2010-11 Undergraduate Index A-Z
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Visual Arts [clear]
| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days of Week | Multiple Standings | Start Quarters |
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Activist Art: Comics
Amaia Martiartu |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | SSpring | Through drawing, writing, and discussion, this course will study comics as a tool for political and social activism (not superheroes). The class will learn and practice basic skills for script writing and drawing and will develop students' creativity through applied projects. | Amaia Martiartu | Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Art, Culture, and Spirit
Hirsh Diamant consciousness studies cultural studies education literature somatic studies visual arts Signature Required: Winter |
Program | FR - SRFreshmen - Senior | 4, 8, 12 | 04 08 12 | Evening and Weekend | FFall | WWinter | All human societies and cultures express their relationship to spirit through art. Art is the earliest and most enduring expression of humanity. For community and the individual, art can be a practice of connecting with higher consciousness and with the spirit. In today's global community it is important to understand art of other cultures and by so doing to awaken art within oneself while learning to understand the "other." All children naturally understand the importance of art and are creating art constantly in their play. All children are artists and all can paint, play, sing, and dance. Children also have an instinctive sense of right and wrong. In the modern, industrial world these natural abilities often become suppressed and lost. Modern educators need to be confident in their own artistic abilities and grounded in their own moral core; they need to be trained in communication across cultures and able to support children's healthy development. The students in this half-time, interdisciplinary program will immerse themselves in study and practice of art and in cultural experiences that are vastly different from the Western dominant culture by studying Native American, Muslim, Hebrew, and Chinese cultures. Students will make art, study myths and world religions as they have been shaped by cultures and landscapes of the past, and examine cultural and ethical norms. Students will also examine cultural influences and pressures of today's global society and will investigate the importance of preserving and developing cultural, artistic, and ethical traditions. Students will engage in traditional academic study such as reading, writing, and seminars and will also engage in art making, meditation, community events, and the practice of Tai Ji. Students will participate in their community's spiritual practices and will cultivate their own spiritual, meditative, ethical, and artistic life. In addition to classroom study, students will participate in mediation retreats and will go on field trips to explore art and spiritual resources in the community. In winter quarter students will be able to work on community service projects, in schools, and on Native American reservations. Students will also have the option to travel to China in March of 2011 to study in important Daoist, Buddhist, and Confucian centers. Students who wish to participate in this travel option should register for either 4 credits (just the trip) or 12 credits (8-credit program plus the trip). | community, culture, and consciousness studies; art; education; literature; and writing. | Hirsh Diamant | Wed Thu Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||
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Art for Art Therapists
Gail Tremblay |
Course | FR - SRFreshmen - Senior | 4 | 04 | Day | SuSummer | This course is designed to explore art projects that can be used in therapeutic settings with patients and clients. It will include readings and films about art used as therapy along with hands-on art projects that explore a variety of media. Students will be required to create at least five works of art using various media and to write a summary at the end of the summer session that explores what they have learned. | art therapy | Gail Tremblay | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Art History: The Middle Ages
Nancy Bishop |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | SuSummer | This course presents a comprehensive survey of the art traditions of Western Europe from roughly 300 to 1400. A principal goal is to deepen student appreciation for the complexity of the visual expressions of so many art forms and to understand how they reflect medieval thought and life. Class time will involve lecture and discussion with an occasional film or other activity. Previous study in art history is helpful but not required. | Nancy Bishop | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Art, New Media, and the Science of Perception
Richard Weiss and Naima Lowe computer science mathematics media studies moving image physics psychology visual arts Signature Required: Winter |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | WWinter | What is an image? How do we form them? What factors influence our perception of images? How are the history and practices of New Media related to social and cultural phenomena surrounding robotics, cybernetics, and networked culture? Cybernetics and reproducible images emerged almost simultaneously in the Western world and became markers of the post-modern era. The result was a rich interaction that developed between art, video and photography, robotics and image processing. The culture and history of New Media, visual perception and cognitive science will form the landscape for our explorations. In this program, we will investigate how images are formed and how we perceive them, as well as the theoretical underpinnings of reproducible images and the history of New Media. Both cultural and technological aspects will guide our examination of the entire sequence of events from how images are produced in a camera to how we perceive and react to images as informed by both our personal and social experiences. We will explore digital and non-digital images and image processing, as well as the cognitive science of how our eyes and brain process patterns of light. In the fall, we will study the concepts of editing, video production and photography, as well as the influences of culture and technology on art, printed media and electronic media in the age of the Internet. Robotics and image processing will lead us to geometric optics and color. Students will learn how to work with digital and non-digital images, image reproduction, the pinhole camera model, lenses, filtering images, and programming a simple mobile robot to take pictures. In winter, we will continue to develop and expand much of the work we started in the fall. We will expand our view of robotics to include more general, computer processor-based interactive art and the cognitive science of visual perception. Winter quarter will culminate in public presentations of student projects that integrate our studies. | video production, media arts, computer science, mathematics, and cognitive science. | Richard Weiss Naima Lowe | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | |||
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Art Since 1500
Olivier Soustelle |
Course | FR - SRFreshmen - Senior | 4 | 04 | Day | SuSummer | This class surveys world art history since 1500 from the High Renaissance to the 20th century. We will focus on paintings, sculpture, architecture and the decorative arts in Europe, North America, and Asia. Credit possible in either art history or world cultures/civilizations. This is a companion class to "Europe Since 1500." | art history, teaching, visual arts, world cultures | Olivier Soustelle | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Art, Time and Narrative
Shaw Osha (Flores) and Marilyn Freeman aesthetics art history cultural studies media studies visual arts writing |
Program | FR ONLYFreshmen Only | 16 | 16 | Day | FFall | WWinter | "The wall between artist and audience is very thin, all you have to do is walk through."- PICA on Portland’s Time-Based Art Festival Contemporary art considers maker and audience, it can be materially based and conceptually based, and it can be multi-media and interdisciplinary. How do the various practices relate and inform us as both makers and audience? In this program we will consider the relationship of drawing and writing to other media as a means of examining basic ideas around time and narrative. What is our relationship as art makers and viewers to our perceptions of time? This visual art and writing program will explore concepts of time and artistic practices with references to temporal space by developing foundational skills in critical thinking, drawing and 2-D art, creative non-fiction and analytical writing, audio recording, basic photography and multimedia editing in the context of contemporary visual culture and art history. We will use personal narratives to explore time, memory, and perspective through words and images; and we will consider the relation of moving and still images, drawings and sound and what happens when we confound the senses by juxtaposing them. The context of art history and critical theory will be integral to our inquiry. The curriculum will include studio practice, writing, workshops, lectures, readings, research, seminar, screenings, gallery and museum visits, multimedia production and presentations, and critiques. There will be one field trip each quarter to either Seattle or Portland. In fall quarter we will develop personal narratives in essay form and drawing. Students will be introduced to theories and practices relative to time- and process-based art. Fall quarter work will culminate in collaborative word/sound/image projects on everyday time. In winter quarter we will advance the study of relationships between art, time and narrative through a comprehensive integration of writing and drawing in the mode of graphic creative nonfiction. We will start working immediately on creative and research projects that will culminate in a final edition of works on paper and multimedia presentations. This quarter will include additional theory-based texts and figure drawing instruction as well as in-depth studio and writing workshop time. There will be an overnight trip to Portland for First Thursday gallery openings. This rigorous program is designed for students who are ready for an immersive college experience—academically, creatively, personally. Students are expected to join field trips and attend off-campus film screenings, to participate fully in all program activities, and to work about 40 hours per week including class time. | visual arts, media arts, creative and critical writing, cultural studies and art history. | Shaw Osha (Flores) Marilyn Freeman | Freshmen FR | Fall | |||
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Arts in New York
