Entertainment Design

Credits: 3

This introductory course provides students from all majors with the essential skills and workflows of digital sculpting. Using ZBrush students will explore both organic and hard surface sculpting techniques. The course empowers artists to integrate digital sculpting into their creative workflows, whether for 2D concept art, high-resolution 3D models, or rapid prototyping. Key areas of focus include fast iteration, file management, rendering, and preparing models for 3D printing.

Credits: 3

This course provides an in-depth exploration of character design principles, focusing on creating unique and imaginative characters for the game and entertainment industry. Students will begin with preliminary sketches and construction drawings, progressing to refined character concepts that include turnarounds, facial expressions, action poses, and detailed callouts. A variety of styles will be explored, with an emphasis on working from imagination, expanding visual libraries, and strengthening both drawing and presentation skills. By the end of the course, students will have developed polished character designs that demonstrate versatility and creativity, preparing them for professional work in animation, games, and beyond.

Credits: 3

Experimental Animation’s “Fabrication” class offers students a comprehensive learning experience that encompasses essential skills in Real-World mold making, casting, character and prop sculpting, and miniature set construction. These skills are frequently encountered in fields such as Stop Motion, Visual Effects Animation, and Environment Design. Throughout the course, students will develop proficiency in both traditional and digital mediums. The curriculum combines traditional craftsmanship with hands-on experience in woodworking and foam cutting tools, as well as painting and airbrushing techniques to realistically simulate a variety of real-world textures and materials. Additionally, students will be required to explore modern technology through an introduction to 3D-CAD, 3D-Sculpting, and 3D-Printing. The culmination of students’ learning journey involves designing and creating a captivating set and a compelling character for their final project. This project serves as a platform for students to showcase their creative and technical abilities, demonstrating the skills they have acquired throughout the course.

Credits: 3

This course examines the evolution of entertainment as a human and cultural activity. It looks at all forms of human amusement and its various manifestations throughout history. It explores the multidisciplinary role of artists and designers in the making of entertainment productions from a historical and contemporary perspective. In addition to traditional entertainment venues that include theatrical stage, theme park and other physical local expressions, the course will examine the evolution of entertainment technologies from the early days of film and television to the present. It will provide some perspective into the future trajectories of both traditional and technological processes involving entertainment, and those creatively involved in its making.

Credits: 3

This course teaches students to develop and create a sequential series of staged drawings (that is, the visual script of each scene in a film). The course covers how to effectively portray the essence of a story by means of quick and accurate sketches. A brief overview of script writing is included. The script’s plot, situations, and conflict are developed from rough sketches to finished presentations. This course also examines staging, cinematography, drama, action notes, dialogue, pacing, timing, and sequencing the story’s action.

Credits: 3

Fabrication 2 propels students into the thrilling realm of intermediate fabrication, bridging traditional craftsmanship with cutting-edge digital tools to bring imaginative worlds to life in stop-motion animation, visual effects (VFX), and entertainment design. Building on the foundational skills of Fabrication:1, this hands-on studio course immerses students in advanced analog and digital techniques, including intricate mold-making and casting, expressive character sculpting, detailed prop fabrication, and miniature set construction. Participants will refine their skillsets through intensive practice with woodworking and foam-cutting tools, creative airbrushing, oil-based clays, silicones, and sophisticated 3D CAD modeling, digital sculpting, and 3D printing workflows. To foster personalized growth, the course may incorporate student-directed explorations—such as sewing, costume design, or basic animation of physical objects—while emphasizing essential professional practices like project planning, budgeting, and rigorous process documentation. Culminating in a final project, students will conceive and realize a polished 3D character or immersive environment utilizing various scales that captivates and innovates. This final endeavor serves as a dynamic showcase of technical prowess and creative vision, synthesizing the expertise gained across both courses and empowering students to push the boundaries of tangible storytelling in a physical medium.

