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Visual Arts [clear]

Title	Offering	Standing	Credits	Credits	When	F	W	S	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
Art Practices: Exploring the Role of the Object Evan Blackwell and Susan Aurand aesthetics art history visual arts	Program	JR–SRJunior–Senior	16	16	Day			S 15Spring	This studio arts program examines the role of the object in art history and contemporary artistic practice. Students will have the option to work either in painting or in ceramic sculpture and to combine 2- and 3-D approaches in their individual creative projects. Our thematic focus will be on the object, the “still life.” Our objects reflect and represent us; they embody our tastes, values, hopes, and identities. Through lectures, readings and seminars, we will examine how humans have historically used inanimate objects to present religious, allegorical, personal and political ideas. And through our own creative projects we will explore what role the object plays in contemporary art and the relationship between image and object. Students entering the program with an interest in painting must have a solid background in representational drawing. Students will have the opportunity to develop technical skills in the use of acrylics and oils and to learn about the history of painting. Each student in the program will create a series of creative works an individual theme related to the object over the course of the quarter. This program is designed for students who have a strong work ethic and self-discipline and who are willing to work long hours in the studio on campus in company with their fellow students.		Evan Blackwell Susan Aurand		Junior JR Senior SR	Spring	Spring
Arts and the Child: Early Childhood Hirsh Diamant education visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 14 Fall			All children enjoy singing, painting, and dancing, yet as we grow up this natural ability becomes suppressed and often lost. This sequence of courses will reach out to the inner child in students and provide opportunities to support children in need of care and education in the community. Lectures, studio arts, research, field trips and volunteer work with children in the community will develop students’ competency as artists, parents, and educators. The course will examine practices of education and self-cultivation from Eastern and Western perspectives. The fall course is designed with a focus on children of preschool age, 0-3 years old. Courses in winter and spring will focus on the elementary years and allow students to pursue further projects.Credit will be awarded in arts and human development.		Hirsh Diamant	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
Arts and the Child: Elementary School Hirsh Diamant education visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 15Winter		All children enjoy singing, painting, and dancing, yet as we grow up this natural ability becomes suppressed and often lost. This sequence of courses will reach out to the inner child in students and provide opportunities to support children in need of care and education in the community. Lectures, studio arts, research, field trips and volunteer work with children in the community will develop students’ competency as artists, parents, and educators. The course will examine practices of education and self-cultivation from Eastern and Western perspectives. The winter course is designed with a focus on children beginning their formal schooling, K-3 grade. The course in spring will focus on grades 3-5 and above and allow students to pursue further projects.Credit will be awarded in arts and human development.		Hirsh Diamant	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Arts and the Child: Grades 3-5 and above Hirsh Diamant education media arts visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	All children enjoy singing, painting, and dancing, yet as we grow up this natural ability becomes suppressed and often lost. The spring course is designed with a focus on children during the transition from grades 3-5 and above. The objective of the course is to reach out to the inner child in students and provide opportunities to support children in need of care and education in the community. Lectures, studio arts, research, field trips and volunteer work with children in the community will develop students’ competency as artists, parents, and educators. The course will examine practices of education and self-cultivation from Eastern and Western perspectives. Course work will allow students to pursue further independent projects.Credit will be awarded in arts and human development.Class time is on Thursdays, 5:30-9pm		Hirsh Diamant	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Ceramics: Form and Function Aisha Harrison visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	In this class students will explore the sculptural and design potential of functional ceramic forms. Topics discussed will include elements of design, historical and cultural significances of functional forms, and integration of surface and form. Techniques will include wheel throwing, alteration of thrown forms, piecing parts to make complex or larger forms, and creating hand-built accoutrements.		Aisha Harrison	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Computer Applications for the Fiber Arts: Pathways to Innovative Design Gail Tremblay and Richard Weiss art history computer science visual arts	Program	SO–SRSophomore–Senior	16	16	Day			S 15Spring	This interdisciplinary program links computational thinking with fiber arts. It is an opportunity for upper division students with expertise in either one of these fields to learn how to integrate that understanding with the other field. Students in this program will master a variety of techniques used by Fiber Artists to design both fine art and fine craftwork in the field. Everyone will design a warp, warp a loom, and draft and design treadling and weave patterns using a four-quadrant system to create color drafts on the computer. All students will weave a sampler, and learn a variety of off loom processes including felting, and a variety needle arts techniques in which they can use programmable Arduino LilyPad threads that will allow them to design art pieces which have elements that light up, make sound, or do other functions. Students will learn color theory, as it relates to design, and the history of Fiber Arts, in order to understand the evolution of the field over the past seventy-five years. Everyone will be required to design one major individual project and one major group project that they will exhibit at the end of the quarter. To create their projects students will be required to either use computer-aided design for drafting, apply