Ariel Goldberger architecture art history dance music theater visual arts Signature Required: Spring |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | SSpring | The program will immerse students in studying the intense and lively cultural life of New York City, the most active arts production center in the United States, and perhaps the world. Classes will meet weekly in different cultural institutions to participate in art events as active audience members, to develop an educated and critical appreciation of the richness, complexity and current trends of artistic production in New York. The class will spend two weeks on campus doing preparatory research in areas of the student's interest in order to create the structure for an individual project or practicum. Students may choose to create a project by engaging in artistic work, research, or both. Students will be responsible for making all necessary arrangements for room and board, as well as budgeting for individual event tickets. All students will be expected to present a final report of their experience and project by week ten in Olympia, unless specifically negotiated in advance with the faculty. After the initial two weeks research and preparation, participants in the program will fly to New York City for six or seven weeks, where they will engage in group and individual activities, depending on each student practicum or project. Students will attend a mix of both all-program events and events related to each student's project. The class will attend events in a wide range of sites, from established world renowned institutions to emergent art spaces. Depending on the season, performance events may include events in places such as PS 122, La MAMA, The Kitchen, HERE Art Center, off-off-Broadway small theaters, the Brooklyn Academy of Music, Broadway productions, and Lincoln Center. Regular dance events may include modern dance performances, experimental works, festivals at the Joyce Theater, and more traditional ballet events in venues such as the New York City Ballet. Specific visual arts events may consist of trips to the gallery "scene" in Chelsea, PS1, MOMA, DIA Arts Center, The Met, under the radar spaces, and other sites. We may attend poetry readings at places such as The Bowery Poetry Club, the Nuyorican Poets Cafe, The St. Marks Poetry Project, The Academy of American Poets, The New York Public Library, other spaces. The class will also endeavor to attend other culturally relevant institutions such as the Japan Society, the Asia Society, The Jewish Museum, The Schomburg Center, The Dwyer Cultural Center and El Museo del Barrio to experience a wide range of cultural diversity. Most weekly group activities will be followed by a discussion or seminar. The final week of the quarter will be spent back on campus in Olympia, completing final report presentations for the whole class. | humanities, cultural studies, arts, social sciences, and the leisure and tourism industry. | Ariel Goldberger | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Black and White Photography: Summerwork
Bob Haft |
Program | FR - SRFreshmen - Senior | 8 | 08 | Day | SuSummer | Summerwork is an intensive, hands-on program for students of all skill levels wishing to learn the basics of the 35mm camera (or larger format), darkroom techniques, aesthetics, and a short history of photography. A final project involves production of a book of photographs; each student will receive a copy at quarter’s end. Emphasis is placed on learning to see as an artist does, taking risks with one’s work, and being open to new ideas. | Bob Haft | Mon Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Cities: Real and Imagined
Steven Hendricks and Stephanie Kozick American studies cultural studies history literature sociology visual arts Signature Required: Winter |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | WWinter | The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightening rods, the poles of the flags, every segment marked in turn with scratches, indentations, scrolls. -Italo Calvino Students who select this program must have a passion for a variety of literature and writing about the topic of cities. This program takes on stories that form a literary map of urban centers. Works such as Tulli’s engage city imagery as metaphor, while Auster’s places us squarely in the streets of New York City. Learning activities will also include responding to narratives with visual representation work in the field of book arts. Students will consider the city through literature rich in historical and cultural contexts, practice creative and non-fiction city writing, create urban visual representations, and become familiar with important urban studies. What does it mean to know a city? Urban studies writers such as William Whyte and Jane Jacobs tell us that cities have distinctive landscapes, movements and sounds. Sociologists and literary writers give form to the abstract patterns of city work, consumption, growth and collapse and seek to link these patterns to the unique lives of individual city dwellers. Cities abound with layered stories that, through the imaginative lens of literature, make up a modern mythology and allow us to locate, within the urban tumult, quarters of quietude, woven communities, and patterns of migration and change. Cities have provoked fantasies of heavens and of hells—utopias and dystopias—and provided a modern image of the monolithic impenetrability of history and civilization against which or within which the individual must carve out a meaningful life. Through an aesthetic exploration of the order and chaos of cities, we’ll ask how narratives in literature, film and art construct our sense of place and sense of self. During fall quarter, we’ll study the concept of sense of place, employing works such as (Harmon) to guide us in determining how a sense of place emerges in city writing. Fall will illuminate USA and European cities, deepening our inquiry through partnered fiction and nonfiction readings, such as (Toole) coupled with (Codrescu). In winter quarter we’ll move on to narratives that come out of Africa, Japan, and beyond. Naguib Mahfouz’s , part of his Cairo Trilogy, coupled with Golia’s offer a look at the largest city in Africa, one preserved with a medieval cityscape. Students who wish to continue their study of cities during spring quarter are invited to enroll in the field-based program, . | literature, writing and social studies. | Steven Hendricks Stephanie Kozick | Sophomore SO Junior JR Senior SR | Fall | |||
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Creative Environments: Shaping
Robert Leverich |
Program | JR - SRJunior - Senior | 16 | 16 | Day | FFall | WWinter | SSpring | The faculty of the Creative Environments programs have joined together to offer in fall quarter and in winter and spring. Please refer to those program descriptions in the catalog for more information. | visual art, sculpture, woodworking, environmental art and design. | Robert Leverich | Junior JR Senior SR | Fall | ||
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Dada and Surrealism: Art as Life - Life as Art
Bob Haft and Marianne Bailey aesthetics art history literature visual arts Signature Required: Spring |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | WWinter | SSpring | – , Friedrich Nietzsche This program is designed for serious, advanced students with an interest in the artistic and literary movements of Dada and Surrealism. Like the Surrealists, you must have a strong work ethic and total commitment to our independent and group work; you must also be fearless in the face of disturbing and even dangerous ideas to which we will be exposed. Our goals are to introduce students to the depths of the creative, philosophical and psychological levels of the movements, and to show the profound effects that the movements and their continuing metamorphoses have had on the arts and humanities since the 1920s. In winter quarter we will study works of the Dadaists and of antecedents, beginning our studies with an intensive look at both the bourgeois society into which Dada erupted, “la Belle Epoque”, and the fringe thinkers and artists who had prepared the way. Dark Romantic poets longed for the Abyss, imaged a chaotic inner sea, and flirted with Mephistopheles. Friedrich Nietzsche unmasked God, Truth and Self. Painters and psychologists were obsessed with altered states of being, with madness, dream and hallucination. And thinkers spoke of Flux or Will as underlying all apparently solid constructs, from space and time to identity and language. We will look at the devastating blow World War I struck to humanism, to Western society, and to individual psyches of artists themselves, and at the weird birth of Dada, the wild child, in the Cabaret Voltaire in Zurich, Switzerland, a quiet eye in a raging storm. To assist in our creative endeavors, students will learn the basics of drawing and photography. Students will work in small groups on projects that arise from our studies and will present or perform them at the quarter’s end. Spring quarter will find us concentrating our studies on Surrealism. We will explore the movement as a theory, state of mind, a gift and a world view. We will attempt to participate in that world view through studying, interpreting and critiquing works by the Surrealists, and by creating (both as individuals and groups) art objects and artistic spectacles. We will follow the Surrealist example by keeping dream journals and using them as a source for hypnagogic imagery. We will seek the Marvelous, as Surrealists did, expanding our concepts of the real. We will explore chance or synchronicity, attempt to live creatively, and to create ourselves/our lives as works of art. We will ask what values Surrealists created when commonly accepted values had been negated. We will delve into the relationship between ritual and Surrealist arts, drawing upon Surrealists’ reactions to medieval arts and to Haitian, West African and Pacific Island arts. Students will collaborate to create, print and edit Dadaist and Surrealist literary/artistic journals and performances. In addition, each student will be responsible for an individual research project of their choosing, exploring evidence of Surrealist tendencies in contemporary arts and thought. | 20th century art history and literature, drawing, photography, teaching, and the arts and humanities. | Bob Haft Marianne Bailey | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | |||
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Doing Thinking: Working Wood, Crafting Ideas
Gillies Malnarich and Daryl Morgan aesthetics art history cultural studies education sociology visual arts |
Program | SO - SRSophomore - Senior | 8 | 08 | Evening and Weekend | FFall | WWinter | What do we know about how people learn "something" well? What is the relationship between thinking and doing, between the work of the mind and the work of the hand? Why does working through "the hard parts" move us closer to the elusive nature of mastery? How do novices become experts and apprentices turn into artisans? We will explore these questions in a learning environment which intentionally cross-fertilizes workshop and classroom learning experiences. The practice of begins with conceptualizing something and understanding its purpose. We choose a shape, size and structure; we select the material from which to make it; we assemble tools appropriate to the task. But, to actually make the object we must possess the necessary skills. requires a similar level of discipline: the process is as imaginative, intentional, and skill-based as . Intellectual work turns into tools for analysis. invites us to re-conceptualize our understanding of tools as instruments of both the hand and the mind as we address the program's overarching questions. Throughout the program, we will develop both our abilities to make things of consequence from wood and our abilities to work with ideas that matter in the world and that are worth understanding. | education and art-related fields. | Gillies Malnarich Daryl Morgan | Mon Wed Sat | Sophomore SO Junior JR Senior SR | Fall | ||