Credits: 3

The Time and Style of Invented Worlds introduces Concept and Production Design, treating architecture as a characteristic of its era — the forms (shape language), proportions, and details of architecture position a structure in time and place. Students study aesthetic, cultural, and historical context, the behavior of organic form, and the principles of design and construction to create unique and compelling interiors and exteriors across a variety of stories and historical eras. They then turn that language forward to invent styles history never produced for film, theatre, themed entertainment, and related media. Design of a Production Designer begins with silhouettes and thumbnail sketches and progresses to renderings and 3D visualizations with particular attention focused to how functioning sets are built and how industrial design informs the work. The course culminates in the creation of a professional-quality miniature pitch model: a table-ready build that can sit in front of a director, producer, or production crew and present the story’s characteristics so the world feels believable, livable, and ready to construct.

Credits: 3

Character belongs as much to a chair, a key, or a worn coat as to anyone with eyes and limbs. Convince an audience how something smells with visual tools alone, and the design has done its job. 

Concept 2 is an advanced course in visualization, art direction, and production design, treating every object as a carrier of story — form, weight, texture, material, and finish giving a prop or setting a presence that speaks before anyone touches it. Students are not only gathering facts and history; they learn to plus a story visually so a space makes an emotional impact and a feeling reads even when no living characters are present. Each assignment is modeled on real production-design challenges — the kind an art director faces in film, animation, multimedia, interactive spaces, and theatrical productions. Work moves from sketching a prop’s character through concept art and a style guide, then into prototyping under show conditions. Lighting, blocking, color, and viewpoint are also critical tools; objects are built around how they will be seen, through the camera and the human eye. The course concludes with students constructing a key prop or scenic element from their concept work — a real-world test of the design, a piece that has to hold up, read emotionally, and, best of all, work toward becoming a remembered character of the story. element, and treats any failure as a challenge in the process rather than defeat.

Credits: 3

Fabrication 3 instructs students on the fundamentals of basic electronics, introductory programming, and computer-controlled servo/motor-driven props for interactive spaces, escape rooms, and haunts. No prior experience with programming, Arduino Circuits, or the fabrication of basic animatronic assemblies involving motors or other actuators is required — students design simple mechanisms through digital applications (such as Autodesk Fusion) and fabricate them through 3D printing or laser cutting and general hardware and tools. Beyond Arduino, students will learn to control experiences through multiple interfaces such as sensors, dial switches, and perhaps even Game Engines, which allow audiences to trigger props, lights, and sound effects — enabling immersive, story-driven experiences. 
These skills transfer directly to motion picture sets and theatrical stage play environments, where animatronics increasingly define the worlds audiences experience. For students whose path began with a pencil and a character sketch, this course expands their options, equips future designers and production designers to collaborate across teams and departments, and gives them the hands-on ability to test ideas before committing to larger projects.

Credits: 3

This course introduces the twelve principles of animation — the rules that make movement feel real, readable, and emotionally alive — for students whose first job is entertainment design, not a career as an animator. First outlined by Disney artists Frank Thomas and Ollie Johnston in The Illusion of Life, the principles apply to 2D, 3D, stop-motion, animatronics, and even still design: a set, a prop, or a page that needs to feel as if it could move. Each principle is taught in the medium that makes it clearest. Four studies in simple hand-drawn animation build intuition for squash and stretch, straight-ahead versus pose-to-pose, arcs, and solid drawing. 

Four studies in basic 3D use premade rigs and primitives to teach staging, slow-in and slow-out, timing, and appeal. 

Four studies in stop-motion put gravity in the student’s hands: anticipation, follow-through, secondary action, and exaggeration. Exercises stay short and fundamental — one object, one idea, a few frames — so non-animation students leave with literacy they can use on a haunt beat, a ride gag, an animatronic, or a graphic-novel panel: how motion reads, why weight matters, and how to talk to the people who will make things move.

