Continuing Education Courses

Microbes represent the most diverse group of organisms on earth and have been found throughout the world to the far reaches of the planet. They are capable of living in places we once thought were uninhabitable from the deep sea hydrothermal vents to the ice masses of the artic tundra. These microorganisms are capable of eating petroleum, metals, acids, plastics, and toxic wastes and are thus valuable in the process of removing pollutants and contaminants from our environment. Here, we take a bio art approach to discovering new species within the microbial world. We will visualize and image the wonderful beauty of these fascinating creatures by studying their many shapes and morphologies that often take the form of rods, spheres, coils and helixes. We will use a variety of collecting techniques to obtain these microbes from the waterways throughout and surrounding Manhattan. We will use sophisticated culturing techniques in the SVA Bio Art Lab and state-of-the-art techniques, including the polymerase chain reaction (PCR) and DNA sequencing to identify the microbes we collect. Through this process we will study bioluminescent diatoms, cyanobacteria, protozoans like amoebas and paramecium, zooxanthellae the symbiotic algae that live inside coral polyps, and many others. Come collaborate on an adventure of art and science and dive into the mysterious world of microbes.

Capturing images of nature and biological phenomena is an essential component of the scientific process; it is also an intricate aspect of art. In this course we will utilize macro lenses and dissecting stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will photograph marine invertebrates, including sea urchins, starfish, tunicates, comb jellies, anemones and sponges. Under the high-mag objective, we will image zooplankton and phytoplankton from marine and freshwater samples, and tissues prepared with our hands for microscopic observations. Students will develop a portfolio of images through projects that can include still life, video, time-lapse imaging, stereo pairs of 3D images, focal stacking and high-dynamic range photography. See what you can discover under magnification.

Capturing images of nature and biological phenomena is an essential component of the scientific process; it is also an intricate aspect of art. In this course we will utilize macro lenses and dissecting stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will photograph marine invertebrates, including sea urchins, starfish, tunicates, comb jellies, anemones and sponges. Under the high-mag objective, we will image zooplankton and phytoplankton from marine and freshwater samples, and tissues prepared with our hands for microscopic observations. Students will develop a portfolio of images through projects that can include still life, video, time-lapse imaging, stereo pairs of 3D images, focal stacking and high-dynamic range photography. See what you can discover under magnification.

Plants are among the most diverse organisms on the planet, growing in arid deserts and rain forests, on mountaintops and in the savannahs, as well as in marshes, lakes, rivers and the seas. They can take on beautiful forms with vivid colors and highly evolved features. While they are often thought of as almost inert objects, they can exhibit elaborate behaviors such as opening their blossoms at dawn, tracking the sun as the earth rotates, or baiting and trapping insects as a source of food. In this course, we will capture photographic representations of these lush life forms and explore the beautiful and bizarre world of plants and take an in-depth look at the intricate composition of their sexual structures, roots, vascular tissues and the photosynthetic machinery that create these primary producers. In particular, we will use time-lapse imaging to capture their movements, macro lenses to obtain images of their details, and microscopes to image tissues and cells. The fun begins as we focus on these unrelenting worshipers of the sun.

FIC-2509-A
Sundays, Jan 28 – March 4, 2018

FIC-2509-B
Sundays, Mar 25 – Apr 29, 2018

Hours: 3:00PM-6:00PM
Register online

Artists have always been inspired by nature and more recently have begun to apply
the advancements of biotechnologies into their work. In this course students will be
introduced to the field of bio art and work in SVA’s state-of-the-art Bio Art Laboratory.
We will explore how to cultivate and creatively manipulate several model organisms,
such as fungi, bacteria, yeast and plants. Many of these organisms have image
rendering and mold-making capabilities that can be harnessed as new construction
materials. Students will make mycelium sculptures, grow visceral sheets of bacterial
cellulose, produce chlorophyll prints, and paint with bacteria genetically modified to
express a fluorescent protein naturally found in a bioluminescent jellyfish. We will
also explore molecular gastronomy, which employs many techniques for suspending
fluids and making liquid sculptures. No previous experience in bio art is required.

Register: http://www.sva.edu/continuing-education/fine-arts/introduction-to-bio-materials-18-cs-fic-2509-b

Microscopes are wonderful tools for observation and have revolutionized our understanding of cells and subcellular structures. With photographic attachments, these instruments provide amazing images that transcend science into art. Spectacular renderings can often be made by simply placing the specimen under the microscope. In other instances specimens may require preparation, including tissue fixation, embedding, sectioning and mounting on slides, among others. During this course we will explore techniques used to prepare tissue for microscopic imaging. Focusing on the enhancement of various cell structures, we will use stains to tease out intricate details, such as the cell membrane, the nucleus, DNA, proteins, and other organelles that make up cellular domains and tissue architecture. Prepared samples will be photographed using both stereo and compound microscopes to generate a professional high-end portfolio.

Students will learn practical hand-building techniques and skills on the wheel. Pinch pots, coil building and slabs will be demonstrated. Wheel work will follow. Wedging, centering, opening and pulling will be practiced. Combining hand building and throwing techniques to create new forms, students can focus on developing a personal style. Slip application, sgraffito and inlay, glazing and resist techniques will also be covered. A survey of the history of ceramics will be included.

NOTE: The studio fee includes safety equipment, hand tools, kiln use and access to the ceramics workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

In this course, students will produce contemporary sculptural works with clay. Stepping away from the traditional hand building and wheel methods, this course will use mold-making and cast ceramics as the primary techniques. Additionally, students can explore alternative mediums such as silicone and found objects. Students will work on individual projects tailored to their interests and experience. Critiques will be an integral part of the course. Throughout, students will be encouraged to develop new approaches to their work. Lectures and slide presentations on contemporary ceramic art and artists will be included.

NOTE: The studio fee includes safety equipment, hand tools, kiln use and access to the ceramics workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

The fundamentals for creating three-dimensional objects will be the focus of this course. Demonstrated techniques and processes will cover a broad range of materials, including metal, wood, mold making/casting, fiberglass, silicone, plastics, resins, finishes and paint. Students will also gain hands-on training for installation, sculpture and prop making for films. The goal is to provide contemporary skills to assist in the fabrication of 3D objects and environments. Students can work on approved projects of their choosing, or an assigned project that will be based on their creative interests. If you want to be a “maker,” this class is for you.

NOTE: The studio fee includes safety equipment, hand tools, welding equipment, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

Designed for students at all levels who wish to explore the world of sculpture, this course will begin with basic carving techniques using blue foam covered by an aqua resin. Demonstrations of various techniques used to produce 3D works will be included, as well as slide presentations of artworks from many disciplines. Students will be encouraged to critically examine how emerging technologies alter the landscape of making art.

NOTE: The studio fee includes safety equipment, hand tools, abrasives, compressed air, lubricants and access to the plaster workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

This course is an introduction to electronics, for fine artists, sculptors, installation and performance artists, as well as those who want to add computer-controlled elements to their creations. Using the Arduino microcontroller, we will explore some of the essential and useful electronic sensors (light, sound, motion, sonar, infrared, angle bending), powerful actuators (relays, motors, servomotors, stepper motors, muscle wires and solenoids, among others), and telecommunication tools for microcontrollers (radio frequency transmitters, Bluetooth, Ethernet). This is a practical course and does not include theory. Class time will be allocated to help students work on their projects. We will also cover how to incorporate other mediums into these projects, including video, wood, metalworking and mechanical applications.
NOTE: The studio fee includes safety equipment, hand tools, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to electronic media workstations and the wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.

NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.
NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course will allow you to really explore and invent by embracing all media, and will encourage anyone who desires a nurturing critical discourse and consciousness of themselves in relation to what is happening in the visual arts today. A fully mixed-media orientation is receptive to all approaches, including students who are primarily painters, photographers or video-makers, performers, among others. The emphasis will be on enabling experimentation with a full range of traditional, unconventional and exotic materials, techniques and ideas: digital fabrication, audio, electricity, fluids, mechanical parts, photomontage, optics, metal, paper, wood. The development of your concepts and personal interests will be strongly supported. Our thinking will be placed in contemporary and historical context through presentations of visual and textual resources: slides, videos, articles, web-based online materials and weekly updates on current exhibitions. Among the many ideas that will be explored are perception, transformation, performance, the body and language, as well as the environmental, political and site-specific in art. This course is perfect for those seeking to renew their creative work and develop a portfolio. Professional resources will be discussed and extensive technical help will be provided. There will be group critiques and individual instruction.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

This course will focus on the relationship of a skeleton to a live model. The skeleton will be placed in a different pose each week and the model will assume that pose. An anatomy lesson based on the pose from skeletal through muscular will be given. The semester will be divided between female and male models. Standing, sitting, reclining and action poses will be included.

NOTE: Please bring ebony pencils, a black and a brown grease pencil (china marker), a smooth newsprint pad (18×24″), a box of push pins, a white plastic eraser, single-edge razor blades and/or Staedtler lead holder, lead pointer, 3B leads to the first session.

The course will provide a foundation in the fundamentals of drawing and design. Students will draw from live models, still lives and interiors to acquire an understanding of the elements of composition: perspective, color, light and shadow, texture and line. Demonstrations and critiques will be ongoing while students explore a wide variety of styles—from the old masters to contemporary artists. Pencil and charcoal will be the primary media. Trips to museums and galleries are included.

NOTE: Please bring a rough newsprint pad (18×24″) and 6B graphite pencils to the first session.

Children have an innate ability to draw; as we grow up this talent can become suppressed and forgotten. This course will reintroduce you to drawing and sharpen your observational skills. We will start by drawing the still life with simple geometric shapes such as cones, cylinders, cubes and spheres, and then work from the live model, noting how these primitive forms recur throughout the human body. We will explore the principles of form with line, volume, proportion, foreshortening, light/shadow, composition, positive/negative space and scale, as well as the principles of spatial depth with linear perspective and atmospheric perspective. The basics of color theory and its relationship to form and space will also be covered. Starting out with charcoal and graphite, we will branch out using a variety of mediums, such as soft pastels, oil pastels, pen and ink, brush and ink, scratchboard and silverpoint. We will do all of this in a supportive atmosphere with an emphasis on each individual’s goals and level of experience. This course is open to all levels, and beginners are especially welcome. Discussion of student work will be an ongoing group effort.

NOTE: Please bring an (18×24″) white paper drawing pad and compressed (not vine) charcoal to the first session. This course may be taken for undergraduate credit. Please refer to FID-1130-CE in the credit courses section of this bulletin for details.

Drawing from a live model each session, students will investigate topics such as: comparative anatomy (how most vertebrates share the same bones and muscles); an in-depth study of human anatomy, with specific attention to how joints function and the proportions of the human head; the anatomy of facial expressions. Proportion, linear perspective, light and shadow, atmospheric perspective, color theory and composition will also be discussed. Throughout the course we will use a range of mediums, including pencil, graphite stick, soft pastels, oil pastels, gouache, oil stick, scratchboard and silverpoint, and experiment with combinations of different mediums outside of conventional usage. At the beginning of each session there will be a demonstration of a specific medium. Some drawings will be worked on for several minutes, others for the entire session, depending on the goal at hand. Students will receive individual instruction.

NOTE: Please bring an (18×24″) white paper drawing pad and compressed (not vine) charcoal to the first session. This course may be taken for undergraduate credit. Please refer to FID-1135-CE in the credit courses section of this bulletin for details.

Open to all levels, this will be a two-day workshop of virtually non-stop drawing. The purpose is to not only loosen up, but also to approach drawing fearlessly. We will work with multiple models and props as well as from imagination. Students will work quickly, drawing with various media. Restating and reworking of drawings will be encouraged to create complex works. Ink, paint, oil stick and dry mediums will be used to blur the distinctions between painting and drawing. Assignments and direction will investigate elements of portraiture, figure study, narrative drawing, still life and abstraction. This workshop is a drawing intensive: students will be expected to work (very) hard and will gain a keener understanding of the drawing process.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.

NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course will emphasize the primary facets of drawing the figure that have given it an enduring and prominent place in art. Drawing and representing the figure will lead to a better understanding of line, gesture, proportion, volume and composition. Concept, observation, character and materials will be discussed in relation to portraying the human figure. Classical traditions as well as contemporary examples of figure drawing will be explored. All drawing media are welcome, including ink and watercolor.

NOTE: Please bring a medium-tooth drawing pad and newsprint pad (18×24″), medium and soft charcoal, assorted B pencils, a kneaded eraser and a white plastic eraser to the first session.

Through observation and using the model as subject matter, students will learn the fundamentals of drawing. This course will concentrate on each student’s personal development. Using a variety of materials, straightforward consideration of a subject and unconventional approaches, students will explore the elements needed to create successful drawings.

NOTE: Please bring a newsprint pad (18×24″), vine charcoal, soft charcoal pencils and crayons to the first session.

This course is for students who are beyond the beginning drawing/ painting level, and are ready to intensively develop their imagination. In a supportive environment, each student will design a six-week project that emphasizes imaginative imagery. Memory, dreams, fiction and literature can all be used as subject matter. In addition to models, source materials such as photos, collages and sketches can be used as tools to develop finished works. Working with a choice of media, including collage, photos, digital prints and paint, this course will give students the opportunity to explore their artistic vision. Discussions on mixed media, experimental procedures and archival concerns will complement studio work.
NOTE: Please bring drawing or painting materials, examples of your work and possible source materials to the first session, and be prepared to discuss ideas for your project.

The focus of this course will be to teach the foundation that guides drawing a portrait from a live model. A step-by-step approach will make this an easy-to-understand but challenging experience. Through observation, we will analyze the structure of the face by employing different methods, from quick sketches to the more elaborate and finished portrait drawing. Proportion and scale will be emphasized with traditional concepts, such as line, shadow and volume. Our goal will be to show that the structures we draw express the character and personality of our subject, built up in layers, section-by-section and consolidated into a finished drawing. We will also explore the great masters of this discipline, from Dürer and Holbein, Rembrandt and Vermeer to modern and contemporary artists such as Lucian Freud and Alice Neel.

NOTE: Please bring drawing and newsprint pads (18×24″), soft charcoal of differing thickness, pencils (6 to 6B), a kneaded eraser and a soft vinyl eraser to the first session.

Drawing lies at the heart of all representational art and unity is the key component. The purpose of this workshop is to develop your ability to approach drawing in a contextual way, where each small part serves the greater whole. We will start with exercises designed to sharpen your ability to see objectively. Working with live models, you will learn how to identify the specific proportions and structure unique to each individual. By weeks end, you will understand what it takes to achieve a full-fledged tonal portrayal of your subject, bathed in light and surrounded by air. Draftsmanship is an easily learned skill. The techniques and approaches you will learn can be readily adapted to any type of subject matter and style. All aspects of this method will be presented logically and coherently. Every step will be fully demonstrated and explained.

NOTE: A complete supply list will be sent to you prior to the start of the workshop.

This hands-on course will explore a variety of ways to tell a story or present information through forms that include drawing, painting, sewing, printing and collage. We will look at the history of visual narrative from around the world. We will study graphic novels, comics, cartoons and contemporary narrative painting and drawing and use these forms as a source for our own work. Open to all from beginners to advanced. Instruction in basic drawing and in more advanced concepts.

Watercolor is a very easy medium once color mixing and water control have been mastered. This course introduces a variety of materials and techniques for beginners and intermediate level students. Students will create realistic to semi-abstract works using photographs, still lifes and live models—with minimum time spent for maximum results. Students will discover their untapped talent, and will be encouraged to find their unique style. This course is specifically designed for those who want to master watercolor painting within a brief time period without much art training. At the end of the semester, students will have completed four to six paintings and developed an appreciation of watercolor painting.

NOTE: Please bring pencils (2B), a sketchbook (any size), rounded brushes (size #8, #12, #16), and some tubes of watercolor paint.