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Drawing a Life
Marilyn Frasca |
Program | SO - SRSophomore - Senior | 8 | 08 | Day | SuSummer | Drawing images from one's own life in both writing and drawing are activities that will form the center of our work together. Students will have the opportunity to develop skill at drawing from posed models and will use journal writing sessions to identify the unique events, situations, and experiences that have formed their life context. Students will be expected to present a final project at the end of the session that will document their effort at Drawing a Life. Activities will include weekly figure drawing sessions, journal writing workshops, work-in-progress critiques, and individual conferences with faculty. | visual arts, creative writing, psychology, humanities | Marilyn Frasca | Tue Wed Thu Fri | Sophomore SO Junior JR Senior SR | Summer | |||
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Drawing From Place
Lucia Harrison |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | Rather than viewing the landscape as an object of conquest or consumption, Drawing from Place explores the role of art and artists in helping people develop a deep personal relationship with a place. This all-level program is designed for beginning artists who would like to learn to draw and to make artworks that are inspired by their connection to a specific landscape. In the first half of the program, as a case study for place-based research and inspiration, students will study the Nisqually River Watershed. Through reading and field study, students will learn the history of the watershed and its communities, study its basic ecology, and learn about current conservation efforts. They will develop beginning drawing skills and practice techniques for keeping an illustrated field journal. Through lectures and readings, students will study artists, including environmental artists, whose work is inspired by their deep connection to place. In the second half of the quarter, students will create a series of drawings inspired by their own relationship with a particular place. | art and environmental education. | Lucia Harrison | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||||
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Drawing Marathon
Shaw Osha (Flores) |
Course | FR - SRFreshmen - Senior | 4 | 04 | Day | SuSummer | This intensive, all-day drawing program runs for two weeks. Open to all levels, this immersive drawing class will address the importance of drawing as the basis of understanding one's experience in the world and as a language integral to all visual art. Specifically, we will study the figure as a structure in space. There will be some reading and writing as well as critiques. The Drawing Marathon will push artists to a new level of working. | Shaw Osha (Flores) | Mon Tue Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Drawing Practices: Contemporary Applications
Judith Baumann Signature Required: Spring |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | SSpring | Designed for intermediate to advanced drawing students, this course will focus on contemporary applications of traditional drawing practices. Building upon observational drawing skills, students will work with invented compositions and alternative materials, investigating mark making, collage methods and color theory. Class time will be devoted to presentations, critiques, demonstrations and in-class exercises. Students will be expected to work outside of designated class time to complete all work. | Judith Baumann | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Drawing Practices: Figurative Studies
Judith Baumann |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | WWinter | This course focuses on the traditional life drawing practices of observing and drawing the human figure from live models. Students will use a variety of media ranging from graphite to pastels as they learn to correctly anatomically render the human form. Homework assignments will supplement in class instruction and visual presentations. While previous drawing experience is not required, it is recommended. | Judith Baumann | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | ||||
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Drawing Practices: Foundations
Judith Baumann |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | FFall | This course is an introduction to the principles and techniques in drawing. Students will gain a working knowledge of line, shape, perspective, proportion, volume and composition. Using both wet and dry media, students will experiment with the traditions of hand drawn imagery. Students will work toward the development of an informed personal style, aided by research of various artistic movements and influential artists. Students will be required to keep a sketchbook throughout the quarter and complete drawing assignments outside of studio time. Presentations on the history and contemporary application of drawing will contextualize studio work. A final portfolio of completed assignments is due at the end of the quarter. | Judith Baumann | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||||
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East-West Culture, Commerce, Art, and Spirit (A)
Hirsh Diamant communications economics ethnic and cultural studies teaching and education visual arts writing Signature Required: Summer |
Course | FR - SRFreshmen - Senior | 2 | 02 | Day | SuSummer | This course will compare and contrast foundations of Western and Eastern cultures and the implications that these foundations may have on life, commerce, and art in contemporary society. The course is designed for Chinese students that are interested in exploring education in the United States and particularly at Evergreen State College. In addition to learning about Evergreen resources and pedagogy, students will learn about the unique cultures of Pacific Northwest, will spend time on a Native American Reservation, and will visit colleges in Portland and Seattle. Chinese students will also be involved in meetings and cultural sharings with U.S. students, and learning about college requirements in the U.S. Assignments and support in section A of this course are designed for students who have less mastery of English. More fluent English speakers are encouraged to register for section B. | Cultural studies, Education, International studies | Hirsh Diamant | Mon Tue Wed Thu Fri Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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East-West Culture, Commerce, Art, and Spirit (B)
Hirsh Diamant communications economics ethnic and cultural studies teaching and education visual arts writing Signature Required: Summer |
Course | FR - SRFreshmen - Senior | 2 | 02 | Day | SuSummer | This course will compare and contrast foundations of Western and Eastern cultures and the implications that these foundations may have on life, commerce, and art in contemporary society. The course is designed for Chinese students that are interested in exploring education in the United States and particularly at Evergreen State College. In addition to learning about Evergreen resources and pedagogy, students will learn about the unique cultures of Pacific Northwest, will spend time on a Native American Reservation, and will visit colleges in Portland and Seattle. Chinese students will also be involved in meetings and cultural sharings with U.S. students, and learning about college requirements in the U.S. Assignments and support in section A of this course are designed for students who have less mastery of English. More fluent English speakers are encouraged to register for section B. | Cultural studies, Education, International studies | Hirsh Diamant | Mon Tue Wed Thu Fri Sat Sun | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Furniture Design and Furniture Making
Daryl Morgan |
Program | FR - SRFreshmen - Senior | 8 | 08 | Evening | SSpring | This is an intensive program for those interested in exploring their own creative potential through the lens of twentieth-century furniture design. We will focus our inquiry on influential designers and makers representing the Arts and Crafts movement, the International Style, Art Deco, Mid-Century Modern, the Craft Revival movement, and others. Using the work of these artisan designers as inspiration, students will construct a piece of furniture of their own design. | Daryl Morgan | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Individual Study: Book Arts, Letterpress, Graphic Design
Steven Hendricks |
Contract | ONLY Only | 8 | 08 | Day | SSpring | Steven is available to support a limited number of intermediate to advanced students interested in studying and developing projects in these areas: book arts, letterpress printing, and graphic design. Some previous experience or relevant foundation for the proposed work is expected (e.g. printmaking, photoshop, creative writing, fiber arts, etc.). Senior thesis work welcome.Use the online proposal process to make contact. | Steven Hendricks | Spring | ||||||
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Individual Study: Fiber Arts, Non-Western Art History, Native American Art, Creative Writing
Gail Tremblay Native American studies art history cultural studies visual arts writing Signature Required: Spring |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | SSpring | In the fields listed, Gail Tremblay offers opportunities for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of the quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. The faculty sponsor will support students wishing to do work that has 1) skills that the student wishes to learn, 2) a question to be answered, 3) a connection with others who have mastered a particular skill or asked a similar or related question, and 4) an outcome that matters. Areas of study other than those listed above will be considered on a case-by-case basis. | the arts, art history, literature and creative writing, especially poetry, and the humanities. | Gail Tremblay | Sophomore SO Junior JR Senior SR | Spring | ||||
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Individual Study: Fiber Arts, Non-Western Art History, Native American Art, Creative Writing
Gail Tremblay Native American studies art history cultural studies visual arts writing Signature Required: Fall |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | In the fields listed, Gail Tremblay offers opportunities for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of the quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. The faculty sponsor will support students wishing to do work that has 1) skills that the student wishes to learn, 2) a question to be answered, 3) a connection with others who have mastered a particular skill or asked a similar or related question, and 4) an outcome that matters. Areas of study other than those listed above will be considered on a case-by-case basis. | the arts, art history, literature and creative writing, especially poetry, and the humanities. | Gail Tremblay | Sophomore SO Junior JR Senior SR | Fall | ||||
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Individual Study: Interdisciplinary Projects, Arts, Consciousness Studies and Humanities