computer science to a design problem, or use programmable threads as part of their projects. In the process, students will learn about the history of computer-aided design (CAD) in industrial and fine art production of fiber arts and robotics and automation. Students will investigate standard CAD tools, as well as theories needed to design programs to create original fiber arts designs. This history will start with the Jacquard loom first introduced in 1801 to allow weavers to automatically program brocade patterns by using a series of cards and end with modern computer driven looms that allow weavers to create complex multi-harness designs. Students will study computational thinking, which is the basis for all programming.Based on their prior experience with programming students will either learn the fundamentals of programming and algorithmic thinking, or for students who would like to do advanced work in computer science, there will be a weekly workshop on Machine Learning and Statistics. The work will include problem sets and programming.The program will include guest lectures by noted artists in the field and at least one field trip, All students will do a research paper and presentation on a fiber artist whose work combines computer applications for the development of fiber designs, and a short PowerPoint Presentation on their work to the class.;		Gail Tremblay Richard Weiss		Sophomore SO Junior JR Senior SR	Spring	Spring
Contested Bodies: Representations of Martyrdom Elizabeth Williamson and Amjad Faur aesthetics cultural studies religious studies visual arts	Program	SO–SRSophomore–Senior	16	16	Day	F 14 Fall			How is the image of the martyr a revolutionary image? What is the function of the martyr’s body as a sign of her beliefs? This upper-division program will examine representations of martyrdom in a variety of historical and contemporary contexts, with a particular emphasis on colonialism and its aftermath. Students will deepen their skills in visual analysis through careful study of the visual languages of European (Christian) martyrdom, Shi’a martyrdom and contemporary Islamic martyrdom.Martyrdom is by no means an exclusively religious phenomenon—it has always been shaped by larger political struggles—but we will pay attention to the representational paradoxes involved in making images of martyrs within communities in which idol worship is technically forbidden. Most of all, we will seek to resist the stereotypical notion of the martyr as mindless fanatic. To do this, we will examine the conditions of oppression under which martyrdom becomes one of a small number of viable choices, as well as the individual martyr’s resistance to those conditions. The martyr’s body is a site of contestation between various ideological frameworks, but it can also be a site of empowerment.This program is ideal for students who wish to hone their analytical skills, especially in relation to the close reading of images within their historical contexts. Students will complete investigative assignments to supplement the case studies covered in lecture and will be asked to design a research-based independent project related to program themes. The reading load for this program will be heavy and will involve critical theory as well as essays on particular historical moments and images. There will be no studio instruction in photography. Students will benefit from previous study of art history and/or post-colonialism, but neither are required in order to succeed in the program.		Elizabeth Williamson Amjad Faur		Sophomore SO Junior JR Senior SR	Fall	Fall
Drawing Practices: Figurative Studies Bruce Thompson visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 15Winter		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 gouache as they learn to correctly anatomically render the human form. Homework assignments will supplement in-class instruction and visual presentations. Several readings will also be given throughout the quarter. While previous drawing experience is not required, it is recommended.		Bruce Thompson	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
Drawing Time Robert Leverich aesthetics architecture art history visual arts	Program	SO–SRSophomore–Senior	16	16	Day	F 14 Fall			This program is for students eager to advance their drawing abilities and deepen their own sense of place in the history of art and image making. In regular drawing studios each week, we will address skills and expression through representational drawing, life drawing, spatial studies, iterative studies and non-representative abstraction, using a variety of old and new tools and media, from vine charcoal to digital collage. Students will be called on to develop a regular drawing practice outside the studio as well and to take on a substantive drawing project for a final exhibition. In lecture/workshops and seminars, we will use drawing as a connecting reference across time and cultures to study history and ideas of art and image making. We will consider how forms, methods and meanings appear, transform and reappear, from cave drawings, alphabets and portraiture to graffiti, maps and the mediations of technology. Students will be asked to do a research project exploring the relationship of drawing and art history to another discipline and to present their findings to their peers. Book possibilities include (Ingold), (Focillon), (Pasztory), (Scolari) and (Dexter). Engaged students will develop a stronger drawing practice, new ideas, a fuller sense of their work in historical and cultural contexts and skill in connecting art making and art history to other disciplines, informing and enriching all three.		Robert Leverich		Sophomore SO Junior JR Senior SR	Fall	Fall
Engineering Beauty: The Architecture of the Renaissance Daryl Morgan aesthetics art history visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 14 Fall			The great dome of Santa Maria del Fiore, the Palazzo Medici, La Rotunda of the Villa Capra, St. Peter's Basilica. For a period of nearly three centuries these iconic structures, and hundreds of others, were imagined and then constructed by a group of architect/builders whose work is still admired for its marriage of elegant and innovative engineering with the design principles of classical antiquity. In this course we will examine the work of Brunelleschi, Alberti, Palladio, Michelozzo, da Vinci, Michelangelo and others as we attempt to determine the reasons for the enduring influence of the buildings they designed and the engineering principles they employed. Students will also have the opportunity to build architectural models of these structures as well as working models of the machines that were used to build them.		Daryl Morgan		Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall
The Graphic Novel Steve Blakeslee literature visual arts writing	Program	FR–SRFreshmen–Senior	8	08	Evening		W 15Winter	S 15Spring	In the past decade in particular, graphic novels have become recognized as an important form of storytelling, shaping contemporary culture even as they are shaped by it. These book-length, comic-art narratives and compilations employ a complex and iconic visual language. Combining and expanding on elements associated with literature, 2-D visual art, and cinema, the medium offers unique opportunities for reader immersion, emotional involvement, and even imaginative co-creation. In “The Graphic Novel,” we will study sequential narratives that represent diverse periods, perspectives, styles, and subject matter--from the “high art” woodcut novels of the 1930s (e.g., Lynd Ward’s ), to contemporary memoirs such as Marjane Satrapi’s to the bizarre but compelling alternate universe of Jim Woodring’s . While many of our works include humor, they frequently center on serious topics, including war, religious oppression, social and economic inequality, and dilemmas of ethnic and sexual identity. We will carefully examine each text at multiple levels of composition, from single frames to the work as a whole, and read selected theory, criticism, and commentary, including Scott McCloud’s seminal and Matt Madden’s ingenious . As writers, students will develop and articulate their new understandings by means of response papers, visual analyses, bibliographic summaries, and other activities as assigned. Each quarter our studies will conclude with final projects focused on particular artists, works, and themes, or on the creation of original graphic narratives. Finally, while this is not a studio art course, we will experiment with drawing throughout the program as a way to develop an artist’s-eye view of comic art. Our overall goal is to develop an informed and critical perspective on this powerful medium.		Steve Blakeslee	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter Spring
Individual Study: Water Law, Cultural Studies and the Arts Cheri Lucas-Jennings American studies aesthetics agriculture community studies cultural studies ecology environmental studies field studies gender and women's studies government health hydrology international studies law and public policy media arts political economy political science sustainability studies visual arts writing Signature Required: Fall	Contract	SO–SRSophomore–Senior	16	16	Day and Evening	F 14 Fall			Individual studies offers important opportunities for advanced students to create their own course of study and research. Prior to the beginning of the quarter, interested individuals or small groups of students must consult with the faculty sponsor to develop an outline of proposed projects to be described in an Individual Learning Contract. If students wish to gain internship experience they must secure the agreement and signature of a field supervisor prior to the initiation of the internship contract.This faculty welcomes internships and contracts in the areas of the arts (including acrylic and oil painting, sculpture, or textiles); water policy and hydrolic systems; environmental health; health policy; public law; cultural studies; ethnic studies; permaculture, economics of agriculture; toxins and brownfields; community planning, intranational relations.This opportunity is open to those who wish to continue with applied projects that seek to create social change in our community; artists engaged in creative projects and those beginning internship work at the State capitol who seek to expand their experience to public agencies and non-profit institutions; and to those interested in the study of low income populations and legal aid.		Cheri Lucas-Jennings		Sophomore SO Junior JR Senior SR	Fall	Fall
It's About Time Trevor Speller, Shaw Osha (Flores) and Greg Mullins art history literature visual arts writing	Program	FR ONLYFreshmen Only	16	16	Day	F 14 Fall	W 15Winter		Quick—what time is it? Your answer probably comes from a smartphone that connects you instantly to information across the globe. New technologies drive new experiences of time and writers and artists respond to those new experiences with startling innovations in form and vision.Through the critical study of art and literature, we will explore the experience of time in the modernist period—roughly defined as the first half of the 20th century. In those decades, airplanes, automobiles, telephones and radio sped up time and the modernists responded in kind. How did they experience time? How is this different from our own experience of it?To answer those questions, we will not only study modernist art and literature, but also live like modernists. We will begin the fall quarter with a voyage, sailing the waters of Puget Sound on a 100-year-old schooner. We will slow down by using the technologies of the past. Students will write with ballpoint pens and typewriters, draw from observation and move into abstraction, use film photography, memorize poetry and go to museums, all in the hopes of living more slowly. During both fall and winter quarters we will study movements such as Romanticism, Impressionism, Post-impressionism, Cubism, Dada, Abstraction and Surrealism in visual art and literature. Students will engage with authors like James Joyce, Marcel Proust and Virginia Woolf and artists like Pablo Picasso and Marcel Duchamp.Students in this program can expect to examine art, literature and culture in the modernist period; learn how to draw, paint and write in various ways from naturalism to abstraction; understand the basic principles behind artistic and literary representation in the modernist period; and go on field trips using "slow" technologies (train, boat, walking).		Trevor Speller Shaw Osha (Flores) Greg Mullins		Freshmen FR	Fall	Fall Winter
