work toward more self-directed projects that will lead to a concept-driven body of work. Though designed for Fine Arts majors with a concentration in drawing, others may enroll with administrative approval. The course will be conducted as a concentrated studio with individual and group critiques, class field trips, as well as assigned readings and discussions.

In Drawing IV students will build the skills and awareness necessary to develop advanced independent work and deepen their knowledge of drawing as an independent practice. In the beginning of the term, students will give themselves assignments that strengthen the working methods and critical interests that will drive their work. Students will gain the ability articulate their emergent interests and processes and take ownership of their decisions in the studio. Intended for Fine Arts majors with a concentration in drawing, others may enroll with administrative approval.

Expanded Field I offers students an extensive investigation into contemporary drawing practices with a focus on process, concept and mark making. Majors, emphasis is on the development of students' individual expressive vision as well as understanding the connections between marks made for drawing and marks made in other materials/mediums.

Expanded Field II offers students the opportunity for deeper investigation into contemporary drawing practices with a focus on process, concept and mark making. Suggested for Fine Arts Majors, emphasis is on development of students' individual expressive vision as well as understanding the connections between marks made for drawing and marks made in other materials/mediums.

Illustration and Symbolic Imagery I investigates visual thinking, problem solving and non-verbal communication. Students are encouraged to explore and construct a new vocabulary of personal symbols that is not dependent on old thinking habits and in an environment that encourages them to break free of stylistic conventions.

Illustration and Symbolic Imagery II (New, 3 Credits) in Illustration and Symbolic Imagery II, Students will continue exploring modes of visual thinking problem solving and non-verbal communication and create a focused body of work from their developing symbolic vocabulary.

Drawing Materials and Methods is required for drawing concentrators and covers the technical aspects of drawing media, including the chemistry of substrates and papers, tools, pigments, paints and finishes and their applications. The course will include discussions, lectures, demonstrations and research assignments.

Advanced Drawing Installation is an elective course that provides students further opportunity to create site-specific art installations in an individual project space on campus. A series of advanced drawing and research assignments facilitate the creation of the works mapping student exploration and progress. Students will complete and later simulate these installations as a public art proposal within another location.

Drawing V emphasizes independent studio practice where students refine their individual drawing processes as they choose among multiple thematic possibilities. Students will engage in research and development in preparation for executing a thesis body of work.

This senior thesis studio emphasizes independent studio practice where students refine their individual drawing processes as they develop and prepare a finished body of work for the thesis exhibition.

This non-credit course is required for all Pratt students who wish to use the Wood Shops in Fine Arts or Industrial Design. Students gain information, practices, and skills required for the safe use of equipment as well as information on proper environmental standards to be followed in these shops. Successful completion provides students with safety certification, allowing them to use either shop for the duration of the student's enrollment at Pratt. Course IND 001 provides equivalent certification.

This course is an introduction to the multifaceted professional art world. Students will engage with various participants in that world, including professional artists, curators, critics, and gallery directors. Through these encounters, readings, discussions and directed assignments students will learn about the contexts, strategies and requirements for promoting their work in the art marketplace and maintaining a career as a working professional artist.

This course, taught by instructors at Urban Glass in Brooklyn, offers students a broad survey of techniques used in art glass fabrication including kiln-forming, kiln-casting, cold-working, flame-working, and glassblowing. In addition to completing a series of assignments using these techniques, students will learn about the history of glass as a medium of artistic expression.

This is a one credit course studying the context, form, artistic process, and experience of site specific art. Students will be introduced to the history, methodologies, and logistics of site specific art. At the end of the cl ass, students will make a public presentation of their proposal for a site-specific work to a panel of invited guests.

This one credit course introduces students to the history of net art from the mid-1990s to the present day. During the course students will review internet artworks, curate an online exhibition and respond to readings. Students will learn image processing for the web, and HTML + CSS and make a net artwork. Smart phone and tablets may be used in the projects.

This one credit course introduces undergraduate fine arts students to improvisation, in theory and practice, as working philosophy applicable to any developing artistic practice. Students will explore ways in which improvisation can nurture creation, challenge flexible thinking, and facilitate organic collaboration. No prior experience necessary.