Ariel Goldberger aesthetics anthropology architecture art history classics communications community studies consciousness studies cultural studies field studies gender and women's studies geography international studies language studies leadership studies literature music outdoor leadership and education philosophy psychology queer studies religious studies sociology somatic studies theater visual arts writing Signature Required: Winter |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | WWinter | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unqiue combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, or projects that include arts, travel, or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger. Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. Ariel Goldberger supports interdisciplinary studies and projects in the Arts, Humanities, Consciousness Studies, and travel. | humanities, arts, social sciences, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Winter | ||||
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Individual Study: Interdisciplinary Projects, Arts, Consciousness Studies and Humanities
Ariel Goldberger aesthetics anthropology architecture art history classics communications community studies consciousness studies cultural studies field studies gender and women's studies geography international studies language studies leadership studies literature music outdoor leadership and education philosophy psychology queer studies religious studies sociology somatic studies theater visual arts writing Signature Required: Spring |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | SSpring | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unqiue combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, or projects that include arts, travel, or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger. Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. Ariel Goldberger supports interdisciplinary studies and projects in the arts, humanities, consciousness studies, and travel. | humanities, arts, social sciences, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Spring | ||||
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Individual Study: Interdisciplinary Projects, Arts, Consciousness Studies and Humanities
Ariel Goldberger aesthetics anthropology architecture art history classics communications community studies consciousness studies cultural studies field studies gender and women's studies geography international studies language studies leadership studies literature music outdoor leadership and education philosophy psychology queer studies religious studies sociology somatic studies theater visual arts writing Signature Required: Fall |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unqiue combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, or projects that include arts, travel, or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger.Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply.Ariel Goldberger supports projects in the Arts, Humanities, Consciousness Studies, Arts, and interdisciplinary studies. | humanities, arts, social sciences, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Fall | ||||
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Individual Study: Media Arts, Visual Anthropology, Communications
Sally Cloninger communications cultural studies media studies moving image visual arts Signature Required: Fall |
Contract | JR - SRJunior - Senior | 16 | 16 | Day | FFall | Sally Cloninger offers opportunities for intermediate and advanced students to create their own course of study, creative practice and research, including internships, community service and study abroad options. Prior to the beginning of fall quarter, interested individual students or small groups of students must describe the work to be completed in an Individual Learning or Internship Contract. Sally is particularly interested in sponsoring individual contracts or internships in media arts, media studies, media production, visual anthropology, cultural studies, photography, performance studies, screenwriting and communications but will also consider other disciplines on a case-by-case basis. Where applicable, students will meet in small groups with faculty for critique and discussion as part of their contract. | communications, humanities, media arts, performance studies, visual anthropology, and visual arts. | Sally Cloninger | Junior JR Senior SR | Fall | ||||
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Interactive Sound and Video
Ben Kamen |
Program | FR - SRFreshmen - Senior | 8 | 08 | Day | SuSummer | In this course, students will learn to use the Max/MSP/Jitter visual programming environment to examine video and sound as expressed through numbers, simple mathematics, and logic. Students will learn to operate audio and video recording equipment and develop techniques for playing back and modifying materials through algorithmic processes. Students will develop strategies for interacting with their materials in real time using MIDI controllers and other input devices. Students will create original works of sound and video art exploring the manipulation of time and form. | Ben Kamen | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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The Lens-Based Image: Theory, Criticism, Practice
Matt Hamon |
Program | FR ONLYFreshmen Only | 16 | 16 | Day | SSpring | The focus of this program will be on photographic theory, criticism and practice. Photographic images pervade every facet of our society and affect almost all of our thoughts and emotions. Though their intentions can be elusive, and dependant on context, they are always present and should be approached with a critical mind and eye.This program is designed for beginning photographers and will emphasize seeing, thinking and creating with thoughtful inquiry in hopes of providing a better understanding of the construction and manipulation of an image's meaning and form. All of the exercises, lectures, presentations, film screenings, gallery visits, critiques, etc. are designed to develop each student's technical, theoretical and conceptual approach to the subject matter and his/her understanding of the connections between these three elements. Students will carry out art historical research as well as visual research to support personal artistic inquiry. Students will be expected to rigorously pursue their personal studio work while participating in interdisciplinary critiques of their work and the work of others.Students should be prepared to do work in critical thinking, reading, writing, and most of all, art production. Seeing, thinking, visualizing and creating "exercises" will be assigned. Students should be prepared to actively engage in these exercises which might, at times, seem fundamental-for instance, making a photogram. Students should be prepared to complete a significant, but reasonable, number of assigned readings. Seminar readings will inform our understanding of aesthetics generated from lens-based images. Students should be prepared to complete a significant, but reasonable, amount of writing on the arts. Each week, students will be required to demonstrate active studio practice in relationship to their personal work. | art, photography, art theory, art criticism, studio practice, and writing for the arts. | Matt Hamon | Freshmen FR | Spring | ||||
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Looking at Animals
Susan Aurand and Joseph Tougas |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | SSpring | This program is a one quarter interdisciplinary study of how we see, understand and represent animals. Animal images are the oldest known artworks. From the painted bulls in Lascaux cave to Mickey Mouse, Godzilla and the Republican Elephant, images of animals pervade our history and culture. Our relationship to animals as the Other/Ourselves has been a major preoccupation throughout human history. Through lectures, seminars and common readings, we will examine our relationship to animals as it is portrayed in art and literature. We will consider how the study of animals can give us ideas about human nature and the human mind. We will look at the portrayal of animals throughout art history, and we will read novels, short stories and critical texts that deal with our relationship to animals. We will also use studio work to explore our individual relationships to animals. Workshops in the program will provide skill development in 2D art (drawing, painting, mixed media) and 3D art (making animal masks and woodcarving). As a major part of the program, each student will do an individual project that combines studio work with library research, exploring a particular animal or topic within our larger theme. | art history, arts, creative writing, literature, humanities, and the visual arts. | Susan Aurand Joseph Tougas | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Medicinal Botany in Summer
Marja Eloheimo botany cultural studies environmental studies sustainability studies visual arts |
Program | FR - SRFreshmen - Senior | 8 | 08 | Day | SuSummer | In this 8-credit program, students will gain an introduction to medicinal plants in summertime, with particular focus on plant identification and morphology (botany), medicinal concepts and practices (botanical medicine), and botanical arts and nature journaling (art). Students will also explore selected aspects of such topics as approaches to cross-cultural herbalism, research and experience, bringing medicinal plants into our lives, and plants for summertime health. Activities include lectures, workshops, reading, seminar, field activities, and hands-on projects. This course is appropriate for students with interests in botany, environmental studies, health, education, and botanical medicine. | botany, health-related fields, ecology, education, cultural studies, sustainability | Marja Eloheimo | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Medieval Art History and Sacred Geometry
Ann Storey art history cultural studies gender and women's studies history religious studies visual arts |
Program | SO - SRSophomore - Senior | 8 | 08 | Evening | FFall | This program will examine the art and sacred geometry of the Medieval era, a singular period of creativity, spirituality, and change. We will study the motivating ideas and issues of the age: the dynamic influence of migrating tribal cultures on inherited classical traditions, the problem of iconoclasm, the arcane goals of the alchemists, and Neoplatonic philosophy expressed through the visions of the mystics. The idea that both mystic and artist were "seers"—seeing beyond the physical into the transcendent and metaphysical—impelled them into visionary realms. We will learn about the mysticism of Hildegard of Bingen, Meister Eckhart, and other charismatic figures, as we see their visions expressed in superb mosaics, illuminated manuscripts, stained glass, sculpture and architecture. Sacred music of the era will be experienced through recordings and a possible field trip. We will also learn about the outstanding art, architecture and geometry of medieval Islamic Spain. Islamic dictates forced artists of the period to use ingenious geometrical techniques (rather than figurative ones) to create sacred and secular architectural adornments. Art, design and simple geometry workshops will enable students to move from theory to practice. Students will use geometry skills to create Islamic tilings and to design, draw, and paint a Gothic rose window. | art history, education, history of mathematics, geometry, fine art, humanities, and museum studies. | Ann Storey | Mon Wed | Sophomore SO Junior JR Senior SR | Fall | |||
