Professional Summary/Academic Administration History
I have an MFA in visual arts as well as significant graduate course completion in clinical psychology. I have sixteen years of full-time academic experience, including teaching experience at the post-secondary education level in Art & Design. Additionally, as a Director of Education and as a former Department Chair, I have over five years of full-time administrative and supervisory experience including hiring, developing, and evaluating faculty and staff.
At Southeast Missouri State University, I worked with colleagues on the development, evaluation and expansion of programs and degrees that meet workforce and industry needs and/or lead to seamless transfer. As all of us in the field of education is well aware, 2020 and its challenges has certainly tested those of us working at all levels of education—especially regarding distance learning and how best to accommodate students and faculty in the consumption and delivery of online courses. Hybrid models have seemed to work well for disciplines that require a significant hands-on aspect in order to meet learning objectives while strictly online models have worked very adequately for most general education courses. Students—and, especially, those at public institutions—have significant variation in their levels of need. Students come with a range of academic, physical, psychological situations as well as widely varied cultural and socioeconomic differences and concerns. I understand the need to accommodate and I have worked with a broad and diverse range of students. One of the most important learning opportunities for students in a university setting is the experience of working collaboratively with diverse, multicultural, and international groups of students.
Teaching and Administrative Appointments
Art & Design Professor, Curriculum Developer, 2022–Present
Lower Columbia College, Longview, WA
Teach a variety of graphic design, art history, and art appreciation courses
Work with local/regional high schools to boost enrollment in College Art & Design courses
Effectively communicate course learning objectives into implementable course designs
Curriculum Developer and Consultant, 2020–2022
Creative Curriculum Consulting, Nashville, TN
Effectively communicate course learning objectives into implementable course design solutions
Provide direct supervision to ensure that curricular revisions are produced efficiently and released on a timely basis
Assess talents and abilities of every available teacher or facilitator and utilize them to their fullest capacity
Serve as a working member of the team, creating new coursework from concept to completion
Use accreditation standards as guides in developing and revising curricula
Director of Education, 2019–2020
SAE Institute, Nashville, TN
Supervise and evaluate faculty members
Manage education department budgets
Schedule courses and select instructors for each term
Develop and serve on PAC meetings
Manage Student Advisors
Work with Program Chairs to develop and revise curricula
Assistant Professor, Graphic Design/Commercial Photography, 2017–2019
Southeast Missouri State University, Cape Girardeau, MO
Teach a range of graphic design and commercial photography courses
Lead creation of objectives/standards for graphic design, commercial photo curricular revision
Lead committee designed to integrate a technology-oriented graphic arts program with the University Art Department’s Graphic Design curriculum
Liberal Arts Chair, Fine Arts Chair, Associate Professor, 2015–2017
Graphic Design Department Chair, Associate Professor, 2013–2015
O’More College of Design, Franklin, TN
Oversee departmental budgets, scheduling, faculty selection and load distribution
Teach a range of upper-division graphic design curriculum courses
Direct committees for campus rebranding initiative and technology management
Lead creation of objectives/standards for graphic design and interactive design curricula
Lead creation of objectives/standards for photography, drawing/fine arts curricula
Graphic Design/Drawing Term Lecturer, Department of Art, 2012–2013
Middle Tennessee State University, Murfreesboro, TN
Teach a range of graphic design and drawing curriculum courses
Oversee maintenance and scheduling of design students’ photography studio
Associate Professor, Department of Art, 2006–2012
Utah Tech University, St. George, UT
Teach a range of graphic design and photography curriculum courses
Chair committee charged with development of BFA in Art and Design
Chair ad hoc committee charged with development of BS in Graphic Design
Serve on various committees (hiring, curriculum development, Faculty Senate Executive)
Develop a number of new design and photography courses for two new degree proposals
Graduate Teaching Assistant, Teacher of Record, 2004–2006
Washington State University, Pullman, WA
Develop Drawing 110 course and oversee figure drawing open lab sessions