This course is designed to inform and demonstrate all the “shop tricks” in watercolor painting. Beginning and experienced students will learn how to avoid pitfalls and advance their watercolor paintings. We will explore a variety of watercolor techniques with an emphasis on developing one’s own style. Demonstrations of color and design, wet-on-wet and dry brush techniques will be included. Students can paint from still life, photographs or their own subject matter. Individual attention will be given.

NOTE: A supply list will be distributed upon registration in this course.

In this all-day studio course, students can explore ideas from their personal artistic vision and bring them to completion. The instruction will focus on individual growth in a supportive class environment. This course has been developed to help students think clearly about technique and skills. Contemporary as well as historical issues will be examined to assist students in establishing a historical sense of themselves as artists.

NOTE: Please come prepared to paint and bring examples of your work to the first session.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.

NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course is for students who are beyond the beginning drawing/ painting level, and are ready to intensively develop their imagination. In a supportive environment, each student will design a six-week project that emphasizes imaginative imagery. Memory, dreams, fiction and literature can all be used as subject matter. In addition to models, source materials such as photos, collages and sketches can be used as tools to develop finished works. Working with a choice of media, including collage, photos, digital prints and paint, this course will give students the opportunity to explore their artistic vision. Discussions on mixed media, experimental procedures and archival concerns will complement studio work.
NOTE: Please bring drawing or painting materials, examples of your work and possible source materials to the first session, and be prepared to discuss ideas for your project.

Open to students at all levels, this course is an intensive survey of the diverse methods and approaches to oil painting and it will take the mystery out of color, composition, scale and tone. Working from the live nude, you will learn how to create convincing flesh tones in light and shadow, and volume and space, through the application of color theory. We will also work on atmospheric perspective as it pertains to the landscape for the final three sessions. Demonstrations will show you how to use a painting knife and brush, and how to build a painting using old master, classicist, impressionist, and neoimpressionist techniques. You will learn the recipes of painting mediums and how to use them. This course will strengthen your observational skills, and you will become familiar with atmospheric perspective, linear perspective and human anatomy. There will be group discussions of student work and individual attention to the goals, needs and level of experience of each student.

NOTE: Please bring a newsprint pad (18×24″) and compressed charcoal to the first session. This course may be taken for undergraduate credit. Please refer to FID-1220-CE in the credit courses section of this bulletin for details.

FIC-1221-A

For the beginning student, this course is designed to introduce the fundamentals of painting. Using oil paint, students will explore color, form and content. Subjects will include still life, the model and themes from your imagination. The course will concentrate on each student’s individual development, enhancing his or her technical skills and personal expression.

FIC-1223-A

Designed for the beginning student, this studio course will introduce the fundamentals of color, space, composition and technique. Oil paint will be the primary medium; other media will be explored, including acrylics and collage. Students will paint from observation, memory and imagination. Contemporary concepts will be emphasized. There will be individual and group critiques.

NOTE: Please bring a rough newsprint pad (18×24″), charcoal pencils and an eraser to the first session.

This course will introduce you to the joys and challenges of painting on location. We will paint outdoors at sites such as Central Park, Madison Square Park, Battery Park and Brooklyn Botanic Garden, as well as points north along the Hudson River. Topics will include linear and atmospheric perspective, the visual properties of water, perspective of cast shadows, composition, scale and color theory. On overcast days students can focus on one painting for the entire session; on sunny days, to make the most of the shifting light, two pieces will be worked on. We will paint indoors on rainy days using high-resolution images of landscapes or reproductions of landscape paintings as reference. Students may work in the medium of their choice. Individual guidance based on each student’s skill level will be provided.

NOTE: Please bring a portable easel to each session. A lightweight telescoping tubular Stanrite easel is recommended

This comprehensive course in portrait painting will explore all you need to know to make realistic, fully illuminated portraits. It is perfect for beginners and will prove of immense value to even the most experienced professional. Each week will involve painting from the model with detailed instruction. We will begin with an examination of how color can be used to create palpable flesh and three-dimensional form. Subsequent projects will build from this foundation and incorporate paint layering and underpainting techniques, as well as a look at the mysteries of pose, posture and gesture. The simple break down of the features—nose, eyes, mouth, ears—will enable you to quickly incorporate them into your portrait with accuracy and credibility. Examples from masters’ work will be shown and discussed. Home assignments support and continue the work in class, and sometimes range to more experimental approaches to the portrait.

NOTE: A short video about the course and a materials list can be viewed at: johnaparks.com.

There’s more to painting a great portrait than capturing a likeness; it’s about creating the illusion of life. Portraiture should reveal the character of the sitter and exude a lifelike essence. During this course, taught by an award-winning portrait artist, you will learn how to analyze, interpret and convincingly portray the human visage. The methodology presented is both broad in scope, yet simple to comprehend. It’s based on the idea that logic, not frivolous rules nor superficial techniques, lies at the core of the greatest portraits ever created. Working from live models, you will discover a simple and straightforward way to achieve accurate drawing and to easily replicate any color you see, particularly the subtle translucent tones of the human complexion. You will also learn how to model form and to simulate the effects of luminosity, illusionistic depth and atmospheric space. All of the information covered in this course will be fully demonstrated and explained.

NOTE: A complete supply list will be distributed at the first session. The Saturday session will be held at The Metropolitan Museum of Art. This course may be taken for undergraduate credit. Please refer to FID-2219-CE in the credit courses section of this bulletin for details.

Watercolor is a very easy medium once color mixing and water control have been mastered. This course introduces a variety of materials and techniques for beginners and intermediate level students. Students will create realistic to semi-abstract works using photographs, still lifes and live models—with minimum time spent for maximum results. Students will discover their untapped talent, and will be encouraged to find their unique style. This course is specifically designed for those who want to master watercolor painting within a brief time period without much art training. At the end of the semester, students will have completed four to six paintings and developed an appreciation of watercolor painting.

NOTE: Please bring pencils (2B), a sketchbook (any size), rounded brushes (size #8, #12, #16), and some tubes of watercolor paint.

This course is designed to inform and demonstrate all the “shop tricks” in watercolor painting. Beginning and experienced students will learn how to avoid pitfalls and advance their watercolor paintings. We will explore a variety of watercolor techniques with an emphasis on developing one’s own style. Demonstrations of color and design, wet-on-wet and dry brush techniques will be included. Students can paint from still life, photographs or their own subject matter. Individual attention will be given.

NOTE: A supply list will be distributed upon registration in this course.

Capturing images of nature and biological phenomena is an essential component of the scientific process; it is also an intricate aspect of art. In this course we will utilize macro lenses and dissecting stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will photograph marine invertebrates, including sea urchins, starfish, tunicates, comb jellies, anemones and sponges. Under the high-mag objective, we will image zooplankton and phytoplankton from marine and freshwater samples, and tissues prepared with our hands for microscopic observations. Students will develop a portfolio of images through projects that can include still life, video, time-lapse imaging, stereo pairs of 3D images, focal stacking and high-dynamic range photography. See what you can discover under magnification.

Capturing images of nature and biological phenomena is an essential component of the scientific process; it is also an intricate aspect of art. In this course we will utilize macro lenses and dissecting stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will photograph marine invertebrates, including sea urchins, starfish, tunicates, comb jellies, anemones and sponges. Under the high-mag objective, we will image zooplankton and phytoplankton from marine and freshwater samples, and tissues prepared with our hands for microscopic observations. Students will develop a portfolio of images through projects that can include still life, video, time-lapse imaging, stereo pairs of 3D images, focal stacking and high-dynamic range photography. See what you can discover under magnification.

Plants are among the most diverse organisms on the planet, growing in arid deserts and rain forests, on mountaintops and in the savannahs, as well as in marshes, lakes, rivers and the seas. They can take on beautiful forms with vivid colors and highly evolved features. While they are often thought of as almost inert objects, they can exhibit elaborate behaviors such as opening their blossoms at dawn, tracking the sun as the earth rotates, or baiting and trapping insects as a source of food. In this course, we will capture photographic representations of these lush life forms and explore the beautiful and bizarre world of plants and take an in-depth look at the intricate composition of their sexual structures, roots, vascular tissues and the photosynthetic machinery that create these primary producers. In particular, we will use time-lapse imaging to capture their movements, macro lenses to obtain images of their details, and microscopes to image tissues and cells. The fun begins as we focus on these unrelenting worshipers of the sun.

