Fine Arts Modules

Drawing is the foundation of all fine arts forms. This module will introduce students to the materials and techniques of drawing, and familiarize them with a range of proposed drawing approaches. The goal will be to provide training in the coordination of hand and eye, and to facilitate the development of visual analysis. Areas of focus will include form, space, light and composition. Students will be provided with the opportunity to determine the drawing approach (or approaches) most comfortable for them. They will be encouraged to experiment with combining approaches. Exercises will include, but not be limited to, gesture drawing, contour drawing, additive approaches and subtractive techniques. Results are achieved through the exploration of a number of drawing systems, with a view toward developing individualized, integrated approaches in the studio environment. The second half of the module will involve projects emphasizing drawing skills, analytical thinking, visual translation and the recognition of an emerging personal style. The majority of assignments will be concept-based, designed to encourage students to develop an individualized visual language and stylistic approach. Mass, volume, values and dimension are only a few of the concepts that will be thoroughly investigated. An array of subject matter will be incorporated into exercises and assignments, to acquaint students with a wide variety of drawing elements. Assessment is based upon ongoing individual project analysis, peer review, and a student portfolio submitted at the end of the module. Back to Top

This module will introduce students to safe and productive studio work habits. The proper handling of tools for a wide range of media will be discussed. Students will learn all proper safety precautions and will be introduced to safety equipment. Safe and environmentally sound storage and disposal methods will be discussed, for all liquid and dry materials utilized in the entire programme. Students will also learn the basics of using a variety of tools. Organization of the studio space, efficient work habits, and the setup and maintenance of an effective studio space will all be covered in this essential module. This module is required for most Fine Arts majors. Results are achieved through the practical application of concepts, throughout the term. Assessment is based upon close observation of the ongoing individual work process, and through the written and practical testing of terminology and practical procedures. Back to Top

This module will cover essential information students need to know for successful painting, in all media. Students will learn about the properties of paint, brushes, mediums and optional painting surfaces. Procedures common to painting in any medium will be discussed and demonstrated. Students will learn how to properly prepare, glaze and finish a variety of painting surfaces. Options for preparatory sketching will be discussed, along with other general approaches. Specific issues and techniques that help to define lyrical and monumental styles will be explored through a series of painting exercises. Through these exercises, students will also come to understand how line follows form. Safety procedures and environmentally sound painting practices will also be discussed. Students will leave this module well-prepared to begin working in a variety of painting mediums. This module is required for all students who plan to proceed to higher levels of painting. Results are achieved through the practical and aesthetic considerations applied to painting, as they are realized in the studio environment. Assessment is based upon ongoing analysis of individual progress, peer review, critical analysis and a term end portfolio. Back to Top

Students will be introduced to numerous tools and materials to begin preparing them for sculpture in wet and dry media. General aesthetic and design principles relevant to sculpture will be examined, in relation to relief sculpture and sculpture in the round. The relationships between materials and the artist’s vision will be explored, and students will be introduced to a wide variety of sculpting options. Safety procedures and environmentally sound practices will also be discussed. This module is required for all students who plan to proceed to higher levels of sculpture in the round. Results are achieved through the practical, formal and aesthetic considerations as they are applied to sculpture. Assessment is based upon ongoing analysis of individual progress, peer review, critical analysis and a portfolio and exhibition project series. Back to Top

This module will familiarize students with a variety of alternative media options. Principles and procedures for testing and preserving materials will be discussed, in order to prepare students for acquiring the knowledge necessary for selecting alternative media, in both synthetic and organic forms. Preparatory procedures and design principles relative to alternative media in two-dimensional and three-dimensional formats will be examined, as will a variety of tools and techniques. Safety procedures and environmentally sound practices will also be discussed. Students will leave this module reading to begin working on a variety of projects in alternative media. This module is required for all students who plan to proceed to higher levels of alternative media. Results are achieved through conceptual and experiential approaches to synthetic and organic media. Assessment is based upon ongoing analysis of individual progress, round table peer review processes, critical analysis, testing of principles and a term end portfolio. Back to Top

This module will be a project-based introduction to tools and methods of digital media. Emphasis will be placed on examining how digital tools can contribute to the activity of the artist. An overview of many of the software and hardware options available will familiarize students with numerous directions that can be taken with the technology. Numerous examples of digitally enhanced and created art will be examined. Students will leave this module well-prepared to begin an aggressive study into digital art. This module is required for all students who plan to proceed to higher levels of digital art. Results are achieved through thematic conceptualization and experiential approaches to digital art. Assessment is based upon ongoing analysis of individual and group projects, round table peer review processes, critical analysis, and a fully executed term end project series. Back to Top

This module will introduce students to the history and evolution of graphic arts. Essential design principles will be discussed and explored in a variety of graphic arts media applications. Manual and digital approaches will be addressed, along with combined graphic arts applications. A variety of tools and materials will be introduced to students, and their proper uses will be demonstrated. Students will leave this module prepared to move on to more advance study into graphic design arts. This module is required for all students who plan to proceed to higher levels of graphic design arts. Results are achieved through exploration and examination, and students will demonstrate their evolving understanding of underlying principles, through experiential approaches. Assessment is based upon ongoing analysis of individual design projects, round table peer review processes, critical analysis, and a fully executed term end project series. Back to Top

This module will survey fundamental elements and principles of design that are applicable to all effective artistic creations, regardless of media, format, styles, subject matter and/or approaches. In the contemporary art world, new developments are emerging every day, as are new ideas on how art is defined and what makes a work “art.” Despite the accelerated pace of change, there are core principles upon which any design must be based, if it is to be successful. Students will examine a variety of works of art in a range of media and formats, as a way of identifying and defining these principles, and the contributing elements, and complete a series of design projects. This module is required for all Fine Arts majors. Results are achieved through experiments in building an idea from a substantive base. Students will have the opportunity to see items of magnificent and poor design, and to determine how these works succeed or fail—and why. Assessment will be based upon testing on fundamental principles, and on ongoing analysis of individual projects, round table peer review processes, critical analysis, and a term portfolio. Back to Top

This module will introduce students to the terminology used to discuss art (the language of art history) and the evolving terminology of cultural art history. In addition to teaching the definition(s) of the art historical and cultural art historical vocabularies, this module will teach students how to properly apply and use those terminologies, in various communication modes. In the fast-paced, global environment, it is important for professionals to be articulate about their knowledge. This module is a requirement for all Fine Arts majors. Results are achieved through exercises in verbal and written communication on an array of topics of a cultural art historical nature. Assessment is based on the progress made in these exercises and on term projects. Back to Top

A survey of the great monuments of art and architecture, from its beginnings in caves through the arts of Egypt, Mesopotamia, Greece and Rome, Byzantium, the Islamic world, and medieval western Europe. This module will attempt to familiarize students the ways in which painting, sculpture, and architecture are related to mythology, religion, politics, literature, and daily life. This module is required for all Fine Arts majors. Results are achieved through presentations that provide a visual introduction to the history of art. Emphasis will be placed on identifying artistic influences, and the ways in which they are articulated. Assessment will be based on exams and term projects, which include a research paper. Back to Top

