This page contains a Flash digital edition of a book.
include scanning input, photo and image manipulation, color separating and output techniques used in making films for photomechanical print processes. This course gives a survey of advanced photographic processes for printmaking. Prerequisite(s): PRMK 200 or PRMK 202 or PRMK 203.


PRMK 404 Advanced Processes in Printmaking I This advanced-level course investigates contemporary trends in printmaking, including digital and photo- mechanical processes. Color work is emphasized, combining the use of polymer films and presensitized plates with traditional grounds and techniques. Dem- onstrated techniques include transfer, positive and negative working plates, and four-color separation. Presswork encompasses the registration and print- ing of multiple plates and the production of a body of work that displays sound printing expertise and professional practice. The exploration of cross-media applications is encouraged, and students may choose to work in litho, intaglio or both. Students are expected to develop a body of work that articulates an inventive and conceptual use of the printed image and a clear personal vision. Prerequisite(s): PRMK 401.


PRMK 408 Advanced Processes in Printmaking II This course provides students with focused study on thematically driven work with an emphasis on contem- porary print practice and critical dialogue. Students may work in any print medium creating mature images that demonstrate expertise in the process, and issues in collaborative printmaking are explored through hand- son experiences. Prerequisite(s): PRMK 404.


PRMK 411 Serigraphy II A further investigation of fine art serigraphy, this course emphasizes color work and strengthening printing skills. Students learn and elaborate on color prints, multiple screen registration, monoprinting and blends and multiple matrix prints. A balanced outcome between technical and conceptual development is stressed through discussions and critiques while commercials tools related to planning and equipping a water-based screen-printing studio are addressed. Prerequisite(s): PRMK 311.


PRMK 412 Photogravure Photogravure printmaking is a complex antique photo etching process that produces rich images on paper. The potential of a continuous tone image on printmak- ing paper offers a wide range of implications to the photographic image including applications of color and drawing. Students explore the preparation of digital, analog and direct transparencies and their utilization in the process. Prerequisite(s): PRMK 401.


Printmaking (Graduate)


PRMK 602 Graduate Printmaking Processes Students enhance conceptual and technical skills for printmaking mediums. As an accelerated course, it investigates contemporary trends in printmaking, including the use of digital and photomechanical processes, but is designed for graduate students with limited experience in printmaking.


PRMK 704 Technical Approaches in Printmaking In this course, the full range of processes offered in the program is introduced and explored as the art of the graduate level critique. Through individual evaluation, areas of inexperience are explored and strengthened. Students emerge from this class more well rounded and confident in technical processes.


PRMK 713 Printmaking Studio I This is the first in a course of two classes designed to cultivate the mature development of personal vision and process. The development of personal vision is initiated as well as the reinforcement of areas needed to be addressed in the student’s process vocabulary.


PRMK 716 Printmaking Studio II Students refine their expressive vision in quarter-long projects developed within an individual conceptual framework, while exploring relevant themes in con- temporary artists’ work. Students develop processes vital to the production and competition of their work,


and rigorous critiques require students to evalu- ate and verbally articulate methodology and ideas. Prerequisite(s): PRMK 713.


PRMK 722 Digital and Photographic Applications in Printmaking Photographic and digital processes play a vital role in contemporary printmaking. Multiple strategies for incorporation of digital and photographic media are explored while developing their relevance to the stu- dent’s personal vision and stressing the primacy of the print medium. Prerequisite(s): PRMK 704 or PRMK 713.


PRMK 740 Single Edition Portfolio One edition project is created over the course of the quarter, with an emphasis on proper edition handling and methods. Students are encouraged to collaborate with a local artist or professor to create an ambitious edition of prints that give detailed hands-on experience with shop management and project development. Students complete the class with museum-quality editioning skills and a trade portfolio. Prerequisite(s): PRMK 713.


PRMK 745 Alternative Processes in Printmaking A departure from the traditional wood, metal, stone and paper of printmaking, alternative plate construc- tion methods and innovative installation techniques will be addressed. The history and implications of the mul- tiple and the full range of the context of printmaking are explored. Prerequisite(s): PRMK 704 or PRMK 713.


