Art (ARTS)

This course will cover the fundamental and technical aspects of drawing. All levels of experience are welcome. Faculty will work with each student individually to ensure growth and improvement. Students will be introduced to a variety of tools, techniques and materials used in drawing - with the goal of teaching anyone to draw from direct observation. Exploration, interpretation, and experimentation are encouraged! We will begin the course working directly from still life and then move to more complex projects (figure, portrait) as the semester continues. Students will build a drawing vocabulary and examine a variety of drawing philosophies that will transcend this course and assist them with the entire experience of making any type of art. This course is not available to audit.

TBD

This course utilizes traditional hand printing of relief images from Linoleum plates. Test plates are done in color and B&W. Folds and simple bookmaking are presented as options. After learning safe cutting, registration and printing methods, students are encouraged to pursue their own personal imagery. Critiques and view and response of videos and online print related sites is required.

This course is designed for beginning to advanced students who wish to experience traditional “hands on” printmaking methods and materials. The course is excellent for studio and art history majors. The basic printmaking techniques covered include; Intaglio, the favorite of Rembrandt, which covers etching and drypoint on copper and zinc, Lithography on stone, as Whistler and Picasso practiced, and Relief on linoleum and wood in the manner of Rockwell Kent and Hiroshege. Students will do assigned test prints in each technique and develop their own personal imagery using the method of their choice. Museum and Gallery visits are required.

This course has been designed for students who do not have any technical understanding or previous experience with traditional black and white film photography. It will cover camera operations, film processing, enlargement printing, and presentation methods; students will expose, develop, and print all of their own images. Information will be conveyed through traditional readings, demonstrations, and hands-on experience with the camera out in the field and print chemistry in the darkroom.

This is an introductory digital photography studio art course designed to develop the hands-on skills necessary to produce and identify the elements of a good photograph and to acquire a thorough working knowledge of digital equipment. Students will gain an understanding of the aesthetic and technical areas of photography as a fine art. Class lectures, discussions, and digital lab assignments will deal with photographic composition, criticism and history, camera and paper types, and printer systems. Fundamental knowledge of computer programs such as Photoshop will be covered for students to edit and print their work. Students enrolled in studio courses must devote a minimum of 4 to 6 hours per week outside of class to develop and complete assignments. Through the analysis of the history of this medium, this class involves the study of photography as a metaphor for the human condition, with students engaging in self-reflection and questioning through analysis, inquiry, dialogue, and creation. This class is not available to audit.

A beginning digital photography studio art course focusing on urban studies in Washington D.C. The course is designed to develop hands-on camera skills necessary to produce and identify the elements of a good photograph and to acquire a thorough working knowledge of digital cameras, software, and printers. Students will apply these learned skills by capturing images that reflect fine art, photojournalism, and documentary photography in Washington D.C as part of the Urban Studies Summer Institute, and connect students to critical issues that affect the city. Exploring these photographic styles to develop narrative, opinion, and/or objective truth will provide students with personal insight, community experience, and encourage substantive dialogue regarding important topics relating to urban studies in Washington D.C. Students enrolled in studio courses must plan to devote time outside of class to develop and complete assignments.

Sculpture offers students the opportunity to express their creative drive and to objectify their ideas in three dimensions. Students work in traditional and contemporary methods and materials. The semester is structured around projects that introduce new materials, processes, and conceptual considerations. Assignments begin with demonstrations and example images of work by artists from different eras and by previous Sculpture One students. The semester typically includes the following assignments: life modeling a form in clay, experimental mold-making and casting, woodworking using constructive processes, and altering found objects. The projects are for entry-level students. No prior experience is needed, but a sincere interest in the subject is requisite. This course is not available to audit.

Pablo Picasso made the ?rst collage in 1912 when he glued a real postage stamp to his drawing of a letter. Collage and Assemblage will explore art making from the perspective of these two vital modern art forms. Using the collage method, students will learn to create compositions made of various papers, photographs and other materials pasted together to form two-dimensional works, and will use this technique to express their own ideas, interests or concerns in a visually coherent way. The practice of combining disparate materials to create collages spawned a new form of sculpture called “Assemblage.” Thus, students in this course will also construct their own sculptures made with materials such as wood, metal, plastics, paints and found objects. Each project will be introduced by the professor with a PowerPoint presentation. The course will also include a ?eld trip to a museum.