Credits: 3

Themed Worlds explores places that entertain the public — theme parks, rides, theatrical productions, performing-arts and event venues — and tests a single idea across those venues: the same design that gives a roller coaster its story is the same design that makes a graphic novel a page-turner. Students research and envision a desired experience, then plan and design a place that delivers it through illustrations, props, and models in appropriate materials. Architecture, path, reveal, and pacing are treated as story tools, whether the audience is in a seat, on a ride, or turning a page. Projects stay grounded in themed-entertainment practice while remaining useful to students whose first love is drawing worlds rather than building parks. Work moves from research and experience goals through concept illustration and physical studies, so a land, a venue, or a fictional city can be pitched as a place people will believe they can enter — and will want to keep moving through until they reach the thrilling and exciting conclusion.

Themed Worlds also includes one or more field trips that take students to sites of historic importance in themed entertainment. Students will walk the path, feel the reveal, and study how the art form works when it is real!

Credits: 3

Fabrication 4 builds on the design foundations of Fabrication 1, 2, and 3, moving students from concept to full-sized, physical construction. The course is organized around three topics: Scenics (painting, cloth work, surface treatment, and aging); Framing of Flats and Basic Set Construction; and Non-Miniature Rock and Prop Building. In Scenics, students learn how theatrical and film environments are finished so they read under light. Work can include stretching and priming muslin and other soft goods; simple drop and cloth treatments; texture and surface build-up; pictorial painting; and faux finishes such as wood, stone, brick, and aging. These skills apply to flats, hard scenery, drapery, and painted cloth — not paint alone. Students will also frame and finish flats into functioning sets, architectural displays, or advertising displays, and scale earlier miniature work into full-size rock-work and props. The same skills transfer to theatrical stage play sets, motion pictures, and advertising displays. The emphasis is skill-building rather than mastery. Future production designers need a working understanding of how functioning sets are constructed — that knowledge strengthens budgeting, confirms that designs can function in the real world, and improves communication with department heads. 

The course also prepares students for the construction demands of Thesis 1 and Thesis 2.

Credits: 3

Senior Portfolio 1 is taken after the completion of all foundation, sophomore, and junior level classes. This is a directed studies course that provides students with the opportunity to create the physical pieces that will become the core of their first working portfolio. The class is offered as a transition from the academic experience to a professional life as a designer in the Entertainment Industry. Students select their own topic or theme for a body of work, the progress of which will be monitored through individual appointments between the student and Senior Portfolio faculty. Intensive group critiques take place throughout the term to allow for class interaction. All coursework is done outside the classroom.

Credits: 3

Thesis Lab extends the thesis experience beyond ED418 and ED419’s basic design review and revision, giving students the dedicated six hours and credit needed for full-scale set construction, theatrical construction, or advertising construction — the building component now required in entertainment design, effectively doubling the time a student has to complete their work — a necessity given the level of work contemplated.) Where ED418/ ED419 provides a student time to refine their vision, Thesis/Construction Lab gives you the workshop. This is where concepts become physical reality — where the hours of design work finally meet the tools, materials, and scale of a real build. For students serious about a career in entertainment design, this hands-on construction time isn’t optional; it’s the bridge between what you imagine and what you can actually deliver.

Credits: 3

The Entertainment Industry is vast, not offering one pathway but reaching out in every direction of our visual culture. Professional Studies for Entertainment Design brings you a toolkit for getting started and maintaining a career in any branch of the industry.

Credits: 3

A directed studies course that provides, through faculty supervision, the time, opportunity, and advisement for each student to create the physical pieces that will become the core of their first working portfolio. The class is offered as a transition from the academic experience to a professional life as a designer in the Entertainment Industry. Students select their own topic or theme for a body of work, the progress of which will be monitored through individual appointments between the student and Senior Portfolio faculty. Intensive group critiques are spaced throughout the term to allow for class interaction. All coursework is done outside the classroom.