Adjunct Instructor, Art Department, 2001–2004
Lipscomb University, Nashville, TN
Teach all black-and-white darkroom photography courses
Oversee maintenance and scheduling of darkrooms and lighting studio
Adjunct Instructor, Advertising/Graphic Design, 1998–2004
O’More College of Design, Franklin, TN
Teach a range of graphic design and photography curriculum courses
Oversee maintenance and scheduling of Macintosh computer lab and darkroom
Adjunct Instructor, Visual Communications, 1997–2002
Nashville State Community College, Nashville, TN
Teach computer-based and traditional graphic design courses
Education
M.F.A., Design/Drawing and Photography 2004–2006
Washington State University, Pullman, WA
Teaching Assistantship, completed May 2006
M.A. Candidate, Clinical Psychology
Middle Tennessee State University, Murfreesboro, TN
Research Assistantship
B.A., Art (Graphic Design/Photography emphasis)
Valdosta State University Valdosta, GA
Selected Fellowships, Professional Service, Awards
Juror, AIGA St. Louis Student Portfolio Reviews, St. Louis, Missouri, 2016–2019
Interviewer, Engineering Faculty Selection Committee, SE Missouri State University, 2017
Interviewer, College Presidential Selection Committee, O’More College of Design 2015
Juror, Franklin High School Fine Art Competition, Franklin, Tennessee 2014–2016
Current Member: American Institute of Graphic Arts (AIGA),The College Art Association (CAA), Society for Photographic Education (SPE), and The Aperture Foundation
Member, Saint George Public Art Committee, Mayoral appointment 2009–2012
Member, Saint George Arts Commission, Mayoral appointment, 2008–2012
Member, Marketing Committee and Web Committee, Dixie State University, 2006–2011
Member, Faculty Senate Executive Committee, Dixie State University, 2008–2011
Chair, B.S. Graphic Design Development Committee, Dixie State University, 2008–2010
Chair, B.F.A. Art and Design Development Committee, Dixie State University, 2006–2009
Juror, Tuacahn Performing Arts High School Fine Art Competition, St. George, Utah, 2008, 2009
Interviewer, Library Technologist Selection Committee, Dixie State University, 2008
Interviewer, Mass Communications Faculty Selection Committee, Dixie State University, 2007
Interviewer, Human Communications Faculty Selection Committee, Dixie State University, 2007
Graduate Teaching Assistant, Department of Visual Arts, Washington State Univ., 2004–2006
Recipient, John Ludwig Endowed Graduate Fellowship in Fine Arts, Washington State Univ., 2005–2006
Recipient, annual O’More College of Design Provost Award, “in honor and recognition of exceptional performance within the fields of academics and leadership,” 2004
Graduate Research Assistant, Neuropsychology program, TN Rehabilitation Center
Selected Public Lectures
Selective Use of Color in Professional Design Practices: Appropriate Consideration, 2019
Lecture delivered to design students at Gadsden State Community College, Gadsden, AL
Gestalt Principles and Their Continued Relevance in Design Education, 2017
Lecture delivered to design students at St. Louis Community College, Saint Louis, MO
Professional Practices: Contracts, Obligations, Client Expectations, 2015
Lecture delivered to AIGA students at Middle Tennessee State University, Murfreesboro, TN
Professional Practices: Contracts, Obligations, Client Expectations, 2014
Lecture delivered to design students at Whitworth University, Spokane, WA
Unique Prints: How the Digital Domain Has Affected Photography as Fine Art, 2012
Lecture delivered to art students at Tuacahn Performing Arts High School, St. George, UT
Creation of Psychologically-Meaningful Art in an Era of Image Ubiquity, 2009
Visiting Artist lecture delivered to art students at North Central College, Naperville, IL
Selected Exhibitions and Publications
A Family Narrative, solo photography exhibition, North Central College, Naperville, IL, 2020
A Family Narrative, solo photography exhibition, Spark Gallery, Denver, CO, 2019
A Family Narrative, solo photography exhibition, Krause Gallery, Providence, RI, 2019
A Family Narrative, solo photo exhibition, Waterville/Unity College, Waterville, ME, 2019
A Family Narrative, solo photography exhibition, Soulard Art Gallery, St. Louis, MO, 2018
O’More College of Design Faculty Annual Exhibit, The Factory, Franklin, TN, 2014–2016
Faculty Art Show, Galleria Presso L’instituto Americano, Florence, Italy, 2013
Annual Art Faculty Show, Sears Art Museum Gallery, DSU, St. George, UT, 2007–2012
Recent Work, solo photography exhibition, St. George Art Academy, St. George, UT, 2012
Terrain Annual Photography Show, group photography exhibition, Terrain Gallery, New York, 2011
Recent Work, solo photography exhibition, LaGuardia Gallery of Fine Art, New York, 2010
Recent Work, solo photography exhibition, ARC Gallery, Chicago, IL, 2010
The Presence of Absence, solo photography exhibition, Firehouse Gallery, Grants Pass, OR, 2010
The Presence of Absence, solo photography exhibition, Spark Gallery, Denver, CO, 2010