This one credit course introduces students to the history of sound art from its roots in the early 20th century to its practice and development in the present day. During the course students will review sound works, develop their skills to create sound works and respond to related readings. Students will gain an introduction to sound design programs that are utilized today as well as the variety of conceptual ways artists utilize sound as an art form and as a component of other hybrid art forms.

This studio offers an investigation into forms of creative public engagement or 'social practice'. The focus will be on research, development, and engagement of a socially invested public project.

This course will be an introduction to the practical concerns of working as an independent art curator. Whether as a career path or a means to advance one's own visual arts practice, students will learn to identify and explore the skills and facilities required to develop and stage exhibitions from inception to actualization.

This course focuses on direct research related to previously taken formal courses of study with the instructor in question. To pursue Directed Research, permission of both the faculty member and the Fine Arts chairperson is required.

This is a graduate-only elective course in machine sewing and needle arts. The course will introduce fundamental sewing techniques needed to execute textile based fine arts, soft sculpture and soft industrial design projects. Students who complete the course will be certified to use basic sewing machinery in designated Fashion Design studios.

This course is for all undergraduate students enrolled in internships at a field-related professional site. It takes place on the Pratt campus in consultation with a Fine Art professor. The internship is a learning experience that provides opportunities for students to apply knowledge gained at their selected site .

This course is for all undergraduate students enrolled in internships at a field related professional site. It takes place on the Pratt campus in consultation with a Fine Art professor. The internship is a learning experience that provides opportunities for students to apply knowledge gained at their selected site for one credit.

This course is for all undergraduate students enrolled in internships at a field related professional site. It takes place on the Pratt campus in consultation with a Fine Art professor. The internship is a learning experience that provides opportunities for students to apply knowledge gained at their selected site for two credits.

This course is for all undergraduate students enrolled in internships at a field related professional site. It takes place on the Pratt campus in consultation with a Fine Art professor. The internship is a learning experience that provides opportunities for students to apply knowledge gained at their selected site for three credits.

This course will broaden the student's awareness of the object-based world while developing conceptual skills through exercises in observation, writing, collection and presentation. Students will use drawing and rendering as a generative source and critical thinking tool in the design process and to facilitate discussion.

Fine Arts Seminar explore ideas and issues related to the Fine Arts curriculum. Seminar classes provide historical and critical context for studio practice with attention to the social, cultural and intellectual conditions of the time. Seminar classes also provide a platform for discussions around topics such as events, personalities, exhibitions, writings of artists and critics, values and studio practice. the seminars are required coursework from the sophomore through senior years.

This course will engage students in the theoretical and critical examination of seminal works by some of the most notable artist-jewelers from the last 75 years, along with related examples of painting, sculpture, architecture, domestic objects and costume. By studying contemporary jewelry from the mid-20th century origins to the present, students will be able to trace historic and cultural influences in present-day metal work, and a variety of other mediums.

Fine Arts Seminar explore ideas and issues related to the Fine Arts curriculum. Seminar classes provide historical and critical context for studio practice with attention to the social, cultural and intellectual conditions of the time. Seminar classes also provide a platform for discussions around topics such as events, personalities, exhibitions, writings of artists and critics, values and studio practice. the seminars are required coursework from the sophomore through senior years.

The Fine Arts Seminars explore ideas and issues relevant to the Fine Arts curriculum. They address concerns of the studio arising from the social, historical and intellectual conditions of the time. These concerns are formal and philosophical as well as practical. Class discussions include topics such as personalities, events, exhibitions, writing of critics and artists, values and studio practice. The seminars are required coursework from the sophomore through the senior years. Prerequisites: FAU-241 and FAU-242.

Fine arts Seminar explore ideas and issues related to the Fine Arts curriculum. Seminar classes provide historical and critical context for studio practice with attention to the social, cultural and intellectual conditions of the time. Seminar classes also provide a platform for discussions around topics such as events. personalities, exhibitions, writings of artists and critics, values and studio practice. The seminars are required coursework from the sophomore through senior years.

