名校课程——SVA插画研究生课程

名校课程——SVA插画研究生课程

SVA的研究生课程,以制作一本艺术家自己的书为研究课题,不限制书的格式,创作一本短片故事的作品,并对他们的作品发想法及表论文。

在入学时就要提出基本想法,并与老师或者纽约的校外艺术家讨论,并以这个框架为参考点发展后续的阶段。研究生需要探索技术、审美和概念上的专业方向和专业领域。 


1-1

电脑插画 组1+电脑插画 组2

数字工具已经成为主流的设计和印刷领域,和互联网已经发展成为一个媒介,使插画师创建交互式动画和全球访问项目。我们将调查数字技术的几个方面,从先进的Adobe Photoshop和Illustrator技术为打印网页设计生产的所有方面,以及交互式动画。

创意写作研讨会1+创意写作2

这些研讨会结构化开发写作技巧在诗歌,散文,小说通过阅读和讨论。目的是探索个人表达通过写作反映艺术问题。第二学期将专注于诗歌,戏剧写作和写歌。

评论1+评论2

视觉艺术和商业艺术之间的关系处理,论文将强调在这些课程。学生将开始开发视觉散文的框架。每周会有作业处理各种相关学科的当代问题。学生将开始把材料写在写作研讨会与他们的艺术作品。第二学期将专注于生产一本独一无二的书,包括文本和图像。

绘画1+绘画2

这些都不是传统绘画课程模式。利用位置的原始能量和不可预测性,在教室里将会探索。将理解主题和环境的关系。通过保持速写本和剧本访谈,学生们将发现自发性的奖励,接受观察,冒险和从直觉。结合每周会议,在工作室和位置,至少一个叙事系列任务将每学期完成。


2-1

研讨会

通过讲座由著名插画家客人,政治,艺术总监和平面设计师,这和SEM将探讨许多专业领域的视觉评论。该课程还将包括在该领域工作的专业人员的投资组合。

写作研讨会2

数字书

今天,平板电脑和电子阅读器的普及开始重新定义什么讲故事和人物。数字革命介绍了故事书超文本和交互性,与互联网社交互动和数据驱动的叙述。作为对数字媒体的认知从桌面转向多触摸平板电脑,这是越来越明显,阅读、讲故事、动画和交互性正站在自己的革命的边缘。简而言之:简而言之:从来没有一个更激动人心的时刻在讲故事。

历史故事:漫画

本课程介绍平面媒体在北美,从一开始的报纸漫画通过漫画的发展,漫画小说的发展和当前电子媒体的发展。关注其历史和美学,我们将比较的发展在美国,墨西哥和法国加拿大以及漫画艺术的社会文化背景下创建和消费。前半学期将专注于早期的漫画和漫画形式的发展到1940年代。剩下的学期重点变化影响漫画艺术在1960年代和1950年代,漫画亚文化的发展从1970年代到1980年代与现代电子媒体的发展。

2-2

插画商业比赛

这个类是基于八个密集的批评和指令会话。课程主要集中在三个主要目标:a)对专业插图环境的深刻理解;b)审查现有的工作并将其改造成一个像样的、有凝聚力的工作机构;c)在不同介质和沟通学生的品牌和身份认证工具的开发应用,展示和推广工作。

架上绘画1+架上绘画2

随着对具象绘画技术的重视,学生将探索当代的和经典的方法来绘画与油画。其目标是提供一个坚实的油画技法背景。绘画二重点关注的是一种先进的理念和技术,包括直接对人类形态的观察。重点放在一个更充分发展或可视化的绘画过程。

工作室1+工作室2

这些讲习班将开发概念和完成的作品,有关的论文项目。学生工作将对定期参观的专业人士,包括插画艺术画廊,董事及董事。我们将解决方案的细化和完成。会有个人和团体的批评;参观的专业人士将继续观看和讨论学生项目。

论文:视觉文章1+论文:视觉文章2

学生选择一个纽约市的艺术家作为自己的论文导师。他们与论文导师合作,建立一个基础,并建立一个工作计划,研究,撰写和可视化论文项目。在体育、政治、文化活动、教育和旅游等各种领域的特殊视觉文章感兴趣的主题。学生将参加第二学期末的集体展览。

论文回顾1+2

论文回顾了一系列的周、个人与部门的会议,对论文进行了批判和回顾。这些会议在论文中补充了工作:视觉作文课程。

图书研讨会

写作工作坊1+2

这两课程支持创意写作工作室。他们将专注于写作的基本原则:语法、句子和段落逻辑、思想发展、组织和文章结构。


SVA is the best choice for earning a graduate degree in illustration.