PRMK 749 Printmaking M.A. Final Project All M.A. printmaking students are required to develop a cohesive body of work and develop an extended artist’s statement. Students have the opportunity to develop self-expression through an exploration of contemporary issues and theories. Students have the opportunity to develop the clear expression of ideas in writing and oral presentation while refining personal content within historic context of printmaking.


PRMK 764 Graduate Seminar in Printmaking In preparation to create the thesis body of work and document, students explore their work and content through the context of modern printmakers. A dis- course relating to 20th and 21st century printmaking is conducted through research, writing and student presentations. Prerequisite(s): PRMK 716 or PRMK 722.


PRMK 779F Graduate Field Internship Students in this course undertake a field assign- ment under the supervision of a faculty member. Prerequisite(s): 15 graduate credit hours, good aca- demic standing.


PRMK 779T Graduate Teaching Internship Students in this course undertake a teaching assign- ment under the supervision of a faculty member. Prerequisite(s): 15 graduate credit hours, good aca- demic standing.


PRMK 780 Special Topics in Printmaking The topic of this course varies from term to term. Each course focuses on various issues in printmaking and allows students to pursue individual projects related to the subject of the course. Prerequisite(s): Vary according to topic.


PRMK 790 Printmaking M.F.A. Thesis This course is designed to guide the student through the process of creating an exhibition of original work and the development of a sophisticated and coherent body of work. The student works closely with their thesis committee to design, promote and install their thesis show as well as develop a thesis paper.


Production Design (Undergraduate)


PROD 101 Introduction to Production Design In this course, students are introduced to the funda- mentals of production design for stage and screen including the application of costume, scenery, lighting and props and their importance in film, theater and television productions. The student is introduced to the impact that scene, light, costume elements and props have in a complete production or performance.


PROD 110 Drafting for Production Design This course focuses on drafting for the entertainment designer with the intent of making the student fluent in the language of layout, shape, proportion, contour, mass, detail and the drafting standards set by the United States Institute for Theatre Technology.


PROD 130 Stagecraft Students learn the equipment, techniques and pro- cedures of technical production for stage and screen. Wood working, metalworking and lighting equipment all are experienced and applied.


PROD 150 Introduction to Makeup Design Makeup design is a subtle, yet essential, part of many artistic undertakings, including fashion, photography, filmmaking and theater. After gaining an understanding of the anatomical structures of the head, face and neck, and the effects of lighting on those structures, students explore makeup products and their applications to cre- ate a “natural” face, do corrective makeup, and create a character. Professional standards are emphasized in the application of skills to real situations.


PROD 200 Production Management and Administration This survey course is designed to familiarize students with the organizational procedures of the theater production process. Major areas of study include stage management and production management, with some reference to video and film production management.


PROD 210 Script Interpretation This course develops students’ skills to identify relevant structure, plot and themes in script and text work. In addition, students learn the basic themes, structure and concepts that influence production design, per- formance and other facets of production for stage and screen. Research, critical thinking and analysis of script and text to develop design concepts for production design are also emphasized. The course also develops students’ skills to understand the structure, history and overall themes of published/produced work in screen and stage. Prerequisite(s): PROD 101.


PROD 212 Period Style for Production Design With a sound historical base, lifestyles and societal influences are examined to understand the look of each period. Emphasis is on a chronological examina- tion and is the goal of this class. The sociological and aesthetic aspects influencing the architecture, furnish- ings and textiles of the period as well as the subtle use of color indicative to specific periods are addressed. Geographical needs that contribute to style and design also are considered. The goal is that students learn the definitive need for conclusive and rigorous research. Prerequisite(s): PROD 101.


PROD 220 Lighting Design I This course examines lighting design, from the germi- nation of the idea to the final project. Through class discussion and critiques, students’ lighting concepts are developed and refined. Prerequisite(s): PROD 110, PROD 210.


PROD 221 Scenic Design I In this course, students focus on the development of scenic design ideas and their application in theater, film and television. By developing, articulating, and defend- ing design concepts, students demonstrate successful scenic design projects for theater, film and television. Prerequisite(s): PROD 110, PROD 210.


