| | Description: | This course explores traditional and experimental 3D animation in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered short will be developed for two major projects. Advanced skill sets include development, character design, 3D modeling, rigging, visual effects, sound, and rendering. No prerequisites or previous experience required. This course can be taken multiple times at either the beginner or advanced level, and it is open to students of all levels across the university. Graduate and advanced students can build independent projects with permission of the instructor. |
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| | Description: | The demand for graphic literacy in contemporary culture is only increasing, redefining our need to understand how design functions and why. How can products and communication be crafted with the user in mind? How can design facilitate seamless, intuitive digital experiences? This studio course will address considerations for web, mobile, and other screen-based applications, including hierarchy, typography, iconography, layout, color, and image. This course is ideal for students seeking to learn fundamental graphic design and messaging principles and who want to produce robust, researched website and mobile application prototypes. Studio work will be supplemented by supporting lectures and readings. |
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| | Description: | In this course, students will create images appropriate for surface design application to products. Students will work toward developing icons and motifs using shape-based illustration, design, composition, hierarchy and thoughtfully considered color. Exploration will include visual content, artists, audiences, and trends in a fluid marketplace. Projects for this course will be in the applied context of gift and home decor markets, fabric design, stationery products, and toys. All skill levels of drawing and digital proficiency are welcome. This course is appropriate for art students whose work focuses on images/packages, design minors, and non-Sam Fox students interested in developing visual products. |
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| | Description: | Humans of the ancient world had to devote vast amounts of time and resources to the production of textiles such as clothing, bedding, ship's sails, and beyond. In this course you will dive into the textile production techniques of the ancient Mediterranean, with units on fiber preparation, spinning, weaving, laundry, and non-clothing textiles. In addition, we will explore the social structures (especially gender) which influence and are influenced by textile production.
This course has a significant hands-on component. It will be approximately 50% engagement with scholarship and 50% studio work. That means that every week you will be participating in the processes that you are reading about. There are no required prerequisite courses or skills, but you must be ready and willing to try new things with your hands.
The evidence for ancient fiber production is varied, and so the scholarship portion of this class will involve work in the fields of classical philology, art history, and archaeology.
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| | 01 | -T-R--- | 4:00P-5:20P | Eads / 116 | Kamens | May 7 2025 6:00PM - 8:00PM | 15 | 15 | 4 | | |
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| | 01 | -T-R--- | 4:30P-7:20P | Bixby / 124 | Oberkirsch | Final Critique | 0 | 14 | 13 | | |
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| | 01 | M-W---- | 4:15P-7:00P | (None) / | Smaldone | Final Critique | 0 | 1 | 0 | | Desc: | Painting II
Florence study abroad students only. |
| | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| Waits Not Allowed |
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| 02 | M-W---- | 4:15P-7:00P | (None) / | Smaldone | Final Critique | 0 | 1 | 0 | | Desc: | Painting IV
Florence study abroad students only. |
| | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| Waits Not Allowed |
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| | Description: | This course explores the potential of digital tools in the creation of tangible objects. We will focus on "component manufacture" as a means of sculptural production, i.e., creating linkages, universal fittings, and adaptors that connect disparate materials. Toys, mechanical systems, and construction products will be researched as a point of inspiration. Students will be introduced to various modeling software such as Rhino, AutoCAD, and SolidWorks and explore the potential of these platforms to design 3-dimensional forms. A variety of output tools will be used but we will focus primarily on the planning for and use of laser cutters, 3D printers, and CNC routers. We will develop, design, and manufacture components that, when combined with readily available materials, can be used to create sculptural forms. This class will use iterative processes that move between digital and analog model-making and sketching. Students will be introduced to the concept of kitbashing, and the modification of salvaged and found parts. This course introduces these concepts to artists, designers, engineers, and anyone interested in exploring the possibilities of digital fabrication tools towards the creation of sculpture. No prerequisites. |
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| | 01 | -T-R--- | 1:00P-3:50P | Walker Hall / 122 | Todd | Final Critique | 15 | 13 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 8:30A-11:20A | Bixby / 110 | Dawson | Final Critique | 13 | 13 | 2 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 1:00P-3:50P | Bixby / 124 | Toppins | Final Critique | 0 | 15 | 11 | | |
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| | Description: | This course supports the development of a cohesive body of work, building conceptual and technical skills for visual and photographic communication. A wide range of photographic tools, techniques and materials and an open encouragement for experimentation supports student development. This class is process oriented with emphasis on discovering one's creative and aesthetic voice. Students can expand upon works already in process before the start of this class, or they can identify new subject matter for deep investigation. With emphasis on classroom critique, students establish strong decision making and critical thinking skills as they work toward a final and cohesive body of work. Presentation, site specificity, materials, and audience will all be discussed as students bring projects to final form.