Develop your personal vision in our highly selective program

Classroom-based curriculum, where close interaction between faculty and other classmates is an essential part of the creative process of the program

New York City’s diverse and celebrated professional world provides mentors, guest lecturers, advisors and faculty

We believe this program is as unique as it is revolutionary. It redefines how figurative artists see their work and how that art finds its way into the world of commerce—fine art, illustration and publication. It begins with developing a personal vision. Vision is not style. Whether the work is tightly rendered, loose, more or less expressive or Photoshopped, we help you to achieve personal content in your work—to tell your story as only you can. When your “style” is personal content, the images you make can only be original.

The program is difficult, demanding and highly selective. At the same time, it is an opportunity to be with exceptional artists like yourself exchanging ideas and sharing information, as well as simply hanging out. Each class becomes a community of figurative artists whose interest in storytelling encompasses all 21st-century media: graphic and illustrated novels, children’s books, comic books, and painting series for gallery walls. But, when you tap into your personal vision and find your own stories, the applications for the work flow naturally.

We focus on teaching how to combine words with images, continually refining and re-defining your personal vision. Our faculty is made up of illustrators, fine artists, computer artists, writers, art historians and art directors. The contact with faculty is personal, constant and intense. We accept only 20 students per year in the two-year program. It is a classroom-based curriculum, unlike many graduate programs where students work independently with scheduled faculty oversight. Close interaction between faculty and student, as well as with other classmates, is an essential part of the creative process that is our program.

Each student has a personal workspace with 24-hour access, seven days a week. In addition to required classes, graduate students can audit classes from the various diverse offerings in our undergraduate college, including film, animation, fine arts and humanities. Guest speakers from the outstanding New York professional arts community are regularly scheduled. Being in New York City, the opportunities for access to working artists, gallery shows, museum exhibitions and internships are not inconsequential to laying a foundation for a life as an artist. In the second year, students are encouraged to choose their thesis advisors according to their interests. Our advisors, past and present, are as diverse as they are celebrated in their fields. Yuko Shimizu, Steve Brodner, Gary Panter, Maira Kalman, Sam Weber, Stephen Savage, Paul Buckley, Guy Billout and Pat Cummings are among them.

The process involved in developing a truly personal vision is risky. It demands you be open to thinking in new ways, reassess your drawing and painting skills, put your creativity on the line and free your imagination. We offer you the chance to compete using your own vision.




CHAIR STATEMENT

The innovative MFA Illustration as Visual Essay Department, established in 1984, is deliberately designed

as a full contact program for figurative artists. We ask a great deal from you, beginning with a commitment to be fully engaged in the art of storytelling. This means developing your writing as well as your visual skills. In return, we offer focused personal attention to deepening your intellectual artistic process as well as developing your individual talents in drawing and painting.

This is a classroom-based curriculum unlike many graduate programs where students are expected to work independently with scheduled faculty contact. We believe that only personal, intense and constant contact with our faculty will get the results a student wants and that we expect from those selected to join us. The program is highly selective and we accept only 20 students a year in a two-year program. There is no short-cut to evolving a unique personal vision that sustains a long lasting competitive and satisfying career as an artist.

Each student has a personal workspace with 24-hour access, seven days a week, 10 months out of the year. Close interaction with other classmates both social- and work-related forms a lasting creative community that is an essential part of the artistic process. The required classes are only part of the curriculum; students can audit classes from the diverse offerings in our undergraduate college, including film, animation, fine arts and humanities, expanding the opportunities for developing a broader field in which to apply your talents.