Digital processes and effects are so ubiquitous that they have lost a great deal of their kick. Now is the time to get back to basics, to produce work that wows the viewer with a simple economy of means. This course will explore traditional media and bring them “kicking and screaming” into the 21st century. Students will use these processes as the building blocks to create cutting-edge work. Processes that will be explored include transfer emulsions, photograms, collage/montage, mixed media on canvas and camera obscura, as well as digital woodcut. In addition, we will examine the technique of capturing archival footage so that it can be embedded in works of art. Projects will incorporate the methods covered in class, as well as your own innovations. We will also survey contemporary artists who work with these processes.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.

NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course is for students who are beyond the beginning drawing/ painting level, and are ready to intensively develop their imagination. In a supportive environment, each student will design a six-week project that emphasizes imaginative imagery. Memory, dreams, fiction and literature can all be used as subject matter. In addition to models, source materials such as photos, collages and sketches can be used as tools to develop finished works. Working with a choice of media, including collage, photos, digital prints and paint, this course will give students the opportunity to explore their artistic vision. Discussions on mixed media, experimental procedures and archival concerns will complement studio work.
NOTE: Please bring drawing or painting materials, examples of your work and possible source materials to the first session, and be prepared to discuss ideas for your project.

Microscopes are wonderful tools for observation and have revolutionized our understanding of cells and subcellular structures. With photographic attachments, these instruments provide amazing images that transcend science into art. Spectacular renderings can often be made by simply placing the specimen under the microscope. In other instances specimens may require preparation, including tissue fixation, embedding, sectioning and mounting on slides, among others. During this course we will explore techniques used to prepare tissue for microscopic imaging. Focusing on the enhancement of various cell structures, we will use stains to tease out intricate details, such as the cell membrane, the nucleus, DNA, proteins, and other organelles that make up cellular domains and tissue architecture. Prepared samples will be photographed using both stereo and compound microscopes to generate a professional high-end portfolio.

This course will allow you to really explore and invent by embracing all media, and will encourage anyone who desires a nurturing critical discourse and consciousness of themselves in relation to what is happening in the visual arts today. A fully mixed-media orientation is receptive to all approaches, including students who are primarily painters, photographers or video-makers, performers, among others. The emphasis will be on enabling experimentation with a full range of traditional, unconventional and exotic materials, techniques and ideas: digital fabrication, audio, electricity, fluids, mechanical parts, photomontage, optics, metal, paper, wood. The development of your concepts and personal interests will be strongly supported. Our thinking will be placed in contemporary and historical context through presentations of visual and textual resources: slides, videos, articles, web-based online materials and weekly updates on current exhibitions. Among the many ideas that will be explored are perception, transformation, performance, the body and language, as well as the environmental, political and site-specific in art. This course is perfect for those seeking to renew their creative work and develop a portfolio. Professional resources will be discussed and extensive technical help will be provided. There will be group critiques and individual instruction.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

This course will develop creative, technical and problem-solving skills in woodworking and metalworking techniques in a sculptural context. Weekly demonstrations of all shop tools will be provided, including the table saw, sliding compound miter saw, horizontal and vertical band saws, drill press, router table, MIG and TIG welding, plasma cutting and sandblasting equipment. Students will learn the fine art of sculpting metal, such as how to cut, shape, forge and weld, as well as polishing and finishing. In the woodshop, advanced techniques of joinery, woodcarving and finishing will be covered. The elements and principles of design will be explored, and good studio practices will be cultivated.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

Designed to introduce students to working with wood, this course will begin with an overview of the general properties of various woods and give a brief history of woodworking. Demonstrations will be given in hand joinery (dovetails), turning with a lathe and hand-tool applications. In addition, techniques in clamping, gluing, sanding and finishing will be addressed. Projects will include creating a lathe-turned object and a small piece of furniture (such as a stool or table). No prior experience is necessary.

NOTE: The studio fee includes safety equipment, hand tools, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the wood workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

Have you ever wanted an exact copy of your face, head, hands, torso—or a combination—to keep for prosperity? Perhaps you want to create work that would be enhanced with body castings. Through a variety of mold-making techniques and the use of some very unusual materials, the goal of this course is to do just that. We will explore the newest materials in the commercial market for casting the human body, as well as discuss their benefits and hazards. Only safe and non-toxic materials will be used. Demonstration will include casting stones, urethanes, gelatin and silicones. Each student will create a personal or commercial project.

NOTE: This course does not include access to the SVA Sculpture Center outside of class hours.

Students will learn practical hand-building techniques and skills on the wheel. Pinch pots, coil building and slabs will be demonstrated. Wheel work will follow. Wedging, centering, opening and pulling will be practiced. Combining hand building and throwing techniques to create new forms, students can focus on developing a personal style. Slip application, sgraffito and inlay, glazing and resist techniques will also be covered. A survey of the history of ceramics will be included.

NOTE: The studio fee includes safety equipment, hand tools, kiln use and access to the ceramics workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

In this course, students will produce contemporary sculptural works with clay. Stepping away from the traditional hand building and wheel methods, this course will use mold-making and cast ceramics as the primary techniques. Additionally, students can explore alternative mediums such as silicone and found objects. Students will work on individual projects tailored to their interests and experience. Critiques will be an integral part of the course. Throughout, students will be encouraged to develop new approaches to their work. Lectures and slide presentations on contemporary ceramic art and artists will be included.

NOTE: The studio fee includes safety equipment, hand tools, kiln use and access to the ceramics workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

Digital embroidery transforms handcrafted couture into a fine arts medium. Just like a tattoo, where an image is created with color and needles, the embroidered fabric or paper is needle-stitched in colored threads. The image is a sewing file that can be saved and re-sewn as a multiple or repeat pattern. Working on a designer Husqvarna Viking sewing machine with oversize hoops, students will use Husqvarna Viking 5D embroidery software to sew out their original designs. Techniques related to both fashion and the fine arts will be explored.

Making sculptures using computer-aided fabrication and rapid prototyping machines is the focus of this course. Students will be guided in how to make templates for sculptures using Adobe Illustrator and SolidWorks, and how to use machines like the Epilog laser cutter and the CNC ShopBot to create fully realized 3D objects from their designs. These technologies offer the ability to execute intricate and precise designs that would be impossible or too time-consuming using traditional techniques. Students will have the opportunity to work in a wide variety of materials such as wood, acrylic glass, Plexiglas, aluminum and foam. Turn your ideas into objects with the precision of laser and CNC technology. NOTE: The studio fee includes safety equipment, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to electronic media workstations and the plaster, wood and metal workshops outside of class time, based on facility availability. Artwork created using CNC equipment, laser cutter, CNC ShopBot and rapid prototyping machines may incur additional material fees based on the individual project. All other materials must be purchased by the student.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.

NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course will explore fiber art as individual art practice. Students will learn how to design and fabricate costumes, soft sculpture, installations, and other fiber-based projects. These can be exhibited as art, or used in performances, video art, film and photographs. The primary focus of the course is for students to work on designing and creating their own projects with guidance from the instructor. Demonstrations will include designing and adapting patterns, sewing techniques, digital embroidery, printing and painting on fabric, and other fibers techniques. We will also look at examples of fiber art and costumes by various artists and designers, and discuss ideas about fibers in contemporary art.
NOTE: The studio fee includes use of the sewing machines in the Fibers Lab. All materials must be purchased by the student.

