Color - the most relative of all visual attributes is explored in this unique studio course through a series of exercises and graphic design problems. Students study traditional and digital color applications. Investigations include: recollection - visual memory, reading and contexture, relativity and subjectivity, color and light, color and communication, “cultural” color and the production of digital color. An emphasis on the work and theories of Joseph Albers is examined. 
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This course examines historical and modern visual communication symbols in relationship to a company or organization’s overall industry and marketplace identity. Through a participatory design practice, students explore processes relative to the dissemination of consistent visual and verbal information. The semester long project results in creating a brand identity system and graphic standards manual for either a fictitious company or for a local non-profit or small business in need of branding and marketing materials. 
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This advanced studio design course explores individual approaches to typographic problems in both print and digital mediums. Projects investigate typographic metaphor and illustration, designing typography for texts, and motion typography. Emphasis is on communication and hierarchy while encouraging experimentation in creating a personal typographic voice.
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Basic principles of motion, story sequence and sound, utilizing digital production processes, are explored in this project-based introduction to narrative animation. Students are introduced to the theoretical and fundamental principles of animation from scripting and storyboarding, to character building, frame by frame animation and syncing sound. The course includes viewing and analysis of various genres and styles of animation.
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Introduction to Visual Communication is designed to give students an overview of elements, principles and concepts utilized in graphic design. The course begins with exercises that build a visual vocabulary to describe compositional concepts. An understanding of how form influences content, basic principles of typography, color and the relationship between word and image are explored. 

In addition students learn to utilize three software applications–Adobe’s Illustrator, InDesign, and Photoshop. Students will receive a general introduction to each software application prior to engaging each project as well as more advanced tutorials as the course progresses.


A survey of aesthetic and technological best practices in visual communication today. Students will study the basic functions and integral properties of Photoshop, Illustrator, InDesign, and After Effects or video software while learning the principles and language of design.

Vector and raster imaging techniques, scanning, printing, and font and file management are introduced through a series of demonstrations/projects that build upon one another. Through projects and critiques we will work to make a visual voice that is distinctive and original. No digital experience necessary.


The primary goals of this course are to establish a strong foundation in the language of typography, design elements and principles, and visual perception, to communicate specific concepts effectively. This course is a continuation and development of the formal and technical aspects of designing with type and image in the Communication Design sequence. Since it is an advanced course, individuals will work on more complex projects independently. The class will discuss recent developments in visual communication theory and practice, including multimedia, as appropriate. A student may undertake  projects in a variety of formats, according to individual ability and resources. These projects have ranged from a series of large digital images, to web sites, photographs, typographic experimentation, exhibition design, book design, brand identity design, illustration and animation.

Establishing a concept through writing and documented research is critical to the design process. Students in this course are expected to complete a body of work involving a specific concept. Designers have a responsibility to contribute meaningful content to our visual communications.

The development and utilization of individual strengths is important. Experimentation and combining hand methods with a variety of other means provides texture and individuality to communications. Embracing the idea of designer as author, students integrate original writing and art (in a variety of media) from multiple disciplines in new contexts. Group crits and individual critiques engage oral communication about visual matter. This course may be used for a senior thesis and exhibition.