This course is a professional practices workshop for senior majors in jewelry and other students whose studio practice is object-based. The objectives of the course are for participants to be able to effectively document their work, develop presentation skills, understand pricing and marketing appropriate to their object-based medium, and how to prepare for an exhibition.

This fundamental course is an introduction to basic direct metal fabrication techniques used to create small scale, wearable objects using non-ferrous metals. Design development is addressed as an extension of studio work with special attention paid to issues relation to scale and the body. NOTE: This course is a pre-requisite for all jewelry technical studios.

This course builds upon the skills developed in Jewelry I. Students learn advanced direct metal fabrication techniques suitable for building small-scale, wearable objects with volume and depth. Precision and craftsmanship are emphasized as students integrate design concepts addressing scale and wearability with more complex techniques.

This class integrates the development of technical skill in rapid prototyping technologies with the student's studio practice. Students will use CAD software at all steps of the design process, from sketch to final product. We will actively approach the use of CAD/CAM as a means to an end in relation to more traditional studio processes such as creating molds, jigs, dies, and other tools.

This course is he first half of a year-long course sequence required for junior jewelry students. Students will develop as designers and makers of wearable objects by dramatically expanding their repertoire of technical skills and enhancing concept development.

Jewelry IV is the second half of a year-long course sequence required for jewelry students. Paramount to this course is ideation beyond process, focusing on the incorporation of digital processes into studio practice and concepts for wearable technology. Work will be analyzed in terms of its means of generation, curation and concept articulation.

2D Digital + Design for jewelers will use hand drawing and digital processes to further the study of specific concepts and processes necessary for 2D jewelry drafting, design and rendering. Relevant design software will be used to create technical drawings, mechanicals and renderings expanding the student's ability to articulate their ideas and establish good design practices. Projects will take on an increasingly supportive role and reflect work produced in the major studio classes.

In this course, students will advance their bench skills by learning a variety of specialized, complex mechanics applicable to small-scale work using non-ferrous metals. Students will be able to fabricate a variety of stone settings, findings, hinges, screw mechanisms and joints in metal. By increasing precision and critical thinking about the function of jewelry, students will be able to create more sophisticated and complex designs.

This course is the first half of a year-long course sequence required for senior jewelry students. It is designed for the Jewelry student to focus on the development and execution of a cohesive body of wearable work for an evolving portfolio and exhibition. Students will formulate a thesis proposal and begin fabrication their thesis collection by applying the appropriate techniques and materials relative to a chosen theme.

This course is the second half of a year-long course sequence required for senior jewelry students. In this course, jewelry students will complete a cohesive body of wearable work and prepare that collection for public presentation. Students will complete the fabrication of work evolved from the fall semester's proposal and development phase, while simultaneously preparing for the senior thesis exhibition. Special attention will be paid to display issues associated with wearable objects, as well as topics that create synergy between this course and the Jewelry: Professional Practice course.

This required senior thesis course is designed to work in conjunction with the studio and will enable students to refine the ideation and conceptualization of their collections through writing, research, discussion and critique. Students will explore pertinent issues in the industry such as ethical and sustainable practices and functionality of the wearable object.

Jewelry: Professional Practices will expose students to the expectations and realities of working in a professional environment. A fast-paces approach will be taken in exploring design trends, developing marketing strategies using social media, and honing writing and presentation skills.

The Italian word intaglio means \"to incise.\" This course will instruct students in the techniques and processes of intaglio printmaking on copper plates. Students will acquire skills through demonstration and practical application. Assignments and critiques will integrate formal qualities, concepts and technical exploration.

Developed in 1798 by Alois Senefelder, lithography is a form of printmaking that allows artists to draw directly on the print matrix. This course will cover both stone and plate lithography as well as photo processes. Students will acquire skills through demonstration and practical application. Weekly assignments and critiques will integrate formal qualities, concepts, and technical exploration.

This course will challenge fundamental issues in traditional printmaking: the relationship between image and surface, chance and form, medium specificity, reproducibility, and the validity/potential of digital media. This course explored simple approached to traditional printmaking to develop a vocabulary of printmaking concepts that will broaden and refine the definition of prints and their production.

