This course approaches drawing as a way of thinking and seeing.
This urban studies seminar in history and documentary filmmaking focuses on Trenton's unrest of April 1968, when a black college student, Harlan Joseph, was shot and killed by a white police officer.
An introduction to the materials and methods of painting.
An introduction to the processes of analog photography through a series of problems directed toward the handling of film-based cameras, light-sensitive paper, darkroom chemistry, and printing.
This studio course introduces students to aesthetic and theoretical implications of digital photography.
This studio course will introduce students to the essential aspects and skills of graphic design, and will analyze and discuss the increasingly vital role that non-verbal, graphic information plays in all areas of professional life, from fine art and book design to social networking and the Internet.
This course introduces students to techniques for decoding and creating graphic messages in a variety of media, and delves into issues related to visual literacy through the hands-on making and analysis of graphic form.
This studio class will address the increasing social pressure on art to become more widely distributed, immediately accessible, and democratically produced.
A studio introduction to sculpture, particularly the study of form, space, and the influence of a wide variety of materials and processes on the visual properties of sculpture.
What is the relationship between sound and place? How do we experience the everyday sounds of our acoustic environment? What stories can sound tell? This course invites students to engage with Princeton's soundscape.
A film/video course introducing the techniques of shooting and editing digital video.
In the real world, what relationships have the necessary friction to generate compelling films? Documentary Filmmaking will introduce you to the craft, history and theory behind attempts to answer this question.
This course explores the history of photographic portraiture as well as the work of contemporary artists working in a post-modern age where representation and identity are deconstructed.
Through readings, discussions, case studies, and studio projects, students in this class will engage the immediate context of the University as source material for their artworks, and as a means of exploring the effect that research and knowledge production might have on contemporary artistic practice.
This course will provide a survey of 21st century world cinema as an investigation into the institutional and theoretical frameworks that inform its production.
This course will introduce students to core screenwriting principles and techniques.
The course addresses current issues in painting, drawing, sculpture, film, video, photography, and performance installation.
Through careful observation, this class will focus exclusively on human figure and purse the development of a strong sense of bone structure, muscle contours and light. From this perceptual foundation, students will be encouraged to develop independent points of view. Assignments will loosely revolve around themes of narrative, abstraction, expression, and conceptual strategies.
SPOTS AVAILABLE — Upperclassmen may still apply for this course until September 12, 2016, at 5:00 p.m. This advanced screenwriting course will introduce students to the post 1990’s “golden age of television” and outline the differences between writing for film and a scripted TV series.
This studio course builds on the skills and concepts of the 200-level Graphic Design classes.
This seminar provides senior ART Program 2 and VIS certificate students a context for investigating and discussing contemporary art exhibition practices.
This course investigates how extreme amounts of invested time and manual labor are capable of transforming the ordinary into the extraordinary.
This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.