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Metal Casting
Bob Woods |
Program | FR - SRFreshmen - Senior | 8 | 08 | Day and Evening | SuSummer | In this program, participants will learn about the production of sculpture as well as everyday objects through the process of casting. Students will design and construct models in plaster, clay, and wax. We will experience the process of sand casting in aluminum. We will do plaster molding, wax fabrication, and investing for (the ultimate) lost wax casting in bronze. After the work of de-gating and chasing, we will experiment with various patina applications for final presentation. This is a process-intensive studio class where we turn ideas into bronze. Beginners are welcome. | sculpture, visual arts | Bob Woods | Tue Wed Thu Fri | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Metalworking (A)
Bob Woods |
Course | FR - SOFreshmen - Sophomore | 4 | 04 | Evening | SSpring | This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design. | Bob Woods | Tue | Freshmen FR Sophomore SO | Spring | ||||
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Metalworking (B)
Bob Woods |
Course | JR - SRJunior - Senior | 4 | 04 | Evening | SSpring | This course is an introduction to the tools and processes of metal fabrication. Students will practice sheet-metal construction, forming, forging and welding, among other techniques, while accomplishing a series of projects that encourage student-centered design. | Bob Woods | Thu | Junior JR Senior SR | Spring | ||||
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Mount Rainier: The Place and its People
Jeff Antonelis-Lapp, Lucia Harrison and Carolyn Dobbs Native American studies environmental studies natural history outdoor leadership and education visual arts |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | WWinter | SSpring | Mount Rainier, known locally as "the Mountain" or "Tahoma", dominates the landscape of the Puget Sound region and commands the attention, imagination and respect of its inhabitants. The relationship of people to the Mountain has varied widely: prized by Indigenous Peoples for a variety of activities, even today; seen by European-American settlers as a potentially vast resource for timber and minerals; and as a wilderness and recreation destination for Puget Sound inhabitants and tourists from the world over. Some of the questions we will investigate include: What do we know about the natural and human history at Mount Rainier, and how might this predict the future? What are the interrelationships of people, place, flora and fauna at Mount Rainier? What role does Mount Rainier play in the arena of conserving protected areas? Does place-based, experiential conservation service-learning lead to environmental stewardship? To capitalize on the usual pattern of late summer good weather, we will begin the program on September 13, two weeks before the regularly scheduled start of fall quarter. This will allow us to be on the Mountain at arguably the finest time of the year. Students planning to live on campus will receive our help in arranging for storage prior to our departure for the Mountain. Students must be prepared to camp in primitive conditions, and must be ready to undertake strenuous hikes and outdoor work. The tenth week of the program will be the week of November 15, and evaluations will be completed by November 23. Students may begin their winter break at the completion of their evaluation process. We will meet on campus on September 13-14 to plan for our departure to the Mountain, and on our initial field trip, September 15-24, we will study the area's natural history, including an introduction to the geology, geography, watersheds, flora and fauna of the Mountain. Students will learn to draw and create an illustrated field journal documenting their natural history learning. An important portion of this field trip will engage students in conservation service-learning opportunities at Mount Rainier. Potential activities include assisting in archeological excavations, meadow revegetation, historic rock wall restoration, trail work or a variety of other projects. These and other program activities will equip students to continue to learn, teach and advocate for the environment. During winter quarter, we will broaden our study to include the park's neighbors within the Nisqually River Watershed and examine the efforts of the various stakeholders to create a cooperative management strategy that protects and sustains the watershed. We will observe and study the natural history of birds in the watershed, learning to use them as a way to teach environmental education. We will also use drawing as a mode of inquiry in environmental education, assist on service learning projects, and help public school students with water quality field monitoring and at the Green Congress on March 18 . During week 8, a four-day field trip will take us to Mount Rainier and other places in the upper Nisqually watershed. Other day-long field trips will introduce us to organizations and the work they pursue within the Nisqually watershed. We will work with the Park and its neighbors to identify potential student projects for spring quarter. Near the end of winter quarter, students will plan their spring quarter independent or small group projects, which will be spring’s primary focus. Students will develop skills in drawing, visual communication, public speaking and graphic arts computer applications to aid in interpretive projects. Winter and spring quarter field trips to the Mountain and the surrounding watersheds will continue to provide service-learning opportunities in a variety of conservation and environmental education projects. As we enlarge our geographic area of study, the Nisqually River watershed and Nisqually National Wildlife Refuge will provide opportunities to study salmon recovery efforts and avian natural history and opportunities to design and complete individual and group projects. A range of place-based projects—scientific, historical, environmental education, interpretive and artistic—will be available. | biology, civics, environmental education, environmental studies, natural history, visual art, and visual communication. | Jeff Antonelis-Lapp Lucia Harrison Carolyn Dobbs | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||
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Musical Instruments: Design, Build, Play
Bob Woods |
Program | FR - SRFreshmen - Senior | 8 | 08 | Evening | WWinter | In accompaniment to the study of the physics of musical sound, participants will construct a series of simple musical instruments that incorporate a vibrating membrane, vibrating string(s), or column of air. These unique soundings will present further exploration of scales/tunings, electrification, composition and more. We will practice playing our instruments together under the direction of a guest artist, culminating in a possible performance during week 10. No previous experience (musical or otherwise) is required – and all levels (especially musical) are welcome. Required text: by Bart Hopkin | Physics of Musical Sound, Musical Instrument Design, Experimental music. | Bob Woods | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | |||
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Nature/Image
Susan Aurand aesthetics art history natural history visual arts Signature Required: Winter |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | WWinter | This program is an intensive visual arts program for students having a good background in studio art, who are passionate about the natural world and eager to learn more about it. How have past artists, philosophers and scientists understood and depicted the physical world? How are contemporary artists re-interpreting and re-shaping our fundamental relationship to the environment and to other species? What is the role of the artist in a time of environmental crisis? Through readings, lectures seminars and focused studio work, we will examine these questions. Individually, we will take the approach of artist/naturalists, and delve deeply into an exploration of some aspect of nature that intrigues each of us. Through research and studio work we will express our understanding and personal vision of this piece of Nature. Fall quarter will focus on intensive skill building work in drawing, painting and mixed media, in preparation for our individual field studies. We will also study critical reading and research skills through lectures, readings, and practical assignments. In the first weeks of winter quarter, each of us will present a proposal for an in-depth, individual field study of a site, organism, natural process or system. During the three weeks (weeks 7,8,9) of winter, everyone will conduct his/her field study at a site either on-campus or off-campus in the U.S. Back on campus in week 10, we will all present our Nature/Image field projects to the program. How will each of us choose where we want to do our field study? You may have a special place that calls you, or a passion for a particular plant, animal or natural phenomenon that determines your choice. The work of another artist may inspire your project. Your field study could be done on Evergreen's Beach trail or in your home town. Your project might take you on hikes into a pristine wilderness area or to the Seattle Zoo. Both on-campus and off, this program will function as a learning community. On-campus, you will need to commit at least forty hours of work per week in class and in the studio with your peers, and you will be asked to regularly present work and to engage in critical assessment, in dialog and in writing. During the three-week field-study portion, you will be required to regularly communicate via internet with faculty and your peers through a program web-site and blog. | aesthetics, art, art history, education, natural history, natural science, and studio art. | Susan Aurand | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | |||
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Neon: Shaping Light (A)
Douglas Hitch |
Course | JR - SRJunior - Senior | 2 | 02 | Day | SSpring | This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores. Section C meets on an evening schedule and is open to sophomores, juniors, and seniors. | Douglas Hitch | Fri | Junior JR Senior SR | Spring | ||||
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Neon: Shaping Light (A)
Douglas Hitch |
Course | JR - SRJunior - Senior | 2 | 02 | Day | WWinter | This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores. | Douglas Hitch | Fri | Junior JR Senior SR | Winter | ||||
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Neon: Shaping Light (B)
Douglas Hitch |
Course | FR - SOFreshmen - Sophomore | 2 | 02 | Day | SSpring | This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores. Section C meets on an evening schedule and is open to sophomores, juniors, and seniors. | Douglas Hitch | Fri | Freshmen FR Sophomore SO | Spring | ||||
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Neon: Shaping Light (B)
Douglas Hitch |
Course | FR - SOFreshmen - Sophomore | 2 | 02 | Day | WWinter | This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores. | Douglas Hitch | Fri | Freshmen FR Sophomore SO | Winter | ||||
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Neon: Shaping Light (C)