Prerequisites: Photography: Material & Culture, Black and White Photography, Digital Photography, or permission of instructor |
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| | Description: | Media art-including digital and electronic art, and interactive media-has expanded the fields of contemporary art and design globally. While media art histories developed alongside art and cultural histories, film studies, and computer science, they remain distinct. Emphasizing key concepts that drive practices this seminar begins with the Industrial Revolution and early optical devices, and ends with the rise of electronic goods, the Internet, AI, and technoculture. Through lectures, oral presentations, and
written papers, students gain an overview of the aesthetic, social, and political entwinements that have evolved between art, design, and technology over the past two centuries. |
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| | 01 | --W---- | 4:30P-7:20P | TBA | Olynyk | Final Critique | 15 | 7 | 0 | | Desc: | This course meets in the Weil Media Studio (Weil 005). |
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| | Description: | Through a blend of presentations from practitioners, classroom lectures, readings, discussion and hands-on exercises, this class will engage principles and methods of interaction design within the context of health challenges. Broadly defined, interaction design is the practice of designing products, environments, systems, and services with a focus on behavior and user experience. We will take on an in-depth challenge in the area of health and well-being and work in cross-disciplinary design teams with an external partner organization. Students will gain experience in planning and executing a human centered design process featuring research, ideation, synthesis, concept development, prototypes and a final presentation, which may include visual design, animation, and sound. Students will work in teams to develop several intermediate project deliverables, such as prototypes and sketches. No prior coursework is necessary though experience with Adobe Photoshop, Illustrator and InDesign are helpful. |
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| | Description: | This course explores traditional and experimental 3D animation in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered short will be developed for two major projects. Advanced skill sets include development, character design, 3D modeling, rigging, visual effects, sound, and rendering. No prerequisites or previous experience required. This course can be taken multiple times at either the beginner or advanced level, and it is open to students of all levels across the university. Graduate and advanced students can build independent projects with permission of the instructor. |
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| | 01 | -T-R--- | 8:30A-11:20A | TBA | Azzarella | Final Critique | 10 | 5 | 0 | | Desc: | This course meets in the Weil Media Studio (Weil 005). |
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| | Description: | In this course, students will create images appropriate for surface design application to products. Students will work toward developing icons and motifs using shape-based illustration, design, composition, hierarchy and thoughtfully considered color. Exploration will include visual content, artists, audiences, and trends in a fluid marketplace. Projects for this course will be in the applied context of gift and home decor markets, fabric design, stationery products, and toys. All skill levels of drawing and digital proficiency are welcome. This course is appropriate for art students whose work focuses on images/packages, design minors, and non-Sam Fox students interested in developing visual products. |
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| | 01 | M-W---- | 4:20P-6:00P | (None) / | [TBA] | Final Critique | 0 | 10 | 0 | | Desc: | Italian II
Instructor: Angelo Persichilli |
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| 02 | -T-R--- | 4:20P-6:00P | (None) / | [TBA] | Final Critique | 0 | 10 | 0 | | Desc: | Italian II
Instructor: Angelo Persichilli |
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| 03 | M-W---- | 12:50P-2:30P | (None) / | [TBA] | Final Critique | 0 | 5 | 0 | | Desc: | Italian III
Instructor: Angelo Persichilli |
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| | 01 | ----F-- | 11:00A-11:50A | Givens / 113 | Cushard | Final Critique | 30 | 44 | 0 | | |
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| | 01 | -T-R--- | 4:30P-7:20P | Bixby / 124 | Oberkirsch | Final Critique | 0 | 14 | 13 | | |
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| | 01 | -T-R--- | 4:15P-7:00P | (None) / | Munuera | Final Critique | 0 | 4 | 0 | | Desc: | Experimental Photography
Designed for students who show evidence of a strong foundation in black and white darkroom practices. The course will examine a variety of techniques that include Polaroid transfer, Cyanotypes, Tonning, Liquid emulsion and Digital painting. Students will experiment with image manipulation on different supports including 3-D. Class time will include visits to museums, field trips, technical demonstrations, darkroom work, individual and group critiques.