Silkscreen employs the \"stencil\" which is historically traced to cave drawings. This course will cover all aspects of Silkscreen printmaking. Techniques will include hand drawn and cut stencil, photographic film, digital separations and photosensitive stencil making. Students will acquire a basic skill set of Silkscreen techniques through demonstration and practical application. Assignments and critiques are designed to develop an integration of formal qualities and concepts with technical explorations.

Beginning with stamps and seals as signs of personal identity, relief is undoubtedly the oldest printmaking technique. This course will cover wood and linoleum block printing in black and white and reduction and multiple block printing in color. Students will learn these techniques through demonstration and practical application. Weekly assignments and critiques will integrate formal qualities, concepts and technical explorations.

Intaglio II is designed to advance the student's technical skills and foster a critically engaged exploration of the medium. Students will be expected to proceed form initial assignments to self-directed projects and create a concept driven body of work that is integrated with an informed use of the technique. Instruction and guidance will take place in both individual and group critiques.

Lithography II will advance students' technical skills and fosters a critically engaged exploration of the medium. Students will be expected to move form initial assignments to self-directed projects and create a concept-driven body of work that is integrated with their informed use of lithographic technique. Instruction and guidance will take place in both individual and group critiques.

This course will explore traditional printmaking, mixed media methods and new printing technologies to inform students' approach to the print, technically and conceptually. Scanning, collage, image manipulation, and inkjet printing will be considered alongside traditional print methods to inform the creative process. Along with class demonstrations and group critiques, the instructor will work individually with students on their projects as they explore the possibilities and parameters of contemporary print.

This course will explore traditional printmaking, mixed media methods and new printing technologies to inform students' approach to the print, technically and conceptually. Scanning, collage, image manipulation, and inkjet printing will be considered alongside traditional print methods to inform the creative process. Along with class demonstrations and group critiques, the instructor will work individually with students on their projects as they explore the possibilities and parameters of contemporary print.

Silkscreen II will advance the student's technical skills and foster a critically engaged exploration of the medium. Students will be expected to move from initial assignments to self-directed projects and create a concept-driven body of work that is integrated with their informed use of silkscreen technique. Instruction and guidance will take place in both individual and group critiques.

Relief II advances the student's technical skills and fosters a critically engaged exploration of relief as a medium. Students will be expected to move from initial assignments to self-directed projects and create a concept-driven body of work that is integrated with their informed use of the relief techniques. Instruction and guidance will take place in both individual and group critiques.

In Print IV, students will focus on their individual creative development and growth as artists and printmakers. The course will emphasize developing professional skills and building a rigorous studio practice. Faculty will work with students individually and as a group to prepare for the thesis exhibition in the spring.

Print V is an intensive studio course for senior printmaking students dedicated to the completion of a body of work for the Printmaking Senior Thesis Exhibition. The course requires a rigorous studio practice that demonstrates the integration of conceptual, formal, and technical concerns. Faculty will work closely with students individually and as a group in preparation for the thesis exhibition.

This course is an introduction to the world of socially engaged and agitational printmaking. It will introduce students to the use of print technologies as the vehicle for multiple forms of political speech as well as to enrich thinking around and engagement between practices of art and practices of politics. Students will proceed from a study of the history of politicized print media starting with the advent of the printing press through the use of print in contemporary social struggles and political campaigns.

This course is an exploration of text and image in \"relief\" one of the oldest forms of printmaking. Students will hand set type for letterpress, cut blocks, and use photo-polymer plates to investigate the unique possibilities offered by combining text and image as visual language.

In Painting I, students will be introduced to a variety of formal approaches to building a painted surface. Investigations will include handling of paint materials, including their physical properties and attendant techniques. Assignments will explore color mixing, composition, edge, shape and form.

Painting II continues the previous semester's investigations of approaches to building a painted surface. Students refine their handling and knowledge of paint materials' physical properties and attendant techniques. Assignments explore color mixing, composition, edge, shape and form.

In this first course in the painting sequence for non-painting majors, students will be introduced to concepts particular to painting as a discipline. Students will explore the demands of creating a two-dimensional surface with colored pigment and develop a working knowledge of painting's conventions, methods and strategies.