This hands-on course will cover the fundamentals of designing and making metal home furnishings and furniture. Students will learn shop safety and a variety of techniques to cut, bend, form, join (including welding) and finish metals. Individual assistance is given with applying techniques to directed projects of the students’ own designs. Students with prior experience in metalworking will work with the instructor to plan independent projects and learn advanced techniques. Past projects have included tables, lamps, mirror frames, shelves, trays, coat racks, candelabras, birdhouses, bowls and planter boxes. The class is open to students of all levels, from those with no experience with art or using tools to working designers who need practical knowledge of the material and how to add structure to their designs.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants and access to the metal workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

This course covers a broad range of metalworking processes, enabling beginning and more advanced students to discover the enigmatic qualities of metal. Instruction will be given in shop safety; hand and power tools; MIG and TIG welding; plasma cutting and sheet metal forming. Following a guided first project students will develop independent projects to synergize learned skills with their own sculptural methods, concepts and sensibilities. No previous sculpture or metal experience is required.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the metal workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

Metalworking doesn’t have to mean working with sparks and flames. In fact, there are multiple tools and techniques to work with metals that require a range of skills, which involve neither welding or flame work. This course is suited for the beginning student interested in metalworking, or the experienced metal artists who would like to add new techniques to their vocabulary. Several small, individually designed projects will be completed using hand tools (hacksaw, file, punch, stamp, riveter, tap, hammer), small power tools (hand drill, jigsaw, reciprocal saw, sander) and larger equipment (bender, brake, roller, jump shear, CNC machines). The focus will be on using steel; other metals can be used with the instructor’s permission.

NOTE: The studio fee includes safety equipment, hand tools, drill bits, saw blades, abrasives, compressed air, lubricants and access to the metal workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

The fundamentals for creating three-dimensional objects will be the focus of this course. Demonstrated techniques and processes will cover a broad range of materials, including metal, wood, mold making/casting, fiberglass, silicone, plastics, resins, finishes and paint. Students will also gain hands-on training for installation, sculpture and prop making for films. The goal is to provide contemporary skills to assist in the fabrication of 3D objects and environments. Students can work on approved projects of their choosing, or an assigned project that will be based on their creative interests. If you want to be a “maker,” this class is for you.

NOTE: The studio fee includes safety equipment, hand tools, welding equipment, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

Designed for students at all levels who wish to explore the world of sculpture, this course will begin with basic carving techniques using blue foam covered by an aqua resin. Demonstrations of various techniques used to produce 3D works will be included, as well as slide presentations of artworks from many disciplines. Students will be encouraged to critically examine how emerging technologies alter the landscape of making art.

NOTE: The studio fee includes safety equipment, hand tools, abrasives, compressed air, lubricants and access to the plaster workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

This course will allow you to really explore and invent by embracing all media, and will encourage anyone who desires a nurturing critical discourse and consciousness of themselves in relation to what is happening in the visual arts today. A fully mixed-media orientation is receptive to all approaches, including students who are primarily painters, photographers or video-makers, performers, among others. The emphasis will be on enabling experimentation with a full range of traditional, unconventional and exotic materials, techniques and ideas: digital fabrication, audio, electricity, fluids, mechanical parts, photomontage, optics, metal, paper, wood. The development of your concepts and personal interests will be strongly supported. Our thinking will be placed in contemporary and historical context through presentations of visual and textual resources: slides, videos, articles, web-based online materials and weekly updates on current exhibitions. Among the many ideas that will be explored are perception, transformation, performance, the body and language, as well as the environmental, political and site-specific in art. This course is perfect for those seeking to renew their creative work and develop a portfolio. Professional resources will be discussed and extensive technical help will be provided. There will be group critiques and individual instruction.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

Digital embroidery transforms handcrafted couture into a fine arts medium. Just like a tattoo, where an image is created with color and needles, the embroidered fabric or paper is needle-stitched in colored threads. The image is a sewing file that can be saved and re-sewn as a multiple or repeat pattern. Working on a designer Husqvarna Viking sewing machine with oversize hoops, students will use Husqvarna Viking 5D embroidery software to sew out their original designs. Techniques related to both fashion and the fine arts will be explored.

This course will explore fiber art as individual art practice. Students will learn how to design and fabricate costumes, soft sculpture, installations, and other fiber-based projects. These can be exhibited as art, or used in performances, video art, film and photographs. The primary focus of the course is for students to work on designing and creating their own projects with guidance from the instructor. Demonstrations will include designing and adapting patterns, sewing techniques, digital embroidery, printing and painting on fabric, and other fibers techniques. We will also look at examples of fiber art and costumes by various artists and designers, and discuss ideas about fibers in contemporary art.
NOTE: The studio fee includes use of the sewing machines in the Fibers Lab. All materials must be purchased by the student.

This course will develop creative, technical and problem-solving skills in woodworking and metalworking techniques in a sculptural context. Weekly demonstrations of all shop tools will be provided, including the table saw, sliding compound miter saw, horizontal and vertical band saws, drill press, router table, MIG and TIG welding, plasma cutting and sandblasting equipment. Students will learn the fine art of sculpting metal, such as how to cut, shape, forge and weld, as well as polishing and finishing. In the woodshop, advanced techniques of joinery, woodcarving and finishing will be covered. The elements and principles of design will be explored, and good studio practices will be cultivated.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

In this all-day studio course, students can explore ideas from their personal artistic vision and bring them to completion. The instruction will focus on individual growth in a supportive class environment. This course has been developed to help students think clearly about technique and skills. Contemporary as well as historical issues will be examined to assist students in establishing a historical sense of themselves as artists.

NOTE: Please come prepared to paint and bring examples of your work to the first session.

This course will focus on the relationship of a skeleton to a live model. The skeleton will be placed in a different pose each week and the model will assume that pose. An anatomy lesson based on the pose from skeletal through muscular will be given. The semester will be divided between female and male models. Standing, sitting, reclining and action poses will be included.

NOTE: Please bring ebony pencils, a black and a brown grease pencil (china marker), a smooth newsprint pad (18×24″), a box of push pins, a white plastic eraser, single-edge razor blades and/or Staedtler lead holder, lead pointer, 3B leads to the first session.

Designed to introduce students to working with wood, this course will begin with an overview of the general properties of various woods and give a brief history of woodworking. Demonstrations will be given in hand joinery (dovetails), turning with a lathe and hand-tool applications. In addition, techniques in clamping, gluing, sanding and finishing will be addressed. Projects will include creating a lathe-turned object and a small piece of furniture (such as a stool or table). No prior experience is necessary.

NOTE: The studio fee includes safety equipment, hand tools, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the wood workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

Microbes represent the most diverse group of organisms on earth and have been found throughout the world to the far reaches of the planet. They are capable of living in places we once thought were uninhabitable from the deep sea hydrothermal vents to the ice masses of the artic tundra. These microorganisms are capable of eating petroleum, metals, acids, plastics, and toxic wastes and are thus valuable in the process of removing pollutants and contaminants from our environment. Here, we take a bio art approach to discovering new species within the microbial world. We will visualize and image the wonderful beauty of these fascinating creatures by studying their many shapes and morphologies that often take the form of rods, spheres, coils and helixes. We will use a variety of collecting techniques to obtain these microbes from the waterways throughout and surrounding Manhattan. We will use sophisticated culturing techniques in the SVA Bio Art Lab and state-of-the-art techniques, including the polymerase chain reaction (PCR) and DNA sequencing to identify the microbes we collect. Through this process we will study bioluminescent diatoms, cyanobacteria, protozoans like amoebas and paramecium, zooxanthellae the symbiotic algae that live inside coral polyps, and many others. Come collaborate on an adventure of art and science and dive into the mysterious world of microbes.

Capturing images of nature and biological phenomena is an essential component of the scientific process; it is also an intricate aspect of art. In this course we will utilize macro lenses and dissecting stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will photograph marine invertebrates, including sea urchins, starfish, tunicates, comb jellies, anemones and sponges. Under the high-mag objective, we will image zooplankton and phytoplankton from marine and freshwater samples, and tissues prepared with our hands for microscopic observations. Students will develop a portfolio of images through projects that can include still life, video, time-lapse imaging, stereo pairs of 3D images, focal stacking and high-dynamic range photography. See what you can discover under magnification.

Capturing images of nature and biological phenomena is an essential component of the scientific process; it is also an intricate aspect of art. In this course we will utilize macro lenses and dissecting stereo microscopes, as well as compound and fluorescent microscopes to obtain images of the microscopic world. Students will photograph marine invertebrates, including sea urchins, starfish, tunicates, comb jellies, anemones and sponges. Under the high-mag objective, we will image zooplankton and phytoplankton from marine and freshwater samples, and tissues prepared with our hands for microscopic observations. Students will develop a portfolio of images through projects that can include still life, video, time-lapse imaging, stereo pairs of 3D images, focal stacking and high-dynamic range photography. See what you can discover under magnification.