This module will guide students through the process of building a portfolio of their work that is representative of their visions, talents, approaches, skills and styles. In addition to learning the appropriate methods for formal presentation, students will examine the creative and aesthetic aspects of building a portfolio. Because the portfolio is the artist’s resume, and will often make the difference between acceptance and non-acceptance, this module is essential to all students of studio art. Regardless of how certain an artist may be of his or her capabilities, the secret of success lies in convincing others, through presentation. That is the role of the portfolio. Students will leave this module with the ability to assemble, select, organize, mount and display their art, for professional purposes. This module is required for all Fine Arts majors. Results are achieved through a serious examination of portfolio arts and exercises in building a portfolio. Assessment is based upon a demonstrated ability to assemble, select, organize, mount and display art, for professional purposes. Back to Top

Students will learn the painting technique in which a gum is added to watercolours, producing an opaque effect. In gouache, colour lies on the surface of the paper, forming a continuous layer, or coating. Students will learn how to produce their own gouache work, a form dating back to antiquity, which is characterized by a directly reflecting brilliance. The proper papers, tools and mediums will be discussed, and relevant preparatory and design principles will be examined. Safety procedures and environmentally sound practices will also be discussed. Students will leave this module reading to begin working in the unique gouache medium. This module is required for all students who plan to proceed to higher levels of gouache. Results are achieved through experiential approaches to gouache through a series of term exercises. Assessment is based upon ongoing analysis of individual progress, round table peer review processes, critical analysis, and a term end portfolio. Back to Top

This module will introduce students to the origins of the minor and decorative arts, and to their evolved (and expanded) definitions. An examination of the minor and decorative arts, in relation to what are traditionally defined as fine art, will contribute to students’ understanding of the artistic visions underlying the minor and decorative traditions. Experimentation with a wide range of media, tools and materials will provide students with a solid basis from which to proceed to more advanced work. Safety procedures and environmentally sound practices will also be discussed. This module is required for all students who plan to proceed to higher levels of the minor and decorative arts. Results are achieved through the historical study of the minor and decorative arts, and through integrated approaches to the minor and decorative arts. Assessment is based upon ongoing analysis of individual progress, round table peer review processes, critical analysis, and a fully executed term end exhibit. Back to Top

This module will introduce students to numerous options in mixed media art, in two-dimensional and three-dimensional forms. Through examination and experimentation, students will learn which media work well together, and which media cannot be combined (for either safety or stylistic reasons). Design principles relevant to mixed media will be discussed and the relationships between materials, and the overall vision will be examined. Students will be encouraged to experiment with materials as a way of learning about them, and their combined effects. Safety procedures and environmentally sound practices will also be discussed. Students will leave this module reading to begin working in the mixed media environment. This module is required for all students who plan to proceed to higher levels of mixed media. Results are achieved through informed experiential approaches to mixed media. Assessment is based upon ongoing analysis of individual progress, peer review, critical analysis and a term end exhibition and portfolio. Back to Top

Industrial design is the design of products made by large-scale industry for mass distribution. Designing such products means first planning their structure, operation, and appearance, and then planning these to fit efficient production, distribution, and selling procedures. Appearance is only one factor in a complex process. Nevertheless, in consumer goods appearance design is widely accepted as the principal virtue of industrial design. It is that portion of the whole least subject to rational analysis and most advantageous in commercial competition. On the other hand, design of equipment for production, for services, and for sports is expected to demonstrate utility. This module will introduce students to fundamental principles of industrial design, and to the many types of designers and kinds of design that are associated with this discipline. Students will leave this module with a basis from which to begin studying the many avenues and layers of industrial design. This module is required for all students who plan to proceed to higher levels of industrial design. Results are achieved through the historical study of industrial design, and through integrated approaches to design through execution stages. Assessment is based upon ongoing analysis of individual progress, round table peer review processes, critical analysis, testing of principles and a fully executed term end project. Attention will be paid to industry standards and trends in the evaluating processes. Back to Top

This module will introduce students to essential two-dimensional design principles that will ultimately be useful in any and all formats and applications. Students will become familiar with a variety of black and white media, by completing a series of assigned projects. Each assignment will embody a core principle. Students will be given guidelines, but will have great flexibility in executing the assignments. A range of techniques will be demonstrated, in media including inks, charcoals, conté crayons, and mixed media in black and white. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. This module is required for all Fine Arts majors. Results are achieved through a series of assignments design to train students on how to build a complex idea from a simple stable design foundation. Assessment is based upon an analysis of individual progress, peer review critiques, and a term portfolio. Back to Top

This module will take students on an investigation into the three-dimensional design process, through modeling, carving, fabricating, sculpting and casting. Issues of approaches to volume and mass will be explored, along with the definitions of monumental and lyrical approaches. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of the constructive criticism. This module is required for all Fine Arts majors. Results are achieved through an emphasis on examining traditional and contemporary concerns of three-dimensional design through an analysis of historical examples, and through work completed in a variety of media, submitted in a term portfolio. Back to Top

This module will expose students to a variety of alternative media, and provide students with the opportunity to explore and introduce new alternative media. A variety of media types will help students become familiar with the properties of materials and their results. Students will work with numerous tools and support materials, and will learn safe and productive ways of using them. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of the constructive criticism. Results are achieved through a series of exercises and assignments, in which students apply fundamental design principles to their own ideas, in various media, from industrial to organic forms. Assessment is based upon an analysis of individual projects, peer review processes, and a term project series and portfolio. Back to Top

This module will provide an introduction to small-scale metal construction. Step-by-step, students will go through the process of creating a small-scale metal work, thereby becoming acquainted with style and technique options. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Students not having access to specialized equipment can create projects manually. Results are achieved through a series of assignments designed to familiarize students with the fundamentals of fabrication, and a variety of tools, materials, techniques and design options. Assessment is based upon an analysis of individual projects, peer review analyses, and a term project series.. Back to Top

This module will familiarize students with the broad potential of the dry pastel medium. Additive and subtractive methods will be demonstrated, as will the range of options using a chamois. Students will experiment on a variety of foundations, and will be given tips on the proper use of fixative (and optional substitutes) and will learn how to best finish, present and preserve works in created in the dry pastel medium. Emphasis will be placed on how basic design principles are best observed in this medium. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Results are achieved through a series of exercises and assigned projects in which students will explore rendering works in pastels that range from the translucent to the opaque. Assessment will be based upon an analysis of individual projects and a term portfolio. Emphasis will be placed on how well students apply basic design principles to the pastel medium. Back to Top

In this module, students will create series of drawings of a living model in various media. Topics covered will include artistic anatomy, figure and portrait drawing. Exercises will include gesture, contour, and modeling approaches, using additive and subtractive techniques. The primary goal of this module will be to train students to begin looking at the human face and figure as artists. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Students who are unable to work with live models may work from anatomical models, figurative sculpture or from photographs. Students will be trained on adjustments that need to be made when working from photographs. Results are achieved through a concentration on areas of specific focus that include form, space, light and composition, as they apply to the human figure. Assessment is based upon an analysis of individual exercises and a term portfolio. Back to Top

