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This drawing course introduces basic concepts, tools, techniques and the role of drawing in design, illustration, animation and games. The course will also cover projection systems, plans, elevations, sections, oblique, isometric, one-point perspective and two-point perspective views.

This drawing course introduces basic concepts, tools, techniques and the role of drawing in design, illustration, animation and games. The course will also cover projection systems, plans, elevations, sections, oblique, isometric, one-point perspective and two-point perspective views.

An introduction to the research methodologies utilized in the social and behavioral sciences, beginning with the fundamentals of research design, through data collection, analysis, interpretation, and the final reporting of results. Both quantitative and qualitative designs are examined using software to aid in inquiry and analysis.

An introduction to the research methodologies utilized in the social and behavioral sciences, beginning with the fundamentals of research design, through data collection, analysis, interpretation, and the final reporting of results. Both quantitative and qualitative designs are examined using software to aid in inquiry and analysis.

This advanced drawing course develops visual awareness of the human figure. Students will develop an understanding of the basic forms of the human body, how those forms are connected and move, and how to draw those forms proportionally. Students will also consider how the human form relates to the world around it, developing a clear understanding of how to create a composition containing proportional figures within a space according to perspective. Sensitivity to line, volume, light and shade is explored. Communication designers use the concepts developed in this course in disciplines such as advertising, graphic design, illustration, broadcast design, animation and photography.

This advanced drawing course develops visual awareness of the human figure. Students will develop an understanding of the basic forms of the human body, how those forms are connected and move, and how to draw those forms proportionally. Students will also consider how the human form relates to the world around it, developing a clear understanding of how to create a composition containing proportional figures within a space according to perspective. Sensitivity to line, volume, light and shade is explored. Communication designers use the concepts developed in this course in disciplines such as advertising, graphic design, illustration, broadcast design, animation and photography.

Course Description This course will offer an in-depth introduction to communication design theory, examining theoretical perspectives of design practice within the larger discourse of design and visual culture. Communication models, the nature of representation, the dimensions of context and semiotics will be explored through critical readings from key documents written between the early decades of the twentieth century and the present. In this context, “theory” doesn’t mean “a hypothesis to be tested” (as in the sciences), but rather points to a set of working beliefs about how the world—or in this case, visual communication—works. Some aspects of certain visual communication theories are based on observable “facts,” but the way these facts are woven together says more about how we construct meaning than it does about empirical answers to factual questions. So why does a design professional—typically an eminently practical, hands-on person working toward a specific end for the benefit of a specific client—want or need to engage with visual communication theories? First, “doing theory” promotes a sophisticated level of reflection about design work—far beyond the touchstones of “did they like it?” and “did it serve its purpose?” Second, it encourages designers to think holistically about the contexts for their work—beyond the immediate job at hand to the larger contexts of the social, the cultural, and the historical. And finally, it recognizes the obvious: today, graphic design shapes our visual world and puts each person at the nexus of thousands of messages each day. In this course, we, as senders and receivers of such messages, will attempt to make sense of all this through our verbal discussions in class, our blog postings, and our research poster design and presentations. We will be looking at two types of theories: generative theories, that explain the “how” of visual communication; and critical/sociocultural theories that explain the “what, where, and when” of design, or the historical, cultural and social contexts. By developing the ability to look at design through these different lenses, professional designers can enhance the quality of their decision-making and have a better grasp on the multiple contexts and frameworks for clients and audiences. We can better understand and evaluate the many issues about local usability and usefulness within broader contexts of ethics, aesthetics, professional and social responsibility.

Course Description This course will offer an in-depth introduction to communication design theory, examining theoretical perspectives of design practice within the larger discourse of design and visual culture. Communication models, the nature of representation, the dimensions of context and semiotics will be explored through critical readings from key documents written between the early decades of the twentieth century and the present. In this context, “theory” doesn’t mean “a hypothesis to be tested” (as in the sciences), but rather points to a set of working beliefs about how the world—or in this case, visual communication—works. Some aspects of certain visual communication theories are based on observable “facts,” but the way these facts are woven together says more about how we construct meaning than it does about empirical answers to factual questions. So why does a design professional—typically an eminently practical, hands-on person working toward a specific end for the benefit of a specific client—want or need to engage with visual communication theories? First, “doing theory” promotes a sophisticated level of reflection about design work—far beyond the touchstones of “did they like it?” and “did it serve its purpose?” Second, it encourages designers to think holistically about the contexts for their work—beyond the immediate job at hand to the larger contexts of the social, the cultural, and the historical. And finally, it recognizes the obvious: today, graphic design shapes our visual world and puts each person at the nexus of thousands of messages each day. In this course, we, as senders and receivers of such messages, will attempt to make sense of all this through our verbal discussions in class, our blog postings, and our research poster design and presentations. We will be looking at two types of theories: generative theories, that explain the “how” of visual communication; and critical/sociocultural theories that explain the “what, where, and when” of design, or the historical, cultural and social contexts. By developing the ability to look at design through these different lenses, professional designers can enhance the quality of their decision-making and have a better grasp on the multiple contexts and frameworks for clients and audiences. We can better understand and evaluate the many issues about local usability and usefulness within broader contexts of ethics, aesthetics, professional and social responsibility.

In this studio photography course, the emphasis is on professional photography as a commercial medium. Students learn studio lighting and how to develop visual coherence within a group of images. Students develop a portfolio project that demonstrates conceptual thinking and a mastery of the craft of photography. Avatar Photo by Angel Diaz.

In this studio photography course, the emphasis is on professional photography as a commercial medium. Students learn studio lighting and how to develop visual coherence within a group of images. Students develop a portfolio project that demonstrates conceptual thinking and a mastery of the craft of photography. Avatar Photo by Angel Diaz.