Douglas Hitch |
Course | SO - SRSophomore - Senior | 2 | 02 | Evening | SSpring | This course introduces students to the basic skills in the fabrication of neon. Each student will learn to heat, bend, weld, and anneal glass tubing using a ribbon burner, cannon fire, and tipping torch. Students will learn the bending process for the four basic bends: 90 degree right angle, double back, "U" and "O" loop. Students will learn to blow bubbles in a tube. They will use these techniques to fabricate several creations of their own design. Students will be guided through the processes of bombarding and wiring of their individual projects to safely attach and handle high-voltage transformers to energize their neon. Instruction in the mounting and display of the neon projects concludes the course. Section A is for juniors and seniors. Section B is for freshmen and sophomores. Section C meets on an evening schedule and is open to sophomores, juniors, and seniors. | Douglas Hitch | Tue | Sophomore SO Junior JR Senior SR | Spring | ||||
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Photography, Beginning
Steve Davis |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | WWinter | This course emphasizes beginning-level skill development in camera use, lighting, exposure, b/w film and print processing. We will also briefly explore basic color printing and digital photography techniques. The essential elements of the class will include assignments, critiques and surveys of images by other photographers. Students of this class will develop a basic understanding of the language of photography, as a communications tool and a means for personal expression. Students must invest ample time outside of class to complete assignments. | Steve Davis | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | ||||
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Photography, Beginning
Hugh Lentz |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | FFall | This course emphasizes beginning-level skill development in camera function, exposure, and black-and-white film development and printing, as well as an introduction to computer imaging. We will focus on photography's role in issues of the arts, cultural representation and mass media. Students will have assignments, critiques, collaborations and viewing of work by other photographers. Each student will complete a final project for the end of the quarter. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||||
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Photography, Color
Hugh Lentz |
Program | FR - SRFreshmen - Senior | 8 | 08 | Day | SuSummer | In this beginning color photography class, we'll be working in a darkroom learning to print from color negatives. We’ll have workshops in color darkroom mechanics, metering for ambient light and electronic flash. Using assignments, critiques, and slide viewing of historical and contemporary artists, students will develop the tools to pursue their own projects. In addition, students can continue to pursue their work through independent study or as part of a group contract for the second session. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Photography, Color and Lighting
Hugh Lentz Signature Required: Winter |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | WWinter | In this course we'll be learning to print from color negatives, work with medium format cameras, photograph with electronic flash, and work in the studio environment. There will be assignments, critiques, and viewing the work of other photographers. All assignments and all work for this class will be in the studio with lighting set-ups. In addition to assignments, each student will be expected to produce a final project of their own choosing and turn in a portfolio at the end of the quarter. | Hugh Lentz | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | ||||
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Photography, Digital
Steve Davis Signature Required: Fall |
Course | SO - SRSophomore - Senior | 4 | 04 | Evening | FFall | This course will introduce students to photographic practice through digital means. Building from students' existing photographic skills and vocabulary, we will explore image-making with both digital and film cameras, and work with computers, scanners and inkjet printers. Students will create work as exhibition-quality prints, and also create a photographic portfolio for the Web. | Steve Davis | Tue Thu | Sophomore SO Junior JR Senior SR | Fall | ||||
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Photography, Documentary
Steve Davis Signature Required: Spring |
Course | SO - SRSophomore - Senior | 4 | 04 | Evening | SSpring | This class will explore how photography can be effectively used as a tool for creative documentation. You may work in any photographic mediums with which you are experienced (conventional B/W, color, digital). Final projects must address a particular topic (from your perspective) and clearly communicate your message to a broad audience. | Steve Davis | Tue Thu | Sophomore SO Junior JR Senior SR | Spring | ||||
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Photography, Introduction to Digital
Steve Davis |
Program | FR - SRFreshmen - Senior | 8 | 08 | Day | SuSummer | This class is an introduction to photographic expression using digital cameras, computers, and printers. Image-making will take the forms of digital prints and online portfolios. A brief introduction to the black-and-white darkroom will also be included. You will have full access to the Digital Imaging Studio and to our darkroom facilities. Digital cameras are available. Class requirements include scheduled assignments and a final project consisting of new, photographically-derived, digital work. | photography, media, visual arts | Steve Davis | Mon Tue Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Photography Techniques
Hugh Lentz Signature Required: Spring |
Course | SO - SRSophomore - Senior | 4 | 04 | Evening | SSpring | This is an intermediate to advanced level photography class where students will be using many of the methods and techniques that have been left behind in the era of digital photography. We’ll be spending a significant part of this class learning and using 4x5 cameras. Additionally, we'll be working with liquid emulsion, lith films, and cyanotypes. There will be assignments based in these processes and each student will produce a final project. We’ll also look at the work of contemporary and historical artists using these methods. | Hugh Lentz | Mon Wed | Sophomore SO Junior JR Senior SR | Spring | ||||
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Plein Air
Joe Feddersen |
Program | JR - SRJunior - Senior | 16 | 16 | Day | SSpring | Plein Air is an intensive visual arts program concentrating on watercolor painting related to the landscape. This study consists of several parts. In the first half of the quarter, students will learn the basics of watercolor painting processes in studio through assignments to gain proficiency in the media. They will view art works of other artists working in this media through seminars about images, followed by discussion. Students will research and present to the program an artist who works on concepts related to the land. In the second half of the quarter we will paint directly from the landscape to create a body of work. | visual arts. | Joe Feddersen | Junior JR Senior SR | Spring | ||||
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Post-Colonial Caribbean: Aesthetics of Culture and Identity
Tom Womeldorff and Marianne Bailey |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | Marianne Bailey will be offering . Tom Womeldorff will be offering . Interested students should refer to the program descriptions in the catalog for more information. | social sciences, arts and the humanities, international studies and economic development. | Tom Womeldorff Marianne Bailey | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||||
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Printmaking: Experiments in Typesetting
Judith Baumann |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | FFall | This course will focus on the history of typography and the study of typesetting and letterpress as graphic art. Students will learn how to hand set and handle 50 - 100 year old type, how to properly print and proof blocks of text using Vandercook and Platen Presses, and how to use color theory principles in their work. Students will have several design assignments using type throughout the quarter as well as one research based in-class presentation. Students are expected to work outside of class time approximately six hours a week in order to complete all coursework. | Judith Baumann | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||||
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Printmaking: Lithography
Judith Baumann Signature Required: Spring |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | SSpring | In this course, students will study contemporary and traditional techniques in lithography. Traditional lithography, invented in 1796, is the practice of drawing directly onto a prepared stone surface, etching and then printing from that surface. Photolithography involves creating positive films and exposing an image onto a photo pre-sensitized aluminum plate. Polyester plate and paper lithography will also be demonstrated. Throughout the quarter, students will work towards creating a technical portfolio. The course will conclude with a print exchange. | Judith Baumann | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Printmaking: Serigraphy
Judith Baumann |
Course | FR - SRFreshmen - Senior | 4 | 04 | Day | SuSummer | This course is an introduction to the fine art of serigraphy, or screen-printing. Working only on paper, students will learn to create both hand-drawn and computer generated stencils for use with photoemulsion-based printing techniques. Students will work toward developing a conceptual body of work with an emphasis on professional editioning practices. A final portfolio of student work is due upon completion of the course. | Judith Baumann | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Printmaking: The Political Print
Judith Baumann |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | WWinter | This course is designed as an intensive study of the aesthetics of rebellion and revolution. Students will learn the history of print as a catalyst for social, political and cultural change from the 18th century to the present in addition to creating their own political prints using various printmaking methods including screen-printing, relief techniques and typesetting. The fundamental elements of graphic design will be discussed throughout the quarter. Students will also participate in regular critiques of their work and in-class technical demonstrations. | Judith Baumann | Tue Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | ||||
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Sculpture: Ideas, Materials, and Methods
Bob Woods |