This module will provide students with a hands-on familiarity with enamels, and the variety of ways in which they can be used. Techniques such as cloisonné, champlevé, basse-taille, plique-à-jour, grisaille enamels and encrusted enameling will be examined. The proper handling of metals will be addressed, and the correct mixing and application of powdered enamels will be explored. Students will leave this module with a broad knowledge of enamel options, and the ability to move on to more advanced work. Results are achieved through an analysis of projects designed to familiarize students with the proper materials, bases, and procedures involved in each approach addressed in the module. Assessment is based upon an analysis of individual projects and term project series. Back to Top

This module will familiarize students with the various types of relief sculpture including low or bas-relief (basso-relievo), high relief (alto-relievo), middle relief (mezzo-relievo), sunken or incised relief, and intaglio. Students will work with numerous tools and materials to produce several works in all types and combinations of relief. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Results are achieved through an emphasis on additive and subtractive methods as they apply to the various carving and relief applications explored. Assessment is based upon student proficiency at a variety of carving techniques, as revealed in ongoing exercises and a term project series. Back to Top

This module will provide students with the opportunity to experiment with textiles, tools, materials and supplies, relative to textile arts. Following some broad and simple guidelines, students will have the flexibility to articulate their own visions, in either two-dimensional or three-dimensional forms, employing textiles. Numerous examples of textile art will be examined, in order to get students’ creative juices flowing. Results are achieved through ongoing demonstration on how fundamental design principles are applied to textile applications, with a strict focus on using textiles in their original forms. Assessment is based upon an ongoing analysis of student projects, and a term project series. Back to Top

Any material that can be shaped in three dimensions can be used sculpturally. Certain materials, by virtue of their structural and aesthetic properties and their availability, have proven especially suitable. This module will focus on sculpture in the round using wet media. Design principles as they relate to sculpture will be thoroughly analyzed. Students will learn fundamental hand-building techniques, how to create molds, and how to construct inner frames and bases. Students will complete a series of exercises and assigned projects as a way of becoming familiar with numerous tools and techniques. Media explored in this module will include clay, plaster, organic mediums, and industrial mediums. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Assessment is based upon the successful completion of the exercises and projects assigned, as per industry and educational standards. Back to Top

Oil pastels are pigments ground in mastic with oil of turpentine, poppy oil and other substances. They are used in a similar way to that of French pastels (a subject of one of the 600 level modules) but are already fixed and harder, producing a permanent, waxy finish. Oil-pastel paintings are generally executed on white paper, card, or canvas. The colours can be blended if the surface of the support is dampened with turpentine or if they are overworked with turpentine. While they have been most popular for small preparatory studies for paintings, this module will focus on oil pastels as a viable fine arts medium, in its own right. Results are achieved through an exploration of a wide range of applications for oil pastels, along with varied techniques for applying them. Emphasis is placed on combining a variety of techniques in a singular work. Assessment is based on individual student progress, and a term portfolio. Back to Top

This module will familiarize students with basic oil painting techniques and materials, emphasizing perception and colour. This module will encourage individual stylistic development through experimentation. Students will complete a series of exercises and assigned projects, and will explore concepts and techniques including mixing, blending, shading, values, tinting, shading, washing, glazing and frisketing, as these are employed using oil paints. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Students will have the choice of using traditional oils, water soluble oils or both. Results are achieved through assignments designed to assist students in understanding creative oil painting processes, and interpreting the environment through a variety of subject matter expressed in painted images. Assessment is based upon ongoing painting exercises and a term exhibit. Back to Top

This module will familiarize students with paintings executed in the medium of synthetic acrylic resins. Acrylics dry rapidly, serve as a vehicle for any kind of pigment, and are capable of giving both the transparent brilliance of watercolours and the density of oil paint. A variety of tools, mixing mediums, and techniques will be explored through a series of exercises and assigned projects. Techniques such as layering, frisketing, shading, blending and impasto, as they are executed in acrylics, will be thoroughly explored. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Results are achieved through a series of assignments developed to explore the unique characteristics of acrylic paints, in order to identify ways in which they might best be utilized in painting. Assessment is based upon individual progress, and an analysis of a term series dedicated to articulating the relationship between the subject matter, theme and acrylic medium. Back to Top

This module will familiarize students with artwork executed in pen and ink on Bristol board. Pen drawing is fundamentally a linear method of making images. In pure pen drawings, in which the artist wishes to supplement his outlines with tonal suggestions of three-dimensional form, modeling must necessarily be achieved by the close juxtaposition of a series of strokes forming areas of hatching, cross-hatching, and stippling. Many pen studies are also produced with the substitution of ink washes laid onto the drawing with a brush, in which cases the outlines or other important definitions of the figures or landscape are established by the pen lines. Students will leave this module with a comprehensive understanding of pen & ink, and the ability to move on to more advanced work. Results are achieved through exercises and assignments designed to familiarize students with the entire range of pen & ink techniques. Assessment is based upon analyses of a series of quick-studies, longer terms exercises, and a term portfolio. Back to Top

Abstract Art (also called Nonobjective or Nonrepresentational Art) refers to art in which the portrayal of things from the visible world plays no part. This module will remind students that all art consists largely of elements that can be called “abstract” such as elements of form, colour, line, tone, and texture. By examining an evolutionary series of abstract works, students will develop an understanding of the deep distinction between abstracting from appearances (even if to a point beyond recognition) and the creation of art out of forms not drawn from the visible world. Through a series of exercises and assignments, students will create works utilizing abstracted and non-referential visual elements. Emphasis will be placed on identifying the motivations behind abstract choices, and weighing the impact individual abstract components have on the overall abstract work. Assessment is based upon the articulation of students’ understanding of abstract approaches as manifested in their exercises, assignments and projects. Back to Top

Building upon principles and practices acquired in earlier levels of this art form, students will advance to the addition of colour in two-dimensional design. Techniques such as washing and glazing will be explored. Students will complete exercises and assignments that initially introduce touches of color in the design process. Later in the module, colour will become the design theme and students will develop a strong sense of hues, tones, values, shades, tints, and their “translations” in the two-dimensional design. Assessment is based upon demonstration of two-dimensional design concepts, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives. Back to Top

Advancing on knowledge and experience acquired in earlier levels of three-dimensional design, students will complete more complex exercises and assignments, in a wider variety of media options. Students will complete a module project in which they will employ several techniques to the creation of a new work. Criteria on size and placement will be given to students, from which point they will develop and produce their own ideas, with the Instructor’s guidance. Assessment is based upon demonstration of three-dimensional design concepts, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives. Back to Top

Advancing on the tactile and design experiences of earlier levels of this module, students will develop more complex and original creative visions in alternative media of their own choosing. Students will also be required to experiment with mediums not yet introduced, and to present an original work utilizing that medium. Additional tools and techniques will be introduced to students, along with preparation and finishing procedures, relative to chosen media. Assessment is based upon demonstration of a synthetic understanding of alternative media concepts, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives. Back to Top

This module will familiarize students with more complex fabrication techniques and with the combination of various metals. Students will also be trained in the use of more advanced tools and techniques. Students will construct more complex small scale metal constructions, building upon the skills acquired in earlier levels of this fine arts form, and new techniques acquired in this module. Students will design and execute their own project ideas, under the guidance of the Instructor. Assessment is based upon demonstration of small scale metal construction concepts, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives. Back to Top