The Art of Furniture is an introductory course that explores various traditions and building processes used in furniture production. Projects will introduce students to historical research, design development, and fabrication skills. We will transform original ideas from drawings and models into finished functional pieces. The course covers hand tool use, joinery techniques, and safe machine operations. No previous experience in design or construction is required. Students should plan on spending at least 3-4 hours per week outside of class time to complete assignments. This course is not available to audit.

This course is an introduction to the materials, techniques and concepts used in oil Painting. The class will explore the aesthetics of painting, with an emphasis on the principles of visual design, paint handling and the development of individual creativity. No prior painting experience is required. In Painting I, an observational approach will be used to study color, space, compoistion, perspective and the subject. The goal of this course is not to make copies, but to strike a balance between reality, illusion, and the human experience. As such, we encourage students to think creatively and to experiment with the paint and the subject. This is achieved through live demonstrations, artist lectures, group, and individual critiques. Students will paint from life and digital photographic resources. Subjects may include still-life, figure, self-portraits, landscape and interiors. Each project will be followed by a group (class) critique, in which the purpose of the project and any “visual discoveries ”(solutions and problems) will be discussed. This course is not available to audit.

This is an introductory course that consists of lectures and studio labs. This course focuses on both the acquisition of fundamental knowledge of acrylic painting, and the creation of paintings using one’s own unique imagery. Relevant art historical references and resources will be introduced in order for students to contextualize their work in reference to art history. Students will utilize critical thinking and problem-solving skills by doing progressively challenging assignments. As they work on these assignments throughout the semester, they will develop a more sophisticated aesthetic approach in the areas of color, composition, perspective, balance, and subject matter. There will be five class critiques (four critiques for each individual assignment and the last final critique for the entire course) throughout the semester and each student will have opportunities to discuss their work as well as the work of others. Painting I: Acrylic

Watercolor acts as a bridge between drawing and painting – exploring fluid dynamics and pigment through the study of color, space and the brush. Students will explore a variety of subjects such as still life, landscape, and the human figure; building a strong observational foundation. We will examine the medium's evolution by studying historical and contemporary examples and take part in regular group critiques - analyzing each other’s work in a collaborative environment. This course is designed for all skill levels, welcoming both beginners and those looking to refine their existing practice. This course is not available to audit.

This course is an introduction to technical art history. Students will investigate and practice how artists of the past worked as well as the evolution of painting techniques, tools and materials. Studio activity features hands-on experience in executing reconstructions of the technical features of a period’s work, using authentic materials and processes. Intended to enhance the aesthetic appreciation of paintings as physical objects, as well as to give the beginning painter a thorough understanding of the craft. No prerequisite

2D Design serves as a fundamental building block to the studio art program at Georgetown - establishing a rigorous theoretical and practical foundation for visual literacy. The curriculum utilizes a diverse range of media including, but not limited to acrylics, markers, ink, graphite and photographs. Participants will synthesize tactile and graphic elements into paintings, drawings, collages or 2D assemblages - mastering the complexities of two-dimensional organization and investigate how mark-making and value influence viewer perception. Ultimately, this course equips students with the essential conceptual framework and technical proficiency required for further study in any studio discipline. This course is not available to audit.

Three-Dimensional Design is an entry-level course with no prerequisites. This course focuses on developing skills for making thoughtfully considered objects for everyday life. Over the semester, we will create designed forms such as lighting, containers, wearable objects, and furniture, employing a variety of materials and construction methods. In the course, students are introduced to the use of power tools for woodworking and other fabrication techniques. The course prioritizes learning through hands-on development of original ideas and encourages exploration and risk-taking within the parameters of each assignment. Each project will focus on developing the compositional competence needed to create engaging three-dimensional forms. Additionally, we will emphasize strengthening curiosity and creative inquiry as we refine our ideas. Through presentations, discussions, and technique demonstrations, we will become more knowledgeable about the production of three-dimensional objects and the artists/artisans whose work is related to the themes in each assignment. The course is open to all students and is appropriate for novice makers, but a sincere interest in the subject is integral to success. Nonmajors will find the course content helpful in other areas of study where visual communication, creative problem-solving, and critical analysis are valued. Some materials will be provided, but your design ideas may require you to source/purchase additional items. Beyond regular class meetings, students must plan to spend an additional 2-4 hours each week in the studio developing projects to meet deadlines. Here are some images for potential projects. This course is not available to audit.