Program | SO - SRSophomore - Senior | 8 | 08 | Evening | FFall | From the earliest of human endeavor, the evolution of thought, expression, and handicraft has been preserved in the form of sculpture. Sculptors, both past and present, reflect their culture and influence those beyond them. Sculpture offers a way to meaningfully engage with and respond to the world. This program presents historical and contemporary perspectives in sculpture and introduces students to core concepts and theories used in the creation of three dimensional art, sculpture, and design. Within this framework, students will practice a continuum of hands-on studio work with a variety of materials, processes, and compositional formats. We will work with traditional and contemporary mediums including paper, clay, wood, plaster, metal, video, performance, and installation. This experience will develop an understanding of the relationship between materials, process, form, and content. Students will learn to construct, analyze, and discuss three-dimensional forms and their relationship to space, other objects, and the context of viewing. The sculptural work of this program will be shaped and informed by observing our own visual culture, both past and present. | sculpture, design, and the visual arts. | Bob Woods | Tue Thu | Sophomore SO Junior JR Senior SR | Fall | |||
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Seeing the Light
Bob Haft aesthetics art history visual arts Signature Required: Fall |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | This photography program is designed for the serious student at the intermediate and advanced level wishing to do in-depth study of the technical and aesthetic aspects of the medium. Through the combination of darkroom exercises, seeing workshops, seminars and written responses to readings and films, tests, and critiques we will explore the use of small, medium and large format cameras along with aspects of historic and contemporary aesthetics. The course will culminate in a group project dealing with documentation of place and preservation of visual histories. Readings for the quarter will include but not be restricted to the following books: by Susan Sontag, by Terry Barrett, by Roland Barthes, and edited by Ian Jeffrey. The first part of the program will be devoted to developing skill in the use of large and medium format and 35mm cameras and in how to conduct interviews of people. We will also identify specific areas or groups in the vicinity which might serve as subjects on which to conduct a photographic study. Finally, we will learn about how to make and bind books. The second part of the program will be spent doing field research (making photos of and interviewing people in the communities we have chosen) and making something from it. At the end of the term, I would like to put our photographic studies into book form and present them to the people who have served as our subjects in recognition of their sharing of their stories and for allowing us to work with them. Each student will also be responsible for doing research and giving a 20-minute presentation on the work of a contemporary or historic photographer. | aesthetics, the arts, journalism, photography, history and arts education. | Bob Haft | Sophomore SO Junior JR Senior SR | Fall | ||||
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Skateboards and Stratocasters
Daryl Morgan |
Program | FR - SRFreshmen - Senior | 4, 8 | 04 08 | Evening | SuSummer | A program for students interested in exploring industrial design and conceptual possibility through the design and construction of electric guitars/basses and skateboards. Topics to be investigated include fundamental elements of industrial design, design drawing and drafting, wood technology, wood construction processes and methodologies, jigs and fixtures, vacuum-bag veneering, and fine finishing strategies, techniques, and materials. | Daryl Morgan | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Student Originated Studies: Art, Education, and Human Development
Hirsh Diamant |
SOS | SO - SRSophomore - Senior | 8 | 08 | Evening and Weekend | SSpring | This SOS is ideal for students who want to deepen their studies in Art, Education, and Human Development and to apply these studies in the community. In the first week of the quarter, each student will submit, on-line, their project proposal as an Individual Study Contract (via my.evergreen.edu) and then complete that project during the quarter. This proposal will be designed with input from the faculty member. All students enrolled in the program will also participate in two credits of readings, classes and on-line assignments in collaboration with other students. A weekly class meeting will include seminars, workshops organized by staff, faculty, and students, and opportunities to share learning and project work. Weekly on-line posts will highlight students' progress and learning. Students must attend and participate in all weekly sessions. | education, arts, cultural studies | Hirsh Diamant | Wed | Sophomore SO Junior JR Senior SR | Spring | |||
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Student Originated Studies: Travel-Based Education
Ariel Goldberger business and management consciousness studies cultural studies field studies geography history language studies maritime studies outdoor leadership and education religious studies somatic studies theater visual arts writing Signature Required: Fall |
SOS | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | This SOS is for students seriously interested in study-related or research projects involving an individually designed journey or travel. There is a long and revered tradition of humans embarking on journeys for the purpose of learning to develop self-awareness, get to know the world outside of what is familiar, engage in a spiritual quest, or expand the student's sense of what is possible. Travel has been a powerful academic, experiential and research component in the life of many scholars, artists, writers, mystics, and scientists. For thousands of years, humans have developed intercultural awareness, valuable communication skills, resourcefulness, spiritual awareness, cultural understanding, and a sense of the relativity of their personal views by engaging in it. Travel can be deeply transformative. This program is an educational offering designed for self-directed students who desire to benefit from engaging in educational travel as part of their learning at Evergreen. Students interested in registering must have a project in mind that requires travel as a central component of their learning. Individual projects should involve or prepare for some form travel for the purpose of learning, research, interdisciplinary studies, writing, volunteering, learning languages, studying historical events at their source, studying spiritual quests, understanding or studying other cultures, learning about a culturally relevant artifact or artistic expression at its source, developing a career in the leisure or tourism industry, or any combination thereof. Serious, self-directed, and responsible students are encouraged to register. Students will spend the first one or two weeks finishing intensive preparatory research on their specific destinations, to acquaint themselves the historical and cultural context of their place of destination, understand cultural norms, and study any relevant legal issues. Participants will prepare plans to be ready for emergencies or eventualities as well, as each student might have a different project and the faculty will remain as a resource for all participants. Students will be responsible for making all necessary arrangements for their travel, room and board, as well as budgeting for individual expenses related to their projects. Once the initial one or two weeks of preparation are completed, participants in the program will embark on their travel-related practicum or project, and report regularly to the faculty using a procedure negotiated in advance. Participants will be required to document their experience effectively in order to produce a final report. Participants will return to Olympia by week 10 to present the final report of their experience and project to the class at the Olympia campus, unless specifically arranged in advance with the faculty by week two. Please Note: This program is not a Study Abroad academic offering. Students interested in Study Abroad should work on an Independent Learning Contract with Ariel Goldberger separately, or pursue offerings listed in the corresponding section of the catalog. Those students who have demonstrated academic progress and who have projects that take more than a quarter are advised to negotiate an ILC with professor Goldberger to accomodate their learning needs. | humanities, cultural studies, arts, social sciences, and the leisure and tourism industry. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Fall | ||||
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Student Originated Studies: Two-Dimensional Art
Lisa Sweet Signature Required: Spring |
SOS | SO - SRSophomore - Senior | 16 | 16 | Day | SSpring | This SOS is designed for students who are considering professions in the visual arts or arts education at any level, and who want to join a community of committed visual artists. Ideal candidates for this program will be interested in doing advanced work that links theory with practice. Significant writing and research focused on some aspect of art. Students will design their own projects, complete research, write papers appropriate to their artistic inquiry, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding critiques. | 2D studio arts, contemporary visual theory, and art education. | Lisa Sweet | Sophomore SO Junior JR Senior SR | Spring | ||||
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Student Originated Studies: Working Across Dimensions (2D and 3D)
Lisa Sweet Signature Required: Spring |
SOS | SO - SRSophomore - Senior | 16 | 16 | Day | SSpring | This SOS is designed for students who are considering professions in the visual arts or arts education at any level, and who want to join a community of visual artists. Ideal candidates for this program will be interested in doing advanced work that addresses both object and image—working across 2-D and 3-D practices—and significant writing and research focused on some aspect of art. Students will design their own projects, complete visual research and write papers appropriate to their artistic inquiry, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding weekly critiques. The group will meet together weekly for technical demonstrations, student and faculty lectures, guest artist talks, critiques and field trips. | 2D and 3D studio arts and art education. | Lisa Sweet | Sophomore SO Junior JR Senior SR | Spring | ||||
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Studio Projects: Art and Religious Practice
Lisa Sweet and Jean Mandeberg Signature Required: Winter |