This module will offer students the opportunity to develop an original industrial design, utilizing the concepts previously learned and bearing in mind the accepted trends in industrial design. Emphasis will be placed on training students to clearly articulate their designs on paper, using appropriate terms, symbols and design approaches. Working with a specific set of guidelines, students will create an industrial design of an improved version of an existing product. Assessment is based upon demonstration of industrial design concepts, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives, and from the perspective of industry standards and trends. Back to Top

The properties of dry pastels cause them to be an enormously versatile medium. Works rendered in dry pastels can appear very delicate, very organic, very rough or very polished. In this module, students will develop four projects in the pastel medium, with each being very different in application and appearance. Students will be given guidelines on execution, however subject matter will be of their own choosing. The assignments will give students the opportunity to experiment on a variety of foundation surfaces. More importantly, they will discover the broad versatility of the dry pastel medium. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

This module will involve continued experimentation in the various enamel techniques and approaches. Students will be expected to complete three projects, utilizing three of the approaches previously learned (cloisonné, champlevé, basse-taille, plique-à-jour, grisaille enamels and/ encrusted enameling). The goal of this module will be to train students to execute designs compatible with enamels, and to begin focusing on those techniques that are most appealing to them. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

In this module, students will advance their knowledge and expertise in bas-relief, middle, high and sunken relief, and intaglio. New media tools and techniques will be explored, and assigned projects will be of a more complex nature than those assigned in level I of this module. Students will be required to complete a module project that incorporates three levels of relief. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

This module will introduce students to new materials, such as dyes and fabric paints, which students will experiment with in a series of exercises. Several projects will be assigned that will require students to combine textiles, and apply new materials introduced. Mediums for manipulating fabrics will also be explored. Students will be required to design and develop module projects that incorporate a range of materials and techniques. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

This module will familiarize students with watercolours in ways that will dispel any preconceived notions about the medium’s limitations. By examining numerous watercolour works, students will be able to see the widely differing ways in which watercolours can be applied, and how the potential expands the possibilities. This understanding will be applied to practical exercises and assignments. In studio settings, students will participate in group critiques. This process will school students in utilizing correct terminology to discuss their work and the work of others. They will also discover the value of constructive criticism. Results are achieved through a variety of exercises and assigned projects, and experimentation with a range of papers, brushes, techniques and applications, informed by a through study of successful watercolours. Assessment is based upon student critiques and analyses of individual assignments and a term portfolio. Back to Top

In this module, students will learn the fine art of painting on glass. Advancing through the module students will complete introductory exercises and then render more complex glass paintings. Lead stripping will also be introduced, and students will acquire skills that will enable them to execute works that resemble traditional stained glass, while retaining unique characteristics. Emphasis will be placed on maximizing the translucent nature of glass painting in the designs. Students will be required to complete one module project. Whether or not lead stripping is employed will be up to the student. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

In this module, students will advance their understanding of assemblage art by developing more complex assemblage designs, and incorporating a broader range of materials. Two major projects will be required for successful completion of this module. One will focus on the assemblage materials as the subject matter of the piece, the other will focus on the assemblage materials as communicators of a broader vision. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. ` Back to Top

Students will expand on their understanding of oil painting in this module, and will explore new techniques, such as impasto and palette knife painting. New painting surfaces will also be explored and students will discover, through a series of exercises, the significance of the painting surface. Students will be required to complete two module projects, utilizing a variety of oil painting techniques and on two different foundations. Students will be encouraged to identify their personal styles and interests, and develop a term project based on those considerations. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

In this module, students will explore new techniques, such as sponging and corking, in order to advance their understanding of how the acrylic medium can be manipulated. New painting surfaces will also be explored and students will discover, through a series of exercises, the significance of the painting surface. Executing volume and mass in acrylics will be explored as well. Students will be required to complete two module projects, utilizing a variety of acrylic painting techniques and on different foundations. On one project, students will need to take a less dimensional, more linear approach. Students will take a more volumetric approach on the second project, focusing on developing dimension. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

This module will focus on a broad range of tools, materials and techniques for sculpture in the round, in dry media. Emphasis will be placed on subtractive methods, and students will become proficient at utilizing a variety of sculpting tools and techniques. Students will sculpt several projects in such media as industrial foam, wood, raw insulated firebricks and other media. Emphasis will be placed on familiarizing students with techniques that may eventually be applied to stone sculpture. Students will complete three small sculptures as terms projects, in three different media and of different subjects. Assessment is based upon the demonstration of concepts explored, as articulated in exercises and assigned projects, from both formal and aesthetic perspectives—and from the perspectives of industry standards and trends. Back to Top

In this module, students will complete four projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in two-dimensional design. The themes and guidelines of the projects will be defined by the Mentor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the four projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete two projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in three-dimensional design. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the two projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete three projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in alternative media. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the three projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete two projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in small-scale metal construction. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the two projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete one project design, which will incorporate the principles, materials, techniques, and skills they have explored to date, in industrial design. The guidelines of the project will be defined by the Instructor. However, students will be given great latitude and flexibility in the execution of their design. In this module, students will be evaluated wholly on the basis of the design submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete two projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in digital art. One project will be an original work, digitally enhanced. The other will be a work of art digitally produced. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the two projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete three projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in dry pastels. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the three projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete three projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in gouache. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in their execution of the works. In this module, students will be evaluated wholly on the basis of the three projects completed. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete one project, in the enamel technique of their choice, which will incorporate the principles, materials, approaches, and skills they have explored to date, in that technique. The guidelines of the project will be defined by the Instructor. However, students will be given great latitude and flexibility in the execution of their project. In this module, students will be evaluated wholly on the basis of the design submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete one project design, which will incorporate the principles, materials, techniques, and skills they have explored to date, in industrial design. The themes and guidelines of the project will be defined by the Instructor. However, students will be given great latitude and flexibility in the execution of their design. In this module, students will be evaluated wholly on the basis of the design submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete two projects, which will incorporate the principles, materials, techniques, and skills they have explored to date, in textile arts. One project will be created using textiles only and the other will include the use of dyes and paints. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in the execution of their projects. In this module, students will be evaluated wholly on the basis of the two projects submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete one major project, which will incorporate the principles, materials, techniques, and skills they have explored to date, in oil painting. The theme and guidelines of the project will be defined by the Instructor. However, students will be given great latitude and flexibility in its execution. In this module, students will be evaluated wholly on the basis of the project submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete two projects, which will incorporate the principles, materials, techniques, and skills they have explored to date, in acrylic painting. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in the execution of their projects. In this module, students will be evaluated wholly on the basis of the two projects submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

In this module, students will complete two projects, which will incorporate the principles, materials, techniques, and skills they have explored to date, in sculpture in the round. One project will be executed in a wet medium, the other in a dry medium. The themes and guidelines of the projects will be defined by the Instructor. However, students will be given great latitude and flexibility in the execution of their projects. In this module, students will be evaluated wholly on the basis of the two projects submitted. Students will be informed at the onset of the module of the evaluation criteria. Back to Top

This module involves the investigation and development of a consistent idea or theme in painting, sculpture, or the graphic arts, based upon the student’s interests. The Instructor will work with the student to develop the theme and guidelines of the project, and the evaluation criteria. Students will be evaluated wholly on the basis of the final project submitted. Undergraduates may complete two term projects, during the programme. M.F.A. students may complete three term projects. Back to Top