PROD 230 Costume Design I This studio course explores the exciting and creative world of costuming for stage and screen. Assignments enable students to develop skills in areas such as ren- dering, swatching, play analysis, fabric modification, masks, hats, draping, accessorizing and productions. Additional practicum time is required and assigned by the professor. Prerequisite(s): PROD 210.


PROD 270 CAD for Production Design This class focuses on hand drafting for the entertain- ment designer with the intent of making the student fluent in the language of layout, shape, proportion, contour, mass, detail and the drafting standards


cour se descr ipt ions


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180  |  Page 181  |  Page 182  |  Page 183  |  Page 184  |  Page 185  |  Page 186  |  Page 187  |  Page 188  |  Page 189  |  Page 190  |  Page 191  |  Page 192  |  Page 193  |  Page 194  |  Page 195  |  Page 196  |  Page 197  |  Page 198  |  Page 199  |  Page 200  |  Page 201  |  Page 202  |  Page 203  |  Page 204  |  Page 205  |  Page 206  |  Page 207  |  Page 208  |  Page 209  |  Page 210  |  Page 211  |  Page 212  |  Page 213  |  Page 214  |  Page 215  |  Page 216  |  Page 217  |  Page 218  |  Page 219  |  Page 220  |  Page 221  |  Page 222  |  Page 223  |  Page 224  |  Page 225  |  Page 226  |  Page 227  |  Page 228  |  Page 229  |  Page 230  |  Page 231  |  Page 232  |  Page 233  |  Page 234  |  Page 235  |  Page 236  |  Page 237  |  Page 238  |  Page 239  |  Page 240  |  Page 241  |  Page 242  |  Page 243  |  Page 244  |  Page 245  |  Page 246  |  Page 247  |  Page 248  |  Page 249  |  Page 250  |  Page 251  |  Page 252  |  Page 253  |  Page 254  |  Page 255  |  Page 256  |  Page 257  |  Page 258  |  Page 259  |  Page 260  |  Page 261  |  Page 262  |  Page 263  |  Page 264  |  Page 265  |  Page 266  |  Page 267  |  Page 268  |  Page 269  |  Page 270  |  Page 271  |  Page 272  |  Page 273  |  Page 274  |  Page 275  |  Page 276  |  Page 277  |  Page 278  |  Page 279  |  Page 280  |  Page 281  |  Page 282  |  Page 283  |  Page 284  |  Page 285  |  Page 286  |  Page 287  |  Page 288  |  Page 289  |  Page 290  |  Page 291  |  Page 292  |  Page 293  |  Page 294  |  Page 295  |  Page 296  |  Page 297  |  Page 298  |  Page 299  |  Page 300  |  Page 301  |  Page 302  |  Page 303  |  Page 304  |  Page 305  |  Page 306  |  Page 307  |  Page 308  |  Page 309  |  Page 310  |  Page 311  |  Page 312  |  Page 313  |  Page 314  |  Page 315  |  Page 316  |  Page 317  |  Page 318  |  Page 319  |  Page 320  |  Page 321  |  Page 322  |  Page 323  |  Page 324  |  Page 325  |  Page 326  |  Page 327  |  Page 328  |  Page 329  |  Page 330  |  Page 331  |  Page 332  |  Page 333  |  Page 334  |  Page 335  |  Page 336  |  Page 337  |  Page 338  |  Page 339  |  Page 340  |  Page 341  |  Page 342  |  Page 343  |  Page 344  |  Page 345  |  Page 346  |  Page 347  |  Page 348  |  Page 349  |  Page 350  |  Page 351  |  Page 352  |  Page 353  |  Page 354  |  Page 355  |  Page 356  |  Page 357  |  Page 358  |  Page 359  |  Page 360  |  Page 361  |  Page 362  |  Page 363  |  Page 364  |  Page 365  |  Page 366  |  Page 367  |  Page 368  |  Page 369  |  Page 370  |  Page 371  |  Page 372  |  Page 373  |  Page 374  |  Page 375  |  Page 376  |  Page 377  |  Page 378  |  Page 379  |  Page 380  |  Page 381  |  Page 382  |  Page 383  |  Page 384
Produced with Yudu - www.yudu.com