Credits: 3

This course is an introduction to drawing the human form that explores observational and imaginative drawing techniques using graphite and charcoal. Students work from the draped and undraped model. Emphasis is on accurate representation of the figure utilizing observation with the elements of gesture, measurement, construction line, volume, proportion, and surface anatomy. Materials include graphite and charcoal.

Credits: 3

This course is designed to introduce the student to three-dimensional thinking and composition as it applies to the human form. Students will learn to render form using effective visual observation and measuring techniques, while working from live models. The use of linear and volumetric proportional systems is stressed, as is the construction and understanding of form. Technical procedures of clay modeling, basic use of tools, and proper use of the armature (its orientation in relation to the model) will be addressed. Materials used: plasticine clay.

Credits: 3

This course introduces 3D as a toolset for entertainment design. Students learn two complementary ways of working: polygonal and concept modeling for form, lighting, texture, and cameras; and CAD sketching with solid-modeling tools for exact size, stable parts, and files ready for 3D printing or CNC. Current platforms include Blender and Autodesk Fusion — approachable for beginners and useful across concept, visualization, printing, and fabrication pipelines. The class is a first journey through the technology. Navigation, basic modeling, lighting, and look-development produce concept images that speed visual development. Measured solid modeling carries real-world dimensions so a prop can be scaled, printed, and trusted on the table. Students leave with a lit concept model, a measured part that prints, and the literacy to choose the next tool with confidence. Software titles will change; many current desired outcomes will not. A first-year student should not treat today’s interface as a career. Learn how to build form, how to light that form so it invokes a feeling, and how to model a part scaled for accurate, error-free 3D printing. Those skills travel with you. Apps and interfaces will keep changing — often quickly. The ability to make something that looks right and also prints right is the part of the story that lasts.

Credits: 3

This is a studio course meant to introduce students to Entertainment Design and the creative practices and problem-solving techniques used in the Entertainment industry. This course provides foundation skills commonly used in the creation of concept art. There is an emphasis on the visual development process and approaches to drawing and painting that provide students with an ability to clearly communicate the form and function of characters, objects, and environments. Students will learn basic xyz and constructive sketching techniques. Students will use inspiration and reference to develop their ideas into thumbnail designs, resolved sketches and diagrams, and finished concept illustrations.

Credits: 3

This course introduces the fundamentals of sketching and drawing for communication and design, with a focus on the entertainment industry. Students will develop skills in observational drawing and perspective to bring their ideas to life. Emphasis is placed on constructive drawing techniques. Students sketch from life, work with references, and create original designs based on research and an understanding of form and function. Topics include one, two, and three-point perspective, composition, and techniques for translating 3D forms into 2D space. Students will explore line weight, textures, and foundational design principles using both traditional media—graphite, ink, and pens—and digital tools. Through lectures, demonstrations, and critiques, students will create a sketchbook of observational studies, technical exercises, and original designs, building the visual library needed to effectively communicate ideas in the entertainment industry.

Credits: 3

This course introduces students to the rendering and painting of digital images from life and the imagination. A focus on developing observational skills and working from life will build a foundation for original imaginative work. Topics covered include Photoshop tools and best practices, fundamentals of light and shadow, color theory reference research, and basic design and composition as well as the use and creation of custom brush sets. The course will include demos, lecture, and in class exercises & critique coupled with homework.

Credits: 3

This course is an introduction to the art of cinematography. Students will learn fundamental techniques of visual storytelling for film & television through the lens of the cinematographer. Emphasis is placed on storytelling with light, continuity, compositional strategies within the frame, and understanding the lens. Students will use cameras and create concept art as they learn to master cinematic compositions. Additionally, students will be required to watch and analyze films to learn visual storytelling from master film makers. Students are encouraged to work with digital and traditional materials to complete all assignments.