This course introduces the foundational principles, terminology, and practices of graphic design as visual communication. Students will learn how to apply the principles of design, color theory, and typography through structured projects and critiques. Emphasis is placed on the integration of conceptual development, production methods, and technical proficiency in Adobe Illustrator, Photoshop, and InDesign using professional design workflows. Assignments may include icons, branding, advertising, and publication design. Upon completion, students will demonstrate foundational competence in industry-standard design software and design principles, preparing them for advanced study in graphic design. The course supports the development of visual literacy, critical analysis, and clear articulation of design decisions for effective visual communication. This course is not available to audit.

This course explores the practice and creation of unique artist books. Multiple bindings, sewing, folds, cutting methods, and techniques are taught to prepare students for personal expression through hand made books.

This course provides a concentrated exploration of typography as a formal, historical, and communicative system. Emphasis is placed on letterforms, typographic structure, legibility versus readability, type classifications, font usage, grid systems, and sequential design. Instruction extends beyond basic software operation to include typographic research, iterative refinement, and advanced composition. Assignments may include multi-level hierarchy studies, expressive and functional typographic compositions, modular and grid-based systems, and extended text layouts that explore more complex issues of spatial relationships, hierarchy, contrast, and scale. Critical analysis of historical and contemporary typographic practices is integrated throughout the course. Through sustained projects and critique, students develop typographic precision and complex typographic solutions appropriate for graphic design coursework. This course is designed for all skill levels from beginners to those looking to expand upon their Graphic Design practice.

This course is designed to introduce students to basic methods and practices in animation, while exposing them to artists working independently in the field. The course will provide an overview of techniques ranging from hand-drawn frame-by-frame animation, to object animation and pixilation. Each class will consist of a short demonstration, viewing of related works, hands-on experimentation and critique. Weekly assignments will further students' exploration of animation approaches and techniques. The course will conclude with the creation of final projects in which students will develop and create an animated short in a medium of their choosing. No prerequisites.

This course emphasizes the techniques of classical drawing from the life model. Working primarily with black and white materials, students learn to capture the pose with short warm-up drawings (croquis/gesture), develop a quality of line with contours and become familiar with proportions by measuring and foreshortening. Slides, reproductions, and a possible field trip to museums or an artist’s studio will supplement students’ drawings

This class focuses on expanding techniques and aesthetics of drawing. India ink, sumi ink, watercolor and acrylic wash techniques using metal and bamboo pens as well as sticks and brushes will be investigated on both wet and dry paper. Emphasis will be placed on developing strong graphic sensibility, line quality and tonal range..

This course covers the technical aspects of drawing through both historical and contemporary means. The goal of this course is to strike a balance between traditional approaches to color and the use of a variety of pigments with your own unique vision and individual critical decision-making skills. We will spend most of our time drawing, however students will also take part in critiques and discussion on their work, hands on demonstrations, slide shows and artist lectures/videos so that students can experience art in a larger historical and cultural context.

This is an advanced drawing course with a focus on portraiture. During the first half of the semester students will learn the basic structure of the human head through instructor’s lectures, demonstrations, and exercises with life models. Various media, including pencil, charcoal, colored pencil, ink, and watercolor, will be introduced for the exploration of each medium’s characteristic expression. During the second half of the semester emphasis will be given to various project assignments involving self-portraits. Emphasis will be placed on individual expressions. Students will be encouraged to explore psychological and emotional elements and to portray their inner “Self” rather than superficial features. Prerequisite: 110. Fall or Spring.

This drawing course is an exploration of the portrait through a multitude of mediums and stylistic approaches, consisting of both traditional materials and techniques as well as contemporary and modern approaches to portraiture. The course will include fundamental skill-building exercises, but also encourage students to take risks, experiment and find their own voice. This will be achieved through observational study of the live model as well as from photo, the collage and imagination. Instruction will consist of both live and pre recorded demonstrations, slide presentations, individual and group critiques.

This course offers students an opportunity to explore the unique way that drawing as a discipline lets them investigate and interpret the world around them and further develop their ideas of visual language and expression. In this course, students will focus on three to four themes of personal interest to create a portfolio in which various drawing approaches and concepts are explored in depth. Possible themes could include portrait/ self-portrait; forms of the natural world (plants, roots, skulls); personal objects that convey character; landscape, architecture, or figures within a space; texture, surface, and space as an expressive tool, etc. The course will be highly individualized and adjusted to each student’s interests and goals. Its main emphasis will be for students to experiment with and push visual ideas and concepts in drawing. This course is designed to continue concepts, and skills learned in ARTS 110 - Drawing 1: Visual Language.