The Presence of Absence, solo photography exhibition, Turner Arts Center, Valdosta, GA, 2010
The Presence of Absence, solo photo exhibition, North Central College, Naperville, IL, 2009
An Exhibition of Photography, group photo exhibition, Krause Gallery, Providence, RI, 2009
Studio Visit magazine, nationally-recognized and distributed juried art publication, 2009, 2010
New Photographs of an Old Place, solo photo exhibition, Pinnacle Gallery, Dallas, TX, 2008
Shane Prine: Recent Work, solo photo exhibition, Atmosphere Gallery, Scottsdale, AZ, 2007
WSU MFA Thesis Exhibition, Washington State Univ. Museum of Art, Pullman, WA, 2006
UI/WSU Exchange Exhibition, Ridenbaugh Gallery, Univ. of Idaho, Moscow, ID, 2006
First Year MFA Review Exhibition, Gallery II, Washington State Univ., Pullman, WA, 2005
WSU Art Students Union Exhibition ‘04, Gallery III, Washington State Univ., Pullman, WA, 2004
Teaching Philosophy
As a teacher, I believe there are several responsibilities which I face. First, I believe from my own experience that a broad-based liberal arts education is key to being an informed artist—literature, psychology, philosophy, and a wide range of humanities and scientific disciplines can all play roles in informing one’s artistic statements. As a teacher, I am charged with encouraging students to be intellectually curious—to be unafraid to dig into research which may seem (on the surface) to be irrelevant but which may ultimately provide ignition of a creative spark which will serve that student for years to come. Instilling the development of strong conceptual foundations as well as urging improvements related to the formal aspects of art-making process (i.e. composition, technique and manipulation of materials) are, I believe, the most fundamentally important obligations of the professor of visual art and design.
For beginning students, certainly the most important aspect of teaching is conveying the importance of formal principles and technical acuity. Without a solid foundation the prospective designer cannot grow without a great deal of frustration and, at worst, despair over the idea that one simply isn’t “cut out” to be an artist or a designer. Of course, as one develops one’s ability to “see” and one’s technical know-how, conceptual thinking becomes very important as without this ability the designer—while technically competent—is left creating trite, banal visual solutions…not Good Art or Good Design.
One of the most rewarding aspects of teaching, in my view, are the moments of joy in witnessing students’ creative breakthroughs. Because I become engaged in the work that each of my students is undertaking, I’ve realized how much teaching energizes me. The bottom line: I understand from my own experience as a student and as a teacher that empathy, encouragement, patience and honesty are essential attributes of an effective teacher.
Leadership Philosophy
As a Director of Education (College Dean), a Department Chair, and formerly in my professional life as an advertising Creative Director, I believe there are several qualities which a successful and respected leader exhibits. First, I believe that—in order to motivate others and maintain group morale—others must be treated respectfully, tactfully and considerately. I've had experiences of working in environments, both professional and academic, in which colleagues could only be considered such in name only—meaning that while working together, they hardly communicated with each other except nominally and only when required to do so. Unfortunately, those kinds of environments are toxic and unpleasant places to have to spend the better parts of one’s days. I believe in the importance of encouraging colleagues to spend time together socially, without the pressures of meetings and other departmental and professional obligations. I think that, if a department or college is to create and adhere to a unified mission in its educational goals, cohesiveness and positive communication among colleagues is critical to that overall success.
That unified mission in a department or college’s educational goals is a second consideration. Just as it is essential for a university to devise coherent and attainable goals for its long-term fiscal and academic well-being, it is likewise necessary for each college and department within the university to understand their purpose and required contribution to that larger educational vision. This requires leadership which confers upon administrators and the professoriate both a sense of endorsement (or “buy-in”) and a sense of belongingness. Endorsement among faculty within a department simply means they understand and approve the worthwhileness of programs offered as they are implemented and being carried out. Belongingness refers to faculty members’ perceived sense of acceptance within the department and positive resolution of the question of whether or not they “belong” there.