The course is designed for advanced independent students wishing to add the element of experimentation to their work in photography. This course is designed to expand the student's photographic vocabulary, to encourage experimentation, utilizing a variety of materials and techniques, and to push the boundaries of what makes a photograph.
In technical terms, the class will be concentrated primarily on the experimentation of alternative techniques and the development of a personal portfolio. Class time will include slide presentations on work by a wide variety of photographers, past and present, to help clarify project goals and possible approaches as well as to inspire students in their own work.
During class time there will be technical demonstrations, critiques and photo-shooting field trips.
All students must have analog SLR and digital cameras which function in manual mode. |
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| 02 | -T-R--- | 1:00P-3:45P | (None) / | Shtyrmer | Final Critique | 0 | 2 | 0 | | Desc: | Renaissance Painting and Drawing Techniques
SRISA's Renaissance Drawing and Painting Techniques course offers a rich and immersive Florentine hands-on experience designed for both studio artists and art historians. It delves into the methods and techniques that were developed during the Renaissance, which many contemporary artists still use today due to their richness and flexibility. For art historians, understanding how these materials were used to create the masterpieces of Florentine painting is of great interest.
During the Fall and Spring semesters, Renaissance Drawing and Painting Techniques program is divided into two separate sections:
The first section of the course focuses on Drawing, which played a crucial role in any 15th-century Florentine bottega. Students will explore its various applications and techniques and create master-copies and independent artworks using methods and materials that are compatible with the era.
The second section of the course is dedicated to Egg Tempera, a distinct 15th-century painting technique that allowed artists such as Botticelli, Ghirlandaio, and Bellini to produce outstanding artworks admired to this day. The students will learn the entire process of tempera painting, including ground preparation, underpainting, gilding, paint making, emulsions (such as tempera grassa), and painting methods and stages.
A comprehensive approach of this course blends historical research, hands-on experimentation, and a thorough comprehension of materials and techniques. We will delve into authentic textual and visual sources to establish a historical context for our creative work. By engaging in practical exercises, we will craft artworks utilizing the same methods and materials employed by Renaissance artists. Our focus will be on understanding the properties and combinations of materials, as well as the intricate stages involved in the painting process.
This program caters to individuals with varying skill levels, including both novices and those with prior knowledge, making it accessible to a wide range of participants. Previous painting or drawing experience is helpful but not required. The course offers a comprehensive practical experience using a variety of traditional materials and methods that were utilized in the creation of masterpieces during the Italian Renaissance. By engaging in hands-on demonstrations, group discussions, critiques, and field trips to relevant sites, students will acquire valuable insights.
The proximity of world-class museums to the SRISA campus presents an exceptional chance for students to engage in group discussions and conduct individual artistic research by studying genuine Renaissance paintings.
For further information regarding the course curriculum, please visit the website dedicated to the Renaissance Painting & Drawing Techniques Course. |
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| 03 | -T-R--- | 9:15A-12:00P | (None) / | Quaresmini | Final Critique | 0 | 1 | 0 | | Desc: | Garment Construction I
This course is an introduction to basic sewing and construction skills. Fabric definition, construction, and function are studied. Students learn hand sewing and finishing, body measurements, pattern use, fabric layout and cutting as well as machine operation. Students are required to create and complete garments.
At the end of every semester, students have the opportunity to show the work they have completed throughout the semester. Students are involved in the organization of the show, everything from the invitation to the press release, from the selection of music and accessories to the model casting, from the stage managing to the creation of the outfits is done by SRISA students. |
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| 04 | -T-R--- | 4:00P-6:45P | (None) / | Springer | Final Critique | 0 | 1 | 0 | | Desc: | Garment Construction I
This course is an introduction to basic sewing and construction skills. Fabric definition, construction, and function are studied. Students learn hand sewing and finishing, body measurements, pattern use, fabric layout and cutting as well as machine operation. Students are required to create and complete garments.