This module will introduce learners to safe and productive studio work habits. The proper handling of tools for a wide range of media will be discussed. Learners will learn all proper safety precautions and will be introduced to safety equipment. Safe and environmentally sound storage and disposal methods will be discussed, for wet and dry media and materials. Learners will also learn the basics of using a variety of tools. Organization of the studio space, efficient work habits, and the setup and maintenance of an effective studio space will all be covered in this essential module. Back to Top

This module will introduce learners to the terminology used to discuss art and the evolving terminology of art history and criticism. In addition to teaching the definition(s) of the art vocabularies, this module will teach learners how to properly apply and use those terminologies in various communication modes. In the fast-paced, global environment, it is important for professionals to be articulate about their knowledge—and about their work. Back to Top

This module will guide learners through the process of building a portfolio of their work that is representative of their visions, talents, approaches, skills and styles. In addition to learning the appropriate methods for formal presentation, learners will examine the creative and aesthetic aspects of building a portfolio. Because the portfolio is the artist’s resume, and will often make the difference between acceptance and non-acceptance, this module is essential to all learners in the studio art (fine arts) programme. Regardless of how certain an artist may be of his or her capabilities, the secret of success lies in convincing others, through effective presentation. That is the role of the portfolio. Learners will leave this module with the ability to assemble, select, organize, mount and display their art for professional purposes. Back to Top

A survey of the great monuments of art and architecture, from its beginnings in caves through the arts of Egypt, Mesopotamia, Greece and Rome, Byzantium, the Islamic world, and medieval Western Europe. The first half of the module will familiarize learners with the ways in which painting, sculpture, and architecture are related to mythology, religion, politics, literature, and daily life. We will then proceed with a survey of the great monuments of art and architecture, from the Italian Renaissance to the present day, in order to identify links to modern developments. The module will serve as a visual introduction to some of the most well known artistic movements in the history of art, and the formal and aesthetic artistic influences which have been passed down to the present day. Emphasis will be placed on the synthesis of Western and non-Western forms. Back to Top

This module will familiarize learners with the process of critical analysis. Learners will be assigned a series of readings, which will then be discussed in terms of their strengths, weaknesses and overall value. The purpose of this module will be to prepare future professional artists for the kind of scrutiny their work may either enjoy or suffer! Critical analyses can be productive or counter-productive, depending upon the motives underlying those analyses, the astuteness of the writer(s), the orientation from which the analyses are constructed, and/or the spirit with which the artist receives the criticism. While constructive criticism of critical works will be encouraged, the primary goal is not to criticize the critics. Rather, it is to use the body of work addressed to help learners understand what their roles, rights and responsibilities are, in the contexts of the public and public opinion. Individual artistic expression is a right that most of us enjoy. Once an artist places his or her work in a setting where others are asked to view it, however, those viewers then have a right to evaluate the work from their points of view. This module will put the role of the artist and viewer into a perspective that is essential for the professional artist to comprehend. Back to Top

This module will familiarize learners with the many avenues a professional artist can pursue, and will address the responsibilities, advantages and potential disadvantages to a number of arts related career positions. Areas explored will include fine arts, graphic and design arts, advertising, marketing and promotion, education, arts administration, and travel and tourism, among others. Preparation for careers in specific areas will be discussed, along with additional credentials that may be required, realistic salary expectations, and career path advancement trends. Other topics addressed will include entrepreneurial ventures, niche markets, gallery representation, tailored portfolios and the curriculum vitae, as well as agent or agency representation. Back to Top

Drawing is the foundation of all fine arts forms. This module will introduce learners to the materials and techniques of drawing most frequently used, and familiarize them with a range of proposed drawing theories and approaches. The goal will be to provide training in the deliberate coordination of hand and eye, and to facilitate the development of visual analysis. Areas of focus will include form, space, light and composition. Learners will be provided with the opportunity to determine the drawing approach (or approaches) most comfortable for them. They will be encouraged to experiment with combining approaches. Exercises will include, but not be limited to, gesture drawing, contour drawing, additive approaches and subtractive techniques. Projects will emphasize drawing skills, analytical thinking, visual translation and the recognition of an emerging personal style. The majority of assignments will be concept-based, designed to encourage learners to develop an individualized visual language and stylistic approach. Mass, volume, values and dimension are only a few of the concepts that will be thoroughly investigated. An array of subject matter will be incorporated into exercises and assignments, to acquaint learners with a wide variety of drawing elements. Back to Top

This module will cover essential information learners need to know for successful painting, in all media. Learners will explore the properties of paint, brushes, mediums and optional painting surfaces. Procedures common to painting in any medium will be discussed and demonstrated. Learners will discover how to properly prepare, glaze and finish a variety of painting surfaces. Options for preparatory sketching will be discussed, along with other general approaches. Specific issues and techniques that help to define lyrical and monumental styles will be explored through a series of painting exercises. Through these exercises, learners will also come to understand how line follows form—and how form can be defined by line. Safety procedures and environmentally sound painting practices will also be discussed. Learners will leave this module well prepared to begin working in a variety of painting media. Back to Top

This module will introduce learners to essential two-dimensional design principles that will ultimately be useful in any and all formats and applications. Learners will become familiar with a variety of black and white media by completing a series of assigned projects. Each assignment will embody a core principle. Learners will be given guidelines, but will have great flexibility in executing their assignments. A range of techniques will be demonstrated in media including inks, charcoals, conté crayons, and mixed media in black and white. Learners will then complete four projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in two-dimensional design. The themes and guidelines of the projects will be defined by the Mentor. However, learners will be given great latitude and flexibility in the execution of these works. Back to Top

This module will take learners on an investigation into the three-dimensional design process, through modeling, carving, fabricating, sculpting and casting. Issues of approaches to volume and mass will be explored, along with the definitions of monumental and lyrical approaches. Advancing on knowledge and experience acquired in earlier exercises, learners will complete more complex exercises and assignments in a wider variety of media options. Learners will then complete two projects designed to incorporate the principles, materials, techniques, and skills they have explored to date, in three-dimensional design. The themes and guidelines of the projects will be defined by the Mentor. However, learners will be given great latitude and flexibility in their execution of these works. Back to Top

This module will guide learners through the process of creating an intensive self-directed body of work that reflects their personal interests in making art. A selection of this work will be presented and documented in an online exhibition mounted by the learner(s). Writing assignments will include artist statements, proposals, resumes, and letters of intent for internships, residencies, graduate or alternative schools, etc. Understanding will evolve through intensive art making, studio visits, critiques, and/or visiting artists’ presentations. The primary goal of this module will be to prepare future studio art professionals for professional careers as exhibiting artists. Back to Top