Lastly, having had a reasonably wide range of teaching and administrative experiences, I can confidently state that I understand the value of students—who are bearing a greater proportion of the costs of their education than at any other time in recent decades. It is absolutely imperative that faculty and administrators understand the strengths and weaknesses of their respective programs through their students’ eyes. Student recruitment, retention, internship placement, and post-graduation career prospects are absolutely dependent upon having program offerings that are understandable and relatable to the outside world. Even when considering (for example) a straightforward Fine Arts program, outcomes such as flexibility in thinking, creativity, and an ability to synthesize and integrate information and knowledge should be desired. Curricula which do not reflect a thoughtful approach for pragmatic application, or curricula which seem to be designed in haphazard, seemingly-random groupings of courses are examples of programs that will see decreased enrollments in the not-so-distant future. The arts and humanities as a whole—as usual—are easy prey for administrators who cannot comprehend why such programs should exist, especially during dire budget crunch years. It is up to articulate leaders and their faculty to ensure the future of programs which are ultimately intended to enhance the quality of life for everyone. Those colleges and departments whose leaders understand this are the ones that will thrive during good times and bad.
Oh, yeah, and one last thing: I’m very organized. Probably hyper-organized. And, I’m a to-do list keeper. I also have a sense a humor: I take what I do very seriously, but I’m also able to laugh at myself.
Liberal Arts Courses Co-Developed
While I was the Chair of Liberal Arts at O’More College of Design, I was charged with expanding the breadth of liberal arts and humanities courses. The courses listed below were co-developed with qualified faculty and approved by the Curriculum Committee and our national accrediting body for inclusion in subsequent College course catalog editions.
ANTH 2xxx - Cultural Anthropology, 3 credit hours (developed 2015)
Counts toward General Education Social/Behavioral Sciences requirement. A comparative examination of the cultural organization of human behavior in societies around the world. Practical applications and the importance of intercultural understanding stressed.
ANTH 3xxx - Anthropology of Music, 3 credit hours (developed 2015)
Prerequisite: ANTH 2xxx or permission of instructor. The study of music as it reflects and shapes culture and social behavior from around the world. How music serves as a window into ideas of globalization and the related issues of power, resistance, and identity formation. Particular attention paid to the role of media and music in cross-cultural settings.
ANTH 3xxx - Visual Anthropology, 3 credit hours (developed 2015)
Prerequisites: 3 hours anthropology or permission of instructor. Photography and film as tools and products of ethnography. Researching, analyzing, and presenting behavioral and cultural ideas through visual means. Cultural and political biases presented through photography and film.
ENGL 3xxx - Topics in Gender and Film, 3 credit hours (developed 2014)
Prerequisite: Completion of 1000- and 2000-level English requirements with a grade of C- or better. A selected subject or focus within gender and film studies. Topic will vary each time course is taught. Possible topics include representation of women in film, history of gender representation in film, women directors; Hollywood and gender; queer film studies; gender and international cinema; gender, race, and Hollywood, etc. May be repeated up to four times with different topics.
JOUR 4xxx - Television, Culture, and History, 3 credit hours (developed 2014)
Examines television as a cultural product, communication tool, “mirror on the world,” and as an agent for social change. Explores censorship, sponsorship, ethics, and the impact of context on content. Focuses on role that television has had and continues to have on constructing notions of gender, race, and class.
PHIL 2xxx - Aesthetics 3 credit hours (developed 2014)
The nature of art, aesthetic experience, and artistic creation.
PSY 2xxx - Thinking: Intelligence and Creativity, 3 credit hours (developed 2016)
Psychological approaches to the study of information processing, thinking, and knowing, with emphasis on cognitive style, problem solving, and creative thinking.
PSY 2xxx - Psychology of Social Behavior, 3 credit hours (developed 2016)
Prerequisite: PSY 1xxx recommended but not required. Systematic study of social behavior. Includes interaction between people, perception of others, interpersonal attraction, aggression, altruism, conformity, attitudes, and group behavior.
SOC 1xxx - Introductory Sociology, 3 credit hours (developed 2016)
Counts toward General Education Social/Behavioral Sciences requirement. Covers the central concepts, theories, and methods of sociology. Focuses on social processes and institutions in modern societies. Assists students in understanding and applying this knowledge in their everyday lives.
SOC 3xxx - Gender and Society, 3 credit hours (developed 2016)
Prerequisite: SOC 1xxx, SOC 2xxx, or WGST 2xxx. A socio-historical and cultural exploration of the socialization patterns, relationships, expectations, influences, organizational, institutional, and aging experiences of women and men in American society.
Fine Arts and Advertising Courses Co-Developed
ART 3xxx - Book Arts I, 3 credit hours (developed 2015)
Prerequisites: ART 1xxx, ART 1xxx, and ART 1xxx or permission of instructor. An introduction to basic processes involved with paper-making, bookbinding, and using paper as a creative medium. Six-hour studio course.