In this second course in the painting sequence for non-painting majors, students will continue to investigate concepts particular to painting as a discipline. Students will deepen their understanding of the painted surface, increasing confidence in the handling of materials and sharpening observational and conceptual skills.

In this course, students explore nature, the human figure and still life as subjects and mediums for the projection and expression of human consciousness.

In this course, students explore nature, the human figure and still life as subjects and mediums for the projection and expression of human consciousness.

In painting III, students will focus on advancing technical skills and critical awareness so that they can begin to develop independent work at a more advances level. Students will develop the ability articulate their emergent interests and processes and take ownership of their decisions in the studio.

In Painting IV students continue to develop their working methods and concepts so they are prepared for advancement to the senior thesis year. Students will gain the ability articulate their emergent interests and processes and take ownership of their decisions in the studio.

This advanced elective course provides students the opportunity to move painting \"off the canvas\" onto other kinds of surfaces and objects. Students will explore possibilities beyond the traditional flat surface, including found objects, shaped surfaces and multiples.

This advanced elective course offers a deep investigation of the potentials of color for painters. A brief review of the concepts and language of various color systems will serve as a platform for the deepening of students' knowledge and handling of color as paint. Exercises and assignments will inform and strengthen students' developing skills in studio practice.

In this advanced elective course, the class will make field trips to painting exhibitions on view in New York. Back in the studio, students will create works that respond to the concepts, formats, and techniques we observe in the contemporary art world. We will investigate the exhibited works as guides to answering questions about ow to create innovative compositions by the most relevant means possible and to offer technical solutions that may align with our own formal and conceptual goals.

This advances elective course would explore how artists have used the language of painting to tell meaningful stories. Through studio projects, readings and analysis of artwork, students will gain a better understanding of both narrative and allegory (how they differ and how they overlap) and will be better equipped to use both in their work.

Painting V emphasizes independent studio practice where students refine their individual painting processes as they choose among multiple thematic possibilities. Students will engage in research and development in preparation for executing a thesis body of work.

This final painting studio course emphasizes independent studio practice where students refine their individual painting processes as they develop and prepare a finished body of work for the Senior Thesis Exhibition.

This first course in the sculpture studio sequence emphasizes the development of formal perception and projection in three-dimensional space and introduces students to the basic concepts, materials, and processes of sculpture media. Processes of sculpture media.

This course builds on the topics on formal perception and projection from the previous semester and deepens students' understanding of key concepts, materials, and processes employed in sculptural practice.

Through critical observation and the introduction to the basic technical manipulations of material (water clay) students will explore traditional means and methods necessary to develop a personal expression the human form in three dimensions. A comprehensive study and rendering of the human form in the studio environment fosters a fluid merging of concept and method, one that draws together personal expression and a corollary development in drawing, painting and sculpture.

In Sculpture III students will continue to explore and analyze the potentials of various sculptural materials and processes and begin to use these more purposefully in the development of their creative ideas. Along with class demonstrations and group critiques, faculty will work individually with students as they develop their projects.

In Sculpture IV students will continue to explore and analyze the potentials of various sculptural materials and processes and use these more purposefully in the development of their creative ideas. Along with class demonstrations and group critiques, faculty will work individually with students as they develop their projects.

In this course continuing students will be afforded the means for an advanced exploration of figuration based on the experiences gained in Life Study I. Participants will enhance their perceptual abilities with increased mastery and skills. Students will be required to complete and present comprehensive works incorporating acquired skills from this and their other classes in developing a unique personal statement.

This elective course addresses concerns in contemporary sculpture arising from the social, historical and intellectual conditions of the time. These concerns are formal and philosophical as well as practical. Class discussions cover topics such as events, personalities, exhibitions, writings of artists and critics, values and studio practice.

In this senior studio, students will focus on their individual creative development and growth as artists. The course will offer more in-depth study of concepts, materials and processes and focus on the development of each student's practice, including research, development and preparation for executing the Senior Thesis body of work.