Credits: 3

This course introduces cinematography as a visual storytelling toolset for film and television, with methods that transfer to other entertainment media. Students learn fundamental techniques utilizing the main tool of the cinematographer: the lens. In addition, students will focus on topics such as storytelling with light, strategies to compose a more compelling frame, and how a lens choice and camera height can change meaning in a shot. Films are watched and analyzed so students can study how master filmmakers control what the audience sees and when, and most importantly, WHY. In addition to drawing, students will move beyond the classroom and shoot short cinematic sequences on DSLRs, iPhones, or cinema cameras, testing ideas with primes and zooms — the actual tools of the industry. Hands-on work shows what a wide lens does to a room’s perspective, what a long lens does to a face, how height shifts power in the frame, and how light and blocking rewrite a shot. That knowledge makes later storyboards and concept illustrations more dynamic. We must stress, this is not a storyboard class. More so, it is a visual storytelling class utilizing the art and science of optics. Students work in digital and traditional materials. They leave able to design for the camera, not only draw as if a camera might appear later — and to carry those same choices into theatre, themed entertainment, immersive spaces, and other constructed worlds.

Credits: 3

This is an advanced course in visualization, art direction and production design with an emphasis on the organization of all the pictorial components in a visual system supporting a narrative content. The conceptualization of design choices, the calibration of stylistic parameters and other world building techniques will be explored through the creation of detailed concept art and the elaboration of a complete style guide.

Credits: 3

An insider’s introduction to the world of Toy Design. This course will cover the basic concepts of toy line development and design. Action Figures, Vehicles, Playsets and Role-play items drawn from intellectual property (I.P.) applied across many different age categories and play patterns. Learn to develop the B-Sheets/Concept Drawings, Inputs/Control Drawings and Presentation images that are the mainstays of industry. More importantly learn how to bring play, fun and learning to cool products that inspire and enrich kids (and adult) imaginations and lives.

Credits: 3

Haunts, Meows, and Escape explores the design of immersive environments where guest flow and story meet the exploration of fear, mystery, wonder, or laughter. Students study haunt history and the principles of spaces that unsettle, then widen the same toolkit to seasonal and alternative work: mystical, joyful, or comedic immersive rooms in the spirit of experiences such as Meow Wolf, and escape rooms that demand puzzle logic, interactive props, and technical specs that still serve a narrative. Imagination and conceptual design stay central; so does the practical question of how people move, look, touch, and leave. Work mixes storytelling, model-making, and production-minded concept development. Students learn to evoke horror, suspense, or delight with artistic and design techniques, and to build interactive elements that fit both the mechanism and the story. The class is built to rotate with the season and with the student’s aim: a haunt one term, an immersive art world or escape room the next — one-of-a-kind training for designers who want to author the room, not only decorate it.

Credits: 3

This is an advanced studio course in Environment Design. Students will build on skills learned in Environment Design 1 to design environments that can be used in film and television, feature animation and themed locations. An emphasis will be placed on the visual development process starting with inspiration, then proceeding with thumbnail sketches, refined sketches, final drawings, and renderings. Students will learn to incorporate 3D software in the development process for efficiency and increased productivity. Additionally, students will learn how to communicate ideas with orthographic views, isometric views, and cut-away views.

Credits: 3

This course is a continuation of Character Design I. Students create and construct model sheets of unique and imaginative animated characters. The focus is on design uniformity, composition, and effective use of color. Personal style and interpretation are developed. Craft and rendering techniques are perfected while students strive to execute quality portfolio pieces.

Credits: 3

Advanced Concept Painting builds on foundational painting skills to develop the technical proficiency, strategic thinking, and workflow fluency required for professional practice in entertainment design. At the core of this course is a problem-solving mindset: students learn to produce definitive concept images that communicate a clear vision, solve a specific design challenge, and inspire creative direction — working at the speed and quality expected in competitive production pipelines. Students develop a flexible, integrated approach to concept painting, learning to leverage a range of tools and source materials — including 3D spatial blockouts, photo textures, photobashing techniques, and emerging complementary technologies — in combination with direct digital painting. A central question throughout the course is how to work efficiently: understanding which aspects of an image can be established quickly through smart tool use, and where direct painting skill must take over to resolve, unify, and elevate the result. Strong fundamentals in value, color, light, and composition remain the foundation that makes this integration possible. Assignments progress from thumbnail and value study through color key to fully resolved final paintings, including key art. Students work across subject matter including environments, characters, props, and atmospheric scenes, developing range and flexibility while building a distinctive personal voice.