ADV 3xxx - Issues in Advertising: Sexuality & Gender, 3 credit hours (developed 2015)
Explores use of sexuality and gender portrayals in print, broadcast, outdoor, and online and new forms of advertising from various theoretical perspectives and using actual cases.
ADV 3xxx - Advertising Copywriting, 3 credit hours (developed 2015)
Prerequisite: Admission to candidacy. Advanced techniques and skills in the writing and design of advertising messages, emphasizing print and electronic media.
ADV 4xxx - Interactive Advertising and Social Media, 3 credit hours (developed 2015)
Prerequisite: Admission to candidacy; ADV 3xxx. Explores advertisers’ use of social media from various theoretical perspectives and using actual cases. Focuses on building skills in various platforms.
Syllabi for any or all the courses listed here are available upon request.
Graphic Design Courses Developed and Taught
Design Fundamentals I & II (developed 2006; last revised 2017)
Essential experience in two-dimensional design, with emphasis on the elements and principles of design and creative development, and media skills training. Lessons are reinforced with exercises which enable students to apply various design concepts.
Principles of Graphic Design (developed 2006; last revised 2017)
This course teaches how to become a Graphic Designer who can solve problems of communicating products, concepts, images, and organizations by combining the elements of type, photos, and illustrations in the most original and precise form. Design and structure of this class is not Macintosh driven. Manual technical skills are used cohesively with problem solving skills.
Introductory and Advanced Digital Imaging (developed 2002; last revised 2016)
Introduces the equipment, software, and procedures used in digital technology to capture, manipulate, and store photographic images; a continuation of Photoshop, students will learn techniques for use in designing for print production as well as web design. Focus of this course is on creative software use.
Introductory and Advanced Digital Illustration (developed 2002; revised 2017)
An in-depth look at Adobe Illustrator and the techniques used to create professional-quality illustrations and logos. Focus of course is primarily on design; technical considerations are also covered.
Typography (developed 2002; last revised 2019)
A study of basic layout lettering, type design, identification of styles and typographic history. The student learns the use of type as a basic element of graphic communication and the use of different type faces to visually communicate a desired effect. Students learn about kerning, x-height, point size, type specification and other essential facets of typographic use.
Advanced Typography (developed 2008; last revised 2018)
The course expands beyond the fundamentals of Typography, allowing for expression and experimentation to create dynamic and exciting typographic solutions to given problems. The course further explores the power of meaningful typographic communication, tempered by emphasis on typography’s counterparts—concept, language, form, compositional ploys, graphic techniques, and technology. Students’ skills are pushed to new levels through observation, research and investigation.
Publication Design (developed 2006; last revised 2019)
Explores the creative, functional and aesthetic aspects of editorial design with emphasis on page layout. Upon completion of this course, students should understand the significance of consistency and thematic continuity; develop aesthetic awareness and visual judgment; integrate design principles, color and typographic theory; arrange type and images to effectively convey visual messages.
Graphic Design History (developed 2000; last revised 2017)
This course is a survey of pivotal achievements in graphic communication. Students explore creative thinkers and communications technologies through lectures, slides, videotapes, research and discussions.
Corporate Identity Design (developed 2002; last revised 2014)
This course covers development of the many needs of design in the business world as those needs relate to companies of varying size. Projects include: logos, ads, posters, brochures, and annual reports.
Business for Graphic Designers (developed 2000; last revised 2015)
This course covers business procedures related to the graphic design profession. Topics covered include professional/client relationships, time management, job cost analysis, contracts, general business management skills, marketing and business planning.
Introduction to Electronic Prepress (developed 2002; last revised 2018)
This course discusses the impact of desktop publishing and digital imaging on the prepress industry. Topics include input and output; correct creation of digital files; data storage; proofing methods; relevant terminology/communicating with service bureaus and printers. This course acquaints students with the variety of jobs offered in the field, file evaluation, and much more. Field trips to printers and other prepress service providers reinforce lectures/projects.
Portfolio Preparation (developed 2000; last revised 2018)
This capstone course provides instruction in the development of a visual communications portfolio and résumé. Also includes practice in job interview skills, speakers from the industry, portfolio reviews by industry professionals, and tours of creative businesses.
Syllabi for any or all the courses listed here are available upon request.
Photography Courses Developed and Taught
Introduction to Photography (analog/darkroom) (developed 2001; last revised 2019)
Instruction in a basic history of photography, principles and creative use of the camera, and printing techniques; emphasis on photography as a fine art, stressing visual awareness and craftsmanship.