This course is a continuation of creative projects from Printmaking I for Art majors. Permission of the instructor is required.

This is an advanced class for both film and digital photography students to continue shooting and printing their creative work in order to compile a portfolio that can be used to apply for internships, jobs, or graduate school. Projects include the portrayal of a city (Washington DC and/or other), event documentation (the documentation of street events, political protests, rock concerts, etc.), a book-making project that can be printed and bound in-house or sent out to companies like Blurb, and mini-projects to learn how to use advanced Photoshop compositing and editing techniques. Projects can be developed on film or digital format and printed as gelatin silver and/or digital prints. As students produce work the prints are inserted into a hard copy portfolio or added to a website. The primary software packages you will use are Adobe Photoshop and Bridge and/or Adobe Lightroom. Pre-requisites or permission by the instructor. Must attend the first class or lose the place. For more information about this and other courses in the Department of Art and Art History, please visit https://art.georgetown.edu/courses/ This class is not available to audit.

In this studio course the first half of the semester will concentrate on portfolio development. Each student will bring in 5-10 images each week for critique, edit, and sequencing, working toward project finalization for a book. As the class progresses more time will be spent in actual book preparation, layout in Adobe InDesign, and preparing for self printing or On Demand. The final critique will be the actual books produced by the students. In each class we will look at, handle and discuss books in reference to each day’s class subject. The final class will be a critique of each student’s book. Discussions: *Contemporary book design from examples. *Historical books (Walker Evans, William Klein, Robert Frank) *Book structure (title pages, colophon, image treatment, types of binding) *Text and it’s effects on imagery *The role of design in support of individual imagery *Sequencing, sequencing, sequencing *Press printing (forms, paper reams, cost considerations, process color vs. pantone color, binding) *Types of bookmaking: on demand, self made inkjet, presses, vanity presses, artist books *Designers *Distrubution Assignments: One report on a book of choice from, History of the Photobook, Volumes I and II One completed book with 20 or more photographs from Blurb or other On Demand service. This could also be a self made book if the student has the skills. Library Reserve: History of the Photobook Volumes I and II

Sculpture II is a continuation from Sculpture I of visual thinking in three dimensional form and space. The broad goals are to further develop the concepts and skills used in devising, making and understanding sculpture and to encourage creativity through the interaction of ideas, tools and materials. Sculpture offers students the opportunity to exercise their creative drive and transform their ideas into three-dimensional forms. We will work in traditional and contemporary materials and methods. Sculpture II involves multiple thematically-driven projects that simultaneously introduce new materials, processes, and design consideration. Sculpture I is required. Students should plan on spending at least 4-5 hours per week outside of class time to complete each assignment.

This intermediate painting course will have three projects. The theme of all three projects is “the unreal within the real” or “the real within the unreal.” As an example, the first project, “container” might be created as follows. Since we do not have the classroom space to set up a still life of containers such as bowls, cups, bottles, etc., each of you can set up your own still life using any containers in your home. Then you can add an image that offers an “unreal,” “unlikely,” or “unexpected” element to the still life setup. You will create your artwork (sketch first) by combining your image with the still life. The image can be your drawing, photograph, reproduction (e.g., images from magazines) or another object (e.g., stuffed animal). Another way to create “real vs. unreal” artwork can be by situating your still life in an unlikely environment, such as in the ocean or desert.

Painting with water-based media crosses all great traditions, including East Asian, and European cultures. In European paintings, oil is the dominate choice, however, watercolor and ink wash are a close second. In contrast Chinese painting until recently primarily uses ink wash and watercolor. This class focuses on expanding techniques and aesthetics of painting and drawing. India ink, Sumi ink, Watercolor and Acrylic wash techniques using metal and bamboo pens as well as sticks and brushes will be investigated on both wet and dry paper. Emphasis will be placed on developing a strong graphic sensibility, line quality, tonal range and color individuality.

All skill levels are welcome, however students enrolling must have taken a drawing or painting class at Georgetown. This course explores historical and contemporary concerns in figurative painting including the portrait, the body, narrative and history painting. Work will be produced from photographs and live models as needed. Students will study a variety of representational techniques through an art historical and contemporary lens - analyzing anatomical structure, light, the mechanics of color mixing and brushwork to create a series of works with diverse styles and content. Initial instruction will focus on objective observation and ultimately provide students the necessary latitude to create unique stylistic works that may tackle highly specific, personal or broader narrative concerns.