Credits: 3

This course is a continuation of 3-D design 2. Students will gain further abilities to create fantastical creatures, props and objects.

Credits: 3

This course explores various places that entertain the public. The goal is to research and envision a desired experience, and then plan and design a place to achieve that experience through making illustrations, props and models using appropriate materials. Places might include theatrical productions, theme parks, rides, performing arts and event venues.

Credits: 3

In this course students will be introduced to the most current workflows in concept design and visual development. Students will work with the newest advancements in technology, including virtual reality-based modeling programs and advanced special-effects platforms. Students will learn how to follow and keep up with current trends in digital technologies, by experimenting with software they are unfamiliar with and by learning to teach themselves new techniques when necessary. The software used in this course will change as technology improves and as trends change. In this course students will gain experience with the newest art making technologies, in order to prepare them for unique job opportunities in the entertainment industry.

Credits: 3

This is an advanced studio course in Themed Entertainment design. Students will build on skills learned in Themed Entertainment Design 1 as they design themed locations meant to immerse the public in themed based locations. Students will continue to develop two-dimensional designs and illustrations that apply to the themed entertainment industry. Emphasis will also be placed on building three-dimensional objects, models, and other sculptural elements used to support immersive storytelling in location-based entertainment. Places can include immersive installations, theatrical productions, theme parks, performing arts and event venues.

Credits: 3

This course focuses on mastering the essential concepts, tools, and workflows of 3D modeling in the visual development pipeline. Students will become comfortable with the complex interface of the 3D modeling software, so that they will have an easier time creating assets for concept designs in the film/tv and themed entertainment design industries. The focus is on 3D tools and practices used by concept artists to create complex designs in the pre-visualization phase of the design process and to create models that can be used as the structure of concept drawing and painting. Efficiency in model design, construction, and lighting are stressed.

Credits: 3

In this unique course, art students will explore the eerie and captivating world of haunt design, where imagination, storytelling, and the art of creating unsettling environments come together. Students will dive into the principles of designing spaces that evoke fear, mystery, and the supernatural all the while keeping guest flow and storytelling paramount. Through a mixture of haunt history, story-telling, model-making, and conceptual design, students will learn how to evoke a sense of horror, wonder, and suspense using various artistic and design techniques.

Credits: 3

An understanding of human anatomy is the most fundamentally important aspect in creating believable characters and creatures for any field of entertainment. This course will help students to construct anatomically sound and aesthetically pleasing human and humanoid figures.

Credits: 3

This course introduces students to the fundamentals of generative AI for visual art and design, focusing on developing a structured and repeatable creative workflow using tools like Midjourney, Vizcom, and other platforms. Students will learn to use the industry standard language of art and design as prompts, ideation techniques, aesthetic refinement, and how to integrate AI-generated imagery into professional design pipelines. By the end of the course, students will be equipped to use AI tools not only as tools for concept exploration but also as a creative partner in their workflow. Issues of copyright and the impact of AI on creative careers will be discussed.

Credits: 3

This course introduces the fundamentals of figure painting, focusing on both head studies and full-figure compositions to build a strong foundation for character design. Students will explore facial structure, proportions, and likeness, as well as the figure in the context of light and shadow, gesture, anatomy, and foreshortening. Using gouache and acrylic, students will practice quick sketch and long-pose techniques while developing skills in composition, color theory, and color harmony. The course also examines how light, color temperature, proximity, and reflected light affect the figure in space. Emphasis is placed on making visual and artistic decisions informed by historical and contemporary figure drawing and painting styles.