Intermediate Photography (analog/darkroom) (developed 2001; last revised 2017)
Students are encouraged to explore the medium more fully through experience with straight and creative photography techniques. Portfolio review required at the end of this course.
Advanced Photography (analog/darkroom) (developed 2002; last revised 2018)
Students explore the medium more deeply by incorporating various contemporary techniques and media (i.e. installation, multimedia design) as well as traditional artistic techniques (i.e. painting) with their own photographic creations. Portfolio review required for admission to this course.
Introduction to Digital Photography (developed 2006; last revised 2019)
An introduction to the history, mechanics and applications of digital photography as well as basic photographic techniques and compositional skills. Course objectives are met through a combination of lectures, viewing work of master photographers, class assignments and in-class critiques of student work.
Intermediate Digital Photography (developed 2006; last revised 2018)
A continuation of “Introduction to Digital Photography,” this course explores digital color & output; digitally-retouching raw digital files; tonal control; organizing images; and “digital darkroom.”
Advanced Digital Photography (developed 2007; last revised 2019)
A continuation of “Intermediate Digital Photography,” this course explores issues in contemporary photography. The course emphasis is photography as fine art so students are expected to gain an understanding of how to prepare work for exhibition. Portfolio review required at end of course.
Commercial Studio Lighting (developed 2002; last revised 2018)
This course covers studio as well as natural lighting techniques and equipment. Among the expected course outcomes: a sound understanding of the principles and techniques of lighting; the ability to apply knowledge gained to personal and professional work. Portfolio review required at the end of course.
History and Theory of Photography (developed 2003; last revised 2014)
In this course, historical and contemporary issues of photographic art is achieved through assigned readings, written projects and class discussions. The influence that photography has had on the history of art, and the broader cultural impact of photography and digital media are also discussed in this context.
Alternative Photographic Processes (developed 2004; last revised 2017)
Students explore various non-silver and primitive methods of creating images. Some techniques include vanDyke brown, cyanotype, salt printing, photosynthesis, and hand-made pinhole cameras.
Syllabi for any or all the courses listed here are available upon request.
Drawing Courses Developed and Taught
Introduction to Drawing (developed 2004; last revised 2013)
An introduction to the study of drawing, beginning students address basic concepts, issues and techniques of drawing and composition through a series of problem-solving activities. The emphasis of the course will be basic skills of drawing from visual perception, students are encouraged to engage and experiment with the processes presented.
Intermediate Drawing (developed 2004; last revised 2010)
Course is designed to allow the serious drawing student to further develop skills as a draughtsman and to begin to develop work more independently. The course will consist of further practice in using materials introduced in Introduction to Drawing, but with originality and expressiveness being stressed. Students are encouraged to experiment with materials, techniques, and forms that are uncommon; students are given greater freedom in determining their own approach.
Advanced Drawing (developed 2006; last revised 2011)
Course is designed to expand students’ drawing skills with exposure to new mediums, broad opportunities for creative expression, and increased time for more carefully-refined work. By the end of the semester, students will be able to use more drawing media with skill and confidence; utilize two-dimensional space of the picture plane more creatively and effectively; conceptualize more creatively; express more effectively a unique view of the world; create more sophisticated drawings.
Figure Drawing (developed 2005; last revised 2012)
Students learn to create realistic renderings of the human figure. Emphasis will be on: exploration of techniques/methods used to achieve depth, proportion, and balance; detailed study of the human form (i.e. skeletal and muscular structure); accurate rendering; creating expression. The course is intended for anyone interested in learning how to draw the figure correctly and improving their overall drawing abilities. Models provide subjects for drawings and sketches utilizing a variety of media and approaches.
Figure Drawing Drop-In Lab (developed 2004; last revised 2008)
These are open sessions in which those interested may come in to work on various figure drawing poses in order to improve their ability or just to keep their drawing skills sharp. There is typically no instruction or critique but, occasionally, critiques are arranged as voted on by those attending regularly. The job of the “instructor” is to direct the poses of the model and ensure times are being measured for various poses.
Perspective Short Course (developed 2006; last revised 2013)
Students are introduced to principles of linear perspective drawing. Through historic examples (primarily those created just before, during and then after the Renaissance) and drawing projects, students learn mechanical perspective drawing so that—in computer-aided design classes to follow—they learn how to get the best results from modeling software. The course is intended for interior design, fine arts students.
Syllabi for any or all the courses listed here are available upon request.