Have you ever wanted an exact copy of your face, head, hands, torso—or a combination—to keep for prosperity? Perhaps you want to create work that would be enhanced with body castings. Through a variety of mold-making techniques and the use of some very unusual materials, the goal of this course is to do just that. We will explore the newest materials in the commercial market for casting the human body, as well as discuss their benefits and hazards. Only safe and non-toxic materials will be used. Demonstration will include casting stones, urethanes, gelatin and silicones. Each student will create a personal or commercial project.

NOTE: This course does not include access to the SVA Sculpture Center outside of class hours.

Plants are among the most diverse organisms on the planet, growing in arid deserts and rain forests, on mountaintops and in the savannahs, as well as in marshes, lakes, rivers and the seas. They can take on beautiful forms with vivid colors and highly evolved features. While they are often thought of as almost inert objects, they can exhibit elaborate behaviors such as opening their blossoms at dawn, tracking the sun as the earth rotates, or baiting and trapping insects as a source of food. In this course, we will capture photographic representations of these lush life forms and explore the beautiful and bizarre world of plants and take an in-depth look at the intricate composition of their sexual structures, roots, vascular tissues and the photosynthetic machinery that create these primary producers. In particular, we will use time-lapse imaging to capture their movements, macro lenses to obtain images of their details, and microscopes to image tissues and cells. The fun begins as we focus on these unrelenting worshipers of the sun.

Students will learn practical hand-building techniques and skills on the wheel. Pinch pots, coil building and slabs will be demonstrated. Wheel work will follow. Wedging, centering, opening and pulling will be practiced. Combining hand building and throwing techniques to create new forms, students can focus on developing a personal style. Slip application, sgraffito and inlay, glazing and resist techniques will also be covered. A survey of the history of ceramics will be included.

NOTE: The studio fee includes safety equipment, hand tools, kiln use and access to the ceramics workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

In this course, students will produce contemporary sculptural works with clay. Stepping away from the traditional hand building and wheel methods, this course will use mold-making and cast ceramics as the primary techniques. Additionally, students can explore alternative mediums such as silicone and found objects. Students will work on individual projects tailored to their interests and experience. Critiques will be an integral part of the course. Throughout, students will be encouraged to develop new approaches to their work. Lectures and slide presentations on contemporary ceramic art and artists will be included.

NOTE: The studio fee includes safety equipment, hand tools, kiln use and access to the ceramics workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

This course bridges two approaches to collage: It is perfect for those eager to get some hands-on studio time, and for art enthusiasts looking to expand their skillset of image-making tools. Drawing skills will be developed through making traditional collages—with a twist: scissors are replaced with an X-acto knife. Students will “draw” using a knife rather than a pencil. Additionally, we will expand our understanding of what collage is, and can be, by incorporating Adobe Photoshop into the creative process. Guided projects will increase the possibilities for unexpected results.

Digital embroidery transforms handcrafted couture into a fine arts medium. Just like a tattoo, where an image is created with color and needles, the embroidered fabric or paper is needle-stitched in colored threads. The image is a sewing file that can be saved and re-sewn as a multiple or repeat pattern. Working on a designer Husqvarna Viking sewing machine with oversize hoops, students will use Husqvarna Viking 5D embroidery software to sew out their original designs. Techniques related to both fashion and the fine arts will be explored.

Making sculptures using computer-aided fabrication and rapid prototyping machines is the focus of this course. Students will be guided in how to make templates for sculptures using Adobe Illustrator and SolidWorks, and how to use machines like the Epilog laser cutter and the CNC ShopBot to create fully realized 3D objects from their designs. These technologies offer the ability to execute intricate and precise designs that would be impossible or too time-consuming using traditional techniques. Students will have the opportunity to work in a wide variety of materials such as wood, acrylic glass, Plexiglas, aluminum and foam. Turn your ideas into objects with the precision of laser and CNC technology. NOTE: The studio fee includes safety equipment, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to electronic media workstations and the plaster, wood and metal workshops outside of class time, based on facility availability. Artwork created using CNC equipment, laser cutter, CNC ShopBot and rapid prototyping machines may incur additional material fees based on the individual project. All other materials must be purchased by the student.

The course will provide a foundation in the fundamentals of drawing and design. Students will draw from live models, still lives and interiors to acquire an understanding of the elements of composition: perspective, color, light and shadow, texture and line. Demonstrations and critiques will be ongoing while students explore a wide variety of styles—from the old masters to contemporary artists. Pencil and charcoal will be the primary media. Trips to museums and galleries are included.

NOTE: Please bring a rough newsprint pad (18×24″) and 6B graphite pencils to the first session.

Children have an innate ability to draw; as we grow up this talent can become suppressed and forgotten. This course will reintroduce you to drawing and sharpen your observational skills. We will start by drawing the still life with simple geometric shapes such as cones, cylinders, cubes and spheres, and then work from the live model, noting how these primitive forms recur throughout the human body. We will explore the principles of form with line, volume, proportion, foreshortening, light/shadow, composition, positive/negative space and scale, as well as the principles of spatial depth with linear perspective and atmospheric perspective. The basics of color theory and its relationship to form and space will also be covered. Starting out with charcoal and graphite, we will branch out using a variety of mediums, such as soft pastels, oil pastels, pen and ink, brush and ink, scratchboard and silverpoint. We will do all of this in a supportive atmosphere with an emphasis on each individual’s goals and level of experience. This course is open to all levels, and beginners are especially welcome. Discussion of student work will be an ongoing group effort.

NOTE: Please bring an (18×24″) white paper drawing pad and compressed (not vine) charcoal to the first session. This course may be taken for undergraduate credit. Please refer to FID-1130-CE in the credit courses section of this bulletin for details.

Drawing from a live model each session, students will investigate topics such as: comparative anatomy (how most vertebrates share the same bones and muscles); an in-depth study of human anatomy, with specific attention to how joints function and the proportions of the human head; the anatomy of facial expressions. Proportion, linear perspective, light and shadow, atmospheric perspective, color theory and composition will also be discussed. Throughout the course we will use a range of mediums, including pencil, graphite stick, soft pastels, oil pastels, gouache, oil stick, scratchboard and silverpoint, and experiment with combinations of different mediums outside of conventional usage. At the beginning of each session there will be a demonstration of a specific medium. Some drawings will be worked on for several minutes, others for the entire session, depending on the goal at hand. Students will receive individual instruction.

NOTE: Please bring an (18×24″) white paper drawing pad and compressed (not vine) charcoal to the first session. This course may be taken for undergraduate credit. Please refer to FID-1135-CE in the credit courses section of this bulletin for details.

Open to all levels, this will be a two-day workshop of virtually non-stop drawing. The purpose is to not only loosen up, but also to approach drawing fearlessly. We will work with multiple models and props as well as from imagination. Students will work quickly, drawing with various media. Restating and reworking of drawings will be encouraged to create complex works. Ink, paint, oil stick and dry mediums will be used to blur the distinctions between painting and drawing. Assignments and direction will investigate elements of portraiture, figure study, narrative drawing, still life and abstraction. This workshop is a drawing intensive: students will be expected to work (very) hard and will gain a keener understanding of the drawing process.

This course is an introduction to electronics, for fine artists, sculptors, installation and performance artists, as well as those who want to add computer-controlled elements to their creations. Using the Arduino microcontroller, we will explore some of the essential and useful electronic sensors (light, sound, motion, sonar, infrared, angle bending), powerful actuators (relays, motors, servomotors, stepper motors, muscle wires and solenoids, among others), and telecommunication tools for microcontrollers (radio frequency transmitters, Bluetooth, Ethernet). This is a practical course and does not include theory. Class time will be allocated to help students work on their projects. We will also cover how to incorporate other mediums into these projects, including video, wood, metalworking and mechanical applications.
NOTE: The studio fee includes safety equipment, hand tools, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to electronic media workstations and the wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

Digital processes and effects are so ubiquitous that they have lost a great deal of their kick. Now is the time to get back to basics, to produce work that wows the viewer with a simple economy of means. This course will explore traditional media and bring them “kicking and screaming” into the 21st century. Students will use these processes as the building blocks to create cutting-edge work. Processes that will be explored include transfer emulsions, photograms, collage/montage, mixed media on canvas and camera obscura, as well as digital woodcut. In addition, we will examine the technique of capturing archival footage so that it can be embedded in works of art. Projects will incorporate the methods covered in class, as well as your own innovations. We will also survey contemporary artists who work with these processes.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.

NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course is designed to strengthen and expand your art-making skills and ideas through a creative exploration of traditional and unconventional materials. We will focus on the endless possibilities of combining such materials and mediums as film, rubbish, household goods, writing and photographs with painting, drawing and sculpture. Sound, gravity and magnetism can also be incorporated into projects. Broad suggested assignments are given to kick-start your thinking. Experimentation and failure are encouraged. Through group and individual critiques we will examine the universal and personal signification of the materials, how those can change in combination and how they can help define your interests and form a unique voice. We will also look at the ways collage, assemblage and installation have developed to expand your critical vocabulary and give you a sense of where your work fits in this history. This course is appropriate for all ranges of experience, from beginners to advanced students.
NOTE: Please bring notepaper and five objects selected at random to the first session. Access to the SVA Sculpture Center is not included.

This course will emphasize the primary facets of drawing the figure that have given it an enduring and prominent place in art. Drawing and representing the figure will lead to a better understanding of line, gesture, proportion, volume and composition. Concept, observation, character and materials will be discussed in relation to portraying the human figure. Classical traditions as well as contemporary examples of figure drawing will be explored. All drawing media are welcome, including ink and watercolor.

NOTE: Please bring a medium-tooth drawing pad and newsprint pad (18×24″), medium and soft charcoal, assorted B pencils, a kneaded eraser and a white plastic eraser to the first session.

Through observation and using the model as subject matter, students will learn the fundamentals of drawing. This course will concentrate on each student’s personal development. Using a variety of materials, straightforward consideration of a subject and unconventional approaches, students will explore the elements needed to create successful drawings.

NOTE: Please bring a newsprint pad (18×24″), vine charcoal, soft charcoal pencils and crayons to the first session.

FIC-2509-A
Sundays, Jan 28 – March 4, 2018

FIC-2509-B
Sundays, Mar 25 – Apr 29, 2018

Hours: 3:00PM-6:00PM
Register online

Artists have always been inspired by nature and more recently have begun to apply
the advancements of biotechnologies into their work. In this course students will be
introduced to the field of bio art and work in SVA’s state-of-the-art Bio Art Laboratory.
We will explore how to cultivate and creatively manipulate several model organisms,
such as fungi, bacteria, yeast and plants. Many of these organisms have image
rendering and mold-making capabilities that can be harnessed as new construction
materials. Students will make mycelium sculptures, grow visceral sheets of bacterial
cellulose, produce chlorophyll prints, and paint with bacteria genetically modified to
express a fluorescent protein naturally found in a bioluminescent jellyfish. We will
also explore molecular gastronomy, which employs many techniques for suspending
fluids and making liquid sculptures. No previous experience in bio art is required.

Register: http://www.sva.edu/continuing-education/fine-arts/introduction-to-bio-materials-18-cs-fic-2509-b

This course will explore fiber art as individual art practice. Students will learn how to design and fabricate costumes, soft sculpture, installations, and other fiber-based projects. These can be exhibited as art, or used in performances, video art, film and photographs. The primary focus of the course is for students to work on designing and creating their own projects with guidance from the instructor. Demonstrations will include designing and adapting patterns, sewing techniques, digital embroidery, printing and painting on fabric, and other fibers techniques. We will also look at examples of fiber art and costumes by various artists and designers, and discuss ideas about fibers in contemporary art.
NOTE: The studio fee includes use of the sewing machines in the Fibers Lab. All materials must be purchased by the student.

This course is for students who are beyond the beginning drawing/ painting level, and are ready to intensively develop their imagination. In a supportive environment, each student will design a six-week project that emphasizes imaginative imagery. Memory, dreams, fiction and literature can all be used as subject matter. In addition to models, source materials such as photos, collages and sketches can be used as tools to develop finished works. Working with a choice of media, including collage, photos, digital prints and paint, this course will give students the opportunity to explore their artistic vision. Discussions on mixed media, experimental procedures and archival concerns will complement studio work.
NOTE: Please bring drawing or painting materials, examples of your work and possible source materials to the first session, and be prepared to discuss ideas for your project.

This hands-on course will cover the fundamentals of designing and making metal home furnishings and furniture. Students will learn shop safety and a variety of techniques to cut, bend, form, join (including welding) and finish metals. Individual assistance is given with applying techniques to directed projects of the students’ own designs. Students with prior experience in metalworking will work with the instructor to plan independent projects and learn advanced techniques. Past projects have included tables, lamps, mirror frames, shelves, trays, coat racks, candelabras, birdhouses, bowls and planter boxes. The class is open to students of all levels, from those with no experience with art or using tools to working designers who need practical knowledge of the material and how to add structure to their designs.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants and access to the metal workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

This course covers a broad range of metalworking processes, enabling beginning and more advanced students to discover the enigmatic qualities of metal. Instruction will be given in shop safety; hand and power tools; MIG and TIG welding; plasma cutting and sheet metal forming. Following a guided first project students will develop independent projects to synergize learned skills with their own sculptural methods, concepts and sensibilities. No previous sculpture or metal experience is required.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the metal workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

Metalworking doesn’t have to mean working with sparks and flames. In fact, there are multiple tools and techniques to work with metals that require a range of skills, which involve neither welding or flame work. This course is suited for the beginning student interested in metalworking, or the experienced metal artists who would like to add new techniques to their vocabulary. Several small, individually designed projects will be completed using hand tools (hacksaw, file, punch, stamp, riveter, tap, hammer), small power tools (hand drill, jigsaw, reciprocal saw, sander) and larger equipment (bender, brake, roller, jump shear, CNC machines). The focus will be on using steel; other metals can be used with the instructor’s permission.

NOTE: The studio fee includes safety equipment, hand tools, drill bits, saw blades, abrasives, compressed air, lubricants and access to the metal workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

The fundamentals for creating three-dimensional objects will be the focus of this course. Demonstrated techniques and processes will cover a broad range of materials, including metal, wood, mold making/casting, fiberglass, silicone, plastics, resins, finishes and paint. Students will also gain hands-on training for installation, sculpture and prop making for films. The goal is to provide contemporary skills to assist in the fabrication of 3D objects and environments. Students can work on approved projects of their choosing, or an assigned project that will be based on their creative interests. If you want to be a “maker,” this class is for you.

NOTE: The studio fee includes safety equipment, hand tools, welding equipment, drill bits, saw blades, abrasives, compressed air, lubricants and wood glue, as well as access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

Open to students at all levels, this course is an intensive survey of the diverse methods and approaches to oil painting and it will take the mystery out of color, composition, scale and tone. Working from the live nude, you will learn how to create convincing flesh tones in light and shadow, and volume and space, through the application of color theory. We will also work on atmospheric perspective as it pertains to the landscape for the final three sessions. Demonstrations will show you how to use a painting knife and brush, and how to build a painting using old master, classicist, impressionist, and neoimpressionist techniques. You will learn the recipes of painting mediums and how to use them. This course will strengthen your observational skills, and you will become familiar with atmospheric perspective, linear perspective and human anatomy. There will be group discussions of student work and individual attention to the goals, needs and level of experience of each student.

NOTE: Please bring a newsprint pad (18×24″) and compressed charcoal to the first session. This course may be taken for undergraduate credit. Please refer to FID-1220-CE in the credit courses section of this bulletin for details.

FIC-1221-A

For the beginning student, this course is designed to introduce the fundamentals of painting. Using oil paint, students will explore color, form and content. Subjects will include still life, the model and themes from your imagination. The course will concentrate on each student’s individual development, enhancing his or her technical skills and personal expression.