This module will guide learners through the process of designing, hanging and promoting an art exhibit—in on-site and online environments. Learners will become familiar with many of the numerous themes, orientations and purposes that might underlie the formation of an exhibit. General strategies for executing the effective selection of works will be discussed, along with methods of advertising and promotion, and ancillary materials required. The relationship between the goals of an exhibit and the presentation of the art will be examined, and the characteristics of the exhibit space in relation to the design of the exhibit will also be discussed. Understanding the motivations and mechanics of creating successful exhibits will help future arts professionals to put their roles and artistic production into useful perspectives. Learners will discover how to create original works of art for an exhibit, as well as how to consider pre-existing works in contexts of theme and design that may depart from their original intent. The primary goals of this module will be to remind artists that their professional roles will often involve collaboration, and to instruct them on how to promote their art in a variety of contexts, without compromising the integrity of their original visions. Back to Top

This module will survey some of the major restorations completed in the history of art and explore many of the techniques associated with art restoration. Through a process of research, examination and experimentation, learners will discover and begin to develop skills required for this delicate, intricate work process. Restoration of a piece of art to be located by each learner will comprise the primary project on which the learner’s grade is based. Back to Top

This module will explore artistic revivals as well as replication of earlier works of art. Some of the major revivals witnessed will be analyzed, with a special emphasis placed on approaches, materials and conventions that have changed in the revived forms. We will also look at replication as both a practice and an approach. Each learner will be required to identify an earlier art form or object to be revived and/or replicated, and then to execute the revival or replication process. A written work explaining the process will need to accompany the final project. Back to Top

This module involves the investigation and development of a consistent idea or theme in painting, sculpture, or the graphic arts, based upon the student’s interests. The Instructor will work with the student to develop the theme and guidelines of the project, and the evaluation criteria. Students will be evaluated wholly on the basis of the final project submitted. Undergraduates may complete two term projects, during the programme. M.F.A. students may complete three term projects. Back to Top

In this module, each learner will select an artist whose work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to portraiture and self-portraiture. Working with the Mentor, the learner will follow a program of analysis of the works of “mentor artists” selected for examination. The learner will then create a project or series of projects that reflect what the learner artist has learned from a mentor artist. A written statement describing the process and results will be submitted with the final project(s). Back to Top

Each learner will select an artist or artists whose work(s) he or she believes embody those formal and aesthetic properties the learner regards as most essential to portrayals of the human figure. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist(s).” The learner will then create a project or series of projects that reflect what the learner artist has discovered through the works of the mentor artist(s). A written statement describing the process and results will be submitted with the final project(s). Back to Top

Each learner will select several works of digital art and/or digitally enhanced art, which he or she believes embody those formal and aesthetic properties the learner regards as most essential to digital or digitally enhanced art. Working with the Mentor, the learner will follow a program of analysis of the selected works. The learner will then create a project or series of projects that reflect what the learner artist has learned from the process of analysis. A written statement describing the process and results will be submitted with the final project(s). Back to Top

Each learner will select an artist or relief work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to relief sculpture. Working with the Mentor, the learner will follow a program of analysis of the selected work or selected “mentor artist.” The learner will then create a project or series of projects that reflect what the learner artist has learned from the analysis. A written statement describing the process and results will be submitted with the final project(s). Back to Top

Each learner will select an artist whose work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to watercolors. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist.” The learner will then create a project or series of projects that reflect what the learner artist has gained from the mentor artist. A written statement describing the process and results will be submitted with the final project(s). Back to Top

Each learner will select a painter whose work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to painting. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist.” The learner will then create a project or series of projects that reflect what the learner artist has gained from the mentor artist. A written statement describing the process and results will be submitted with the final project(s). Learners may work in their preferred painting medium. Back to Top

Each learner will select an assemblage work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to assemblage art. Working with the Mentor, the learner will follow a program of analysis of the “mentor work.” The learner will then create a project or series of projects that reflect what the learner artist has gained from the mentor work. A written statement describing the process and results will be submitted with the final project(s). Back to Top

Each learner will select an artist whose work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to printmaking. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist.” The learner will then create a project (comprised of a minimum of 5 prints) that reflects what the learner artist has gained from the mentor artist. A written statement describing the process and results will be submitted with the final project. Back to Top

Each learner will select an artist whose work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to sculpture in the round. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist.” The learner will then create a project that reflects what the learner artist has gained from the mentor artist. A written statement describing the process and results will be submitted with the final project. Back to Top

Each learner will select an artist whose abstract work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to the creation of abstract art. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist.” The learner will then create a project or series of projects that reflect what the learner artist has gained from the mentor artist. A written statement describing the process and results will be submitted with the final project(s). Learners may work in their preferred fine arts form and medium. Back to Top

Each learner will select an artist, or graphic work, which he or she believes embodies those formal and aesthetic properties the learner regards as most essential to graphic design arts. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist” or “mentor works.” The learner will then create a project or component project that reflects what the learner artist has gained from the mentor artist or mentor work. A written statement describing the process and results will be submitted with the final project(s). Examples of final projects are newsletters, business kits, promotional packages, media kits and/or desktop books. Back to Top

Each learner will select works from a craft or folk tradition, which he or she believes embody those formal and aesthetic properties the learner regards as most essential to the selected tradition. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor works.” The learner will then create a project or series of projects that reflect what the learner artist has learned from the mentor works. A written statement describing the process and results will be submitted with the final project(s). Learners working in the folk art arena may take this opportunity to establish a new folk art tradition! Back to Top

Each learner will select a landscape artist whose work he or she believes embodies those formal and aesthetic properties the learner regards as most essential to landscape painting. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist.” The learner will then create a project that reflects what the learner artist has learned from the mentor artist. A written statement describing the process and results will be submitted with the final project. Back to Top

Genre painting, sometimes also referred to as history painting, depicts everyday people engaging in everyday activities as their subject matter. Each learner will select a genre painter or painting, which he or she believes embodies those formal and aesthetic properties the learner regards as most essential to genre painting. Working with the Mentor, the learner will follow a program of analysis of the works of the “mentor artist” or “mentor work.” The learner will then create a project that reflects what the learner artist has discovered from the resource(s). A written statement describing the process and results will be submitted with the final project. Back to Top

Each learner will select an artist and/or work of art that he or she believes embodies those formal and aesthetic properties the learner regards as most essential to religious art. Working with the Mentor, the learner will follow a program of analysis of the “mentor artist” and/or “mentor works”. The learner will then create a project that reflects what the learner artist has gained from the resource(s). A written statement describing the process and results will be submitted with the final project. Learners may complete either a painting or a sculpture in his or her preferred medium. Back to Top

Tole painting and Dutch Folk Painting are the most defined foundation forms of decorative painting. These forms were followed by French Wash, antiquing approaches, stenciling, marbling, wash out approaches, and a host of other decorative painting forms. The most recent forms include approaches using an array of faux finishes and faux techniques. This module will introduce learners to a variety of decorative painting forms. Traditional methods of the oldest forms will be used to explore earlier approaches technically and stylistically. Learners will also experiment with the more recent decorative painting forms and will have the opportunity to perhaps develop yet another decorative painting form, technique and/or set of motifs! Back to Top

Casein, or "cheese painting," is a medium in which pigments are tempered with the gluey curd of cheese or milk precipitate. For handling, an emulsion of casein and lime is thinned with water. The active element of casein contains nitrogen, which forms soluble caseates of calcium in the presence of lime. It is applied in thin washes to rigid surfaces, such as cardboard, wood, and plastered walls. Casein colors dry quickly and are lighter in tone than when first applied. Since they have more body than egg-tempera paints, they can be applied with bristle brushes to create impasto textures not unlike those of oils. Casein paints were used in ancient Rome. They are now available ready-made in tubes and have been used by such modern artists as Robert Motherwell and Claes Oldenburg. Learners will learn casein techniques in this module working with ready made materials and hand-mixed ones. Back to Top