At the end of every semester, students have the opportunity to show the work they have completed throughout the semester. Students are involved in the organization of the show, everything from the invitation to the press release, from the selection of music and accessories to the model casting, from the stage managing to the creation of the outfits is done by SRISA students. |
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| | Description: | Fashion styling, marketing, and public relation techniques are engaged to promote and exhibit fashion products. Emphasis is on creativity and innovation, particularly by harnessing technology, to enhance contemporary fashion promotion and exhibition. Students plan and execute the
annual Fashion Design Show, highlighting the fashion design Senior Capstone collections. In-class discussions, lectures, guest speakers, and active planning are accompanied by readings, video analyses, and on-site
production work. Students are evaluated on ability to manage and execute projects, critical thinking, and communication. |
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| | 01 | -T-R--- | 11:30A-12:50P | Bixby / 9 | Ruppert-Stroescu | Final Critique | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 11:30A-12:50P | Weil / 120 | Dingwall | See Instructor | 0 | 14 | 8 | | |
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| | Description: | Since the beginning of the 20th century, art, architecture, and urbanism together have investigated the production of images that shape the symbolic dimension of our experience of large cities. The main goal of this course is to critically embrace this tradition through the format of the artist's book. St. Louis is the focus for our observations because it is familiar to our everyday lives and also because it provides key situations for understanding contemporary forms of urbanity and how urban space is produced and imagined. The course bridges the curricular structures of art and architecture by enhancing the collaboration between the practical and scholarly work developed in both schools, with additional support from Special Collections at Olin Library. It combines the reading, lecture, and discussion format of a seminar with the skill building and creative exploration of a studio. This course is divided into three progressive phases of development: the first consists of weekly readings, discussion, and responses in the form of artist's books. The second phase focuses on the Derive with physical activities and assignments based on interacting directly with the urban environment. The third phase focuses on individual research, documentation, and final book design and production. College of Architecture and College of Art sophomores, juniors, and seniors have priority. |
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| | 01 | --W---- | 1:00P-3:50P | Bixby / 124 | Lima | Final Critique | 12 | 12 | 1 | | |
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| | Description: | This course explores traditional and experimental 3D animation in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered short will be developed for two major projects. Advanced skill sets include development, character design, 3D modeling, rigging, visual effects, sound, and rendering. No prerequisites or previous experience required. This course can be taken multiple times at either the beginner or advanced level, and it is open to students of all levels across the university. Graduate and advanced students can build independent projects with permission of the instructor. |
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| | 01 | -T-R--- | 1:00P-3:50P | Kemper / 040L | Navy | Final Critique | 16 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | Description: | In this course, students will create images appropriate for surface design application to products. Students will work toward developing icons and motifs using shape-based illustration, design, composition, hierarchy and thoughtfully considered color. Exploration will include visual content, artists, audiences, and trends in a fluid marketplace. Projects for this course will be in the applied context of gift and home decor markets, fabric design, stationery products, and toys. All skill levels of drawing and digital proficiency are welcome. This course is appropriate for art students whose work focuses on images/packages, design minors, and non-Sam Fox students interested in developing visual products. |
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| | 01 | M-W---- | 8:30A-11:20A | Steinberg / 6 | Bosch | Final Critique | 15 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | Description: | This writing and studio course explores the creation of non-fiction stories and essays through the integration of words and visual material. Students will write several pieces, and create typographic, information design, and other visual responses to their words. Projects will take the form of digital and printed books, posters, and animatics, and will be evaluated for writing and voice, visual material, and design. This course is ideal for students who have experience or interest in non-fiction storytelling and journalism through writing, typography, data visualization, graphic design, photography, or illustration.
