This course approaches drawing as a way of thinking and seeing.
Visual Arts Courses
Visual Arts
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. The course works outward from these events to examine the 1960s, race, region, economy, memory, and media representation.
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 studio course introduces students to graphic design with a particular emphasis on typography. Students learn typographic history through lectures that highlight major shifts in print technologies and through their engagement in studio design projects.
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 production class will engage in a variety of timed-based collage, composition, visualization, and storytelling techniques. Students will be taught the fundamental techniques of 2D animation production.
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.
Using an interdisciplinary visual and performance studies approach to explore various sites of contemporary art practices, this course will provide an introduction to radical performance practices through which artists consider the gendered and racialized body that circulates in the public domain, both onstage and off.
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 will focus on the three major phases of cinematic storytelling: story development, principal photography, and post-production.
This seminar will frame the idea of black film as a visual negotiation between film as art and the discursivity of race, rather than black film as a demographic, or a genre, or a reflection of the black experience, or something bound by a representational politics of positive and negative stereotypes.
To become a working filmmaker today, one has to master the short film—being a filmmaker no longer means creating feature films exclusively, if at all. This course will focus on the technical challenges of being short as well as the conceptual challenge of being funny.
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.
In this class we will work in multiple media, such as photography, video, text, sculpture, and drawing prompted by Princeton University’s vast archives and collections. We will look at and think about art works that tell alternate histories by excavating archives, artists who work through various visual media to probe the politics of flower arrangements, the history of hip hop, to re-arrange museum collections and private photography collections from the middle east, artists who speculate and build possible stories through obscure artifacts such as private letters and merchandize receipts, and much, much more. We will work in multiple media while thinking about archives, artifacts, traces, collective and cultural memory, public monuments, alternate understandings of history and canons. What role does fiction have in a research based practice?
This introductory course will provide a critical opportunity to explore the mutual craft of directing actors and acting for directors, with the goal of creating credible performances on screen.
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.
This course is designed to endow students with the conceptual and practical skills that will enable them to design for productions in the theater program.
This course is designed to teach students the skills necessary for drawing human figures as volumetric structures in clearly defined, illusionistic space. Exercises will investigate the dynamics of human bodies, light and shadow, tonal drawing, and hatchure.
Students in this advanced screenwriting course will work both independently and in small groups to learn how to develop, pitch, outline, and draft an original television show.
This seminar provides senior ART Program 2 and VIS certificate students a context for investigating and discussing contemporary art exhibition practices.
This course investigates the processes through which the ordinary can be transformed into the extraordinary. Fall 2017 will focus on the strategic challenge of turning waste material into a viable consumer product.
This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.