Program | FR - SOFreshmen - Sophomore | 16 | 16 | Day | FFall | WWinter | This program will be based in two visual arts studios: printmaking and fine metalworking. Working back and forth between 2D and 3D, between image making and object making, we will study basic design, studio skills and art history. Our study of art will provide a lens through which we will focus on Judaism and Christianity. Since the purpose of religious ritual is to repeat and rehearse stories, many of the artworks in our study will be functional. We will examine the religious utility of images and objects such as devotional prints, mezuzahs, prayer beads, chalices, and hand-made religious texts. In most cases the effect of religious objects and images is the same: to see and remember. One way to look at both art and craft is that both historically have been made and used in the service of religious practice to capture fleeting moments of ritual. How can we better understand religion by examining, and making, images and objects that reflect these rituals? How has visual art encouraged spiritual experience and religious practice? In fall quarter, students will gain basic fine metals and intaglio printmaking skills, as well as focusing on writing. In winter, students will explore intermediate skills in both studios, as well as undertake a substantive independent research project. This program is designed for sophomores with an interest in studio art, art history, philosophy and religion who are interested in a focused and demanding combination of studio work, writing, reading and seminar discussion. Half of students' time will be focused on artistic practice; half will address a rigorous study of religions and art history. We hope to work as a community of artists to examine ideas that have a rich historical background as well as pressing contemporary significance. | studio arts, art history and the humanities. | Lisa Sweet Jean Mandeberg | Freshmen FR Sophomore SO | Fall | |||
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Temporal Images
Matt Hamon, Naima Lowe and Joseph Tougas aesthetics art history media studies moving image philosophy visual arts |
Program | FR ONLYFreshmen Only | 16 | 16 | Day | FFall | WWinter | This visual art program introduces students to academic enquiry into concepts of time and artistic practices with a myriad of references to temporal space. We will investigate the many ways time is defined, tracked and represented across cultures. From physics to natural philosophy, we will explore references to time from narrative structures to technical communication and abstract images. We will look at the work of realist scholars such as Sir Issac Newton and contrast these concepts to ideas posed by Immanuel Kant and others.Themes emerging in the program will inform the production of written and artistic work. Class time will involve a combination of lectures, workshops, practical assignments, and studio seminars. Students with a strong background in any digital media are encouraged to apply, provided that they have an interest in synthesizing past themes and media in their work with academic enquiry into concepts of time. This program emphasizes art making, conceptual thinking and experimentation. We will focus on core aspects of analog, digital and new media art by challenging ourselves to produce a series of innovative art projects.This program will introduce the core conceptual skills necessary to employ image in the generative and investigative context of art making and scholarly enquiry. Students will work individually and in small teams with digital cameras, digital video cameras, non-linear video editing systems and computer graphics packages to examine a broad range of issues involved in the creation of provocative works of art and images relating to time. Image processing, web content creation, basic animation, temporal structures, interface design, interaction strategy, narrative structures, video editing and sound editing will all be introduced. This program is designed for students who already have a strong work ethic and self-discipline, and who are willing to work long hours in the art studio, on campus, and in company with their fellow students.Students are invited to join this learning community of contemporary artists who are interested in new media based art, design, writing, history and theory, and who want to collaborate with media faculty. | media studies, moving image, visual arts and arts education. | Matt Hamon Naima Lowe Joseph Tougas | Freshmen FR | Fall | |||
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Theatre Intensive: Theatre Production
Walter Grodzik language studies literature media studies somatic studies theater visual arts Signature Required: Fall |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | This program will consist of performance studies leading to a theatrical production. This may be a full-length play, a one-act play festival, or a sketch comedy/improvisation show as determined by the faculty. Students will experience training in acting, directing, movement, and vocal techniques in order to utilize these skills in the final performance. Drawing upon the interdisciplinary nature of theatre, this program may involve acting in a play, dramaturgical work, assistant directing, stage management, set, costume, lighting and sound design, set and costume construction, publicity, and all the other areas related to successful play production. For example, after auditioning, a student will spend about half to three quarters of program time in rehearsal, and the rest of the time working in the shop building the set or on some other aspect of the production. A student presenting a technical portfolio could become part of the technical/design team for the show, as well as the publicity coordinator. In short, every student will participate in more than one area of the production process. The first seven to eight weeks of the program will be spent in rehearsal culminating in final performance. In addition to rehearsals and production work, students will examine dramaturgical matters in seminar, closely related to the production. These may include readings addressing the social, political, economic, and cultural environment of the performance. All students who are interested in interviewing/auditioning for the program should contact Professor Grodzik directly. While this program is designated sophomore and above, interested freshmen are encouraged to apply. | the performing arts, technical theatre, dramaturgy, acting, directing, theatrical design, stage management, costuming, lighting, sound, publicity, theatre history, creitical theory, and dramatic literature. | Walter Grodzik | Sophomore SO Junior JR Senior SR | Fall | ||||
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Therapy Through the Arts
Gilda Sheppard and Carl Waluconis |
Program | FR - SRFreshmen - Senior | 8, 16 | 08 16 | Day and Evening | SuSummer | The course explores the role that movement, visual art, music, writing, and media play in problem-solving and the resolution of internalized fear, conflicts, or blocks. Through hands-on activities, field trips, readings films/video, writing, and guest speakers, students discover sources of imagery as tools to awaken creative problem solving from two perspectives: creator and viewer. Students interested in human services, media, and education will find this course engaging. There are no prerequisite art classes or training required, and students can enroll in the course a second time. (Equivalencies and content will be enhanced for returning students.) Students may attend either day or evening sessions. | Gilda Sheppard Carl Waluconis | Mon Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | ||||
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Visual Literacies
Hirsh Diamant |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | SSpring | Visual literacy skills enhance communication, advance learning, and expand thinking. They are essential for effectively navigating today's social and cultural environment. In this course we will explore Western and non-Western art while focusing on how we see, how we learn, and how visual information can be used generally in communication and specifically in education. Our study will be enhanced by weekly art and media workshops which will include work with digital photography, video, iMovie, and presentation software. | Hirsh Diamant | Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Visual Vocabularies: Exploring the Canons of Art and Literature
Donald Foran and Evan Blackwell communications literature visual arts writing Signature Required: Winter |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | WWinter | How does culture inform art? How does art inform culture? How are the practices of art and writing informed by place? What are the relationships between the message and the medium, any genre and its practice? In this program we will explore these and other questions by investigating the materials, media, messages, and composition of the tangible world. As far as possible, we will honor the primacy of place, our campus, our homes, parks and special places, always alive to the textures of the known world. We will consider many ways of seeing, ways of knowing, ways of creating, and ways of interpreting reality. As readers, we will study the compelling theories of art and culture. As writers, we will carefully craft personal essays, academic essays, stories, and poems. As artists, we will explore new ways to make art and communicate ideas, especially through 2D and 3D art explorations. We will collaboratively focus on these themes in lectures, workshops, studio work, seminar discussions, and creative projects. In fall quarter we will begin our quest by introducing John Dewey’s and Joseph Campbell’s These classics will light the way. Further, we will explore new ways to make art and communicate ideas. Our inquiry may take us into the world of drawing, painting, photography, letter-press, book-making, ceramics, mixed-media art, installation art, and layers of meaning embedded in the ordinary. Material transformations will spring to life. The relationship between art and literature, making and communicating will be a daily focus in the program. Each student’s own forays into the world of art will build on these foundations. Similarly, structure, characterization, imagery, and theme in stories, plays, and poetry will stimulate our writing. Literary works include by Franz Kafka, by Vladimir Nabokov and the stories of Raymond Carver. Films and short pieces by Robert Coles, Eudora Welty, Langston Hughes, Mary Oliver, Stanley Kunitz, James Baldwin, Lucille Clifton, and Kay Boyle will broaden our discussions. The relationship between art and literature, making and communicating, will be a daily focus in the program. Guest artists will join us on occasion for lectures and workshops during both quarters of the program. In winter quarter we will study more complex artistic and literary approaches to visual vocabularies. We will further our reading, writing and art projects by dividing into intensives, four-week concentrations leading to a culminating art and writing presentation at the end of the quarter. Faculty will mentor students as they bring these creative projects to fruition. In addition to punctuality and participation in all program activities and assignments, students are expected to work about 40 hours per week including class time. | art, literature, and communication. | Donald Foran Evan Blackwell | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | |||
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Woodworking
Daryl Morgan |
Course | FR - SRFreshmen - Senior | 4 | 04 | Evening | SSpring | There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose. | Daryl Morgan | Tue | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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Woodworking (B)
Daryl Morgan |
Course | JR - SRJunior - Senior | 4 | 04 | Evening | SSpring | There is a sense of personal satisfaction and creative accomplishment to be gained from working with wood. The aim of this course is to provide a way to realize that intention through an understanding of the basic principles of designing in wood, the physical properties of the material, and the fundamental skills necessary to shape timber to a purpose. | Daryl Morgan | Tue | Junior JR Senior SR | Spring |