Prerequisite for undergraduates: F10 238B, Word and Image I; OR F10 238C, Typography I; OR Writing I
Prerequisite for graduates: None |
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| | 01 | M-W---- | 11:30A-12:50P | Walker Hall / 206 | Corcoran | Final Critique | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | TBA | | TBA | Akins | Final Critique | 0 | 1 | 0 | | |
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| | Description: | What is a designer? An artist, or an entrepreneur? A professional, or a worker? A maker of things, or an administrator of systems? A community leader, or agent of capitalism? In this seminar, we will explore recent writing by design scholars and design practitioners who are, in different ways, asking about the role of designers in society. While learning the histories and theories guiding current debates, the course
offers a space for students to reflect critically on the present and future of the design professions in discussion, weekly writing exercises, and a semester-long research project. |
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| | 01 | -T-R--- | 4:30P-7:20P | Bixby / 124 | Oberkirsch | Final Critique | 0 | 14 | 13 | | |
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| | Description: | This studio course explores analog (non-digital) mixed-media and its usage in contemporary illustration practice. Students will explore a variety of hands-on media such as pen and ink, brush and ink, watercolor, gouache, acrylic, monotype printmaking, cut paper, collage, and an assortment of drawing materials. Demonstrations will be given for each media assigned, including lectures on artists and illustrators pertaining to each new material. Students will be assessed on their comprehension of media through the execution of individual assignments. At the conclusion of the semester, students will be well-versed in analog media and equipped to navigate their own artistic development.
Prerequisites: College of Art majors only. Junior standing or higher. |
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| | 01 | M-W---- | 1:00P-3:50P | Weil / 230 | Kinsella | Final Critique | 0 | 15 | 5 | | |
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| | Description: | The Early Renaissance - also known as the quattrocento - usually denotes the period from circa 1400 to circa 1500. In those 100 years, Italy, particularly Florence, witnessed an extraordinary coming together of artistic talent, a passionate interest in the art and culture of Greek and Roman antiquity, a fierce sense of civic pride and an optimistic belief in the classical concept of "Man as the measure of all things". This course examines the principal artists who contributed to this cultural revolution. In order to take full advantage of the special experience of studying the renaissance in the very city of its birth, the stress is mainly, although not exclusively, on Florentine artists who include sculptors such as Donatello, Verrocchio, and Michelangelo, painters such as Giotto, Masaccio, Uccello, Botticelli, Leonardo, and Raphael; architects such as Brunelleschi and Alberti up to Sangalo. |
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| | 01 | M------ | 9:00A-12:00P | (None) / | Giraldi-Haller | Final Critique | 0 | 13 | 0 | | |
| 02 | --W---- | 9:00A-12:00P | (None) / | Giraldi-Haller | Final Critique | 0 | 12 | 0 | | |
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| | 01 | -T-R--- | 11:30A-12:50P | Weil / 120 | Dingwall | See Instructor | 0 | 14 | 8 | | |
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| | Description: | This course explores traditional and experimental 3D animation in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered short will be developed for two major projects. Advanced skill sets include development, character design, 3D modeling, rigging, visual effects, sound, and rendering. No prerequisites or previous experience required. This course can be taken multiple times at either the beginner or advanced level, and it is open to students of all levels across the university. Graduate and advanced students can build independent projects with permission of the instructor. |
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| | Description: | In this course, students will create images appropriate for surface design application to products. Students will work toward developing icons and motifs using shape-based illustration, design, composition, hierarchy and thoughtfully considered color. Exploration will include visual content, artists, audiences, and trends in a fluid marketplace. Projects for this course will be in the applied context of gift and home decor markets, fabric design, stationery products, and toys. All skill levels of drawing and digital proficiency are welcome. This course is appropriate for art students whose work focuses on images/packages, design minors, and non-Sam Fox students interested in developing visual products. |
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| | Description: | This course explores user-centered interface design for screen-based, interactive experiences. Applying information design principles and programming design strategies, students will create advanced functional prototypes while practicing the UX/UI process, including research, content architecture, wireframing, usability testing, visual design and iterative development. Students will deliver responsive websites and mobile applications, investigate the unique possibilities of mobile devices, and consider alternate digital canvases. The course will emphasize clear organization and communication, typographic refinement and visual execution. Studio work will be supported by lectures and readings.
Prerequisites: Visual Principles for the Screen, Word and Image I, or Interaction Foundations, or by permission from the instructor
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| | 01 | -T-R--- | 4:30P-7:20P | Bixby / 124 | Oberkirsch | Final Critique | 0 | 14 | 13 | | |
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