In this final major studio, students will focus on their individual creative development and growth as artists. The course will offer continued in-depth study of concepts, materials and processes and foster the advancement of each student's studio practice through research, development and the public presentation of a body of work in the Senior Thesis Exhibition.

Students will learn all aspects of wax working and lost wax casting in a scale appropriate to jewelry. This process will enable students to create metal models and rubber molds for multiple component parts used in fabrication finished pieces of jewelry or small-scale objects.

In this course, students will work with alternative materials for the design and fabrication of small scale, wearable objects suitable for jewelry. Students will learn to manipulate a variety of materials such as wood, plastics, rubber and cement in combination with advanced cold metal connections and adhesives, thermal forming and carving to create samples and finished pieces.

The goal of this course is to analyze the current trends in styles employed in today's illustration field. The course also attempts to predict the directions which will be favored in the future. In addition, the student begins forming an individual vision through the development of drawing as a personal language.

This course focuses on drawing the human form (nude, fashion, and environmental) during the class session. In addition, five homework assignments, a sketch book and a portfolio composed of projects executed in diverse media are created. Student participation in classroom critiques is encouraged to further develop the individual's understanding of graphic design and illustration.

In Metalsmithing, students will explore the properties of non-ferrous metals in greater depth. By practicing the fundamentals of forming using traditional and contemporary smithing techniques, chasing, repousse and anticlastic raising, students will create metal objects suitable for jewelry, sculpture or product design. Tool-making and advanced joining will be addressed for specific fabrication needs.

Color on metal will introduce students to an array of advanced techniques for applying color to metal surfaces suitable for small scale and wearable objects. Traditional enameling, patina and resin applications, power coating and anodizing will be explored through demonstration and the execution of samples and finished pieces.

Through observation and knowledge of the muscular-skeletal system and its functional kinetics, students are encouraged to express the human form in graphic language. The structural study of the human form enables a comprehensive and informative visual experience that subdues copying dependency and develops the selective force of expressive drawing. (Graduate level)

Kinetic sculpture is art in any media that depends on motion * for its effect. This course presents the cross section of art, technology and science as it pertains to movement. Weekly lectures and demonstrations will introduce a series of motion principles involving; natural forces, wind, water, gravity, electricity of direct interaction with the viewer. Through assignments students will explore various principles of motion and research artists who implore these principles to achieve their formal and / or conceptual ends. Students will ultimately develop a final three-dimensional project based on one or a combination of these principles.

Painting Processes offers a deep exploration of the technical and practical aspects of painting materials. Methods of instruction will include lectures, demonstrations, student research, and class discussions. Most importantly, students will engage in 'hands on\" interactions with the materials.

The Potter's Wheel is an essential tool used in ceramics for thousands of years. Yet, work made on the Wheel today still feels fresh and contemporary. This course will teach you technical fundamentals needed to create work on the Potter's Wheel.

This course explores ceramic processes through the development of form: coil, slab, pinch and wheel; and surface: slips, stains underglaze and glaze. Students will explore basic skill building in clay and develop their conceptual thinking in the medium through content driven class assignments and critiques.

This class introduces students to the fabrication of ceramic multiples through moldmaking and casting with liquid clay(slip). Students will learn how to translate ideas and concepts, functional or sculptural, into clay while learning fundamental moldmaking skills and processes. Finishing will include glazing and firing. Projects are focused on skillbuilding, but also delve into concerns of objectmaking and strength of concept.

Our experience with ceramics is paradoxically ancient and modern. Because clay has the remarkable ability to assume almost any form, it continues to elude and amaze us. This course will teach students advanced techniques needed to continue to master an investigation into ceramics.

This advanced studio will support the exploration of ceramics as a powerful expression of ideas in painting and sculpture. Class projects, discussions, and assigned readings will help develop students abilities toward critical thinking and writing about ceramic objects.

Students will investigate the origins of clay and glaze and their chemical formulas, behaviors, and kiln transformations.

This course covers the fundamentals of paper structure and movements as a 3-D and 4-D way to illustrate images or ideas. Pop-ups, or movables as they are historically called, have remained popular since the 18th century, because the viewer is required to be an active participant in the process. Because the artwork develops as the viewer opens the card or book in which the construction has been placed, the viewer feels that he/she takes part in the creation of art.