This course moves away from observational painting and explores the imagination and visual dynamism within the juxtaposition of the real and the unreal, blurring the boundaries between dream and reality and consciousness and the subconscious. Students will produce three projects - each covering a highly individualized subject matter. Relevant art historical references and resources will be introduced for students to contextualize their work. Assignments begun in class will require time outside of class to develop and complete. Medium: either oil or acrylic.

Hybrid Futures in Design explores the multidisciplinary nature of contemporary design through analog and digital processes, human and machine, and their overlapping applications to advertising, media, the art world, and other fields that require visual communication (environmental graphics, medical research, etc). Through a combination of iterative studio projects, prototypes, experimentation with analog processes through artificial intelligence, research, and critical media analysis (readings, animation, film, ad campaigns, etc) students develop hybrid design methodologies that integrate conceptual thinking with technical execution. The course emphasizes design as a tool for inquiry, simplifying complex communication, and multiple modes of creative expression to bridge information gaps and build emotional connections instead of solely problem-solving. Projects may include visual systems, campaigns, and prototypes for real-world clients and creative expression that respond to complex cultural, technological, and ethical questions. Students are encouraged to question authorship, labor, bias, and power in hybrid design systems while developing a personal design position grounded in theory, experimentation, and reflective practice. The course culminates in an interdisciplinary design project with a client that synthesizes research, critical framing, and hybrid production methods to communicate complex concepts and an Applied-AI certification.

This class is an intermediate course that explores experimental, traditional animation, and motion graphics practices through exercises using 2D digital techniques (eg. AfterEffects, Cinema4D, Procreate Dreams, TVPaint). Each week will consist of a lecture, screening of related works, and a lab. By the end of this course students will be able to execute short animated, motion-designed, and VFX pieces, visually express both abstract concepts and conventional narratives, and identify how animation principles affect all animated work be it digital or analog, independent or commercial, refined or rough. Students are expected to play, take risks and work outside their comfort zones.

This course has been developed to sit alongside ARTS 166 and 266 for students interested in a deeper dive into the practical techniques used in traditional animation. During this class, you will be reacquainted with the 'principles of animation', and learn how to create strong believable animations while developing a sense of observation, timing and motion. The course will primarily focus on 2D mediums, however the techniques covered are an important foundation in all forms of animation. Classes will consist of short demonstrations, viewing of related works, hands-on experimentation and critique. The course will conclude with the creation of a final project in which students will illustrate the principles discussed in the course.

TBD

TBD

In this course, we will examine Arab and North African cinema as participatory in the fluid category of world cinema. We will study films produced from the 1950s until the present by Arab and North African filmmakers, spanning a geography between Africa and Western Asia. Through a critical study of themes, issues, and political economies pertaining to a selection of films, we will learn about social/political histories, national film industries, independent film movements, transnational film collaborations, and creative imaginaries of individuals whose works capture moments in the trajectory from modernization to globalization that has defined the region from the mid 20th century to now.

By the end of the course, students will emerge with a deeper understanding of the history of this regional cinema as a cultural and historical product reflecting a place that is culturally and ideologically diverse. Students will conduct critical readings that correspond with the film clips screened in class and assigned outside of class. Assignments consist of in-class discussions, Short Response Paper, Midterm Essay Exam, and Final Paper or Multimedia Presentation.

The Senior Project seminar is a three-credit course offered in the fall semester as a requirement for graduating majors in studio art. The purpose of the seminar is three-fold: to provide practical knowledge needed to begin a career as a professional artist, to offer a foundation in contemporary art and art theory, and to prepare students for their thesis art project and Senior Exhibition. The lecture and discussion-based course includes several writing assignments, culminating in a research paper. This course includes weekly lectures and discussions, guest speakers and field trips, readings, group critique and written assignments. Students will gain a better understanding of their place in the art world, the opportunities and challenges facing artists, and the resources and tools available to them. As this course serves as the writing requirement for art majors, we will explore art writing in depth specifically as it relates to your art-making practice and the broader field of art writing in general. Finally, the course will prepare students for their thesis, the Senior Art Exhibition in the de la Cruz Gallery next spring.