Guest speakers from the outstanding New York professional community are regularly scheduled. Living in New York City gives students opportunities for access to working artists, gallery shows, museum exhibitions and internships. It is not an inconsequential fact of life that these experiential advantages can lay a foundation for life as an artist. In the second year, students are encouraged to choose their thesis advisors according to their interests. Our advisors, past and present, are as diverse as they are celebrated in their fields. Steve Brodner, Gary Panter, Maira Kalman, Jillian Tamaki, David Mazzucchelli, Paul Buckley, Guy Billout and Pat Cummings are among them.

Our distinguished alumni, many of whom teach, have become innovators in children’s books, editorial il- lustration, book illustration, comics, digital books, graphic novels, animation and fine arts. They include Yuko Shimizu, Sam Weber, Sara Varon, J. Brian Pinkney, Nathan Fox, Lauren Redniss, James Sturm, Stephen Savage, Brian Floca, Yumi Heo-Dana, John Hendrix, Olivier Kugler among many others.

The process involved in developing a truly personal vision is risky. It demands that you are open to thinking in new ways that stretch your imagination. You will need to reassess your drawing, painting and writing skills and focus on developing your personal content. Your creativity is necessarily on the line. We offer you a rare chance to believe in your vision with the confidence necessary to compete.

Marshall Arisman, chair




ABOUT THE PROGRAM

The program operates on a pass/fail grading system with individual reviews each year. At the end of the first year, students must receive an acceptable review from the faculty panel in order to go on to the second year.

Degree candidates must successfully complete 60 credits, including all required courses. A residency of two academic years is required. In the final semester, each student must complete a thesis project, which must be reviewed and approved by the thesis committee and the department chair in order for the student to be eligible for degree conferral. In exceptional instances, transfer credit may be awarded. Decisions concerning transfer of credit are made by the committee on graduate admissions.

WHO SHOULD ATTEND

Although the majority of our students come from art backgrounds, not all do. Some of our most successful alumni had majored in areas such as English literature, biology, engineering, architecture, psychology and women’s stud- ies. You must have an undergraduate degree to apply.




The two-year curriculum in Illustration as Visual Essay is designed to capitalize on the technical facility required of students upon entrance to the program. As a result, the program breaks into two distinct parts.


FIRST YEAR / FALL

Book Seminar

Computer Illustration Portfolio I 

Creative Writing Workshop I 

Critique I

Drawing I

Writing Workshop I


FIRST YEAR / SPRING

Computer Illustration Portfolio II 

Creative Writing Workshop II

Critique II

Drawing II

CREDITS SECOND YEAR / FALL

CREDITS

Seminar

Writing Workshop II


SECOND YEAR / FALL

The Digital Book 

History of Storytelling: Comics

Painting I 

Studio Workshop I 

Thesis Project: Visual Essay I  

Thesis Review I 


SECOND YEAR / SPRING

Illustration Business Boot Camp 

Painting II 

Studio Workshop II 

Thesis Project: Visual Essay II 

Thesis Review II




BOOK SEMINAR

Students will experiment and create a body of work based on the short story. Although the course title is Book Seminar, students are not confined to the book format; however, a series of objects or an installation is encouraged. Students will outline their ideas in a thesis statement prior to the start of the course, which they will present and discuss in the first session. This written statement will serve as a point of departure and later as a point of reference while the work evolves to its final stages. The project will explore technical, aesthetic and conceptual interests while looking into professional directions and specializations.

COMPUTER ILLUSTRATION PORTFOLIO I & II

Digital tools have become mainstream in the design and printing fields, and the Internet has evolved into a medium that enables illustrators to create interactive animations and globally accessible projects. We will investigate several aspects of digital technology, from advanced Adobe Photoshop and Illustrator techniques for print to all facets of Web design production, as well as interactive Flash animation.

CREATIVE WRITING WORKSHOP I & II

These workshops are structured to develop writing skills in poetry, prose and fiction through readings and discussions. The goal is to explore personal expression through writing that reflects artistic concerns. The second semester will focus on poetry, writing for the theater and songwriting.