FIC-1223-A

Designed for the beginning student, this studio course will introduce the fundamentals of color, space, composition and technique. Oil paint will be the primary medium; other media will be explored, including acrylics and collage. Students will paint from observation, memory and imagination. Contemporary concepts will be emphasized. There will be individual and group critiques.

NOTE: Please bring a rough newsprint pad (18×24″), charcoal pencils and an eraser to the first session.

This course will introduce you to the joys and challenges of painting on location. We will paint outdoors at sites such as Central Park, Madison Square Park, Battery Park and Brooklyn Botanic Garden, as well as points north along the Hudson River. Topics will include linear and atmospheric perspective, the visual properties of water, perspective of cast shadows, composition, scale and color theory. On overcast days students can focus on one painting for the entire session; on sunny days, to make the most of the shifting light, two pieces will be worked on. We will paint indoors on rainy days using high-resolution images of landscapes or reproductions of landscape paintings as reference. Students may work in the medium of their choice. Individual guidance based on each student’s skill level will be provided.

NOTE: Please bring a portable easel to each session. A lightweight telescoping tubular Stanrite easel is recommended

The focus of this course will be to teach the foundation that guides drawing a portrait from a live model. A step-by-step approach will make this an easy-to-understand but challenging experience. Through observation, we will analyze the structure of the face by employing different methods, from quick sketches to the more elaborate and finished portrait drawing. Proportion and scale will be emphasized with traditional concepts, such as line, shadow and volume. Our goal will be to show that the structures we draw express the character and personality of our subject, built up in layers, section-by-section and consolidated into a finished drawing. We will also explore the great masters of this discipline, from Dürer and Holbein, Rembrandt and Vermeer to modern and contemporary artists such as Lucian Freud and Alice Neel.

NOTE: Please bring drawing and newsprint pads (18×24″), soft charcoal of differing thickness, pencils (6 to 6B), a kneaded eraser and a soft vinyl eraser to the first session.

This comprehensive course in portrait painting will explore all you need to know to make realistic, fully illuminated portraits. It is perfect for beginners and will prove of immense value to even the most experienced professional. Each week will involve painting from the model with detailed instruction. We will begin with an examination of how color can be used to create palpable flesh and three-dimensional form. Subsequent projects will build from this foundation and incorporate paint layering and underpainting techniques, as well as a look at the mysteries of pose, posture and gesture. The simple break down of the features—nose, eyes, mouth, ears—will enable you to quickly incorporate them into your portrait with accuracy and credibility. Examples from masters’ work will be shown and discussed. Home assignments support and continue the work in class, and sometimes range to more experimental approaches to the portrait.

NOTE: A short video about the course and a materials list can be viewed at: johnaparks.com.

Drawing lies at the heart of all representational art and unity is the key component. The purpose of this workshop is to develop your ability to approach drawing in a contextual way, where each small part serves the greater whole. We will start with exercises designed to sharpen your ability to see objectively. Working with live models, you will learn how to identify the specific proportions and structure unique to each individual. By weeks end, you will understand what it takes to achieve a full-fledged tonal portrayal of your subject, bathed in light and surrounded by air. Draftsmanship is an easily learned skill. The techniques and approaches you will learn can be readily adapted to any type of subject matter and style. All aspects of this method will be presented logically and coherently. Every step will be fully demonstrated and explained.

NOTE: A complete supply list will be sent to you prior to the start of the workshop.

There’s more to painting a great portrait than capturing a likeness; it’s about creating the illusion of life. Portraiture should reveal the character of the sitter and exude a lifelike essence. During this course, taught by an award-winning portrait artist, you will learn how to analyze, interpret and convincingly portray the human visage. The methodology presented is both broad in scope, yet simple to comprehend. It’s based on the idea that logic, not frivolous rules nor superficial techniques, lies at the core of the greatest portraits ever created. Working from live models, you will discover a simple and straightforward way to achieve accurate drawing and to easily replicate any color you see, particularly the subtle translucent tones of the human complexion. You will also learn how to model form and to simulate the effects of luminosity, illusionistic depth and atmospheric space. All of the information covered in this course will be fully demonstrated and explained.

NOTE: A complete supply list will be distributed at the first session. The Saturday session will be held at The Metropolitan Museum of Art. This course may be taken for undergraduate credit. Please refer to FID-2219-CE in the credit courses section of this bulletin for details.

Designed for students at all levels who wish to explore the world of sculpture, this course will begin with basic carving techniques using blue foam covered by an aqua resin. Demonstrations of various techniques used to produce 3D works will be included, as well as slide presentations of artworks from many disciplines. Students will be encouraged to critically examine how emerging technologies alter the landscape of making art.

NOTE: The studio fee includes safety equipment, hand tools, abrasives, compressed air, lubricants and access to the plaster workshop outside of class time, based on facility availability. All other materials must be purchased by the student.

Microscopes are wonderful tools for observation and have revolutionized our understanding of cells and subcellular structures. With photographic attachments, these instruments provide amazing images that transcend science into art. Spectacular renderings can often be made by simply placing the specimen under the microscope. In other instances specimens may require preparation, including tissue fixation, embedding, sectioning and mounting on slides, among others. During this course we will explore techniques used to prepare tissue for microscopic imaging. Focusing on the enhancement of various cell structures, we will use stains to tease out intricate details, such as the cell membrane, the nucleus, DNA, proteins, and other organelles that make up cellular domains and tissue architecture. Prepared samples will be photographed using both stereo and compound microscopes to generate a professional high-end portfolio.

This course will allow you to really explore and invent by embracing all media, and will encourage anyone who desires a nurturing critical discourse and consciousness of themselves in relation to what is happening in the visual arts today. A fully mixed-media orientation is receptive to all approaches, including students who are primarily painters, photographers or video-makers, performers, among others. The emphasis will be on enabling experimentation with a full range of traditional, unconventional and exotic materials, techniques and ideas: digital fabrication, audio, electricity, fluids, mechanical parts, photomontage, optics, metal, paper, wood. The development of your concepts and personal interests will be strongly supported. Our thinking will be placed in contemporary and historical context through presentations of visual and textual resources: slides, videos, articles, web-based online materials and weekly updates on current exhibitions. Among the many ideas that will be explored are perception, transformation, performance, the body and language, as well as the environmental, political and site-specific in art. This course is perfect for those seeking to renew their creative work and develop a portfolio. Professional resources will be discussed and extensive technical help will be provided. There will be group critiques and individual instruction.

NOTE: The studio fee includes safety equipment, hand tools, welding gases, welding rods, drill bits, saw blades, abrasives, compressed air, lubricants, wood glue and access to the plaster, wood and metal workshops outside of class time, based on facility availability. All other materials must be purchased by the student.

This hands-on course will explore a variety of ways to tell a story or present information through forms that include drawing, painting, sewing, printing and collage. We will look at the history of visual narrative from around the world. We will study graphic novels, comics, cartoons and contemporary narrative painting and drawing and use these forms as a source for our own work. Open to all from beginners to advanced. Instruction in basic drawing and in more advanced concepts.

Watercolor is a very easy medium once color mixing and water control have been mastered. This course introduces a variety of materials and techniques for beginners and intermediate level students. Students will create realistic to semi-abstract works using photographs, still lifes and live models—with minimum time spent for maximum results. Students will discover their untapped talent, and will be encouraged to find their unique style. This course is specifically designed for those who want to master watercolor painting within a brief time period without much art training. At the end of the semester, students will have completed four to six paintings and developed an appreciation of watercolor painting.

NOTE: Please bring pencils (2B), a sketchbook (any size), rounded brushes (size #8, #12, #16), and some tubes of watercolor paint.

This course is designed to inform and demonstrate all the “shop tricks” in watercolor painting. Beginning and experienced students will learn how to avoid pitfalls and advance their watercolor paintings. We will explore a variety of watercolor techniques with an emphasis on developing one’s own style. Demonstrations of color and design, wet-on-wet and dry brush techniques will be included. Students can paint from still life, photographs or their own subject matter. Individual attention will be given.

NOTE: A supply list will be distributed upon registration in this course.