Credits: 3

This course introduces the conceptual process of environment design for the entertainment industry, focusing on creating unique and compelling interiors, exteriors, props, and vehicles across a variety of stories and historical eras. Students will examine the aesthetic, cultural, and historical context of architecture, the behavior of organic forms, and the principles of design and construction to visually communicate ideas and narrative elements effectively. Through silhouettes, thumbnail sketches, and renderings, students will develop original design solutions that support a cohesive visual narrative. Emphasis is placed on understanding how things are built, integrating industrial design principles, and mastering illustration skills. Students will gain a solid foundation in creating environments using traditional methods, available technology, and 3D visualization techniques

Credits: 3

This course is designed to empower graphic designers with the knowledge and skills needed to create compelling visual content for a wide range of digital platforms. Through a combination of theory, practical exercises, and real-world case studies, students will gain an understanding of how to engage, inform, and inspire audiences across various online platforms including social media, websites, mobile apps, and emerging technologies. Topics include social media literacy, best practices for digital file distribution, domain name registration, web hosting, and a survey of dominant platforms and technologies that allow for instant, global communication. Software used: Adobe Photoshop, Adobe Illustrator, text-editors, and supplemental open source and third-party tools for design and content management.

Credits: 3

This is an introductory-level course designed for students to develop or enhance their 3D modeling skills. Instruction will focus on the artistry needed to create compelling, “feature-length-quality” characters, while showing how to design and implement geometry best suited for rigging and animation. Students may focus on character or background geometry for their projects. Students will be introduced to new software tools and techniques based upon professional practices utilized by top studios in the industry.

Credits: 3

This course teaches students to develop and create a sequential series of staged drawings (that is, the visual script of each scene in a film). The course covers how to effectively portray the essence of a story by means of quick and accurate sketches. A brief overview of script writing is included. The script’s plot, situations, and conflict are developed from rough sketches to finished presentations. This course also examines staging, cinematography, drama, action notes, dialogue, pacing, timing, and sequencing the story’s action.

Credits: 3

This course investigates the history, practice, and visual language of collage. Utilizing varied sources to gather images and found objects, students will investigate and research interpersonal connections to images and objects they feel connected too. This course is structured around three main projects that seek to expand the creative, technical, and conceptual possibilities, all while aspiring to push the boundaries within the media of collage.

Credits: 3

This course introduces the fundamentals of landscape painting and environment design, focusing on concepts and skills essential for creating outdoor scenes for professional projects. Students will learn to study light, simplify complex organic forms into manageable designs, and apply limited value systems and color theory to create compelling compositions. Students will work both on-site from life and in a studio, setting using references, including photography and online resources such as MapCrunch and Pinterest. Techniques will be explored through traditional media like markers and gouache, as well as digital tools, with Photoshop as the primary software. Other digital painting software may also be introduced.

Credits: 3

This studio course explores the art of costume design, focusing on the intersection of character silhouette, costume, and the draped figure as they relate to the entertainment industry. Students will examine the aesthetic, cultural, and historical context of clothing, costume accessories, and armor, studying their evolution across millennia and their application in character design for theater, film, games, and fashion. Through sketching and rendering, students will develop a strong understanding of how costume design enhances storytelling and supports character development. The course emphasizes design skills specific to the entertainment industry, providing a foundation for creating visually compelling and contextually rich costumes for a variety of creative fields.

Credits: 3

A junior level course that challenges students to amplify their unique identity and artistic vision as it relates to their portfolio. The process and skill for professionally pitching and selling self – generated illustration projects is covered. Students will edit and refine individually crafted creative works in a group setting from ideation and brainstorming to final art. Furthermore, Illustration Ideation Lab: Pitch in Practice will activate students to explore methods and techniques related to their practice that enhance and refine their professional portfolios.