CRITIQUE I & II

The relationship between fine art and commercial art in dealing with the visual essay will be emphasized in these courses. Students will begin the process of de- veloping visual essays in a limited form. There will be weekly assignments dealing with a variety of subjects related to contemporary concerns. Students will begin to incorporate the material written in the writing workshop with their artwork. The second semester will focus on the production of a one-of-a-kind book that includes text and image.

THE DIGITAL BOOK

Our desire to tell stories always has, and always will adapt to and define new mediums. The storybook is

as old as writing systems themselves; its evolution

is bound to that of mankind. The history of film is saturated with animated predictions of stories and characters coming to life and walking off the page. Today, the proliferation of tablets and e-book readers is beginning to redefine what storytelling and characters can be. The digital revolution introduced the storybook to hypertext and interactivity, with the Internet came social interaction and data driven narrative. As perceptions regarding digital media shifts from desktop to multi- touch tablet computers, it’s becoming increasingly apparent that reading, storytelling, animation and interactivity are standing on the precipice of their own revolution. In short: There has never been a more excit- ing time to be in the business of telling stories.

DRAWING I & II

These are not traditional drawing courses with models. The raw energy and unpredictability of drawing on location and in the classroom will be explored. Focus will be on interpreting the relationships between subjects and their environment. By keeping sketchbooks and compiling interviews, students will discover the rewards of spontaneity, receptive observation, risk-taking and drawing from intuition. In conjunction with weekly drawing sessions, both in the studio and on location, at least one narrative series assignment will be completed each semester.

HISTORY OF STORYTELLING: COMICS

This course provides an introduction to graphic media in North America, from the beginning of the newspaper comic strip through the development of comic books, the growth of graphic novels and current developments in electronic media. Focusing on its history and aesthetics, we will compare developments in the United States, Mexico and French Canada, as well as the social and cultural contexts in which comic art is created and consumed. The first half of the semester will concentrate on early comic strips and the development of the comic book form through the 1940s. The remainder of the semester will focus on changes that affected comic art in the 1950s and 1960s, the development of a comic book subculture from the 1970s to the 1980s and contemporary electronic media developments.

ILLUSTRATION BUSINESS BOOT CAMP

This class is based on eight intensive critique and instruction sessions. The course focuses on three main goals: a) the solid understanding of the professional illustration environment; b) the review of existing work and its transformation into a presentable and cohesive body of work; c) the development and application of the student’s brand and identity tools in different mediums for communicating, showcasing and promoting that work.

PAINTING I & II

With an emphasis on figurative painting techniques, students will explore both contemporary and classic approaches to painting with oil. The goal is to provide a solid background in oil painting techniques. Painting II focuses on an advanced approach to concepts and techniques, including direct, sustained observation of the human form. Emphasis is placed on a more fully developed or visualized painting process.

SEMINAR

Through lectures by noted guest illustrators, political satirists, art directors and graphic designers, this sem- inar will explore the many specialized areas of visual commentators. The course will also include portfolio reviews from professionals working in the field.

SPECIAL PROJECTS I AND II

These courses are coordinated with the chair of the department for students who require specific skill training in the area of drawing or painting.

STUDIO WORKSHOP I & II

These workshops will develop concepts and finished artwork in relation to the thesis project. Student work will be critiqued regularly by visiting professionals, including illustrators, art directors and gallery directors. We will address the refinement and completion of thesis projects. There will be individual and group critiques; visiting professionals will continue to view and discuss student projects.

THESIS PROJECT: VISUAL ESSAY I & II

Students choose a New York City artist as their thesis faculty advisor. They work with the thesis advisor on a one-to-one basis and establish a work schedule to research, write and visualize the thesis project. Topics with special visual essay interest in a variety of areas such as sports, politics, current and cultural events, education and travel are emphasized. Students will participate in a group exhibition at the end of the second semester.

THESIS REVIEW I & II

Thesis review is a series of weekly, individual meetings with the department chair for critique and review of the thesis project. These meetings supplement the work in the Thesis Project: Visual Essay courses.

WRITING WORKSHOP I & II

These two courses support the creative writing workshop. They will focus on writing fundamentals: grammar, sentence and paragraph logic, idea development, organization and essay structure.


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