This course introduces students to an array of woodworking and related fabrication techniques and processes. The use of hand, power and machine tools is taught through lectures, demonstrations and hands-on experience. Topics include basic woodworking techniques, safety procedures, wood identification, joinery, construction methods, shaping, turning, and finishing. Assigned and independent projects allow exploration while applying specific processes and techniques. Whether functional or sculptural, the goal of this course is to give students the knowledge to conceive and realize ideas in wood.

Slip Casting I is an introduction to slip casting ceramics. Slip casting is a method of producing multiple objects in ceramics. Students will learn how to translate their ideas, functional or sculptural, and concepts into clay, while learning fundamental mold making skills and processes. Throughout the semester, students will learn how to produce plaster molds, cast their objects in liquid slip, finish, and fire their work. Projects are focused on skillbuiding, but also delve into concerns of objectmaking and strength of concept.

This course introduces students to the medium of thermoplastics where they will learn the materials and techniques of plastics fabrication including cutting and joining, vacuum forming, drape and blow injection, foams, thermosetting plastics and casting.

This course will give students the knowledge and the tools to be able to replicate an object in one material in a different material such as plaster, plastic, cement, clay and other non-metallic materials. Students will be assigned exercises on basic mold-making principles, beginning with piece mold construction, continuing to applications and uses of various flexible molding techniques and ending with the waste mold technique.

This course is an intensive, hands-on, exploration of the lost wax foundry process and related technologies. Students are guided through the sequential stages of this foundry process, from concept realization, to the preparation of a casting master, to refectory mold, to metal pour, to finished casting. Participants will follow traditional and contemporary procedures form using hand, electric and pneumatic tools. Participants will actively engaged in this masterful process to produce one finished cast bronze metal sculpture of 3D form.

This hands-on course introduces the fundamentals of direct metal fabrication. Instruction and demonstrations are offered in basic processes such as welding, brazing, cutting, and shaping using the oxy-acetylene torch, shielded electric arc (MIG, TIG, Stick), plasma, various machine tools, and the forge.

This course will teach students how to make three-dimensional forms from sheet metal. Students will be able to produce a variety of volumetric forms for various purposes, from the simple to the complex, from abstract sculptural forms to functional applications.

This hands-on intensive class explores an array of traditional & experimental book structures essential to the production of conventional editions as well as complex, unique sculptural books. Students will create their own books based on the study of historic book structures and hands-on examination of numerous contemporary artist books. Central to this studio class is an emphasis on both technique and innovation so that students may explore the conceptual and material basis of the artist book.

This hands-on intensive class builds on the knowledge and skills that students have acquired from taking one of the introductory-level book classes at Pratt. Central to this studio class is an emphasis on both technique and innovation so that students may explore the conceptual and material basic of the 'artist book'. Students will produce a complex unique artist book and a small artist book edition.

This course introduces basic wood turing and bending techniques. Students will gain experience utilizing a variety of hand and power tools and equipment through lectures, technical demonstrations, and hands on experience in accordance with shop safety procedures. Students will apply and expand their knowledge through assigned projects.

In this course Students learn how to develop forms in whiteware clay to create an individualized canvas for painting. The course covers application of color and /or photographic images to clay, silk screening on clay, and the use of ceramic stains, engobes, china paints, overglaze, airbrushing, acrylics and enamel paints. The focus is on developing individual projects.

Through a series of hands-on exercises and projects, students will learn fundamental digital tools suitable for the design, modeling, rendering and production of objects. Students will primarily utilize Rhino in the design process, to generate technical drawings, create templates and produce files suitable for various CAM operations.

This fundamental course is an introduction to basic direct metal fabrication techniques used to create small scale, wearable objects using non-ferrous metals. Design development is addressed as an extension of studio work with special attention paid to issues relating to scale and the body.

This course instructs students in machine sewing and needle arts. The course will introduce fundamental sewing techniques needed to execute textile based fine arts, soft sculpture and soft industrial design projects. Students who complete the course will be certified to use basic sewing machinery in designated Fashion Design studios.