Media/Culture: Advanced Practices Naima Lowe media studies visual arts Signature Required: Winter	Program	JR–SRJunior–Senior	12, 16	12 16	Day	F 14 Fall	W 15Winter	S 15Spring	This program is an opportunity for advanced students to study the theory and practice of contemporary media (as a visual art, site of political engagement, and way of thinking) with the support of a learning community. Students in this program will have a chance to develop independent research and creative projects in film, video, performance and installation art that centers on issues of import to contemporary cultural studies including critical race studies, queer theory, post-colonial/de-colonial art practices, feminist studies, intersections of technology/science and art, and more. Students will be asked to think critically and creatively about how their artistic practices are informed by and respond to issues of power, privilege, and accountability.In fall students will create shared visual and critical vocabulary through readings, screenings, short papers and workshops in film, video, performance art and installation. Students will also work in research and practice cohorts that will be driven by student interests. By the end of fall quarter students will develop a project proposal and outline of work to be done during winter and spring including a detailed syllabus and week by week schedule of work practices.In winter students will have the opportunity to work in a largely independent framework, including time to travel off campus for filming and research purposes. Students will have bi-weekly conferences with peers and faculty where work progress will be assessed. Students will also have the option to enroll for reduced credit in order to take classes to support skill development in language, visual art, writing, music, etc.In spring we will reconvene as a full group and work together to develop a theme and approach to a group showing of creative and research projects for the campus community. The primary work of quarter will include in depth critiques and peer review of creative and research projects.		Naima Lowe	Mon Tue Tue Wed Thu	Junior JR Senior SR	Fall	Fall Winter
Mediaworks Julia Zay and Ruth Hayes art history communication media arts media studies visual arts writing Signature Required: Fall	Program	SO–SRSophomore–Senior	16	16	Day and Evening	F 14 Fall	W 15Winter	S 15Spring	As media artists, we define the responsibilities we have to our audiences and the subjects of our work. This is a foundation arts program that explores what it means to make an image, to make a photographic image, to make moving time-based images and to pair image with sound. We approach these questions philosophically, historically and materially—through the critical-creative practices of reading, writing, making, critique and reflection. This inquiry will require that we examine the implications of making new images and/or appropriating and repurposing old ones in our age of media proliferation and saturation. It also will require that we return to media’s roots in the 19th century to examine how photographers, vaudevillians, artists and others invented their way into cinema. We will critically engage with traditions of film and video practice as well as related forms of visual art, mapping a broad contextual territory and challenging received notions of the boundaries between forms, genres and mediums.We will focus our creative work on a broad category called “nonfiction” that includes experimental and documentary forms, developing skills in the crafting of both live-action and animated moving images. We will explore the technologies and material properties—as well as multiple exhibition modes—of sound and moving image media, and apply these to projects that explore essayistic and autobiographical approaches, among others. We will spend significant time in critique to help each other see, describe, evaluate and improve our creative and critical work.In fall, we will focus on building essential skills in practices of attention: seeing, listening and experiencing. We will apply these skills to everything we do; class sessions will include lectures/screenings, conceptual and technical workshops, seminar, critical reading and writing and critique. We will gain skills in animation, 16mm film, video, audio and drawing as we explore the larger social and historical contexts and philosophical questions surrounding each medium. Students will form collaborative groups to research and develop projects informed by multiple disciplines that will be the focus of their winter quarter creative work. In winter, we will deepen our study and practice of media, moving towards more intentional examinations of how our investments in collaboration, community and networks can animate our intellectual and creative work. We will also consider the environmental impacts of this work. In spring, as a culmination of the work in fall and winter, students will organize themselves into affinity groups as they each prepare an extensive proposal, including research prospectus and planning documents, for an independent nonfiction media project that will include both exhibited and written components. We encourage collaborative projects. Students will sharpen their conceptual design skills as they identify the most useful forms for this work; this could be film or video, animation, audio, installation, performance and/or an internship. Weekly critiques, presentations by visiting artists, screenings, research presentations, community service projects and technical workshops will support each student's emerging work.		Julia Zay Ruth Hayes		Sophomore SO Junior JR Senior SR	Fall	Fall
Metalworking Bob Woods visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	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 Junior JR Senior SR	Spring	Spring
Metalworking Bob Woods visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 15Winter		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 Junior JR Senior SR	Winter	Winter
Metalworking (A) Bob Woods visual arts	Course	FR–SOFreshmen–Sophomore	4	04	Evening	F 14 Fall			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	Fall	Fall
Metalworking (B) Bob Woods visual arts	Course	JR–SRJunior–Senior	4	04	Evening	F 14 Fall			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	Fall	Fall
Musical Instruments: Design, Build, Play Bob Woods visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 15Winter		In accompaniment to the study 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 with help from a guest artist. No previous experience (musical or otherwise) is required, and all levels (especially musical) are welcome. Required text: by Bart Hopkin.		Bob Woods	Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter
The Narrative Tableau: Conceptual Strategies in Studio Photography Amjad Faur art history media arts media studies visual arts	Program	SO–SRSophomore–Senior	16	16	Day and Evening		W 15Winter		This program will explore the range of challenges, problems and possibilities in conceptualizing, constructing, and photographing in a studio environment. Students can expect to use a broad range of materials (cameras, printing techniques, etc.) but all shooting will remain on film (35mm, medium, and large format). While students can expect to print from those negatives in traditional black and white and color darkrooms, the program will also cover the process of scanning negatives and producing digital prints from those scans. The primary focus of the program will be how to formulate the outlines of a cohesive body of work, conduct research for that content, and for students to ultimately produce images based on that research in a controlled, studio environment.We will employ strategies for challenging basic assumptions about the role and lexicon of the constructed image as well as immerse ourselves in the rich history of narrative tableaus (still lifes, historical paintings, etc.) as they have developed over the course of art history. Students will be asked to place their work and ideas within the context of contemporary photography and contemporary art, more generally, as the photograph has become an almost ubiquitous surrogate for lived experience. Students will be especially challenged to confront how their photographs are situated within the context of representation and depiction (addressing the inevitable conclusion that all images are, at their core, political in one way or another).Students will be responsible for providing a written statement regarding their final body of work, which will reflect the quarter’s accumulation of research, transformation, and final production. Students can expect to edit down their quarter’s worth of images to 8-11 final photographs, which will constitute their final body of work. There will be weekly lectures, critiques, and seminars in addition to workshops and studio time. Students will also be required to attend the weekly Critical and Cultural Theory lecture series. Students can expect weekly reading assignments followed with written responses and formal participation in each seminar.		Amjad Faur	Mon Tue Wed Thu	Sophomore SO Junior JR Senior SR	Winter	Winter
The Nature of Ornament: Chaos, Code, Cosmos Robert Leverich, Arlen Speights and Sarah Williams architecture art history computer science consciousness studies cultural studies gender and women's studies visual arts writing	Program	FR–SRFreshmen–Senior	16	16	Day		W 15Winter	S 15Spring	Ornament struggles to serve its ancient purpose, which is to bring order and produce cosmos out of chaos. --Bloomer, Why do we like some objects plain and others ornamented? Does ornament arise out of the making of the thing or is it applied afterward? What are the personal, political, and technological dimensions of ornament within different historical and cultural contexts? Are our possessions—from clothes and cars to laptops and smartphones—a form of ornament? Is thinking always mediated by, alongside,and through objects? How is our relationship to ornament changed by our ability to automate and cheaply create through new technology? From an evolutionary perspective might the neurological be ornamental and reason mere embellishment? Are the abstract, technical artifacts of mathematics and science devoid of ornament or can physical embodiment become mere ornament? We will consider how things—plain or adorned—shape and are shaped by our mental as well as our physical landscapes. Possible sites for our investigation of the cognitive life of vibrant matter are many and diverse: beads (abacus to jewelry), classic Greek running patterns, Islamic interlaces, cursive writing and digital typography, computer-generated art, the design and representation of web pages, 3D-printed objects, pattern creation using cellular automata, Native American figure/ground relationships, Bach’s well-ordered table of musical ornaments, the poetics of Gertrude Stein Louis Sullivan’s Rudolf Steiner’s sequenced instruction in form drawing (and its relationship to projective geometry), or Henry Goodyear’s Each student will choose to do program creative work in two of three interrelated studios each quarter: one focused on materials, tools, and making in wood, metals, clay and plaster; one focused on computer programming using the Processing language and 3D printing; and a third focused on ornament as a creative, gendered, evolutionary and projective process for adding value to materials, tools, making, programming, and printing. Although individual studio work will diverge in addressing how forms and patterns of ornamentation arise from nature, abstract systems, and cultural imperatives, our primary assessment and evaluation practices will focus on small group projects requiring the cultivation and ornamentation of individual work by students from each of the studios each quarter. Winter projects will center on the idea of – permeable surfaces and membranes that frame and modulate movements and flows. Spring projects will address the idea of – multi-dimensional forms and modules that address boundaries between inside and outside. Studio work and small group projects will lead to opportunities for substantive research and creative projects, including a week-long field study winter and a two-week field study or studio intensive spring quarter. Through all-program lectures/workshops, peer presentations, seminars and field trips, as well as studio projects, students will develop abilities in drawing and design, tools and materials (both low-tech and high-tech), and experimental forms of expressive, expository, and reflective thinking, speaking and writing. Book possibilities include: (Pallasmaa), (Trilling), (Pasztory), (Adoo), (Ingold), (Rasula and McCaffery), (Malafouris and Renfrew), (Teyssot), (France), (Stephenson), Ornament: The Politics of Architecture and Subjectivity (Picon), (Berssenbrugge), and (Tufte).		Robert Leverich Arlen Speights Sarah Williams	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Winter	Winter Spring
New Visions: Art and Literature of the Arab World Therese Saliba and Amjad Faur art history cultural studies gender and women's studies literature visual arts writing	Program	FR–SRFreshmen–Senior	16	16	Day			S 15Spring	From the Arab uprisings to the “global war on terror,” literary and artistic interventions from the Arab/Muslim world have played a critical role in confronting Orientalist stereotypes and providing new visions of the region and its peoples. Focusing on contemporary artwork and writings by Arab artists from the Middle East and the diaspora, this program will explore the intersections of literary and artistic production, imperialism, diasporic politics, gender and sexuality, nationalism, religion, and societal change. Through the lenses of art theory and literary theory, as well as postcolonial theory, we will examine the new visions set forth by these artists, and the role of Western gatekeepers in influencing the reception and distribution of their work.We will examine a range of modern and contemporary art and read novels, poetry, essays, and memoirs by Arab writers across the region. We will situate our analysis within the historical and political events that shape artistic and literary production, and examine how artists and writers critique masculinist narratives that justify violence and exclude women’s voices. Students will write art and literary analysis, and engage in independent projects that may include their own creative writing, photography, or research on an artist or writer of their choice. In this study, students will consider the impact of political, economic, cultural and military forces on Arab and Muslim’s lives and artistic production, and examine literary, artistic, and film representations as sites of resistance. Students will also gain a greater understanding of postcolonial, Third World, transnational feminism, and Islamic movements. Students will have the opportunity to attend community-based events that promote an understanding of Arab culture, politics, and aesthetic productions.		