Collage was the Dada and Synthetic Cubist technique of combining labels, tickets, newspaper cuttings, wallpaper scraps, and other "found" surfaces with painted textures simulating wood graining and marbling. In this module, learners will explore a variety of lyrical and inventive techniques, including frottage, cut paper applications, and gouache applications, to name a few. Emphasis will be placed on innovation in this module, and each learner will be required to come up with a unique collage application. Back to Top

Encaustic painting (from the Greek: "burnt in") was the ancient method, recorded by Pliny, of fixing pigments with heated wax. It was probably first practiced in Egypt about 3000 BCE and is thought to have reached its peak in Classical Greece, although no examples from that period survive. Pigments, mixed with melted beeswax, were brushed onto stone or plaster, smoothed with a metal spatula, and then blended and driven into the wall with a heated iron. The surface was later polished with a cloth. Leonardo and others attempted (unsuccessfully) to revive the technique. North American Indians used an encaustic method whereby pigments mixed with hot animal fat were pressed into a design engraved on smoothed buffalo hide. This module will train learners in a simplified encaustic technique, which uses a spatula to apply wax mixed with solvent and pigment to wood or canvas, producing a ridged, impasto surface. Back to Top

Rigid fans are depicted in the paintings and reliefs of ancient Egypt, Assyria, Greece, and Rome, but the oldest surviving specimens are the round and folding fans from Japan and China. These were painted in India ink and color on paper, card, and silk. The ground was often sprinkled with gold dust or laid with gold or silver leaf. Spread freely across the mount, a calligraphic design depicted seasonal landscapes, genre scenes, and bird, flower, and animal motifs, with accompanying poems and commentaries. Leading Oriental painters produced much of their finest work in this form. In Europe, however, where fan painting had been rarely practiced until the seventeenth century, it was considered a minor art, and designs were often based on frescoes and easel paintings. This module will introduce learners to an array of styles for fan painting. Learners will discover a variety of fan painting techniques, and each learner will complete a fan, based upon individual interests. Back to Top

French pastels, with the sharpened lumps of pigment used by Ice Age artists, are the purest and most direct painting materials. Pastel pigments are mixed only with sufficient gum to bind them for drying into stick molds. Generally, they are used on raw strawboard or on coarse-grained tinted paper, although vellum, wood, and canvas have also been employed as foundations. The colors will not fade or darken. However, because they are not absorbed by the surface of the support, they lie as pigment powder and are easily smudged. Unfortunately, pastel colors lose their luminosity and tonality if fixed with a varnish and so are best preserved in deep mounts behind glass. Degas often overcame the fragile nature of true pastel painting by the unorthodox method of working on turpentine-soaked paper, which absorbed the powdery pigment. This module will train learners in the use of French pastels, and special emphasis will be paid to several preservation options. Back to Top

Fresco (Italian: "fresh") is the traditional medium for painting directly onto a wall or ceiling. It is the oldest known painting medium, surviving in prehistoric cave mural decorations dating back more than 25,000 years, and perfected in sixteenth century Italy in the buon' fresco method. This module will train learners to work in this art form, on hand built panels designed to be an appropriate surface for fresco painting. Each learner will create a fresco work. Back to Top

Folding screens and screen doors originated in China and Japan, probably during the twelfth century CE, and continued as a traditional form into the twentieth century. They are in ink or gouache on plain or gilded paper and silk. Learners will learn fundamental skills of this vivid and traditional fine arts form, through a process of creating their own paintings on silk, as adapted from traditional Chinese painting techniques. Back to Top

Miniature painting is a term applied both to Western portrait miniatures and to Indian and Islamic forms of manuscript painting. Portrait miniatures were originally painted in watercolor with body color on vellum and card. They were often worn in jeweled, enameled lockets. Sixteenth century miniaturists, such as Hans Holbein, Jean Clouet, Nicholas Hilliard, and Isaac Oliver, painted them in the tradition of medieval illuminators. Their flat designs, richly textured and minutely detailed, often incorporated allegorical and gilded heraldic motifs. In seventeenth and eighteenth century Western portrait miniatures, the two-dimensional pattern of rich colors was developed through atmospheric tonal modeling into more naturalistic representations. These were sometimes executed in pastel and pencil or painted in oils on a metal base. This module will train learners in this high-precision art form, which was eventually superseded by the small, hand-tinted photograph. Back to Top

Some pictures are first painted in one medium and corrected or enriched with color and texture in another. Examples of this approach are the Renaissance tempera-oil technique, William Blake's relief etchings color-printed in glue tempera and hand-finished in watercolor, and Degas' over-painted monotypes and his combinations of pastel, gouache, and oil. More recent examples are Richard Hamilton's photographs over-painted in oil color, Dubuffet's patchwork assemblages of painted canvas and paper, and Klee's alchemy in mixing ingredients such as oil and distemper on chalk over jute, and watercolor and wax on muslin stuck on wood. Back to Top

Folding screens and screen doors originated in China and Japan, probably during the twelfth century. They are produced in ink or gouache on plain or gilded paper and silk, and often include vivid rendering of animals, birds, and flowers and their atmospheric landscapes, bringing nature indoors. In some screens each panel was designed as an individual painting, while in others a continuous pattern flowed freely across the divisions. This module will train learners in the art of screen painting, and each learner will complete a screen for his or her own use. Back to Top

Hand scrolls, traditional to China and Japan, are ink paintings on continuous lengths of paper or silk. They are unrolled at arm's length and viewed from right to left. Scrolls, which date back to the fourth century CE, are remarkable for their vitality, the lyrical representation of atmospheric space, and for the rising and dipping viewpoints that anticipate the zooming motion-picture camera. Learners will learn techniques of scroll painting and design, while acquiring information about this ancient art form. Each learner will create a section of a scroll. Back to Top

Ink is the traditional painting medium of China and Japan, where it has been used for centuries with long-haired brushes of wolf, goat, or badger on silk or absorbent paper. Oriental black ink is a gum-bound carbon stick that is ground on rough stone and mixed with varying amounts of water to create a wide range of modulated tones. It is sometimes applied almost dry, with lightly brushed strokes, to produce coarser textures. This module will provide training in the numerous and necessarily precise techniques of traditional ink painting, and each learner will complete a project. Back to Top

The concept of painting as a medium for creating illusions of space, volume, texture, light, and movement on a flat, stationary support has been challenged by many modern artists. Some recent forms, for example, have blurred the conventional distinctions between the mediums of sculpture and painting. Sculptors such as David Smith, Eduardo Paolozzi, and Philip Sutton have made multicolored constructions; painters such as Jean Arp and Ben Nicholson have created abstract designs in painted wood relief, and Richard Smith has painted on three-dimensional canvas structures the surfaces of which curl and thrust toward the spectator. This module will introduce learners to a variety of modern painting forms, with an aim toward inspiring learners to create a painting or sculpting form of their own design. Learners will submit a final project, along with a written statement describing the invented form. Back to Top