Therese Saliba Amjad Faur	Tue Tue Wed Wed Thu Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Operating Manual for Spaceship Earth Karen Gaul, Evan Blackwell and Anthony Tindill anthropology architecture art history community studies consciousness studies cultural studies somatic studies sustainability studies visual arts	Program	JR–SRJunior–Senior	16	16	Day	F 14 Fall	W 15Winter	S 15Spring	Fifty years ago, Buckminster Fuller contemplated our planetary future and our limited ability to imagine alternative futures in his book, . In this program, we will consider what it means to be astronauts on our home planet and how to creatively imagine healthy and sustainable future scenarios. Guiding questions for the program will include: What shapes cultural values and how do cultures change, adapt and form new paths? How do we weave together various branches of knowledge into a healthy system and vision for the world? What do we make with the abundance of material goods that fill our daily lives? How do we design objects and spaces to create a more sustainable and fulfilling existence? To address these questions, we will consider traditions of the past and present that demonstrate cultural responses to environmental limits and possibilities. Yogic philosophy, for example, offers critical guidelines for sustainable living and we will explore the principles and practices of this tradition. We will examine the ideologies of the Arts and Crafts movement, the modernist avant-garde, social sculpture and art as social practice. These will be connected with the environmental movement and current trends such as upcycling, cradle-to-cradle design and the resurgence in handiwork and traditions of craft.Students will research and construct their own “Operating Manuals” over the course of the three quarters. This will include a critical look at alternative and utopian models for living, as well as engage with powerful sustainability and justice movements already at work in our community. This program will challenge students to engage through readings and weekly seminar discussions, field visits and research papers, as well as visual art projects and critiques.In fall quarter, we will build vocabularies and skills for thinking about sustainability and community transformation. Studio work in two- and three-dimensional design and ceramics will emphasize redesigning, repurposing and reusing the proliferation of materials available all around us. Yoga labs will help us to integrate work in the classroom and studio with yogic thought and somatic experiences. Study and comparison of cross-cultural examples of sustainability practices will guide the development of our Operating Manuals.In winter quarter, we will work to develop community projects and/or individual visual artworks. We will work with organizations such as Sustainable South Sound and The Commons to develop applied projects. Students will research and report on local and regional alternative, intentional communities. Our critical analysis of sustainability discourses will inform all of our studio work.Spring quarter will offer opportunities to further develop and implement community projects. These may take the form of public art projects, sculptures or installations that enhance public spaces such as community or school gardens or parks. They may also involve facilitating public art processes that integrate the concepts and design principles central to this program.		Karen Gaul Evan Blackwell Anthony Tindill		Junior JR Senior SR	Fall	Fall Winter Spring
Painting: An Introduction Bruce Thompson visual arts Signature Required: Spring	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	Designed for intermediate to advanced art students, this course will focus on introductory painting techniques using a variety of media. It is highly recommended that students have previous experience with college level drawing courses. As a class, we will paint from observation using still lifes, the figure, and the landscape. Abstraction in contemporary painting will also be addressed. Class time will be devoted to studio work, presentations, demonstrations, and critiques. Students will be expected to work outside of designated class time to complete all required assignments.		Bruce Thompson	Mon Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Photography, Beginning Steve Davis media arts visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	This course emphasizes beginning-level skill development in camera use, lighting, exposure, b/w film and print processing. We will also briefly explore 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	Spring	Spring
Photography, Beginning Hugh Lentz media arts visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 14 Fall			This course emphasizes beginning-level skill development in camera function, exposure, and black-and-white film development and darkroom printing. 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	Fall
Photography, Color and Lighting Hugh Lentz media arts visual arts Signature Required: Winter	Course	FR–SRFreshmen–Senior	4	04	Evening		W 15Winter		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	Winter
Photography, Digital Steve Davis communication media arts visual arts	Course	SO–SRSophomore–Senior	4	04	Evening	F 14 Fall			This course will introduce students to photographic practice through digital means. A brief introduction to digital video will also be included. 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	Fall
Photography, Documentary Steve Davis communication media arts visual arts Signature Required: Winter	Course	SO–SRSophomore–Senior	4	04	Evening		W 15Winter		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). Students will be expected to maintain an online blog/web gallery showing in-progress photography with appropriate text. 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	Winter	Winter
Photography Techniques Hugh Lentz media arts visual arts Signature Required: Spring	Course	SO–SRSophomore–Senior	4	04	Evening			S 15Spring	This is an intermediate to advanced class where students will be using older photographic methods and techniques. We’ll be spending a significant part of this class learning about and using view cameras. Additionally, we'll be working with UV printing, lith films, pinhole cameras, and more. 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	Spring