Abstract Art (also called Nonobjective or Nonrepresentational Art) refers to art in which the portrayal of things from the visible world plays no part. This module will remind learners that all art consists largely of elements that can be called “abstract” such as elements of form, color, line, tone, and texture. By examining an evolutionary series of abstract works, learners will develop an understanding of the deep distinction between abstracting from appearances (even if to a point beyond recognition) and the creation of art out of forms not drawn from the visible world. Through a series of exercises and assignments, learners will create works utilizing abstracted and non-referential visual elements. Emphasis will be placed on identifying the motivations behind abstract choices, and weighing the impact individual abstract components have on the overall abstract work. Back to Top

Learners will examine a series of works created by some of the world’s most renowned nature and wildlife artists. Each learner will then create a series of nature and wildlife projects, in their preferred fine arts form(s) and medium(s). The projects do not need to be related to one another, although a theme oriented series is acceptable. Learners will be required to submit a written statement with their final project, which discusses the formal and aesthetic properties of the individual works. Back to Top

Learners will examine some of the finest figurative works in the history of art, representative of a broad base of styles and approaches. Each learner will then create a series of renderings of the human figure, in his or her preferred fine arts form(s) and medium(s). The projects do not need to be related to one another, although a theme oriented series is acceptable. Learners will be required to submit a written statement with their final project, which discusses the formal and aesthetic properties of the individual works. Back to Top

Learners will examine some of the finest examples of landscape works in the history of art. Each learner will then create a large format painting or drawing, in his or her preferred medium. Learners will be required to submit a written statement with the final project, which discusses the formal and aesthetic properties of the work. Back to Top

Learners will examine some of the most famous still life creations in the history of art. Each learner will then create a still-life series, in his or her preferred fine arts form(s) and medium(s), in two-dimensional formats. The projects do not need to be related to one another, although a theme oriented series is acceptable. Learners will be required to submit a written statement with their final projects, which discusses the formal and aesthetic properties of the individual works. Back to Top

Learners will examine some of the most well known examples of marine art. Each learner will then create a series of marine works, in his or her preferred fine arts form(s) and medium(s), in two-dimensional formats. The projects do not need to be related to one another, although a theme oriented series is acceptable. Learners will be required to submit a written statement with their final projects, which discusses the formal and aesthetic properties of the individual works. Learners may substitute the series with a large format work, if desired. Back to Top

Learners will examine some well known examples of mixed media art. Each learner will then create a large format mixed media work, on the subject matter of his or her choice and in a two dimensional format. Learners will be required to submit a written statement with the final project, which discusses the formal and aesthetic properties of the work submitted. Back to Top

Learners will examine some of the finest examples of assemblage in existence. Each learner will then create an assemblage work, in a two-dimensional format, on a subject matter selected by the learner. Learners will be required to submit a written statement with their final projects, which discusses the formal and aesthetic properties of the work submitted. Back to Top

Learners will examine some of the finest examples of sculpture and works in three-dimensional formats, in the history of art. Each learner will then create a sculpture or three-dimensional design, in a large format, on a subject matter selected by the learner, and in whatever media the learner prefers. Learners will be required to submit a written statement with their final projects, which discusses the formal and aesthetic properties of the work submitted. Back to Top

Learners will create a large format painting, on a subject matter selected by the learner, and in whatever medium the learner prefers. Learners will be required to submit a written statement with their final project, which discusses the formal and aesthetic properties of work submitted. Back to Top

Learners will create a large format project, utilizing alternative media, on a subject matter selected by the learner, and in whatever form, format, medium or media the learner prefers—as long as the materials are alternative media. Learners will be required to submit a written statement with their final project, which discusses the formal and aesthetic properties of the work submitted. Learners may substitute the large format project with a series of smaller projects, if desired. Back to Top

Among the earliest surviving forms of manuscript painting are the papyrus rolls of the ancient Egyptian Book of the Dead, the scrolls of Classical Greece and Rome, Aztec pictorial maps, and Mayan and Chinese codices, or manuscript books. European illuminated manuscripts were painted in egg-white tempera on vellum and card. Their subjects included religious, historical, mythological, and allegorical narratives, medical treatises, Psalters, and calendars depicting seasonal occupations. In contrast to the formalized imagery of Byzantine and early Gothic manuscript painters, Celtic illuminators developed a unique, abstract style of elaborate decoration, the written text being overwhelmed by intricate latticework borders, with full-page initial letters embraced by interlacing scrolls. In this module, learners will have the opportunity to select an illumination style of interest to them and create a finished illuminated manuscript. A written statement describing the project will need to be submitted with the final work. Back to Top

Learners will create a large format work, developed on-site, as an example of public art or an installation exhibit. Media preferences are up to the learner. The site should be related to the subject matter of the work submitted, or selected for specific characteristics that complement the work. Learners will be required to submit a written statement with their final project, which discusses the formal and aesthetic properties of the work, and the relationship between the work and its broader environment. Back to Top

Sgraffito (Italian graffiare, "to scratch") is a form of fresco painting for exterior walls. In this technique, a rough plaster undercoat is followed by thin plaster layers, each stained with a different lime-fast color. These coats are covered with a fine-grain mortar as a finishing surface. The plaster is then engraved with knives and gouges at different levels to reveal the various colored layers beneath. The sintered-lime process binds the colors. The surface of modern sgraffito frescoes is often enriched with textures made by impressing nails and machine parts, combined with mosaics of stone, glass, plastic, and metal tesserae. This module will provide training in sgraffito techniques. Learners will create an exterior wall fragment for exhibition purposes. Back to Top

Learners will create a series of projects, in a craft or folk genre, in whatever form(s) and/or medium(s) the learner prefers. The projects do not have to relate to one another, although a theme oriented series is acceptable. Learners will be required to submit a written statement with their final project, which discusses the formal and aesthetic properties of the individual works. Back to Top

A tempera medium is dry pigment tempered with an emulsion and thinned with water. It is a very ancient medium, having been in constant use in most world cultures, until in Europe it was gradually superseded, during the Renaissance, by oil paints. Tempera was the original mural medium in the ancient dynasties of Egypt, Babylonia, Mycenaean Greece, and China and was used to decorate the early Christian catacombs. It was employed on a variety of supports, from the stone stelae (or commemorative pillars), mummy cases, and papyrus rolls of ancient Egypt to the wood panels of Byzantine icons and altarpieces and the vellum leaves of medieval illuminated manuscripts. True tempera is made by mixture with the yolk of fresh eggs, although manuscript illuminators often used egg white and some easel painters added the whole egg. Other emulsions have been used, such as casein glue with linseed oil, egg yolk with gum and linseed oil, and egg white with linseed or poppy oil. Individual painters have experimented with other recipes, but few of these have proved successful. All but William Blake's later tempera paintings on copper sheets have darkened and decayed, and it is thought that he mixed his pigment with carpenter's glue. This module will explore traditional tempera methods (as well as some experimental ones) in efforts to duplicate some of the qualities of great tempera works. This module will provide training in a number of tempera related techniques, on a variety of surfaces, and will also test theories put forth by artists from centuries ago (such as Cennini and Alberti). Learners will complete a series of tempera projects. Back to Top