Reworking the Subject: Writing and Drawing As Experimental Practice Miranda Mellis and Shaw Osha (Flores) aesthetics art history cultural studies literature visual arts writing	Program	JR–SRJunior–Senior	16	16	Day			S 15Spring	“Beginning again and again is a natural thing,” wrote Gertrude Stein in her 1925 lecture, "Composition as Explanation." In this program we will begin again and again, practicing the arts of writing and drawing by means of continuously returning to the same objects and methods in order to generate, through repetition, a series of interconnected and centripetally formed drawings and texts. This creative writing, critical thinking, and visual art program is for students who are ready to concentrate on working and reworking a series of works of visual art, or writing, or both. Our focus is on practice–the subject is less important than our disciplined return to it. We will be guided by a range of artists and writers who take an experimentalist and recursive approach to composition, as well as philosophers and critics, Elizabeth Grosz in particular, whose book will anchor and orient our thinking about aesthetics in a richly exploratory and cross-disciplinary manner. We'll take inspiration from the repetitive methodology of Expressionist Maria Lassnig, the formal restraint of Giorgio Morandi, and Wassily Kandinsky’s continuous return to . The serial minimalism of musicians such as Julius Eastman and Steve Reich will form a portion of our auditory index, and we’ll also make a study of the insistent return T.J. Clark performs in his book , an extended, recursive, ekphrastic meditation on Poussin’s and Rilke's as exemplars for our own ekprhastic writings. We'll work and re-work our methods and objects, and turn and re-turn to oft-repeated forms such as the refrain, the loop, the drill, and the anecdote. Students should be prepared for intensive reading and writing as well as independent project work in practice and research.		Miranda Mellis Shaw Osha (Flores)	Mon Wed Thu	Junior JR Senior SR	Spring	Spring
Russian, Beginning I, II, III Elena Smith cultural studies language studies literature visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 14 Fall	W 15Winter	S 15Spring	This year-long course is designed to teach students to read the mysterious looking Cyrillic script, write the unique Russian cursive, construct sentences and express themselves in Russian. Students will immerse themselves in the colorful cultural and historical context provided by authentic text, film, music, and visual arts. Exploring selected works by such literary masters as A. Pushkin, L. Tolstoy, and A. Chekhov, to name a few, students will be able to understand not only the specifics of Russian grammar and vocabulary but also the complexities of Russian character and the Russian way of thinking as documented and preserved by outstanding Russian authors.		Elena Smith	Tue Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Sculptural Ceramics and the Art of Mexico Ann Storey and Aisha Harrison Native American studies aesthetics anthropology cultural studies gender and women's studies history international studies literature visual arts	Program	SO–SRSophomore–Senior	12	12	Evening and Weekend	F 14 Fall	W 15Winter		This will be an interdisciplinary ceramic sculpture and art history program that will explore the dynamic artistic traditions of Mexico from ancient times to the present. We will take a thematic approach to our historical studies, exploring Mesoamerican art and spirituality, colonial artistic traditions, Day of the Dead belief and rituals, the Virgin of Guadalupe and the on-going contribution of women to the culture, the post-revolutionary mural and printmaking traditions, and Chicano culture. Moving from theory to practice we will work to deepen our understanding of the ideas we have discussed in seminar through an intense ceramic studio practice. Fall quarter, we will focus on drawing and sculpting the human figure/skeleton; developing our sense of the human form, working on abstraction, and creating a Day of the Dead sculpture/altar. Winter quarter we will continue to use the handbuilding skills learned in fall to create a Tree of Life sculpture and a ceramic tile mural.		Ann Storey Aisha Harrison	Tue Thu Sat	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Student-Originated Studies: Performing Arts Kabby Mitchell cultural studies dance media arts media studies music theater visual arts	SOS	SO–SRSophomore–Senior	16	16	Day	F 14 Fall	W 15Winter		This is an opportunity for well-prepared students to do authentic, significant, independent work in dance, theatre, music or film production. Students enrolling in this program should have one or more potential project ideas before the start of fall quarter. Please contact the faculty with any questions regarding your specific ideas.Participants will meet weekly to discuss their projects and to collaboratively work in small groups. Students will be expected to give progress updates, outline challenges, and share ideas for increasing the quality of the work that they are doing throughout the quarter. Specific descriptions of learning goals and activities will be developed individually between the student and faculty to insure quality work. At the end of the quarter students will present their projects to their peers in the most suitable manner for their particular project.	performance art, dance, theater, music, and cultural studies.	Kabby Mitchell	Wed Wed	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Studio Projects: Tradition and Innovation Lisa Sweet and Alexander McCarty art history visual arts Signature Required: Spring	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 14 Fall	W 15Winter	S 15Spring	This is an entry-level program emphasizing studio practice in 2D and 3D (wood carving and woodcut printmaking), art histories, visual literacy, and artistic research. The thematic thread will address a range of visual languages, design strategies, and traditions employed by various communities, including Northwest Coast Native design history and traditions, and early European prints used for religious practice and political dissent. These approaches to images and objects are quite different from conventional, western ideas about “Art” that is primarily aesthetically pleasing or focused on self-expression. The program is designed to support both students who are visual art emphasizers, as well as those who are curious about the skills and knowledge necessary for sustained creative work. No prior art experience necessary -- enthusiasm, good organization, and a strong work ethic are required. Students should be prepared to dedicate 40 hours per week to studio projects, and rigorous reading and writing on topics related to the concepts of craft and art, the functions, legacies, and histories surrounding objects and images. Students working in 3D will be provided with access to traditional Northwest coast Native carving tools. The fall and winter quarters will provide students with basic studio and tool use techniques in woodworking and printmaking, as well as design and drawing workshops. Students will work in either 2D 3D the fall quarter, switching to the other medium in winter. The spring quarter will provide students with the opportunity to apply their learning to more advanced projects, utilizing knowledge and skills gained over the fall and winter. A central focus of the spring will be exploring what happens when ideas, forms and images created in one medium are translated into another, becoming something entirely new.		Lisa Sweet Alexander McCarty	Mon Tue Wed Fri	Freshmen FR Sophomore SO	Fall	Fall Winter Spring
Under the Influence: Art, Writing and Inspiration Ann Storey and Nancy Parkes American studies aesthetics art history gender and women's studies international studies literature visual arts writing	Program	SO–SRSophomore–Senior	8	08	Evening and Weekend			S 15Spring	What are the relationships among art, writing and transformation? Have artists been inspired by creative writing and have writers been inspired by art? The answer is a resounding yes! In this interdisciplinary art and writing class we will explore examples of mutually creative influence coming from these sister arts. In turn we will create art and writing that draws on these twin sources of creativity, with a special emphasis on relationship to environment and place. We are concerned with art and writing that addresses both cultural and personal transformation. We will learn the formal analysis of art and literature so that we can engage in "close reading" of both. Also, we will read literature that shows the many ways that works of art can be cherished and understood throughout time. Our primary studio practices will be drawing, assemblage, book arts and collage. Students will also engage in creative writing workshops that often involve art.		Ann Storey Nancy Parkes	Wed Sat	Sophomore SO Junior JR Senior SR	Spring	Spring
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Shaw Osha (Flores), Kathleen Eamon and Joli Sandoz African American studies art history communication cultural studies gender and women's studies literature media arts media studies moving image visual arts writing Signature Required: Fall Winter Spring	Program	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 14 Fall	W 15Winter	S 15Spring	This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20 C Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen would have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with short lyric nonfiction, and with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include essays on illusion and delusion, and on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global.Please go to the catalog view for specific information about each option.		Naima Lowe Shaw Osha (Flores) Kathleen Eamon Joli Sandoz		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with N. Lowe Naima Lowe African American studies art history communication cultural studies gender and women's studies media studies moving image visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 14 Fall	W 15Winter	S 15Spring	This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes.		Naima Lowe		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with Shaw Osha Shaw Osha (Flores) aesthetics art history visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day	F 14 Fall	W 15Winter	S 15Spring	This is an opportunity for students to work on faculty-driven scholarly and creative projects. By working with faculty in a studio and research “apprentice” model, students will gain hands-on experience in visual arts studio practices, film/media production practices, the creative writing workshop focused on craft, critical research and writing, library and archival research practices, and much more. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making.		Shaw Osha (Flores)		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Visualizing Permaculture Lucia Harrison and Steven Scheuerell aesthetics agriculture botany ecology environmental studies natural history sustainability studies visual arts	Program	FR–SRFreshmen–Senior	16	16	Day			S 15Spring	Permaculture is a global movement that works to design sustainable human habitation systems embedded in local cultures and ecosystems. The permaculture design process is highly collaborative and relies on visual communication to share ideas on paper, create maps, and finalize design plans. In studying this design process students will learn observation skills, ecological principles including disturbance, competition, succession , polycultures, and an introduction to soils, plants, microclimates, hydrology, earthworks, ecobuilding, and energy and water storage systems. Students in this program will also study the philosophy of permaculture and visit local places for site evaluation and design inspiration. Students will learn basic drawing techniques to record observations of the physical, biological and social features of a space as well as imagine and communicate alternative visions. They will keep design journals to record ideas and build drawing skills. Students will collaborate in small groups to create and present a design project that encompasses the iterative client-based permaculture design process taught in class.		Lucia Harrison Steven Scheuerell	Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Woodworking Daryl Morgan visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening		W 15Winter		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	Winter	Winter
Woodworking Daryl Morgan visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening	F 14 Fall			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	Fall	Fall
Woodworking Daryl Morgan visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	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	Spring
Working in 3D Bob Woods visual arts	Course	FR–SRFreshmen–Senior	4	04	Evening			S 15Spring	This studio course is an introduction to ways of thinking about and working with three dimensional form as it applies to sculpture and design. Formative principles, ideas, and methods will be presented. Work will include reading, slide presentations, hands-on exercises, and assigned projects using a variety of materials and techniques. Open to all levels of experience.		Bob Woods	Tue	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring