2022-23 COURSE CATALOG / Faculty list
/ Tuiton and Fees / Academic Policy
PNCA campus - 511 NW Broadway, Portland OR, 97209
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FIRST YEAR FOUNDATION & LIBERAL ARTS
FD100 First Year Seminar This course is designed to help first year students make a successful transition to PNCA. Through
presentations, hands-on projects, discussions, and field trips, students will develop the skills and habits to
be successful in a new social and academic setting. Strong emphasis will be placed on building unity and
connecting students to resources that can enhance their studies and creative practices.
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FD101 Visual Elements: 2D This semester long course introduces students to the basic elements and principles of 2D design and color
theory with an emphasis on compositional strategies and creative and conceptual thinking. Students will
develop a stronger visual language for communicating their ideas through problem solving, materials
exploration, and critical discussion. This course allows students to develop organizational control in visual
structures, and to improve their ability to manage complex design problems in a variety of disciplines.
3
FD102 Visual Elements: Digital Tools This semester long course introduces students to the fundamentals of digital imaging as a tool for design.
Students develop the use of line, shape, value, mass, texture and pattern and learn to apply this
knowledge to achieve certain effects: harmony, contrast, balance, symmetry, rhythm, movement,
perspective and space illusion. These concepts will be explored through the three basic types of
applications used in contemporary digital design: vector programs, raster (bitmapped) programs and to a
lesser extent
,
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3
FD105 Drawing I This semester long course focuses on the fundamental components of drawing. It will explore the use of
line and value to create and manipulate form, volume, composition and space on paper. The underlying
formal principles of drawing will be closely examined, and numerous mark making techniques employed.
The structure of the course will guide the student through a process of seeing, investigating, and realizing
the visible world on a two-dimensional surface. This course will also build on observational drawing skills
through projects with expanded parameters. Issues and ideas that inform and influence the function of
drawing and the decision-making process will also be discussed.
3
FD111 3-D Design Three-dimensional design is a broad discipline and can be thought of in terms of sculpture, industrial
design, architecture and the creation of any space. This course introduces the fundamentals of three-
dimensional design techniques and concepts such as space, mass, form, volume, texture, material, and
structure. Spatial problems are investigated through a variety of traditional and non-traditional materials
and methods to develop skills, as well as contexts for their expression.
3
FD112 Time Arts Time Arts introduces the concepts and practical study of space, sound and time as they relate to both
sequential and non-sequential narration, movement, timing and interactivity. Students will work both
individually and collaboratively to explore these concepts through a variety of media including video,
sound, performance, books (flipbooks, comic books, artist books), and other narrative and non-narrative
structures.
3
LA122 Writing in Context This course provides a writing-based introduction to a particular field of study in the liberal arts, ranging
from literature to political thought and from film to environmental studies. It is a reading-intensive course
taught by Liberal Arts faculty of many disciplines, and draws on both the expertise of the instructor and a
broad sampling of texts relevant to the course topic. Foundation Writing and Writing in Context classes
introduce students to various approaches to textual interpretation, critical thinking, and writing. In both
semesters, the instructors model and teach students how to use citations, appropriate and employ
quotations, summarize text, and to build relevant bibliographies. Students learn to read critically, to discuss
the material with classmates and with the instructor, to conduct relevant and documented research, and to
shape and present informed ideas in a variety of writing formats that demonstrate clarity, coherence,
intellectual force, and stylistic control.
3
AH125 Exploring Visual Culture This introductory course explores the relationship between art, design, and our current global culture. We
will look at varied examples of contemporary art and design in order to better understand the theories,
methods, trends, and histories that shape the production and reception of art and design today. This
course will generate ideas and vocabulary that will facilitate your ability to discuss your work and the work
of others. It will foster an understanding of how your creative work fits into a larger social, historical, and
cultural context
.
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ANIMATED ARTS
AA231
A
nimation I: Materials,
Methods & Motion
The first of a two-semester sequence, this studio course will explore the relationship of sound and moving
image from the frame-by-frame perspective of fine art animation. Students with diverse interests within and
across, painting and drawing, sculpture, illustration, music, and performance will obtain a basic formal and
conceptual knowledge of animation principles, cinematic vocabulary and experimental structures.
Animation is investigated through projects, lecture/screenings on historical and contemporary works and
ideas, discussion of readings, visiting artists, research and writing, hands-on experiences, and
collaborative projects. In the first semester students will experiment with a variety of production methods
and materials using LunchBox Sync and iStop Motion for capturing. Students will be encouraged to explor
e
a range of alternative approaches to creating the illusion of movement as well as to see animation as a
nuanced medium for self-expression across various media platforms that communicate within and outside
the traditional movie house.
Prerequisites: All Foundation studio courses.
3
AA232
A
nimation II: Hybrid Movin
g
Image
The second of a two-semester sequence, this studio course expands on the frame-by-frame perspective
and hybrid moving image making skills using digital software. Students with diverse interests within and
across, painting and drawing, sculpture, illustration, music, and performance will obtain a basic formal and
conceptual knowledge of animation principles, cinematic vocabulary and experimental structures.
Animation is investigated through projects, lecture/screenings on historical and contemporary works and
ideas, discussion of readings, visiting artists, research and writing, hands-on experiences, and
collaborative projects. In the second semester students will apply principles of timing and pacing as they
learn composite software: After Effects, Flash and Painter. Students will be encouraged to explore a range
of alternative approaches to creating the illusion of movement as well as to see animation as a nuanced
medium for self-expression across various media platforms that communicate within and outside the
traditional movie house.
Prerequisites: AA231.
3
AA235 Animated Arts Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Prerequisites:
A
A231-232.
3
AA236 Character and Identity Character Design has its roots in industry animation where a fixed set of shapes allowed studios to employ
any number of animators to work simultaneously. Character & Identity assumes audiences can relate to
and engage with a character without the maker having to dilute or amplify to arrive at a superficial
representation of a type. The course seeks to contrast the usual reductive approaches in thinking about
“character” by investigating the pitfalls of classifying and stereotyping. With a starting focus on media
literacy as a disruption to the usual introduction of “character,” students will engage in a variety of research
methods aimed at gathering specifics rather than generalizations to inform visual development. How can
one use the typical character types as a departure point rather than a destination? How are the traditional
ways of categorizing and developing character effective and in what ways do they fail to reflect the fluidity
and complexity of humanity? With the goal of designing original characters, students will collect and
assemble a personal visual reference library to support their findings and challenge their own
preconceptions. Students will do field work where they would go out and actively study and document real
people as a way of researching when developing their designs that seek out and celebrate specifics rather
than generalizations. Students will conduct interviews with people and look for all the subtleties in
selfpresentation, dress, cadences of speech and physical vocabulary as well as consider how people
move in different spaces, bodies, and states of mind. Acting or improv segments and drawing from life will
hone observational skills. Students will assemble a personal visual reference library to support their
findings and challenge their own preconceptions. Prerequisites: Studio Foundation
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AA237 Stop Motion Stop motion animation is a conceptually rich and truly diverse storytelling medium. Combining techniques
borrowed from painting, sculpture, and photography with performance, cinematography, and writing, stop
motion is a living amalgam of the studio and performing arts. In this course, we will embrace the plurality of
this technique by investigating historical and contemporary works and the artists who make them, through
exploration of a wide variety of making and animation methods with guided and technical demonstrations,
and by interrogating the curious uncanniness inherent in the act of bringing real, tangible objects to life.
Beyond the multiplicity of approaches to creating stop motion animation, the resulting work can live in man
different places: the gallery, the cinema, as advertisement, or as art film. As we explore works from each
o
these avenues, we will also focus on the professional practices that are necessary to support a life of
creative practice. This course relies on weekly film screenings, readings, research, presentations, and
written responses. As we educate each other by sharing our findings, we will apply this knowledge to the
production and critical analysis of our work. Additionally, students will be keeping track of the quality and
quantity of their working hours, in order to form a strong basis on which to effectively charge for their work
while maintaining a healthy work/life balance.
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AA238 Puppet Fabrication Puppet Fabrication provides students with foundation skills in character puppet fabrication designed for
stop motion animation. In hands-on workshops, students will be introduced to multiple
material handling techniques including wire armature construction, clip foam body shaping, direct sculpt
head build, costuming, and wig construction, culminating in a functional stop motion puppet. As a part of t
h
curriculum, a spectrum of stop motion media will be shown and discussed in class to illustrate the diverse
paths this medium takes. Students are given support to evaluate, experiment, apply and re-imagine
puppetry while developing techniques as it relates to their personal voice.
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AA301 Animated Documentary This course is designed to apply media theory to moving image practice. Throughout academia, binary
positions that pit moving image as “art” against moving image as “documentary” now seem largely artificial.
Regardless, for many the terms animation and documentary can conjure an odd pairing. This course
examines how hybridized digital film - or animation as defined by Lev Manovich – shifts and broadens how
the real can be depicted. Beginning with definitions of documentary by Bill Nichols and Julia Lesage, this
course explores, through the lens of theorist Annabelle Honess Roe, how - absent indexical relationship
between live action and reality – animation’s material difference and a keen emphasis on soundtrack can
provide a combination that both lacks and exceeds the visual indexical bond between image and reality.
From Winsor McCay’s 1918 classic “The Sinking of the Lusitania” through a host of educational and social
guidance films to Dennis Tupicoff’s His Mother’s Voice (1997), to It’s Like That by the Southern Ladies
Animation Group (2003) to Marjane Satrapi’s 2007 Oscar nominated Persepolis, animated documentary
exposes as false the old ultimatum: either artistic or didactic, either aesthetic or political. Emphasis is
placed on advanced skills in critical thinking, oral and written communication, and studio work in order to
investigate how, within contemporary ethnography, animated documentary can be used to bring breadth
and depth to representation of ‘the other’.
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AA331 Animated Short Film Animated Short Film. This upper division hybrid media studio extends the principles of animation – the
pacing of sequential images, the tension between stillness and movement, and the hybrid compositing
practices that define digital filmmaking – in the creation of innovative, upper division work constructed from
a frame-by-frame perspective. Animated Short Film - Topics include: digital film and hybrid moving image,
gestures and languages of movement, rotoscoping and the loss of the index, and the architecture of
animated space. The course is structured by individual and collaborative projects, critiques, lectures and
screenings on historical and contemporary animated art forms, discussions of theoretical readings,
research and writing, and field work to support in-depth investigations tied to non-traditional contexts,
interdisciplinary investigations and a range of display platforms. Prerequisites: AA231
3
AA332 Animated Installation Animated Installation. This upper division studio course builds upon the principles of animation – while
pushing
the idea of ‘screen’ beyond the traditional single rectangular experience. Course topics
address both concepts and production to include: experiencing spatial form/moving
image in spaces, spectacle & poetics, and considerations for multi-channel projections.
The course includes individual and collaborative projects, equipment demonstrations
and hands-on technical experimenting, critiques, field trips, and lectures/screenings on
historical and contemporary installations and projections. Students will be asked to
participate and lead discussions of theoretical readings and engage in upper division
practice-based research to support in-depth investigations leading to the creation of
work designed for range of display platforms and audiences. Final projects will culminate
in a public exhibition. Prerequisites: AA231.
3
AA333 Narrative Strategies This upper division course will investigate narrative construction, both implied and explicit, through the
frame of literature, film and critical theory with a focus on understanding and developing animated
narratives for short form platforms. Through applied exercises, lecture/screenings, critiques and
discussions of readings, participants will explore how the particular language of animation can be used to
create original and challenging work in single and multiple channels. Projects will address associative
thinking, visualization, narrative events, event analysis, and structural processes with direct reference to
traditional narrative forms, documentary and experimental practice. Through collaborative, provocative,
and spirited investigations of a variety of historical and contemporary approaches, students will engage in
advanced critical thinking as a means to investigate narrative structures and creative practice within
moving image arts. Prerequisites: AA231-232.
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AA335 Animated Arts Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Prerequisites:
A
A231-232.
3
AA336 2D to 3D Animation
Production
This upper division studio course is for animators and designers interested in understanding concepts and
applications of 2D/3D software in a creative environment. Students will explore the relationships between
2D and 3D toolsets. Beginning with the 2 ½ D aspects of After Effects we will move into concepts of 3D
software including MoGraph, a toolset in Cinema 4D. Then we will roundtrip our work back into After
Effects to learn some advanced compositing techniques and polish up our images. With the potential of
utilizing hand drawings, photos, collages, and even video, this course helps you find a unique voice in
computer graphics. Hands-on instruction in Photoshop, After Effects and Cinema 4D will bring students to
an intermediate level in the software. A series of short assignments coupled with screenings of a range of
animated work, pertinent analysis of work and on-going critique support both exploration and problem
solving. This course is a 300 level elective for Graphic Design and Animated Arts.
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AA436
A
nimated Arts Project
Incubator
Prerequisite: AA331 Intermediate Animated Arts<p>AAPI is a fully functioning incubator for media work
meant to bridge the gap between individual creative practice and practical work experience. The course
provides a supported studio environment where students have opportunities to work with community
partners while receiving art direction and production support faculty instructors, visiting professionals, and
their MAPI cohort. This class is intended to give students professional experience through concept
development, methods to understand audience within a cultural context, strategizing the ‘pitch,’ art design
and direction, and time management for project completion. Projects will vary and can be independently
lead or produced for clients outside of PNCA. Partners may include local non-profits, gallery co-ops,
content-based competitions and other possibilities. Potential commissioned projects with stipends could
include creation of a PSA, a short film, a web series pilot, or a research-based collaborative project. Within
the actual supported studio environment, students are able to sharpen their skills, gain confidence and
have practical work experiences relevant for future employment, grant funding and a heightened media
profile.
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GRAPHIC DESIGN
FD 200 First Year Design Studio In this Design Studio, First Year students are introduced to the processes of illustration and graphic desig
n
While both disciplines have distinct characteristics and functions, they are closely linked historically and in
contemporary creative practice. This course offers students a strong technical and conceptual framework
for a major in Graphic Design or Illustration. In weekly experimental studio sessions, students will explore
various principles and methodologies from graphic design and illustration, exploring their intersections in
contemporary client-based practice. Through incorporation of drawing, typography, painting, collage, and
digital media, students will encounter new creative possibilities and find exposure to the dynamic
opportunities available to the contemporary illustrator & designer.
3
GD241 Design Studio I: Signs This course introduces the student to the structure of visual languages and how these structures are used
consciously and unconsciously in design. The course begins by exploring modes of signification and the
ideological roles of media in contemporary culture. Key strands in critical theory such as mythology and
ideology will be introduced. Students will examine the transmission of meaning in our visual culture. In
particular, students will be asked to judge for themselves the truth of old certainties relating to the
techniques and the very purposes of Graphic Design. Computer skills and compositional skills will be
stressed and enhanced.
Pr
r
i
i
: All F
n
i
n
i
r
3
GD242 Design Studio I: Psychology o
f
Seeing
This course focuses on the roles that human perception and cognition play in the world of design. As such
this studio course examines the notion of locating the individual in the sphere of cultural production and
consumption. The aim of the course is to discover how notions of the unconscious affect the decision-
making patterns of consumers in our visual culture. Students are introduced to various psychological
principles that facilitate our understanding of how humans are motivated to action or behavior in design
and advertising. Technically, the course will rely heavily on page layout, color response, and typography.
Prerequisites: All Foundation studio courses.
3
GD245 Typography I Typographic skills and concepts are applied to situations involving the use of type in layout, illustration, and
time-based applications. The emphasis is not only on style and composition, but also on formal and
semantic issues as these are influenced by project function and technological criteria. Students will be able
to understand the history and evolution of typography, and to discuss and analyze the physical aspects an
nuances of type and typographic measurements. Some key concepts in type design will be explored as
well. Projects will explore a variety of solutions to design problems that require both expressiveness as we
as an understanding of the practical uses of type in Graphic Design.
Prerequisites: All Foundation studio courses.
3
GD246 Typography II Typography II is a continuation of systems and ideas explored initially in Typography I. This course includ
e
historical and contemporary lectures mixed with studio time for experimentation, research, and personal
application of concepts. This course is intended to give you a further understanding and appreciation of
type as a tool for the designer. During this course, typographic skills and concepts are applied to situations
involving the use of type in digital and manual applications.
Prerequisites: GD241 and GD245.
3
GD247 Production This course provides an understanding of the scope and correlation of design, pre-press preparation and
the production process. Fundamentals of computer hardware/software management and the importance of
time management and project planning will be stressed.
Prere
uisites: All Foundation studio courses
3
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GD251 Fundamentals of Interactive
Media
Fundamentals of Interactive Media is first in the series of two interactive design courses, is offered in the
Spring semester, and is required for GD students. This course serves as an introduction to interactive
design with user experience and user interface methodologies. Basic principles of design for digital
platforms are discussed, as well as interaction design concepts such as app/web, augmented and virtual
reality, ocular/voice recognition, environmental/experience design, etc. Students will develop the
background needed to understand how audio, video, animation and motion graphics affect user interaction
and experience within digital media.
Prerequisites: All Foundation studio courses.
3
GD310 GD Design Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
GD341 Design Studio II: Culture an
d
Audience
This course begins to prepare the student for understanding the audience that design always addresses.
As a means to understand audience, we investigate where that is found - a cultural context. Borrowing
ideas from anthropology and political economy, students explore Graphic Design from the perspective of
total communication - from the larger issues confronting a society to the discreet objects and messages
contained therein. Projects include identity and collateral, produce and brand development, as well as
publication design.
Prere
q
uisites: GD 241-242
,
GD 245 and GD 246
,
or Instructor
p
ermissio
n
3
GD342 Design Studio II: Rhetoric
&
Persuasion
The use of Graphic Design in shaping history, scholarly discourse, the media and even genres such as film
and literature, seems transparent. This class will link to the traditional aims of rhetoric (developing a good
argument), with becoming a perceptive interpreter. We will investigate the integral role of building solid
visual arguments and developing the rhetorical skills to defend a position. Students will be asked to
develop an argument on a complex issue and advance that argument through the use of design media
such as posters, websites, billboards, etc. Prerequisites: GD241-242, GD245, GD246 and GD341, or
Instructor permission.
3
GD344 Marketing & Branding This class is an overview of basic marketing principles and their relevance to the advertising art director
and Graphic Designer. Students will be exposed to product development, pricing, distribution and
promotion, merchandising and public relations in consumer and industrial markets and comparing various
media, their selection and use.
Prerequisites: LA121-122 and GD241-242, or Instructor permission.
3
GD350 Interface & Structure This course serves as an introduction to front-end design and development. Students will cultivate their
developmental abilities for the web by focusing on the core technical languages of HTML and CSS.
Exploration of current web trends, techniques, and best practices will be emphasized with special attention
paid to the role of the modern day professional as a hinge position between aesthetic sensitivity and
programmatic rigor.
Prerequisites: GD241-242, GD251 or Instructor permission.
3
GD351 Motion Graphics This final course in the web sequence explores the conceptual mash up of art direction and heuristics,
visual affordance, narrative, technology, and data. Production values will be stressed and usability
concerns will be addressed. Students will create desire with interactive design following the constructs
unique to the digital medium and investigate parallels in other design sectors. A variety of design
techniques will be taught to challenge aesthetic approaches. Students will become versed in technology,
and explore dynamics of project collaboration, client relationships, and principle driven design.
Prerequisites: GD241-242, GD251, GD350 or consent of instructor.
3
GD410 Graphic Design Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Prerequisites:
Senior standing or Instructor permission.
3
GD443 Graphic Design Advanced
Studio
Running concurrently with the Practicum and Thesis, students use the opportunity to share their
experiences, projects and evaluations. This exchange of information and insight benefits all class
members.
Prerequisite: Senior standing.
3
GD444 Graphic Design Advanced
Studio
Running concurrently with the Practicum and Senior Project, students use the opportunity to share their
experiences, projects and evaluations. This exchange of information and insight benefits all class
members.
Prerequisite: Senior standing.
3
ND 301 Internship see internship ND 301
Prere
q
uisite: Junior or Senior standin
g
or consent of De
p
artment Chai
r
3
GD445 Center for Design The Center for Design is a student -staffed design studio located on campus. Art direction for the variety of
client projects is provided by PNCA faculty. In addition to developing a large body of work for a portfolio th
e
student will have an insider's look the complicated interactions of a working design studio where art and
business meet. Student designers are chosen based on portfolio review. Prerequisites: Junior or Senior
standing or permission of Department Chair.
3
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ILLUSTRATION
FD 200 First Year Design Studio In this Design Studio, First Year students are introduced to the processes of illustration and graphic desig
n
While both disciplines have distinct characteristics and functions, they are closely linked historically and in
contemporary creative practice. This course offers students a strong technical and conceptual framework
for a major in Graphic Design or Illustration. In weekly experimental studio sessions, students will explore
various principles and methodologies from graphic design and illustration, exploring their intersections in
contemporary client-based practice. Through incorporation of drawing, typography, painting, collage, and
digital media, students will encounter new creative possibilities and find exposure to the dynamic
opportunities available to the contemporary illustrator & designer.
3
IL251 Word & Image This course provides an introduction to the verbal/visual relationship of the illustrator's creative process.
Students will gain an understanding of the history of illustration as it relates to the contemporary
marketplace and the key practitioners of the art form. Self-expression and experimentation are placed
within the context of illuminating information through pictures and symbols. Prerequisite: All Foundation
studio courses.
3
IL252 Visual Techniques Illustration is an art of illuminating ideas. This course provides the groundwork for developing the ability to
communicate effectively through image content. Multiple ways of expressing a visual solution are
investigated while working with a variety of contemporary and historical themes and ideas. In addition to
the student gaining the conceptual skills needed as an illustrator, technical skills and processes in a
number of key media areas will be explored and developed.
Prerequisite: IL251.
3
IL253 Painting for Illustration This is a painting class. This class explores the possibilities for self-expression and story-telling with color
and composition. Students will build on their knowledge of color theory and composition gained in the
Foundation classes, further exploring color systems and how color and texture can be used as
compositional elements. Students will gain techniques and knowledge of mediums used with watercolor
and acrylic paint. The first part of this class will focus on correct color mixing and understanding of formal
elements of composition. In the second part, students will be asked to apply that understanding by
manipulating the color and compositional elements in front of them to achieve different effects. The final
part of this course is an independent final project proposed by the student, giving him/her an opportunity to
apply the skills and techniques learned over the semester to their own choice of subject matter and
conceptual content.
3
IL254 Digital Media Strategies 1 This class explores modes of digital-image making, placing an emphasis on integrating analog and digital
illustration processes, working between multiple image-making platforms and applications that incorporate
both raster and vector thinking with the goal of developing unique and original processes that stretch the
limits of the programs. Multiple ways of expressing a visual solution are investigated through a combination
of analog techniques (i.e. drawing, painting, composition, perspective, light, value, and color) and digital
tools (i.e. Adobe Photoshop and Illustrator). Prerequisites: All Foundation studio courses.
3
IL255 Drawing for Illustration This course builds upon basic drawing skills to extend technical and conceptual range. Differing from
Experiments in Drawing, in that it is directed primarily towards the practice and consolidation of
observational drawing. These tools include analytical seeing, gesture, measuring, value/volume, linear
perspective, composition and varied mark making. This course is intent on tackling varying traditional and
non-traditional tactile media less commonly explored in the painting curriculum. Each semester will begin
with simple vine charcoal and pencil extending to other media such as watercolor, gouache, pastel, oil
pastel, conte and colored pencils. Since each semester highlights a different medium or type of media, this
course may be taken singly or out of sequence. This course includes supervised studio work and working
from live models, critiques aimed at strengthening compositional skills by examining the coherence of the
effects within each composition, possible field trips to outside exhibits or off-campus drawing sites. Work
outside of class will be assigned to build skills rehearsed in class.
Prerequisite: All Foundation studio courses.
3
IL256 Digital Media Strategies 2 This course will explore advanced digital image making methodologies in the vector-based application
Adobe Illustrator and raster-based application Photoshop, as well as Procreate and Clip Studio. Students
will be exposed to a broad range of digital and analog image-making techniques with an emphasis on
shape-based image building processes, design thinking, collaborative ideation, and ultimately starting to
develop individual voice, style, and workflow through digital and analog experimentation. This class will
serve as a project incubator and focusing on student driven projects and strategic design solutions. Digital
production, printing techniques (both analog and digital), and file management will also be covered.
Prerequisites: DMS 1
3
IL257 Illustration: Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
IL351 Visual Vocabulary A mature, well-developed personal vision is central to the contemporary illustrators practice. This course
focuses on the development of a personal artistic voice - bridging the gap between the boundaries of the
commercial marketplace and the highly personal act of making art. In this course, the student will interact
with a dynamic variety of themes placed in the context of art direction and time constraints. Refining the
highly relational creative process of concept sketch to finished art will be stressed. Prerequisite: IL251
Word and Image, IL254 DMS:Photoshop, IL255 Drawing for Illustration or permission of Dept. Head.
3
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IL352 Cultural Marketplace Contemporary culture and the illustration marketplace are fluid and ever changing. It is essential that
today's illustrator is equipped to function within this dynamic and competitive landscape. This course takes
the student into the current marketplace, exploring each of the key areas of creative opportunity including
digital media, games, entertainment, editorial, publishing, advertising, and product development. Each
student, while continuing the development of a personal artistic vision, will investigate projects relating to
the professional marketplace. Prerequisite: IL251 Word and Image, IL254 DMS:Photoshop, IL255 Drawing
for Illustration or permission of Dept. Head.
3
IL354 Design + Image In Design + Image students will engage in the vital disciplinary crossover between illustration and Graphic
Design. Through incorporation of drawing, painting, photography, typography, and digital media, students
will encounter the countless creative possibilities that hybrid techniques make available to the
contemporary illustrator. The class will place special emphasis on the practice of fusing the compositional
and conceptual elements of an image. In the end, students should appreciate why Illustrators who
understand design are far more likely to create powerfully resonant, compelling images than those who do
not. Prerequisite: IL251 Word and Image, IL254 DMS:Photoshop, IL255 Drawing for Illustration or
permission of Dept. Head.
3
IL356 Narrative Image This course sets the work of the visual artist in an enriching context of writing, ideas and story. The course
combines writing, reading and illustration in order to explore the confluence of visual and verbal art, while
addressing the need for the modern illustrator to be a multi-dimensional communicator with a strong
personal vision. The two disciplines inform and augment each other in bifocal artistic practice. The graphic
novel will be explored as a pertinent example of how these skills can work in concert. Through a process of
self-expression and experimentation, students are encouraged to develop their own visual vocabulary by
studying the work of writers and artists, and practicing personal creation in both realms. Some technical
skills will be addressed including reading comprehension, grammar and the writing process. Students will
gain fluency in using writing to discover and articulate visual tropes and using images to sharpen, deepen
and refine their writing. Prerequisite: IL251 and IL252.
3
IL357 Graphic Novel This course introduces the fundamentals of visual storytelling in the medium of comics and then builds on
that foundation through process and experimentation. The course will have a strong focus on three core
elements: 1.) Developing and telling a strong story, 2.) Process and creative problem solving 3.) Having
the following elements - concept, drawing, design, staging, pacing, and acting - come together in a
cohesive way to serve that story. By focusing on a series of smaller narratives, students will develop their
storytelling skills, as well as their own narrative voice. They will learn that how one tells a story can be as
unique and stylistic as the image or the writing. Practical considerations such as designing and drawing for
black and white, the final product, publishing, and professional practices will also be addressed.
Prerequisite: IL251-252 or Junior level standing.
3
IL358 Illustration: Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Junior Level.
3
IL450 Illustration Advanced Studio I The advanced studio allows the senior student to apply technical skill and an understanding of the
contemporary marketplace to the creation of a body of work related to their own personal vision.
Professional work processes will be employed and art direction will be central to this creative process as
each student begins the creation of professional level projects related to their chosen area of focus. This
16-week studio course works in close proximity with the Illustration Senior Project, allowing for a broader
context leading towards a completed senior portfolio.
Prerequisite: Senior standing.
3
IL451 Illustration Advanced Studio II The advanced studio allows the senior student to apply technical skill and an understanding of the
contemporary marketplace to the creation of a body of work related to their own personal vision.
Professional work processes will be employed and art direction will be central to this creative process as
each student begins the creation of professional level projects related to their chosen area of focus. This
16-week studio course works in close proximity with the Illustration Senior Project, allowing for a broader
context leading towards a completed senior portfolio.
Prerequisite: Senior standing.
3
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INTERMEDIA
IM201 Theory & Practice Theory & Practice classes are interdisciplinary, research oriented studio courses that foster an idea-based,
non-media specific inquiry focusing on concerns within and outside the visual arts Prerequisite: Foundation
studio courses and LA122, LA125. Courses offerred under this Course #: Theory & Practice: Art in
Context - This studio-based, media blind seminar introduces conceptual and theoretical concerns within
the context of contemporary creative practice. Topics explored include language and semiotics,
appropriation, simulation, systems and networks, collaboration, relational practices, and deconstruction.
Through projects, critiques, lectures on contemporary art and ideas, discussions of readings, research and
writing, visiting artists, and field trips, students produce studio work utilizing conceptual strategies tied to
diverse roles that artists play within contemporary art and creative practice. Minor in Art & Ecology
required course: Theory & Practice: Global Culture and Ecology This studio-based, media blind
seminar examines climate change and other global issues in order to form a foundational understanding of
ecological principles, contemporary global society, and the complex ways that they interact. Students will
explore new models of social awareness and cultural production and learn from how artists and designers
are already responding in creative ways to social and ecological issues. Through projects, critiques,
lectures, discussions of readings, research and writing, visiting artists, and field trips, students will produce
studio work reflecting these pressing issues. Prerequisite: Foundation studio courses and LA122, LA125.
3
IM251 Performance This hybrid media studio course will explore a diverse range of strategies in identifying, creating and
activating a site through expanded performative actions. Basic skills tied to intended gesture, incidental
movement, stillness, repetition, fracture/rupture, prop and site manipulation, voice, language and sound will
be the topics and actions explored during this course. Emphasis will be placed on the active, deployed
body so a great deal of the course will involve physically engaged solo and collaborative workshops,
exercises and activities. Historical precedents and the work of contemporary practitioners will give the
student a deeper understanding of the discipline. This exposure coupled with research, projects, critique,
proposal development, scoring and scripting techniques, visiting artists, readings, attending performances,
and video /film screenings will give the student the primary tools and conceptual strategies to successfully
develop performative work. Engagement with PICA's annual TBA festival will give the students exposure t
o
top contemporary time based artists and potential collaborative opportunities with these visiting artists.
Prerequisite: All Foundation Studio courses.
3
IM253 Intermedia Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
IM301 Theory & Practice Theory & Practice classes are interdisciplinary, research oriented studio courses that foster an idea-based,
non-media specific inquiry focusing on concerns within and outside the visual arts. Titles have included: Art
& Anthropology, Art and the Everyday, Image Test Media, Body Politics, Art - Ethics & Transgression,
Utopia/Dystopia, Homeland.
Prerequisite: IM201.
3
IM351 Intermedia Studio
Intermediate level Intermedia courses - including: Hybrid Painting, Offsite Projects, Screen+Devices, Vide
o
Installation, other upper-division hybrid studio courses are offered on a rotational basis. Topics include
collaboration, video and sound in non-traditional environments, conceptual work and more involved
installation applications. Prerequisite: Junior level standing.
3
IM401 Theory & Practice Theory & Practice classes are interdisciplinary, research oriented studio courses that foster an idea-based,
non-media specific inquiry focusing on concerns within and outside the visual arts. Titles have included: Art
& Anthropology, Art and the Everyday, Image Test Media, Body Politics, Art - Ethics & Transgression,
Utopia/Dystopia, Homeland.
Prerequisite: Senior standing
4
IM451 Advanced Intermedia Studio
Intermediate level Intermedia courses - including: Hybrid Painting, Offsite Projects, Screen+Devices, Vide
o
Installation, other upper-division hybrid studio courses are offered on a rotational basis. Topics include
collaboration, video and sound in non-traditional environments, conceptual work and more involved
installation applications. Prerequisite: Senior level standing.
3
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PAINTING
DR261 The Figure This is a drawing class that takes as its subject the human form, generally nude but at times draped. As
such, it combines rigorous drawing instruction and practice to develop students’ formal expressive
capacities along with an investigation of ideas that naturally come to bear on art that concerns itself directly
with representation of humankind. Class discussions and assignments will reflect this dual approach to the
figure. Most class time will be spent in drawing, but you may expect frequent short lectures on specific
artists and issues, and are encouraged to ask questions and participate in discussions. Prerequisite: All
Foundation studio courses or permission of the instructor.
3
DR265 Drawing Studio:Techniques
&
Applications
Drawing Studio:Techniques and Applications. This course builds upon basic drawing skills to extend
technical and conceptual range. This course is directed primarily towards the practice of observational
drawing, relying on analytical seeing, gesture, measuring, value/volume, linear perspective, composition
and varied mark making. Beginning with simple vine charcoal and pencil, the course extends to a range of
other drawing media such as watercolor, gouache, pastel, oil pastel, conte and colored pencils. Each
semester may emphasize different media or types of media, depending upon the individual expertise of
instructors. This course includes supervised studio work and working from live models, critiques aimed at
strengthening compositional skills by examining the coherence of the effects within each composition,
possible field trips to outside exhibits or off-campus drawing site. Prerequisite: All Foundation studio
courses or permission of the instructor.
3
DR266 Drawing Studio: Image in
Context
Drawing Studio: Image in Context. While this course is designed to improve both perceptual and
conceptual skills the primary emphasis is on experimentation with materials and strategies for invention.
Problems are structured around a variety of spatial concepts, subject matters, materials and methods for
image generation and supported with examples of contemporary and historical artwork. Critiques are
structured around both visual coherence and engagement with subjects or concepts under consideration.
Prerequisite: All Foundation studio courses or permission of instructor.
3
DR267 Anatomy Anatomy:Skeletal Structure. This is a one-semester course in anatomy designed to strengthen your ability
to represent the human figure in art. It begins with a close examination of the skeleton, followed by an
introduction to the mechanics of movement and musculature, plus a survey of the main muscle groups.
Each week includes a lecture-demonstration using skeletons, charts, live models and our own bodies,
followed by drawing from the live model, and three outside hours of drawing using notes, memory and your
imagination. Very hard; lots of fun. Prerequisites: All Foundation studio courses or permission of the
instructor.
3
DR361 Advanced Figure Advanced Figure. This course is the advanced sequel to DR261 The Figure. As such it aims toward
significant mastery of representation and interpretation of the human figure in drawing. Students receive
advanced instruction in formal and expressive drawing within the context of contemporary artistic practice.
The course is structured around hands-on drawing but includes presentations on contemporary and
historical figurative art along with short independent projects. Prerequisite DR261 or permission of the
instructor.
3
DR363 Drawing Seminar: Mediated
Image
The intent of this course is to introduce historical, technical and conceptual frameworks to help support
individual investigations through drawing practice. As a tool of creative exploration, drawing informs visual
discovery and envisions the development of perceptions and ideas. This is an advanced level drawing
course for students who are interested in developing a self-directed, sustained body of work and an
understanding of the relationships between the formal and conceptual aspects of drawing practice. All wor
is developed outside the classroom and supported in the classroom by individual and group critiques,
guest critiques, written proposals, and readings. Prerequisites: DR261 or DR265 or DR266 or DR267.
3
DR364 Drawing Seminar: Systems,
Strategies, and Structures
Drawing Seminar: Systems, Strategies, and Structures. The history of drawing predated written language
and remains a fundamental means to translate, document, record and analyze our thoughts and
observations to ourselves and others. Contemporary drawing practice may be transitory and temporal or
provide a record of archival permanence. It may be propositional, preparatory, visionary, imaginative,
associative, factual, generative, transforming or performative in nature as a tool of investigation for the
realization and transference of ideas. At its best the means of making is harnessed to the realization of
ideas and concepts. To that end student will engage in a variety of strategies and means to explore and
express their ideas through drawing. Prerequisite: DR261 or DR265 or DR266 or DR267.
3
DR463 Drawing Seminar: Mediated
Image
The intent of this course is to introduce historical, technical and conceptual frameworks to help support
individual investigations through drawing practice. As a tool of creative exploration, drawing informs visual
discovery and envisions the development of perceptions and ideas. This is an advanced level drawing
course for students who are interested in developing a self-directed, sustained body of work and an
understanding of the relationships between the formal and conceptual aspects of drawing practice. All wor
is developed outside the classroom and supported in the classroom by individual and group critiques,
guest critiques, written proposals, and readings. Prerequisites: Senior standing
3
PA261 Painting Studio:Materials
&
Methods
Painting Studio:Materials & Methods. The Painting program builds on Foundation skills of drawing, design,
color theory and critical discourse. Projects focus on the materials and methods of traditional oil painting
while exploring a variety of subjects and pictorial strategies. Emphasis is on the development of core skills
in the discipline, knowledge of contemporary and historical work as well as critical judgment and
presentation. Prerequisite: All Foundation studio courses, or permission of the instructor.
3
PA262 Painting Std: Techniques
&
Applications
Painting Studio: Techniques and Applications. The second semester of the Painting Studio program is
meant to help you consolidate the paint-handling skills introduced in Materials and Methods and extend the
range of painting approaches you undertake. Problems assigned may involve representation or
abstraction, or both, and may require working from direct observation, memory or imagination, or all three.
As in the first semester, class problems will be considered in the context of related work by historical and
contemporary masters, and we will also work on refining your ability to describe and analyze your own wo
r
and that of others in critique. Students may be called upon to work in oils or acrylics, according to the
preference of the instructor. Prerequisite: PA261 or permission of the instructor.
3
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PA266 Observational Painting This course is intended to provide the student with a variety of opportunities to expand and refine their skill
in a realist manner by painting from direct observation. From 'Plein Air" to "in-studio" practice, on subjects
such as Landscape, the Figure, Portrait and Still Life, we will focus on creating work that is technically
skilled and of strong pictorial construction. To this end, Drawing and preliminary studies are a few of the
tools we will use as well as lectures, Gallery visits and "on site" demonstrations. Perspective, rendering in
atmospheric color, color saturation, underpainting and glazing techniques are also things that will be
important components of our class. For the most part we will be creating one painting each session
however a few subjects such as the Figure and the Portrait will require an additional week.
Prerequisites: All Foundation studio courses.
3
PADR361 Paint & Drw Studio: Self-
Directed
Painting and Drawing Studio: Self-Directed. This is the first in a two-course sequence of self-directed study
in the Junior year. It aims to begin development of both studio discipline and a professional approach to
artistic practice. After an initial project assigned by the professor, Students will be expected to articulate
their aims and interests in a written proposal which will form the basis of the semester’s work. This
proposal will be developed with the assistance of the professor and should be specific enough to provide
appropriate structure but with sufficient leeway for development and change. Students may work in
drawing, painting, or some combination of these or other media. Progress in the course will be supported
by individual instruction, short lectures, visiting artists, gallery visits, appropriate library and other research
resources, and group discussion.
3
PADR362 Painting and Drawing Studio:
Pre-Thesis
Painting and Drawing Studio: Pre-Thesis. This course directly precedes the Thesis and as such can be
seen as a preparatory course for transition to entirely independent work in the Senior year. It aims to
develop both studio discipline and a professional approach to artistic practice. Students will be expected to
articulate their aims and interests in a written proposal which will form the basis of the semester’s work.
This proposal will be developed with the assistance of the professor and should be specific enough to
provide appropriate structure but with sufficient leeway for development and change. Students may work in
drawing, painting, or some combination of these or other media. Progress in the course will be supported
by individual instruction, short lectures, visiting artists, gallery visits, appropriate library and other research
resources, and group discussion.
3
PADR365 Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
PADR462 Painting and Drawing Studio Painting and Drawing Studio. This course directly precedes the Thesis and as such can be seen as a
preparatory course for transition to entirely independent work in the Senior year. It aims to develop both
studio discipline and a professional approach to artistic practice. Students will be expected to articulate
their aims and interests in a written proposal which will form the basis of the semester’s work. This
proposal will be developed with the assistance of the professor and should be specific enough to provide
appropriate structure but with sufficient leeway for development and change. Students may work in
drawing, painting, or some combination of these or other media. Progress in the course will be supported
by individual instruction, short lectures, visiting artists, gallery visits, appropriate library and other research
resources, and group discussion. Senior standing.
3
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PHOTOGRAPHY
PH265 Introduction to the
Photographic Image
Introduction to the Photographic Image is a class that explores multiple paths by which to generate,
manipulate and interrogate photographic content and pursue the wide array of platforms on which
photographic images are experienced (i.e. paper, screen, and object). The expansive definition of a
camera will be investigated through the use of iPhones, scanners, video cameras, photograms, and digital
negatives as tools for creating photographic images. Skills taught will include digital SLR manual camera
functions, an introduction to darkroom processes, and basic Adobe Lightroom workflow. Assignments,
lectures and readings will provide a comprehensive overview of the photographic image in the media and
art world and will challenge students to interrogate photography as they know it.
3
PH272 Concept / Capture / Print I This studio course examines every step of the photographic workflow, encouraging students to align formal
choices related to composition, exposure, editing and presentation with their conceptual intent. Using both
digital SLR and medium format film cameras, students will scan film and import RAW files, using Adobe
Lightroom and Photoshop as processing tools. Technical instruction will focus on manual camera function
s
shooting with available light, simple modifiers and fill flash, custom white balancing, retouching, post-
production digital manipulations, and large format inkjet printing. Conceptual development will be
emphasized and students will practice articulating ideas verbally and visually, creating coherent bodies of
work based on assignments. Through readings and lectures, students will be exposed to contemporary
photographic practices and theories.
Prerequisite: FD102 Visual Elements: Digital Tools
3
PH273 Studio Lighting Essentials Studio Lighting Essentials teaches lighting techniques both in and out of the studio that can be applied to
the practices of students working in various mediums from photography to animation to video. Students will
learn to work with continuous tungsten lights as well as off camera strobe speed lights in a variety of
situations using modifiers and grip equipment. Understanding light on form, shadows and lighting ratios are
concepts that will be covered, as well as color management and digital workflow using digital SLR
cameras. Assignments, readings and lectures will expose students to contemporary and historic
photographic lighting techniques in both fine art and commercial contexts.
Prerequisites: FD102 Visual Elements Digital Tools, FD102 Visual Elements 2D
3
PH274 Photographic Investigations Photographic Investigations is a class that allows students the opportunity to explore a specific application
of the photographic medium and participate in rich dialogue around historic and contemporary approaches.
Topics for investigation are offered on rotation and include:
Alternative Processes: Introduces students to a variety of alternative photographic processes as a means
to artistic expression with a focus on contemporary concerns. Students will experiment with antique photo
processes as well as newer imaging technologies, interfacing the traditional with digital advances.
Analog Practices: A darkroom based class focused on analog black and white photography in which
students will learn film exposure, camera functions, darkroom processes, and the use of natural and
available light.
Fashion Photography: Explores themes of fashion photography in contemporary artistic as well as
commercial contexts. Skills taught include considerations of concept, pre-production, set design, styling,
lighting, post production, model contracts, and other professional practice elements of the industry.
Product Photography: Explores language and aesthetics of advertising photography and its dialogue with
fine art photography. Skills taught include? ?concept, set design, lighting strategies, capture and post
production, client contracts, and other professional practice elements of the industry.
Documentary Photography: ?Investigates the history of documentary photography while working with
assignments that push students to ask questions of ethics, practice and aesthetics in their own work.
4
PH371 Photographic Practice &
Research
In this course students work on a term-long project using the 4x5 view camera. One on one meetings with
the instructor and in-progress critiques will give students feedback on their work throughout the term.
Weekly readings and class discussions will cover photographic criticism and theory from the 1920’s to
today.
Prerequisite: All Foundation studio courses, PH272, PH273 and one other 200 level photography class.
3
PH372 Photographic in Contemporar
y
Art
This course investigates contemporary photographic ways of seeing and creating, exploring work that
expands beyond the boundaries of the photographic print. This class is about experimentation and studen
t
are expected to take risks, producing work that challenges their normal mode of art-making. There is an
emphasis on critical theory and students are urged to make connections between their studio practice and
critical literary knowledge. Weekly readings and discussions will inform the work and aid students in placin
their work in a historical context.
3
PH374 Studio Lighting As a continuation of PH273 Lighting Essentials, this course will focus on the manipulation and control of
photographic lighting to align with conceptual intent. Students will work with strobe light kits and a wide
range of modifiers and grip equipment both in and out of the studio. They will practice mixing available ligh
tungsten and flash in complex lighting scenarios while using both digital and medium format film cameras.
Professional practice will be taught through consideration of scenarios that involve working with clients,
drawing up contracts and collaborating in groups. Assignments, readings and lectures will expose students
to contemporary and historic photographic lighting techniques in both fine art and commercial contexts.
Prerequisite: PH273, PH272
3
13 PNCA2022‐23COURSECATALOG
Crs#Name Credit
PH375 Concept / Capture / Print II As a continuation of PH272 Concept / Capture / Print I, this course will focus on aligning formal choices in
capture, post-production and print processes with conceptual intent. An advanced investigation of digital
capture, Adobe Photoshop, Lightroom, color management and digital workflow will be pursued as we
examine the whats and whys of industry standards and learn a wide range of professional approaches to
post-production editing. Through written project proposals, readings, and lectures students will be
encouraged to develop their practice in relation to contemporary issues in fine art photography.
Professional practice is integrated into the class through field trips to photography studios, discussion of
marketing strategies and a final project that centers around the presentation of a body of work in book
format. Prerequisite: All Foundation studio courses, PH272 or Instructor consent.
3
PH474 Studio Lighting As a continuation of PH273 Lighting Essentials, this course will focus on the manipulation and control of
photographic lighting to align with conceptual intent. Students will work with strobe light kits and a wide
range of modifiers and grip equipment both in and out of the studio. They will practice mixing available ligh
tungsten and flash in complex lighting scenarios while using both digital and medium format film cameras.
Professional practice will be taught through consideration of scenarios that involve working with clients,
drawing up contracts and collaborating in groups. Assignments, readings and lectures will expose students
to contemporary and historic photographic lighting techniques in both fine art and commercial contexts.
Prerequisite: PH273, PH272, Senior standing.
3
14 PNCA2022‐23COURSECATALOG
Crs#Name Credit
PRINTMAKING
PR281 Intaglio + Relief This beginning printmaking course introduces intaglio and relief printing techniques within an active, hands-
on studio experience. With a keen eye towards craft, composition, concept and engagement, this course
explores the unique and varied visual effects and pragmatic considerations of copperplate intaglio and
relief printing. Intaglio processes will include
drypoint, hard ground and soft ground techniques on copper plates. The developing, working, and
reworking of plates will be supported through step etching and scraping and burnishing.
Relief printing techniques will include components of both Japanese and Western carving,
inking, and printing traditions. Linoleum and woodcut printing will be covered in single and
multiple blocks. Image and mark-making, line and value, strategies of layering, and
composition are discussed and developed in both techniques. Current and historical applications of intaglio
and relief printing for artists and designers will be a focus during the course. A program of demonstrations,
lectures, in-class projects, readings & discussions, visiting artists, and individual & group critiques will
support student exploration.
12 student capacity. Prerequisites: Foundations 2-Design and/or Basic Drawing
3
PR282 Screen + Lithography This beginning printmaking course introduces screen- and lithography-printing techniques
within an active, hands-on studio experience. With a keen eye towards craft, composition,
concept and engagement, this course explores the unique and varied visual effects and
pragmatic considerations of screenprinting and lithography printing. Screenprinting techniques will include
hand-made, digital, and drawn stencils, as well as direct-to-screen and photo-processes. Lithography
printing techniques will include drawing and printing directly from lithography stones, and the photographic
capabilities of plate lithography. Image and markmaking, color interaction, strategies of layering, and
composition are discussed and developed in both techniques. Current and historical applications of
lithography and screenprinting for artists and designers will be a focus during the course. A program of
demonstrations, lectures, in-class projects, readings & discussions, visiting artists, and individual & group
critiques will support student exploration.
12 student capacity
Prerequisites: Foundations 2-Design and/or Basic Drawing
3
PR286 Letterpress + Book Letterpress + Book. This beginning printmaking course introduces letterpress & book-making techniques
within an active, hands-on studio experience. With a keen eye towards craft, composition, concept and
engagement, this course explores the ways that letterpress and books can function separately or interact.
Letterpress techniques will focus on myriad applications of the typesetting and printing of lead & wood typ
e
photopolymer plates, and other image-making processes. Traditional and non-traditional bookbinding will
be introduced, including sewn and adhesive bindings. Alongside technical concerns, this course introduces
the historical and contemporary considerations of print, paper & book culture as well as sequencing,
narrative, typography, and the relationship between text and image. Current applications in letterpress and
book for artists and designers, as well as how we read prints, texts and books, will be a focus during the
course. A program of demonstrations, lectures, in-class projects, readings & discussions, visiting artists,
and individual & group critiques will support student exploration.
3
PR288 Intro to Textile Printing: Relie
f
+ Screen
This beginning, printmaking course introduces relief and screen-printing techniques on fabric within an
active, hands-on studio experience. Small-scale fabric printing for applications in fine art, apparel, interiors,
and more will be covered while focusing on craft and personal voice and vision. Screenprinting techniques
will include hand-made, digital, and drawn stencils, as well as direct-to-screen and photoprocesses. Relief
printing techniques will include components of both Eastern and Western carving, inking, and printing
traditions on fabric. Linoleum and woodcut printing will be covered in single and multiple blocks. Image and
mark-making, color interaction, patterns & motifs, strategies of layering, and composition are discussed
and developed in both techniques. Current and historical applications of printed fabric and apparel, surface
design, and relief and screenprinting for artists and designers will be a focus during the course. A program
of demonstrations, lectures, in-class projects, readings & discussions, visiting artists, and individual &
group critiques will support student exploration. Prerequisites: One semester Foundation courses
recommended.
3
PR289 Printmaking: Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
PR370 Printstallation PR370 Printstallation
Printstallation is an intermediate printmaking course that examines the role of printed matter in and as
installation. Students will utilize and expand upon techniques gained in beginning printmaking classes while
completing print-based installation projects. This course encompasses all methods of printed media and
students are encouraged to employ multiple techniques and strategies. Print-based installation through
accumulation & scale, print’s interaction with other media & forms, prints as objects, and the active role of
printed take-aways will all be considered. Strategies around site specificity, temporality, interactivity,
immersion, and distribution are also integral to this course. Historical and contemporary artists working in
print-based installation will be viewed and discussed. A program of demonstrations, lectures, in-class
projects, readings & discussions, visiting artists, and individual & group critiques will support student
exploration.
Prerequisites: at least one 200-level printmaking class, two or more strongly encouraged
3
15 PNCA2022‐23COURSECATALOG
Crs#Name Credit
PR371 Print Studio PR371 Print Studio
Print Studio is an intermediate printmaking course where students can focus on and refine one or two
printmaking techniques – honing technical skills and expanding knowledge around craft, materials, and
processes. Self-directed projects that employ printmaking toward personal, idiosyncratic voice and vision
are supported by faculty and peers in this studio course. Building off of skills learned in beginning
printmaking classes, students will propose and focus on extended projects, ideas, and print processes.
Skills in professional writing, research, presentation, documentation, and exhibition will also be supported.
This course is ideal for students wishing to gain a greater depth of knowledge in specific printmaking
traditions while creating a focused body of work. A program of demonstrations, lectures, in-class projects,
readings & discussions, visiting artists, and individual & group critiques will support student exploration.
Prerequisites: at least one 200-level printmaking class, two or more strongly encouraged
3
PR372 Printing on Fabric PR372 Printing on Fabric - Printing on Fabric, an intermediate printmaking course, primarily focuses on
screenprinting on fabric, but will also cover relief printing, intaglio, pochoir, and some small-batch fabric
dyeing. Utilizing and expanding upon techniques gained in beginning printmaking classes, students will
learn how to successfully print on fabric. Students will employ their printed fabric in multiple ways while
utilizing strategies of apparel/wearables, interior design, sculpture and installation. Pattern repeats, non-
repeating imagery, and printing on yardage will all be covered alongside printing on previously sewn
textiles. Historical and contemporary artists/designers working in and with printed textiles will be viewed
and discussed. A program of demonstrations, lectures, in-class projects, readings & discussions, visiting
artists, and individual & group critiques will support student exploration.
Prerequisite: 200-level Screenprint is required, 200-level Relief and/or Intaglio are recommended.<p>
3
PR385 Experiments in Combined
Print Media
Experiments in Combined Print Media is an intermediate print course that focuses on strategies for
creating work that combines traditional and non-traditional print based media and a wide range of image
sources. In addition, students will explore ways of combining print media with non-printed media, three-
dimensional objects, and time-based media. The work created in this course requests openness to the
possibility of how printed media can function from a framed image on a wall to a wide variety of contexts. I
n
addition to assigned projects and recommended readings, there will be critiques, image lectures on related
work with an emphasis on contemporary practice and context. Prerequisite: Minimum of two 200 level Print
studio courses or permission of instructor. This course also fulfills the Junior interdisciplinary Intermedia
requirement.
3
PR 389 or
PR 410
Printmaking:Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Prerequisite:
Senior standing or permission of Department Chair.
3
PR411 Artist Publications Studio Arts - Printmaking: Artist Publications, Multiples & Distribution. Contemporary artists and designers
use printed matter, publications, and multiples in myriad ways. They engage in different models for
distributing to an audience, from free "take-aways" to using the postal service and subscription-based wor
k
This class will focus on printed matter made for distribution and dispersal, the very definition of a
publication. The course specifically asks where publications and distribution can fit into many different art +
design practices. Technically, this course works across multiple media, allowing for forays in commercial
printing and object-making, with an eye toward seriality, craft, and content. A focus will also be on how
publications and modes of dispersal have been used historically and by contemporary artists. A program of
lectures, discussions, field trips to local special collections, and visiting artists whose practice include
publication and distribution will support student exploration. Senior standing or permission of Dept. Chair.
3
PR471 Print Studio Print Studio is an intermediate printmaking course where students can focus on and refine one or two
printmaking techniques – honing technical skills and expanding knowledge around craft, materials, and
processes. Self-directed projects that employ printmaking toward personal, idiosyncratic voice and vision
are supported by faculty and peers in this studio course. Building off of skills learned in beginning
printmaking classes, students will propose and focus on extended projects, ideas, and print processes.
Skills in professional writing, research, presentation, documentation, and exhibition will also be supported.
This course is ideal for students wishing to gain a greater depth of knowledge in specific printmaking
traditions while creating a focused body of work. A program of demonstrations, lectures, in-class projects,
readings & discussions, visiting artists, and individual & group critiques will support student exploration.
Prerequisites: Senior Standing
3
PR472 Printing on Fabric PR372 Printing on Fabric - Printing on Fabric, an intermediate printmaking course, primarily focuses on
screenprinting on fabric, but will also cover relief printing, intaglio, pochoir, and some small-batch fabric
dyeing. Utilizing and expanding upon techniques gained in beginning printmaking classes, students will
learn how to successfully print on fabric. Students will employ their printed fabric in multiple ways while
utilizing strategies of apparel/wearables, interior design, sculpture and installation. Pattern repeats, non-
repeating imagery, and printing on yardage will all be covered alongside printing on previously sewn
textiles. Historical and contemporary artists/designers working in and with printed textiles will be viewed
and discussed. A program of demonstrations, lectures, in-class projects, readings & discussions, visiting
artists, and individual & group critiques will support student exploration.
Prerequisite: Senior Standing.
3
16 PNCA2022‐23COURSECATALOG
Crs#Name Credit
PR485 Experiments in Combined
Print Media
Experiments in Combined Print Media is an intermediate print course that focuses on strategies for
creating work that combines traditional and non-traditional print based media and a wide range of image
sources. In addition, students will explore ways of combining print media with non-printed media, three-
dimensional objects, and time-based media. The work created in this course requests openness to the
possibility of how printed media can function from a framed image on a wall to a wide variety of contexts. I
n
addition to assigned projects and recommended readings, there will be critiques, image lectures on related
work with an emphasis on contemporary practice and context. Prerequisite: Senior standing
3
17 PNCA2022‐23COURSECATALOG
Crs#Name Credit
SCULPTURE
SC291 /
SC391
Sculpture I & Sculpture I
I
Courses
Sculpture I and II Courses
These courses are offered at a 200 or 300 level with the different learning outcomes and expectations
clearly defined. Students taking a studio course at a 300 level must have previously completed a 200 level
course or have received permission to enroll from the instructor.
Prerequisites for 200 level: All Foundation studio credits.
3
SC291/391 Ceramics I or II Ceramics SC291/391
This class introduces the student to wheel and hand building techniques, clay bodies, kiln firing and glazing
strategies. With the acquisition of these basic skills, the student can begin to build competency in clay, slip
and glaze handling and develop a sustaining personal vocabulary of form, surface, content and context.
Prere
q
uisites: All Foundation studio credits
3
SC291/391 Object Design & Digital
Fabrication I II
This is a split-level introductory/intermediate course focused on the fundamentals of functional object
design and fabrication. In addition to smaller exercises, one longer project will allow for development of
individual pursuits in three-dimensional design; this can include furniture, industrial design products, and
artistic structures among others. Students engage in a design practice, which integrates technical
knowledge and skills with material, form and contextual issues in contemporary design. Prerequisites: the
completion of Foundation 3D Design is strongly recommended
3
SC291/391 Fabrication Techniques-Metal
and Wood I or II
Fabrication Techniques-Metal and Wood SC291/391
This course will provide the student with a variety of techniques and approaches for fabricating with both
wood and metal. Traditional techniques including wood joinery methods, laminating, woodturning, mild
steel shaping and welding, TIG welding, and brazing will be taught in addition to more creative and unique
fabrication techniques.
Shop, material and tool safety and project/time management strategies will also be part of the course. The
techniques learned will help bring your ideas, designs and imaginings into stable, dimensional reality.
Pr
e
r
equ
i
s
i
tes
: All F
ou
n
dat
i
o
n
stud
i
o
c
r
ed
i
ts
3
SC291/391 Moldmaking I or II Moldmaking SC291/391
This course explores the primary tools, materials, and processes used in mold making technology as it
relates to contemporary sculptural practice. An overview of various methods of both rigid and flexible mold
making will be explored as well as both solid and hollow shell casting techniques and materials. There will
be an emphasis on studio etiquette, craftsmanship and production as well as creative applications of mold
making and casting. Students will also be exposed to contemporary artists who utilize mold making as a
central part of their practice. Prerequisites: All Foundation studio credits
3
SC291/391 Multiples I or II Multiples SC291/391
Many approaches to making sculpture involve concerns of the multiple either through simple reproductive
strategies, duplicating, serializing or sequencing elements within the imagery. Further, many concerns for
"objectness" in sculpture often involve thematic or conceptual connections contrasting ideas of the singular
with the other-the present with the past or future (change) perhaps with particular places, sites or concerns
of identity- or conversations implied through contrasting materiality. This course concentrates on several of
the more focal concerns that these strategies can bring to bear on three-dimensional image making. We
will concentrate on three elements, or general themes, implied by constructs involving multiples in imagery
with an assignment in each of the following areas: The original, the module and the transformed.
3
SC291/391 Soft Sculpture I or II Soft Sculpture SC291/391
Soft Sculpture is designed as a studio class that is technique and assignment driven with lectures to
contextualize the work. We will knit, make patterns, inflate, sew (hand and with the machines), draw,
crochet, felt, stuff, bake, shoot images, videotape, perform, experiment, etc. I will encourage students to try
new things and stretch our understanding of what SOFT can be. By definition SOFT is an adjective with
many meanings - pleasing to the senses, mellow flavor, subdued, quiet, smooth, delicate, balmy, mild,
easy, gradual rising, having curved outlines, tender, kind, low key, impressionable, feeble, not firm,
spreadable, low energy and it can also be a noun. We will develop a working visual and verbal vocabulary
drawn from historical precedents as well as contemporary practices and trial and error. We will begin to
identify and understand deeper intent in our work through applying what we are learning, reading,
discussions, field trips, sketchbooks and critiques. Prerequisites: All Foundation studio credits.
3
SC291/391 Experimenting With Materials I
or II
Experimenting With Materials SC291/391
The focus of this studio class is to give the students the freedom to experiment with new materials without
the pressure of the finished piece. Critiques will be based on a discussion of the process, successes and
'failures' and potentially will lead to content and concept, though the ideas are not the emphasis here.
Class time will be used to research materials, costs, artists working this way and to understand the
materials potential uses and meanings. The process of creating these works will be the majority of class
time, trying several approaches to achieve a basic level of mastery. Workshops, lectures and readings will
drive our material choices. Prerequisites: All Foundation studio credits.
3
SC291/391 Activated Objects I or II Activated Objects SC291/391
The focus for this course will be on the activated object. Pulling the forms off the pedestal and wall and
giving them a secondary or expanded function beyond the formal and static. We will be constructing
objects, interventions, props, tools and models that will explore notions of use, function, application, task
and performance. This arena will be a rich space to deploy poetic metaphors, present social challenges,
reveal personal predilections and dynamically activate the spaces between maker, object, audience and
impact. Prerequisites: All Foundation studio credits.
3
18 PNCA2022‐23COURSECATALOG
Crs#Name Credit
SC291/391 The Figure I or II The Figure SC291/391
This course will focus on obtaining the skills necessary to depict the human form from life, and truly
learning how to observe and work from the model. Students will become adept with proportion and scale,
and will learn how to make gestures in clay, build armatures, and create a finished figure sculpture.
Students will become familiar with the different clays and sculpting tools available. At the completion of this
course, the students will be comfortable in visualizing 3D forms in clay and how to develop their own
sculptural styles and techniques. Students at this level also begin experimentation with a range of
alternative materials and process that support current practices in contemporary art. The course will
provide an introduction to the theoretical perspective of the past, present and future state of figure
sculpture concerns. Prerequisites: All Foundation studio credits.
3
SC391 (or
SC 491)
Material, Process, Idea I or II Material, Process, Idea SC 391 (or SC 491)
This studio class is designed to immerse students in the complex interrelationship of their ideas, working
methods, material choices and language through independently directed bodies of work and through
research and experimentation and refined, concentrated approaches to sculptural problems. Students will
be asked to investigate, establish and refine the interrelated influences that direct their specific making.
They will be asked to refine their verbal language to become more fluent in both discussing and defending
the specifics of their concerns and to connect those concerns to broader conversations. They will also be
asked to refine their visual language and align it with the materials and processes they employ. Virtually
any sort of working project will be possible as long as it engages the sculptural language or an interest in
where sculptural ideas bump into imagery more commonly placed outside the sculptural discourse.
Students may start with familiar imagery, materials and processes— Track similar projects or interests they
have underway in new ways or that are sourced in different media or disciplines— or they may wish to
break new ground and explore and establish entirely new ways of communicating through making. Projects
and trajectories will be negotiated with the instructor. Prerequisites: 200 level Sculpture or permission.
3
SC293 or
SC394 or
SC494
Sculpture:Special Topics Sculpture Special topics courses are approved to take advantage of timely subjects, the expertise of a
faculty member, or to test student interest in a topic which may later be added to the curriculum. SC293
Prerequisite: Soph Standing, SC394 Prerequisite: Junior Standing, SC494 Prerequisite: Senior Standing
3
19 PNCA2022‐23COURSECATALOG
Crs#Name Credit
VIDEO & SOUND
VID211 Beginning Video This lower division studio course will explore video as a distinct medium and will encourage an
understanding of sound-image relationships. Topics include fundamentals of video editing and production,
camera use, sound acquisition, framing, composition, content and context, coverage, sequencing, and
linear and non-linear narrative structures. Premiere Pro will be the primary software used in this course. An
understanding of video and sound will be gained through lectures on historical and contemporary
applications and ideas, hands on exercises, projects, research and writing, visiting artists, discussions of
readings as well as film and video screenings. Prerequisites: All Foundation studio courses.
3
VID212 Beginning Sound This beginning level course introduces fundamental sound design, audio engineering and music production
concepts. Basic equipment will be demonstrated and used, including microphones, mixers, digital
recorders and DAW software. We will practice procedures for capturing high-quality recordings and
explore creative techniques for artistic sonic expression. We will examine sound in a variety of contexts,
including live mixing, abstract composition, editing to picture, voice recording and music. We will also
discuss relevant principles of acoustics and essential sound processing concepts. Throughout the
semester we will experience a wide range of artistic, conceptual and aesthetic approaches to working with
sound as a medium.
3
PR219 Video Sound: Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
VID312 Intermediate Sound This upper division studio course will explore sound as a medium in its own right. Advanced audio
expertise will be developed through recording, composing, mixing, scoring and improvisation. Experiential
exercises in sonic ethnography will ground our discussions in everyday life and demonstrate acoustic
principles, while improvisation workshops will develop sonic perception and communication. Studio projec
t
will focus on principles of form and signification while strengthening fundamental engineering techniques,
through practical interactions with microphones, mixers, hardware and software. Examples will be drawn
from a wide range of sources, including historical and contemporary sound art, popular and avant-garde
music and interdisciplinary contemporary arts. Students will learn to connect artistic intentions to
compositional structures and gain methods for integrating expanded sonic resources into their broader
practice. Prerequisites: VID212.
3
VID313 Screen & Devices This course investigates the role of artists in relation to mobile screens, portable media players, smart
phones and other network enabled digital devices. In individual and group projects and exercises, students
will explore both the intended modes of digital media production and the possibilities for novel forms of
expression. In parallel with the rich histories of, and intersections between, art, technology and the cultural
imagination, a versatile, cross-platform approach to problem solving will be cultivated. Emphasizing the
value of experimental research, creative inquiry and collaborative production models, students will develop
adaptive strategies applicable in a wide range of professional context.
Prerequisite: VID211-212.
3
VID314 Projection, Sound & Space This upper division studio course will explore the use of video and sound as tools to activate space.
Building on fundamental skills, this course will liberate video and sound from the confines of the single-
screen viewing environment by encouraging multidimensional approaches. Students will examine spatial
variables including architecture, scale, acoustics, sculpture, multiples, sound levels, and luminosity.
Additionally, students will gain an understanding of how time-specific elements such as cycling,
synchronization, and duration interact with space. Screenings, readings, visiting speakers, and discussions
tied to contemporary video and sound practices will help students understand their work in a broader
context. Individual and collaborative projects in this course will provide opportunities for understanding
image-sound-space relationships, developing an independent voice, and planning exhibitions.
Prerequisites: VID211 and VID212.
3
VID315 Documentary Video In this upper division studio course, we will explore documentary video and audio practices. From
conception to distribution, we will examine the role of documentary videos in our culture while
simultaneously honing our technical knowledge of the medium. Students will generate personalized
projects, proceeding from research and experimentation to proposal and production. Building on
fundamental video and sound skills, this course presents advanced methods for capturing and editing
video such as conducting interviews, storytelling techniques, and documentary ethics. The two primary
editing tools for this course are Adobe Premiere and Adobe Audition. Screenings, readings, visiting
speakers, and discussions tied to contemporary documentary video practices will provide context to the
development of individual projects. Prerequisites: Beginning Video
3
PR319 Video Sound: Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
VID412 Intermediate Sound This upper division studio course will explore sound as a medium in its own right. Advanced audio
expertise will be developed through recording, composing, mixing, scoring and improvisation. Experiential
exercises in sonic ethnography will ground our discussions in everyday life and demonstrate acoustic
principles, while improvisation workshops will develop sonic perception and communication. Studio projec
t
will focus on principles of form and signification while strengthening fundamental engineering techniques,
through practical interactions with microphones, mixers, hardware and software. Examples will be drawn
from a wide range of sources, including historical and contemporary sound art, popular and avant-garde
music and interdisciplinary contemporary arts. Students will learn to connect artistic intentions to
compositional structures and gain methods for integrating expanded sonic resources into their broader
practice. Prerequisites: Senior standing
3
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VID414 Projection, Sound & Space This upper division studio course will explore the use of video and sound as tools to activate space.
Building on fundamental skills, this course will liberate video and sound from the confines of the single-
screen viewing environment by encouraging multidimensional approaches. Students will examine spatial
variables including architecture, scale, acoustics, sculpture, multiples, sound levels, and luminosity.
Additionally, students will gain an understanding of how time-specific elements such as cycling,
synchronization, and duration interact with space. Screenings, readings, visiting speakers, and discussions
tied to contemporary video and sound practices will help students understand their work in a broader
context. Individual and collaborative projects in this course will provide opportunities for understanding
image-sound-space relationships, developing an independent voice, and planning exhibitions.
Prerequisites: Senior standing
3
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CREATIVE WRITING
CW220 Writing Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
CW221 Introduction to Short Forms This cross-genre and workshop-based writing course takes as its focus specific concerns of crafting and
reading shorter work, including compressed narrative and narrative fragments. Students will read publishe
d
writing, analyze literature, write original material and offer feedback for the work of their peers. They will
gain familiarity with the conventions of the traditional short-story as well as flash fiction, (a.k.a. the “short-
short,”) short poetry forms, the ten-minute play, the one-page essay or editorial, the conte, and micro-
formats, including social media and the nascent art of serialized literary work delivered in microinstallments
via hand-held technology as either self-published material or with indie or corporate representation.
Assigned readings will model successful writing, articulate aesthetic values, and offer a platform for
discussion and debate. Students will complete a final project which may take the form of a portfolio,
creative work with an analytical explication, an anthology with a contextualizing introduction, or other
comprehensive work spanning creative, analytic and intellectual processes and production. This course
counts as a studio elective for all other areas of concentration.
Prerequisite: LA122.
3
CW223 Expanded Poetic Fields This workshop-based writing course includes the study of language-based creative work not dependent
upon or highly utilizing a narrative line to sustain or construct meaning, and that foregrounds language’s
malleability and potential for expression. Over the course students will investigate and gain an
understanding of contemporary poetics and writing for various media. This course welcomes consideration
of language as object, of word as symbol, and of image as mark-making alongside written words. Students
will read assigned work; consider related images, visual material, and videos; write in class; work on
projects outside of class; share work in a guided peer review; complete a substantial final project.
3
CW224 Scripting This course introduces students to the basic terminology, tools and media of contemporary scriptwriting,
with specific emphasis and practice in telling stories destined for the stage, television, film, comics, and/or
games. Course time will be spent in a combination of lecture blended and peer critique in a workshop
setting. Upon successful completion of this course, students will have learned the basics in the craft of
scriptwriting, conceived a workable idea, formulated an outline for the expression/ execution of that idea,
and made significant work towards a complete and cohesive script for a stage production, television
pilot/series, film, comics series/graphic novel, or board/videogame. This course counts as a studio elective
for all other areas of concentration.
Prerequisite: LA122.
3
CW225 Writing with Digital Media Surveying established and emergent modes of writing across media, this writing-based course augments
traditional scholarship with the affordances of digital technology and social media. Drawing on the histories
of language and the theories of linguistics and performance, students will explore new possibilities for the
articulation and analysis of their ideas. Through various lenses, this course investigates themes such as
translation, redaction, immediacy, visibility/invisibility, and various forms of remediation as they are
manifest in flash fiction, dead drops, and other new media platforms. The course explores how new
technologies depend on and reanimate ancient ways of thinking about language, communication, and
meaning making. This course counts as a studio elective for all other areas of concentration.
Prerequisite: LA122.
3
CW320 Creative Writing Special
Topics
Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
CW322 Lit Zine Lit Zine. During the semester, students will design and publish the BFA in Writing Program’s literary arts
journal, which features fiction, creative non-fiction, and poetry and showcases the creative writing work of
the BFA in Writing Program and the PNCA community. Students working on the journal will solicit original
work by student writers and artists, set up promotional events, and network with writers and publishers
within the Portland area and beyond, if desired. They will also workshop their own creative writing. As part
of this process, students will study history of small press and independent press literary journals along with
the people and movements related to (and responsible for) this history. At the end of the semester,
students will organize and host a release party to share their work with the PNCA community.
Prerequisites: LA122, or a 200-level Writing course, or Instructor permission.
3
CW323 Poetry Intensive This writing intensive poetry studio course is designed to expose students to a variety of language-driven
creative works and to support a rigorous poetry writing practice in its participants. Students will read, hear,
and witness the delivery of poetic forms, and will write original work throughout the semester. Assignment
s
both in class and those to be completed outside of class, will move from idea generation to editing and re-
envisioning. Students will present their work for critique several times during the semester and participate
in a collaborative project. The final project can take multiple forms, such as a portfolio, chapbook, e-book,
or digital installation, etc., and will draw from works produced during the semester, reproducing the
professional writing practice of generation, revision and submission or presentation/exhibition. In addition t
self-directed independent study of writers chosen by the student, a selection of shared reading
assignments will help students frame/consider questions about immediacy and accessibility, narrative, non-
linearity, dissonance, collage and other contemporary poetic concepts. In this section, student participation
will include workshop, discussion and critique forums, as well as self-directed study. The course will open
and close with a discussion around the idea of what and where the poetic exists in a contemporary, media-
driven landscape (print publishing, online, performance, etc.). This course counts as a studio elective for all
other areas of concentration. Prerequisites: LA122, or a 200-level Writing course, or Instructor permission.
3
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CW324 Scripting Intensive This course builds on Introduction to Scripting, giving students creative time to practice and employ
methods learned. It focuses on terminology, tools and media of contemporary scriptwriting in consideration
of the stage, television, film and/or comics alongside analysis of successful work by professionals in the
field. Course time will be spent in a combination of lecture and peer critique in a workshop setting. Upon
successful completion of this course, students will have put into practice the basics of the craft of
scriptwriting, conceived a workable idea, formulated an outline for the expression/execution of that idea,
and maintained creative momentum toward a complete and cohesive script for a stage production,
television pilot, film or graphic novel. They will have also closely considered the work of a professional in
the field and written a detailed analysis and presentation of that writer's work.This course counts as a
studio elective for all other areas of concentration. Prerequisites: LA122, or a 200-level Writing course, or
Instructor permission.
3
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LIBERAL ARTS
Crs# Course Name Description Credit
AH210 Introduction to World Art
History
This one-semester survey introduces the student to basic concepts and tenets of art history. Lectures,
group discussion and in-class exercises are designed to foster development of the critical and analytical
skills needed to pursue more focused study and to help students situate their own practice within the
contemporary, global and diverse art world. Thematically organized, the course considers diverse media
and samples art and design from a variety of cultures. The course asks students to consider the following
questions: Why does art from the past look the way it does? How are the creation, process, appearance,
and reception of art dependent on cultural context? How do different cultures express similar ideas
differently? How do the subjects, impetuses and goals from the past inform contemporary art?
Prerequisite: LA121-122.
3
AH213 History of Design Arts History of Design Arts introduces students to a wide span of eras, cultures, ideas, and practitioners that
shaped graphic history and continue to shape it today. Students will examine key historical figures and
movements from different vantages, mapping the intersections of design, illustration, and communication
through diverse yet overlapping critical lenses. In two-week segments, the class will consider the big
picture of graphic history through one of its formative themes to analyze how the forces of culture, media,
technology, style, and marketplace have formed the graphic arts through their overlaps, collisions, fusions,
and innovations. Through guided discussions, collaborative workshops, and research projects, students
will grapple with how design practices throughout history relate to the contemporary state of Graphic
Design and illustration.
Prerequisite: AH210.
3
AH214 History of Printed Matter The historical-social context of “print & paper culture” from its historic roots to contemporary culture will be
viewed through systems of production & distribution, conditions of power & dissent, knowledge platforms,
and the existing and evolving tactics and strategies around communication & visual representation.
Philosophies, ideas, practices and personalities of print media and the multiple will be studied through
these lenses and will track the influences and rich inspirations from global cultural perspectives.
Coursework includes weekly reading selections, two formal analysis essays, a multi-step research project
and an in-class presentation. Prerequisite: AH210.
3
AH215 History of Object, Space, and
Time
History of Object, Space, and Time<p>This is a course that traces the twentieth century shift in our
understanding of three- dimensional art from the Modernist concept of the unique, original, autonomous
object to the more contemporary perspective of experience, space and time. It also builds a foundation for
approaching sculpture, installation, video and performance work, as well as, developing skills in reading,
writing, research and analysis. Laying a firm foundation for students interested in sculpture as well as,
interdisciplinary and intermedia practices, this course provides a point of departure for upper division liber
a
arts classes and contemporary studio critique.
Prerequisite: AH210.
3
AH216 History of Moving Image This course charts a history of moving image arts and artists operating within, alongside and in opposition
to dominant forms of cinema, television and digital media. We will survey work by video artists, filmmakers
animators and new media artists, critically viewing examples of works that use the tools and techniques of
realism, abstraction, appropriation, documentary, and performance. We will inform our understanding of
the historical and social context of these works by reading and discussing historical, theoretical, and critical
texts that relate to the weekly screenings. In addition, writing assignments, moving image analysis and
class discussions will provide students with opportunities to increase and enrich the range of their media
literacy skills.
Prerequisite: AH210.
3
AH217 History of Photography This course will study a wide range of images, critical theories, and creative practices that have
informed photography's social and artistic history. We will examine our contemporary understanding of
photography through an investigation of the social discourse and artistic trends that have surrounded
photography's evolution. We will look at the evolution of photographic technologies, techniques and
images, as well as the various roles photography has served in our culture through design, commercial art,
journalism, and emerging photographic media. Our exploration of this material will be made up of weekly
readings, discussions, lectures, and independent writing and research.
Prerequisite: AH210.
3
AH218 History of Painting and
Drawing
This History of Painting and Drawing surveys the history, philosophies, practices, and personalities of
painting and drawing from their Paleolithic origins to their current status throughout the Western world.
Emphasis is given to major works studied in relation to the evolution of style, technical innovations and
developments, and the history of ideas. Influences and inspirations of non-Western works will be
addressed as pertinent. Hierarchies of the discipline will also be discussed within the canon of the visual
arts. For example, we will address the grandeur of history painting in the 18th century French Academy
and the inclusion of graffiti into the institution in the late 20th century. Prerequisite: AH210.
3
AH311 Art Since 1945 Each semester of this art history survey focuses on developments in the visual arts after WW II primarily o
f
Western traditions, yet with increasing acknowledgement of our global culture. Media covered includes
painting, construction and sculpture, environmental art, performance, mixed media, video, and
experimental film. AH311 focuses on Abstract Expressionism to Minimalism, while AH312 begins with Pos
Minimalism and continues to examine contemporary issues. Both semesters study individual artists and
address the ideas and cultural context of visual art and contemporary art criticism.
Prerequisites: AH210 and a 200-level "History of ..." class.
3
AH312 Contemporary Art History Each semester of this art history survey focuses on developments in the visual arts after WW II primarily o
f
Western traditions, yet with increasing acknowledgement of our global culture. Media covered includes
painting, construction and sculpture, environmental art, performance, mixed media, video, and
experimental film. AH 311 focuses on Abstract Expressionism to Minimalism, while AH 312 begins with
Post-Minimalism and continues to examine contemporary issues. Both semesters study individual artists
and address the ideas and cultural context of visual art and contemporary art criticism.
Prerequisites: AH 210 and a 200-level "History of ..." class.
3
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AH319 Art History Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Prerequisites:
A
H210 and a 200-level "Histor
y
of ..." class
.
3
AH419 Art History:Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum. Prerequisites:
LA122
,
AH210.
3
LA225 Society and Culture The Perspectives on Society and Culture courses aim to introduce students to wider cultural
conversations, providing context for deeper inquiry. The course explores fundamental questions and
methods in the disciplines found under the umbrella term of social science. Topics will be drawn from
Cultural Anthropology, Ethnic Studies, Gender Studies, History, Media Studies, Philosophy, Politics,
Psychology, Religious Studies, Sexuality, Social and Environmental Justice, and Sociology. Topics offered
on a rotational basis. Prerequisite: LA122 and LA125.
3
LA321 Social Science Seminar The Social Sciences encompass anthropology, geography, history, religion, politics, economics,
psychology and sociology. In this upper-division seminar, a selection of topics are offered each semester
and studied in a way that offer students the opportunity to study a particular historical period or problem or
a specific issue within the social sciences. Students investigate and apply the principles and methods of
inquiry and critique, reading a variety of scholarly articles and monographs and completing at least one
research project. The course also addresses the relationship of social science to other disciplines and to
the arts. Recent offerings include: A History of Expositions, Race in America, and Reconsidering the Good
War.
Prerequisites: LA122, LA225.
3
LA325 Literature Seminar An upper-division literature course on topics related to concerns of the studio artist. Every semester,
faculty propose topics and/or forms of literature in which they ask students to actively investigate and
participate. Recent offerings include: Poetry, Aesthetics of Ugliness, Ethnic American Experience in
Literature and Film, Race in America, Reading the Personal Memoir, Science F(r)iction, Page to Film:
Writing & the Movies, and Hippie!
Prerequisites: LA122, LA225.
3
LA410 Liberal Arts Special Topics Liberal Arts Special Topics courses are approved to take advantage of timely subjects, the expertise of a
faculty member, or to test student interest in a topic which may later be added to the curriculum.
Prere
q
uisites: Senior standin
g
or
p
ermission of De
p
tartment Chai
r
3
LA421
LA521
Research for a Creative
Practice
This course provides a framework for students to examine ideas relevant to their critical investigations and
art and design projects, in order to help them contextualize their work in relation to historical, sociopolitical,
scientific, and cultural perspectives. Students in this course demonstrate the ability to frame questions and
concepts, and to incorporate research methodologies into ongoing inquiry presented through a variety of
formats including extended note-taking, annotated Bibliographies, important terms, quotes, and summaries
and responses collected in a research journal/log. The emphasis is on research as a process of critical
engagement and inquiry in order to observe connections between seemingly disparate ideas, to hone a
well-founded point of view, to plan future actions and strategies, to make predictions, and to ask more
insightful questions. While this research will inspire creative projects (either in parallel or in the future), the
actual projects are outside the scope of this class. Environment (Internal, External and Constructed
Worlds): This theme will explore the ways in which we conceptualize and are affected by our surroundings.
We will examine the cultural constructs and scientific underpinnings of environmental; sustainable;
wilderness; development and other terminology derived from our socio-economic discourse, and the way
these concepts interact with our internal psychology and exists as part of our governance structure.
Research topics include issues of climate change, international aid, pollution, environmental justice, policy
and law, psychology, evolution and the mind. Prerequisite: Senior or second semester Junior standing, or
permission of Instructor or Liberal Arts Chair.
3
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LIBERAL ARTS - MATH - SCIENCE
MATH
MTH101 Mathematics Mathematics courses inspire you to critically and imaginatively engage with a complex and evolving world
increasingly influenced by data, technology and science. The curriculum emphasizes research, debate and
creative inquiry; cultivates an appreciation of beautiful ideas and powerful methods; and empowers your
with the analytical tools, research skills, and knowledge base to reason logically, to argue persuasively,
and to interpret theories in science and mathematics through a creative and considered lens. Prerequisite:
None
3
Various Topics
MTH101 Mathematics:Geometry… Geometry:subjects may include Topology, Knot Theory, Symmetry, Polyhedral or other Models.
Mathematics courses inspire you to critically and imaginatively engage with a complex and evolving world
increasingly influenced by data, technology and science. The curriculum emphasizes research, debate and
creative inquiry; cultivates an appreciation of beautiful ideas and powerful methods; and empowers your
with the analytical tools, research skills, and knowledge base to reason logically, to argue persuasively,
and to interpret theories in science and mathematics through a creative and considered lens. Prerequisite:
None
3
MTH101 Mathematics: Visual
Mathematics
Visual Mathematics This course offers an exploration of visual aspects, manifestations, and techniques of
mathematics. In this class, we will cover topics such as symmetry, tessellation, non-Euclidean geometry,
topology and knot theory, and the fourth dimension. We will learn practical visual techniques that aid with
calculation, and explore the ways that mathematics pushes at the boundaries of what is representable. We
will also investigate mathematical ways of making, such as algorithms, and understand the concepts that
underpin the creation of mathematically sophisticated visual objects. Prerequisite: None
3
MTH101 Mathematics: Number
Theory…
Number Theory, Cryptography, Data Mining and Analysis, Discrete Mathematics. Mathematics courses
inspire you to critically and imaginatively engage with a complex and evolving world increasingly influenced
by data, technology and science. The curriculum emphasizes research, debate and creative inquiry;
cultivates an appreciation of beautiful ideas and powerful methods; and empowers your with the analytical
tools, research skills, and knowledge base to reason logically, to argue persuasively, and to interpret
theories in science and mathematics through a creative and considered lens. Prerequisite: None
3
MTH101 Mathematics: Financial Math
for Artists
Mathematics: Financial Math for Artists. This is an introductory course to Financial Mathematics. In this
course students will learn how to work with interest, loans, and debt. Students will also learn how to create
a price point for their art. By the end of the course students will be able to create both professional and
personal budgets. Prerequisite: None
3
MTH101 Mathematics:Computer
Science…
Topics Include Programming, Mathematical and Boolean Logic, Algorithms, Data Structures. Mathematics
courses inspire you to critically and imaginatively engage with a complex and evolving world increasingly
influenced by data, technology and science. The curriculum emphasizes research, debate and creative
inquiry; cultivates an appreciation of beautiful ideas and powerful methods; and empowers your with the
analytical tools, research skills, and knowledge base to reason logically, to argue persuasively, and to
interpret theories in science and mathematics through a creative and considered lens. Prerequisite: None
3
MTH101 Mathematics:Physics… Topics are quantitative methods only and must include trigonometry/calculus. Mathematics courses inspire
you to critically and imaginatively engage with a complex and evolving world increasingly influenced by
data, technology and science. The curriculum emphasizes research, debate and creative inquiry; cultivates
an appreciation of beautiful ideas and powerful methods; and empowers your with the analytical tools,
research skills, and knowledge base to reason logically, to argue persuasively, and to interpret theories in
science and mathematics through a creative and considered lens. Prerequisite: None
3
SCIENCE
SCI223 Natural Science Each semester of this science class introduces and explores the scientific worldview and its impact on the
contemporary landscape and society through a variety of windows. Students learn scientific vocabulary
and principles, practice empirical interpretation of the physical world, are introduced to current research
areas, and investigate parallels between science, sociology, and the arts. Topics range from global to local
interests including: Global Environmental Issues, Food Production and our Environment, Evolution, and
Plant Ecology of the Pacific Northwest.
Prerequisite: LA122.
3
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NON-DEPARTMENTAL
ND300 Independent Study Independent Study Contracts are available in the Academic Affairs Office. They require the approval of the
Department Chair and Academic Dean. Independent Study is for the purpose of studies which are not
incorporated into the curricula of regular classes. Students are encouraged to enroll in regularly scheduled
courses whenever possible. Many studio courses may be repeated for additional credit. Independent Stud
y
may not be used to add additional credit to an existing course. The student is restricted to no more than
one Independent Study per semester. One credit of Independent Study requires 3 hours of work per week
for 15 weeks, or 45 hours of work. Faculty contact is defined as 3 hours per credit per semester, with
meeting times arranged. Studio work: Independent Study is available only to full-time Junior or Senior clas
level students. An Independent Study may be for no more than 3 studio credits. Independent Study in
Liberal Arts is available to all levels, no more than 3 credits per semester.
1 to 3
ND301 Internship An art-related work experience administered by the Career Center Office. Internships, graded on a
pass/fail basis, may range from 1 to 6 credits, at a ratio of 45 hours of work per credit. Available to juniors
and seniors.
1 to 6
ND302 Global Studios: The PNCA Global Studios Program is founded on the principles of experiential education and intended to
lead students to engage in creative practice in unfamiliar cultural settings. A high standard of creative
practice in the contemporary world is an understanding of the communicative value and effect of work on a
g
lobal sta
g
e
.
3
ND303 Semester Abroad PNCA students are encouraged to spend a semester abroad with one of our exchange partners or
program affiliates. Contact the Academic Advisor International for details of available programs and
eli
g
ibilit
y
re
q
uirements
12
ND305 AICAD Mobility MOBILITY PROGRAM - Students can spend one semester in their junior year at a sister art school within
the US or Canada. Participating schools are members of AICAD (Association of Independent Colleges of
Art & Design). Not all AICAD members participate in this program so see Student Handbook for list of
participants. Students apply in their sophomore year and can apply to more than one school. If accepted,
the student pays PNCA tuition, but will be responsible for any non-tuition fees required by the Host
institution.
12
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THESIS & Senior year
TH 300 Professional Practice During the course of this semester each student will build professional strategies, further develop their
portfolio, identify audiences and establish life habits, using recently completed creative projects, resources
culled from their digital archive, tied to future planning and aspirational goals. Based upon awareness of
students existing strengths and need for further development, the course prepares students for a
successful Thesis year and the pursuit of postgraduate and/or professional pathways. Through iteration,
research, and practice, students will complete this course with a digital portfolio, resource archive, visual
and verbal presentation skills and a practical and conceptual framework toward professional pathways.
Prerequisites: second semester junior standing.
3
(dept) 410 400 LEVEL - Special Topics Special topics courses are approved to take advantage of timely subjects, the expertise of a faculty
member, or to test student interest in a topic which may later be added to the curriculum.
3
TH 401 Thesis Critique Seminar This course provides a forum for developing, researching, presenting and critiquing an independent studio
practice, resulting in the final execution of a thesis project the following term. The curriculum is designed to
support the first semester thesis student as they address issues of context, audience, methods and
strategies relating to contemporary practice and individual expression. Classes will be cross-departmental
and students will participate in individual and group critiques, discussions, written assignments and
presentations. Prerequisite: Senior standing.
3
TH 453 Thesis Development Thesis Development - Graphic Design & Illustration This course provides an in-depth exploration into the
daily practice of the professional Designer or Illustrator, equipping the student with the skills and knowledge
to effectively enter the professional job market. Central to this work is the preparation & building of a final
portfolio in both web & traditional formats. The primary goal of this course is the development of a Design
Arts Thesis Proposal. This comprehensive project, while having a clear independent language, will also
function as a conceptually and visually integrated component of the student's final graduation portfolio.
Additionally, the course is designed to engage each student in a comprehensive investigation of creative
professional practice with a strong emphasis on client-based application and entrepreneurial studies.
Ultimately, students will form the basis of a creative strategy for life beyond PNCA. Students will engage in
systems & methodologies for the creation of complex, multi-level design & imagebased project proposals
presented visually, verbally, and in writing. They will sharpen their analytical & conceptual skills, broaden
their ability to place their work within historical, cultural and theoretical contexts and create a consistent
voice in their visual, written and oral communication. In collaboration with the other 400 level courses,
Design Arts Thesis Development begins a rigorous & inspiring senior year experience that integrates art
making, design strategies, and contemporary creative business practices.
3
TH 499 Thesis - Project The BFA Thesis is a creative project and related writing elements that are developed in conjunction with
one another and whose form and content are informed by research. Each student completes a coherent
body of work or a substantial singular project that evolves from the student’s creative practice and
demonstrates vision, thought, competence, and an understanding of the work’s historical and social
context and reflects the maturity of the artist. The Thesis Project will be completed during the second
semester of the student’s senior year and presented during Focus Week of that semester. Prerequisite:
Senior standing and TH401.
3
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POST-BACCALAUREATE
PB300 Post Bacc Independent Studio Post-Baccalaureate Independent Studio: In consultation with their mentor, each student will undertake in-
depth, self-determined, studio exploration, engage in research relevant to their studio work, and participate
in critique and dialog. Students may choose to take Independent Studio for 6 or 9 credits depending upon
their desire/need to take an additional Elective or an Internship.
6 to 9
29 PNCA2022‐23COURSECATALOG
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HF501 Graduate Internship This graduate level internship is a work experience intended to supplement your academic, creative and
professional education. Internships introduce you to a specific field, bridge the academic environment with
the world of employment and provide a unique opportunity to gain valuable professional experience before
graduation. Internships can help build your résumé and expand your network of professional connections.
Administered by Career Design, internships are graded on a pass/fail basis, may range from 1 to 6 credits,
at a ratio of 45 hours of work per credit. All internships must be approved with the office of Career Design
1 to 6
HF502 Independent Study Graduat
e
Program
Independent Study requires approval of the Dept. Chair. Independent Study Form available from Dept. Chair.
The Hallie Ford School of Graduate Studies at PNCA
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GRADUATE / Applied Craft and Design
ACD501 Studio Practice With students’ individual spaces located in a workshop environment, the AC+D Program embraces an
approach to design rooted in the culture of making and emphasizes learning from materials to ground
concepts.
A central feature of the studio experience is the one-on-one interaction with a mentor selected by the
student and Program Head. The mentor-student relationship is personal and unique and is at the heart of
the MFA in Applied Craft and Design Program. The mentor acts as an advocate, critic, resource, and
colleague for the student, providing a supportive setting to pursue a self-designed, independent
investigation, and experimentation.
The mentor meets with the student for 60 minutes per week, guiding the student in explorations, discussing
the student’s goals, and fostering an awareness of social, environmental, and ethical concerns and
responsibilities in the student’s creative practice. Mentors are selected from a group of accomplished
artists, designers, makers, and faculty. The Program Head will connect the student with a mentor whose
expertise is directly relevant to the student’s focus.
6
ACD502 Studio Practice With students’ individual spaces located in a workshop environment, this Program embraces an approach
to design rooted in the culture of making, and emphasizes learning from materials to ground concepts. A
central feature of the studio experience is the one-on-one interaction with a mentor selected by the student
and Program Chair. The mentor-student relationship is personal and unique, and is at the heart of the MFA
in Applied Craft and Design Program. The mentor acts as advocate, critic, resource, and colleague for the
student, providing a supportive setting to pursue self-designed, independent investigation and
experimentation. The mentor meets with the student for approximately 1.5 hours per week, guiding the
student in his/her explorations, discussing the student’s goals, and fostering an awareness of social,
environmental and ethical concerns and responsibilities in the student’s creative practice. Mentors are
selected from a group of accomplished artists, designers, makers, and faculty.The Program will connect
the student with a mentor whose expertise is directly relevant to the student’s focus.
6
ACD525 Critique Seminar Through Seminar, students engage in thorough, critical analysis of work-in-progress, benefiting from in-
depth exposure to the wide variety of disciplines represented in the program. This course includes group
critiques with guest critics, studio and design firm visits, workshops, and one-on-one dialogue with leading
contemporary practitioners and theorists through the Program’s Visiting Artists Series. Emphasis is placed
on cultivating the synergistic relationship between the act of making and designing, as well as on seeking
opportunities for cross-pollination between disciplines. Students working with metal, for instance, are
encouraged to look for possibilities to incorporate or adapt conceptual and technical approaches of
students working with wood, ceramics, or fibers, etc. In Seminar students explore issues and topics such
as: the relationship of identity and status to material processes; the impact of knowledge-based social
policy on craft culture; the concept of gesamtkunstwerk in contemporary society; and the potential for
integration of the hand-made into computer based, menu-driven design assemblies.
3
ACD526 Critique Seminar Through Seminar, students engage in thorough, critical analysis of work-in-progress, benefiting from in-
depth exposure to the wide variety of disciplines represented in the program. This course includes group
critiques with guest critics, studio and design firm visits, workshops, and one-on-one dialogue with leading
contemporary practitioners and theorists through the Program’s Visiting Artists Series. Emphasis is placed
on cultivating the synergistic relationship between the act of making and designing, as well as on seeking
opportunities for cross-pollination between disciplines. Students working with metal, for instance, are
encouraged to look for possibilities to incorporate or adapt conceptual and technical approaches of
students working with wood, ceramics, or fibers, etc. In Seminar students explore issues and topics such
as: the relationship of identity and status to material processes; the impact of knowledge-based social
policy on craft culture; the concept of gesamtkunstwerk in contemporary society; and the potential for
integration of the hand-made into computer based, menu-driven design assemblies.
3
ACD535
Creative Entrepreneurship I The Creative Entrepreneurship course provides a comprehensive introduction to establishing and
sustaining a creative entrepreneurial endeavor, with an emphasis on professional arts practices and
strategies for small businesses. The course is structured as a series of modules overseen by the instructo
r
exposing students to the fundamentals of business, marketing, and financial planning for a hybrid based
arts practice or small business.
Through intense thematic workshops students develop a creative business pitch, explore strategies for
networking and self promotion, and learn the basic fundamentals related to legal, tax, and accounting
issues. In support of the Program’s philosophy of engagement through service learning, each student
networks with creative professionals through off campus studio visits and potential internship opportunities.
Prerequisites: Students outside of the Applied Craft + Design Program: Permission of instructor
The year-long course is organized across two semesters, breaking each semester into quarterly modules
that serve as intense thematic workshops. Each thematic workshop results in one to three assignments
and requires students to make and produce materials outside of class (six required hours per week). The
modules are a la carte, tailored to the specific interests of an arts based practice or a small business,
resulting in personalized curriculum.
3
31 PNCA2022‐23COURSECATALOG
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ACD551 Modern Craft & Design History Critical Studies courses challenge students to develop in-depth knowledge of social and environmental
movements in Modern craft and design history, articulate positions in discussions concerning
contemporary craft and design theory, and place current trends in making into a global context. Studies in
modern craft and design history emphasize a careful engagement with key individuals and movements
rather than a comprehensive survey. Students focus not only on the history of these fields, but on the
critical discussion of the scholarship that frames them. In becoming fluent in contemporary theory, students
investigate the DIY movement, concepts such as valorization of the hand, and the shifting boundaries and
relationships between fine art, craft, and design. Examining the transformation of craft traditions and
adaptive reuse of materials in craft and design globally — and in developing countries in particular —
students explore notions of individual and collective identity. In support of the Program's emphasis on
applied knowledge, students are required to submit research papers to peer-reviewed journals or
conferences in each of the three Critical Studies courses.
3
ACD552 Critical Studies: Theory of the
Object
This course attempts to map productive, perhaps unexpected, interfaces between craft, design, art,
architecture, and technology, and develop means for thinking about emerging disciplines and applications
that may synthesize them in interesting ways. Our questions include: What are the relations between
material culture, thought, creativity, tradition, and innovation? What is a thing in the age of the telematic,
and what is its fate? What does it mean to speak of an "impossible object"? What are the relations
between hand and mind, human and machine, making and thinking, objects and systems, and what are the
ramifications of their interaction for perception, sensibility, and intelligence? Part of our task will entail
looking at some things that may or may not be things, from pots, rings, and wheels to puzzles, labyrinths,
and column capitals to photographs, money, and prims to applications that utilize the perennial techniques
of craft in novel fashion, for example, textile weaving as a model for 3-D tissue-regeneration scaffolding.
Criteria for judgment include scale, texture, contrast, material, dimensionality, process, pattern, hapticity,
interactivity, function, and use-value, among others. Readings include works by Flusser, Kubler,
Heidegger, Benjamin, Belting, McLuhan, Bachelard, Perec, Summers, Lacan, Ruskin, Tufte, and Focillon.
By the end of the course, students will be able to think critically and creatively about questions relevant to
their discipline, exhibit mastery of a sophisticated lexicon, and explore interesting conjunctions of theory
and practice in their work and that of others.
3
ACD601 Studio Practice With students’ individual spaces located in a workshop environment, the AC+D Program embraces an
approach to design rooted in the culture of making and emphasizes learning from materials to ground
concepts.
A central feature of the studio experience is the one-on-one interaction with a mentor selected by the
student and Program Head. The mentor-student relationship is personal and unique and is at the heart of
the MFA in Applied Craft and Design Program. The mentor acts as an advocate, critic, resource, and
colleague for the student, providing a supportive setting to pursue a self-designed, independent
investigation, and experimentation.
The mentor meets with the student for 60 minutes per week, guiding the student in explorations, discussing
the student’s goals, and fostering an awareness of social, environmental, and ethical concerns and
responsibilities in the student’s creative practice. Mentors are selected from a group of accomplished
artists, designers, makers, and faculty. The Program Head will connect the student with a mentor whose
expertise is directly relevant to the student’s focus.
6
ACD602 Studio Practice With students’ individual spaces located in a workshop environment, this Program embraces an approach
to design rooted in the culture of making, and emphasizes learning from materials to ground concepts. A
central feature of the studio experience is the one-on-one interaction with a mentor selected by the student
and Program Chair. The mentor-student relationship is personal and unique, and is at the heart of the MFA
in Applied Craft and Design Program. The mentor acts as advocate, critic, resource, and colleague for the
student, providing a supportive setting to pursue self-designed, independent investigation and
experimentation. The mentor meets with the student for approximately 1.5 hours per week, guiding the
student in his/her explorations, discussing the student’s goals, and fostering an awareness of social,
environmental and ethical concerns and responsibilities in the student’s creative practice. Mentors are
selected from a group of accomplished artists, designers, makers, and faculty. The Program will connect
the student with a mentor whose expertise is directly relevant to the student’s focus.
6
ACD625 Critique Seminar Through Seminar, students engage in thorough, critical analysis of work-in-progress, benefiting from in-
depth exposure to the wide variety of disciplines represented in the program. This course includes group
critiques with guest critics, studio and design firm visits, workshops, and one-on-one dialogue with leading
contemporary practitioners and theorists through the Program’s Visiting Artists Series. Emphasis is placed
on cultivating the synergistic relationship between the act of making and designing, as well as on seeking
opportunities for cross-pollination between disciplines. Students working with metal, for instance, are
encouraged to look for possibilities to incorporate or adapt conceptual and technical approaches of
students working with wood, ceramics, or fibers, etc. In Seminar students explore issues and topics such
as: the relationship of identity and status to material processes; the impact of knowledge-based social
policy on craft culture; the concept of gesamtkunstwerk in contemporary society; and the potential for
integration of the hand-made into computer based, menu-driven design assemblies.
3
32 PNCA2022‐23COURSECATALOG
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ACD626 Critique Seminar Through Seminar, students engage in thorough, critical analysis of work-in-progress, benefiting from in-
depth exposure to the wide variety of disciplines represented in the program. This course includes group
critiques with guest critics, studio and design firm visits, workshops, and one-on-one dialogue with leading
contemporary practitioners and theorists through the Program’s Visiting Artists Series. Emphasis is placed
on cultivating the synergistic relationship between the act of making and designing, as well as on seeking
opportunities for cross-pollination between disciplines. Students working with metal, for instance, are
encouraged to look for possibilities to incorporate or adapt conceptual and technical approaches of
students working with wood, ceramics, or fibers, etc. In Seminar students explore issues and topics such
as: the relationship of identity and status to material processes; the impact of knowledge-based social
policy on craft culture; the concept of gesamtkunstwerk in contemporary society; and the potential for
integration of the hand-made into computer based, menu-driven design assemblies.
3
ACD635 Creative Entrepreneurship II The Creative Entrepreneurship course provides a comprehensive introduction to establishing and
sustaining a creative entrepreneurial endeavor, with an emphasis on professional arts practices and
strategies for small businesses. The course is structured as a series of modules overseen by the instructo
r
exposing students to the fundamentals of business, marketing, and financial planning for a hybrid based
arts practice or small business.
Through intense thematic workshops students develop a creative business pitch, explore strategies for
networking and self promotion, and learn the basic fundamentals related to legal, tax, and accounting
issues. In support of the Program’s philosophy of engagement through service learning, each student
networks with creative professionals through off campus studio visits and potential internship opportunities.
Prerequisites: Applied Craft + Design Students are required to take AGD535 to enter into AGD635.
Students outside of the Applied Craft + Design Program: Permission of instructor. The year-long course is
organized across two semesters, breaking each semester into quarterly modules that serve as intense
thematic workshops. Each thematic workshop results in one to three assignments and requires students to
make and produce materials outside of class (six required hours per week). The modules are a la carte,
tailored to the specific interests of an arts based practice or a small business, resulting in personalized
curriculum.
3
ACD671 Practicum Practicum will focus on supporting the introduction to your Thesis project along with facilitating your
Practicum Committee Meetings. The Thesis emphasizes the practical application of knowledge or skill in a
new way, through an independent project approved by the student’s committee during the Thesis Proposa
The main thrust of the Thesis is to create work through engagement with a specific audience, community,
client, or user, and with an emphasis on addressing social and environmental concerns. The type and
scale of projects students pursue for the Thesis ranges widely, but is centrally informed by the act of
making and design-thinking. The Thesis is intended to be an externalized expression of the work produced
in Studio Practice and requires a Thesis paper. In preparing the rationale for your Thesis Proposal,
students pursue rigorous methods of applied research, as well as utilizing strategies to identify and interact
with various stakeholders. Students present reports of their progress to their committee at preliminary and
intermediate stages. Upon completion, the Thesis culminates in a formal public presentation during the
Spring term.
3
ACD672 Practicum The Practicum is similar to a Thesis, but emphasizes practical application of knowledge or skill in a new
way, through an independent project approved by the student’s committee. The main thrust of the
Practicum is to create work through engagement with a specific community, client, or user, and with an
emphasis on addressing social and environmental concerns. The type and scale of projects students
pursue for the Practicum ranges widely, but is centrally informed by the act of making and design-thinking.
The Practicum is intended to be an externalized expression of the work produced in Studio Practice, and
requires a capstone paper. In preparing the rationale for their proposal, students pursue rigorous methods
of applied research, as well as utilizing strategies to identify and interact with various stakeholders.
Students present reports of their progress to their committee at preliminary and intermediate stages. Upon
completion, the Practicum culminates in a formal public presentation.
3
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GRADUATE / Collaborative Design & Design Systems
COL500 Studio Elective MFA in Collaborative Design Electives - THE INSTITUTES IN COLLABORATIVE DESIGN are a series of
workshops that introduce new design strategies and methods for stakeholder engagement. Each worksho
p
is led by a different innovator in the design field. Past presenters include Carl DiSalvo, Tad Hirsch,
Catherine Kramer, Stewart Long, Sara Huston, and Don Harker. Their inquiries into the intersections of
politics, engineering, environmentalism, and design have resulted in a range of provocative and innovative
projects. Topics of exploration have included web-based networks that regulate social and environmental
accountability, mapping software that enables people to avoid CCTV surveillance, traditional ecological
knowledge mapping, ecosystem design, process design for tsunami cleanup, gardening robots, edible
clouds, and cross-species picnics.
3
COL501 CD Studio I Collaborative Design Studios are structured to give students a hands-on experience of working intimately
with clients, collaborators and partners, and to go through the process of formulating a project that must be
client-centric. Each studio begins with a design brief and initial resources, moves to problems and
challenges, ideation, prototype solutions, and finishes with deliverables. Studio design briefs will adapt
each year to local, regional and global opportunities, as well as faculty and student interests. Topic area
include: Design Ethnography, Product Design, Living Systems Design, Redesign, Participatory Design,
Disruptive Design, Institutional Design, Video Design, Sound Design, Rapid Prototyping, Design
Essentials, Science, Policy & Design.
3
COL502 CD Studio II Graduate Studios are structured to give students a hands-on experience of working intimately with clients,
collaborators and partners, and to go through the process of formulating a client-centric project. Each
studio will facilitate a pattern of discovery, proposal, and build, where students are presented with – or
develop - a design brief, and collaboratively create potential design solutions. Graduate Studio topics will
adapt each year to local, regional and global opportunities and concerns, as well as faculty and student
interests.
3
COL503 CD Studio III Graduate Studios are structured to give students a hands-on experience of working intimately with clients,
collaborators and partners, and to go through the process of formulating a client-centric project. Each
studio will facilitate a pattern of discovery, proposal, and build, where students are presented with – or
develop - a design brief, and collaboratively create potential design solutions. Graduate Studio topics will
adapt each year to local, regional and global opportunities and concerns, as well as faculty and student
interests.
3
COL504 CD Studio IV Graduate Studios are structured to give students a hands-on experience of working intimately with clients,
collaborators and partners, and to go through the process of formulating a client-centric project. Each
studio will facilitate a pattern of discovery, proposal, and build, where students are presented with – or
develop - a design brief, and collaboratively create potential design solutions. Graduate Studio topics will
adapt each year to local, regional and global opportunities and concerns, as well as faculty and student
interests.
3
COL511 Workshop Graduate Workshops are a chance for students to build specific skills in a studio intensive. The role of the
workshop instructor is to bring domain expertise or a thoughtful plan for experimentation that allows
students to acquire a set of skills, techniques or way of working. This workshop experience will encourage
collaborative and independent practice while supporting the individual student’s needs. Also offering - THE
INSTITUTES IN COLLABORATIVE DESIGN are a series of workshops that introduce new design
strategies and methods for stakeholder engagement. Each workshop is led by a different innovator in the
design field. Past presenters include Carl DiSalvo, Tad Hirsch, Catherine Kramer, Stewart Long, Sara
Huston, and Don Harker. Their inquiries into the intersections of politics, engineering, environmentalism,
and design have resulted in a range of provocative and innovative projects. Topics of exploration have
included web-based networks that regulate social and environmental accountability, mapping software that
enables people to avoid CCTV surveillance, traditional ecological knowledge mapping, ecosystem design,
process design for tsunami cleanup, gardening robots, edible clouds, and cross-species picnics.
1
COL525 Critique Seminar This seminar introduces students to local, regional and global environmental - social - economic issues an
d
stakeholders, to help students present their work in a professional manner, to articulate the issues their
work is intended to address, and to formulate a basis of evaluation of their work and the work of others.
The course will specifically explore issues and stakeholders relevant to students’ individual practices,
potential projects and portfolios. The seminar will meet weekly to critique, in rotation, the work-in-progress
of all candidates and studio lab teams. The seminar will include visiting artists and scholars, critiques with
academic and industry experts, and off-campus trips to regional community stakeholders. During each
graduate seminar students will work on the development of their capstone project.
3
COL526 Critique Seminar The course is intended to introduce students to various design research methodologies both in theory and
practice including, but not limited to, qualitative and quantitative research utilizing the following lenses:
Anthropologist, Scientist, Designer, Journalist, Marketer and Historian. The seminar will specifically explore
design methodologies and issues/stakeholders relevant to students’ individual practices, potential projects
and proposed capstones. The seminar will meet weekly offering a mixture of lecture, field trips, guest
speakers, and critique. Students will be expected to engage in research resulting in written, visual and oral
p
resentations
.
3
COL551 Critical Studies In this course, we will examine social-ecological systems and regimes from a specific perspective: the
roles of public and private individuals and organizations as agents of change. Seeking a systemic and
critical understanding of ethical bases for social activism, we will discuss successes and failures of current
social-ecological regimes (“business as usual”) in providing for social wellbeing, as well as the bases for
considering the wellbeing of nature more broadly. We will examine the composition and relative stability of
regimes, and we will examine frameworks for understanding and assessing the effectiveness of social
inquiries and interventions aimed at regime transformation.
3
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COL552 Critical Studies Through lectures, discussions, and field trips we will explore successful strategies of designing for
complexity in Portland, Oregon. The instructor and guest presenters will discuss iterative, generative and
transdisciplinary design processes as they relate to dynamic systems. Skills such as matrix mapping,
creating cooperative networks, adaptive processes and effective means of client engagement will be
demonstrated. This course will explore successful strategies for creating solutions for diverse ecological,
social and economic issues. It will also train students to recognize the design opportunities through system
indicators in the world around them. Students will develop their own design epistemology and tool kit for
strategic planning.
3
COL601 Thesis Studio I Capstone Collaborative Design Studios are structured to give students a hands-on experience of working intimately
with clients, collaborators and partners, and to go through the process of formulating a project that must be
client-centric. Each studio begins with a design brief and initial resources, moves to problems and
challenges, ideation, prototype solutions, and finishes with deliverables. Studio design briefs will adapt
each year to local, regional and global opportunities, as well as faculty and student interests. Topic area
include: Design Ethnography, Product Design, Living Systems Design, Redesign, Participatory Design,
Disruptive Design, Institutional Design, Video Design, Sound Design, Rapid Prototyping, Design
Essentials, Science, Policy & Design.
3
COL602 Thesis Studio II Capstone Graduate Studios are structured to give students a hands-on experience of working intimately with clients,
collaborators and partners, and to go through the process of formulating a client-centric project. Each
studio will facilitate a pattern of discovery, proposal, and build, where students are presented with – or
develop - a design brief, and collaboratively create potential design solutions. Graduate Studio topics will
adapt each year to local, regional and global opportunities and concerns, as well as faculty and student
interests.
3
COL611 Workshop Graduate Workshops are a chance for students to build specific skills in a studio intensive. The role of the
workshop instructor is to bring domain expertise or a thoughtful plan for experimentation that allows
students to acquire a set of skills, techniques or way of working. This workshop experience will encourage
collaborative and independent practice while supporting the individual student’s needs.
1
COL625 Graduate Critique Seminar Collaboration, Facilitation, Participation
This course will explore different models of collaboration, facilitation and participation as they apply to loca
regional and global ecological -social - economic issues and stakeholders, help students to present their
work in a professional manner, to articulate the issues their work is intended to address, and to formulate a
basis of evaluation of their work and the work of others. It will also explore these models as they apply to
students’ individual practices, potential projects and portfolios. The seminar will meet weekly to critique, in
rotation, the work-in-progress of all candidates and studio lab teams. The seminar will include visiting
artists and scholars, critiques with academic and industry experts, and off-campus trips to regional
community stakeholders.
3
COL626 Graduate Critique
Seminar:Capstone
Capstone seminar is intended to help students realize a successful final project by providing structure and
guidance during the completion of the capstone. This course provides students with an opportunity to
present, refine and receive feedback on their capstone project. Regular presentations and critiques of
capstone projects will be supplemented with small workshops, lectures and site visits throughout the
semester. It is essential that students meet each milestone and deadline provided in the course syllabus in
order to remain in good standing in the program.
3
COL651 Crit. Studies: Cultural
Entrepreneurship
This course explores the many dimensions of cultural and social entrepreneurship from meaning and ethi
c
to the intricacies of designing a social enterprise. This course gives students a toolkit (identifying
opportunity, organizational structure, collaboration, mobilizing resources, budgeting, scaling, risk and
measuring impact) that will allow them to create a livelihood by developing a mission driven enterprise.
Cultural entrepreneurship is an emerging branch of social entrepreneurship. It is a term related to
enterprises that promote indigenous arts, creative activism and innovations designed to change culture.
Social entrepreneurship is described by Dr. Gregory Dees as combining “the passion of a social mission
with an image of business-like discipline, innovation and determination."
3
COL652 Critical Studies: Creative
Leadership
This course helps participants refine skills for professional life. By the end of the course students will have
a thoughtful and well-designed online presence that presents the individual and their work to potential
collaborators and employers. Participants will have an updated CV and a pdf portfolio. Students will
develop a personalized job / grant tracking system and will have successfully completed job and/or grant
applications. Students are also given the opportunity to initiate a kickstarter or other online crowd-sourced
funding project, and develop an exhibition strategy for presenting their capstone to the public.
3
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GRADUATE / Critical Studies
CS501 Critical Theory 1: Introduction This seminar is an introduction to major concepts and questions in critical theory, beginning with key figur
e
in the Frankfurt School and moving through feminism, critical race theory, and postcolonial criticism. The
seminar claims critical theory as a creative project of analysis and exposure radically interested in
accountability and the material effects of ideas. Because the course is taught in the context of an art
school, we will pay particular attention to images, exploring overlaps and tensions between critical theory
and visual studies and investigating the role critical theory and art can play in transforming institutions and
ideolo
g
ies.
3
CS502 Critical Theory 2: Feminist,
Queer Theor
Critical Theory 2: Feminist, Queer Theory, Gender & Sexuality. Approaching feminist, womanist, and queer
theories as tools for questioning power and analyzing the construction of difference, this seminar examines
how lives are valued and devalued through representations of “ideal” and “deviant” bodies. We will
critically investigate genders and sexualities as contested categories of social and cultural analysis that
influence institutions, economies, cultures, political systems, and bodies. Our texts will be interdisciplinary,
intersectional, and international, focusing on how sexism and heterosexism interact with other forms of
oppression, including classism, racism, able-ism, size-ism, imperialism, and xenophobia. The seminar will
combine required content with opportunities for intense engagement with specialized topics the student
chooses to explore more deeply related to their thesis work. Students will be encouraged to connect
assigned texts to their own areas of expertise and research interests.
3
CS521 Research for a Creative
Practice 1
This seminar explores the connection between critical theory and creative research, providing a framework
for students to pose questions and incorporate qualitative research methodologies into ongoing inquiry.
The emphasis is on research as a process of critical engagement for observing connections between
seemingly disparate ideas, planning future actions and strategies, and asking better questions. The
seminar will investigate how power (mis)shapes knowledge production and will introduce students to a
range of qualitative research methods and examples of creative inquiries that cross the boundaries of
discipline and genre. By the end of the class, students will identify the questions that will frame their thesis
research and writing, and the methods they will use to investigate those questions.
3
CS522 Research for a Creative
Practice 2
This seminar approaches thesis research as a process of revealing, challenging, and dismantling systems
of oppression—and reimagining alternatives. By the end of the seminar, students will have written a
literature review of relevant theorists, artists, and creative practices that will inform their thesis work and wi
be prepared to transform core concepts and questions into a novel, researchable project that will make a
contribution to the field. In addition, students will develop presentation skills for clearly communicating
research ideas with theoretical and methodological rigor to various audiences. At the end of the term
during Focus Week, student will make public presentation of their proposed projects, which will be
evaluated by a panel composed of faculty, artists, and community stakeholders.
3
CS525 Ethics & Visual Culture This seminar explores critical theory as a critique of seeing. The course models the program’s combination
of critical theory and creative research and investigates practices of looking and the production, circulation,
and effects of visual images. When images can be used both to liberate and to oppress, to save and to kill,
what does it mean to be an artist? What does it mean to be a viewer? This seminar investigates how
images are used both to construct and resist “otherness.” Drawing on visual studies, critical theory,
religious studies, performance theory, rhetorical analysis, and ethics, the seminar attends to the
responsibilities of image-makers and image consumers; the roles of artists and viewers in an image-
saturated culture; the use of images to create difference; and questions about how human beings engage
language and images to make and unmake worlds.
3
CS526 Creative Non-Fiction Writing
In this writing workshop, students will explore the broad genre of creative nonfiction—from small-scale
constraint based writing exercises to the personal essay to academic articles to art reviews to non-
narrative poetry and beyond. Through a variety of writing exercises, experiments, and reading
assignments, we will play with language, content, and form. Emphasis is placed on experimentation and
argument as means to develop a personal vocabulary while initiating a self-directed writing practice. A
series of visiting writers will assist us in this work. The course is designed to support graduate students
preparing for thesis writing, visual artists who use language and text in their work, and creative writers.
3
CS536 Internship & Seminar Working with BridgeLab, students will design a credit-bearing internship. To get the most out of their
internships, students will meet in a bi-weekly seminar to make meaning of their experiences, interrogate th
relationship between internships and their thesis work, and develop future plans for critical and engaged
work in the world
.
3
CS601 Critical Theory 3: Critical Race
Theory & Postcolonial Theory
This seminar explores Critical Race Theory as an analytical framework that provides epistemological and
methodological approaches to the study of structural inequalities. The seminar takes as its starting point
Critical Race Theory’s insistence that racism is pervasive, persistent, and ongoing and examines how
institutional racism, colonialism, and imperialism are embedded in institutions, laws, practices, and policies.
The seminar approaches “race” as a social construction with material effects (racism) and investigates the
roles language, images, and other forms of cultural production play in racism, (de)colonization, and
resistance movements. The seminar will combine required content with opportunities for intense
engagement with specialized topics the student chooses to explore more deeply related to their thesis
work. Students will be encouraged to connect assigned texts to their own areas of expertise and research
interests.
9
CS630 Professional Practice In this seminar, students develop effective professional strategies to successfully pursue a chosen career
path upon completion of the CS program. The course helps students identify opportunities for achieving
meaningful career objectives and for making a contribution as a critical citizen. Students learn concrete
professional skills: curriculum vitae formatting, email and communication etiquette, letter writing,
interviewing, public speaking, job search resources, portfolio development, and how to apply for
opportunities (which may include PhD programs, teaching positions, publications, grants, fellowships,
internships, residencies, or exhibitions). The objective is to prepare the future CS graduate to identify, plan
and pursue a strategy for meaningful career development and a rewarding professional life in which their
talents translate into a significant critical cultural contribution.
9
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CS631 Thesis Writing 1 This thesis workshop seminar is intended to support students as they complete and defend a successful
master’s thesis for the CS program. The thesis (30-50 pages) will be both critical and constructive; that is,
should reveal, challenge, and dismantle systems of oppression, while also reimagining possible ways
forward. The course will provide students with opportunities to present, refine, and receive feedback on
their written work. Regular reviews of drafts will occur in a combination of writing workshops, assigned
critical friends groups, and meetings with the professor throughout the semester. Each student will be
provided with an additional mentor with expertise in their area of investigation. Final thesis work will be
presented to a panel of faculty, artists, and community stakeholders at the start of the spring semester.
6
CS632 Thesis Writing 2: Preparing fo
r
Publication
Due to the fact that so much graduate writing ends up gathering dust on library shelves or serving as
doorstops, this workshop is designed to help students prepare their thesis work for publication in the world.
At the beginning of the semester, students will present and defend their completed thesis paper to a panel
composed of faculty, artists, and community stakeholders. In addition to evaluating the thesis work, the
panel will also help students determine the next shape(s) their thesis work should take and the best venue
for its distribution. The form of publication will depend on the student’s area of interest and professional
practice plans—perhaps an essay for Art Forum, articles for peer-reviewed academic journals, a mission
statement and business plan for a non-profit, a series of critical art essays, a community manifesto, a zine,
or something else entirely.
6
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GRADUATE / Print Media
PRM501 Print Media - Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in Print Media program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
on-campus activities.
3
PRM502 Print Media - Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in Print Media program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
on-campus activities.
3
PRM525 Graduate Critique Seminar Taken all four semesters by all students in the Print Media program, the Graduate Critique Seminar
provides candidates with an intellectual community and critical forum in which they may test, temper, and
enlarge the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the
work-in-progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the
widest possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance
of received notions. The seminar will also include lectures, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by one of the MFA in Print Media faculty, who may also enlist
other faculty members, as well as visiting artists, critics and scholars, to join discussions and critiques.
Students may also be assigned critical readings to prepare for presentation and discussion, and class
meetings would be supplemented by lectures and performances of visiting artists to PNCA, as well as by
trips off-campus to exhibitions and performances locally and beyond.
3
PRM526 Graduate Critique Seminar Taken all four semesters by all students in the Print Media program, the Graduate Critique Seminar
provides candidates with an intellectual community and critical forum in which they may test, temper, and
enlarge the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the
work-in-progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the
widest possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance
of received notions. The seminar will also include lectures, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by one of the MFA in Print Media faculty, who may also enlist
other faculty members, as well as visiting artists, critics and scholars, to join discussions and critiques.
Students may also be assigned critical readings to prepare for presentation and discussion, and class
meetings would be supplemented by lectures and performances of visiting artists to PNCA, as well as by
trips off-campus to exhibitions and performances locally and beyond.
3
PRM551 or
PRM552
Collaboration & Research Lab This Print Media studio course provides an experimental laboratory experience supporting research,
collaboration and creativity. Students will collaborate on projects as both experiments and professional
practice. They will be required to search out a topic of research for each semester, which could continue
through all four semesters. Research logs and presentations will be conducted in the lab and presented to
the community. This course allows the student to use the scientific process as an alternative form of
making as they take a more independent and creative line of inquiry in other courses.
3
PRM561 Critical Studies:Pedagogy This is a MFA course addressing pedagogical strategies in post-secondary arts education. Through
readings, students will be introduced to various philosophies of education from arts educators and
philosophers from around the globe and will critically discuss these ideas in class. By the end of the
course, students will develop their own written teaching philosophy, a sample syllabus for a Foundation
class at PNCA, as well as a sample syllabus for a class of their choice, and will teach one topic from this
course. Lectures and guests will augment discussion of professional practice issues surrounding arts
education and what is involved in successfully applying for teaching positions. MFA students enrolled in
this course will simultaneously act as a student teacher to a PNCA faculty member and will maintain a
weekly log of their experience as a student teacher.
3
PRM562 CS:Contemporary Print Media
Seminar
This seminar will immerse students in the world of contemporary printmaking by looking at the prominent
producers and disseminators of print media. With the definition of "what is a print?" rapidly expanding,
students will contextualize works by identifying and analyzing trends and influences. Innovations in media,
including digital interfaces and 3D fabrication, will be examined for how they shape the meaning,
appearance, display, and audience for fine prints, which have come to include objects, installations, video
and other time-based art. Lectures, readings, and discussions will take up the critical theory and aesthetics
of contemporary print practices, addressing questions such as the place of craft and process, the idea of
originality and authenticity, the role of collaboration and community in professional print workshops, the
relation of image and text, and the intersection of fine art and Graphic Design, commercialism, industry,
technology, and society. The course will be complemented by museum and gallery tours and visits from
guest speakers. Students will contribute oral presentations and complete a final research essay.
3
PRM563 or
PRM564
Projects & Explorations Graduate Printmaking Projects and Explorations. This semester long course provides a graduate level
approach to various printmaking practices supporting research, collaboration, creativity, and craft. Student
s
will explore projects as experiments to their specific practices. Processes will include both analog and
digital systems, while exploring ways to define prints as objects, multiples and editions. Students will be
required to conduct research and presentations throughout the semester. Prerequisites: Open to all
g
raduate students
.
3
38 PNCA2022‐23COURSECATALOG
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PRM601 Print Media Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in Print Media program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student’s creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
on-campus activities.
3
PRM602 Capstone Project with Mentor This credit bearing studio assignment allows graduate students to explore, experiment and apply their
creative practice in either an independent or collaborative process. This assignment will continue through
all four semesters of the program. Every semester, students will be assessed by their chair, program
faculty, invited guests and peers as they develop a body of work.
In the final semester, students will be linked with a mentor to focus on a capstone project. The capstone
project will also be evaluated by the chair, program faculty and invited guests. Students will be required to
give an oral presentation and defend their outcomes. This capstone process is linked to a thesis paper,
which is developed in the Capstone Research + Writing Course.
6
PRM625 Graduate Critique Seminar Taken all four semesters by all students in the Print Media program, the Graduate Critique Seminar
provides candidates with an intellectual community and critical forum in which they may test, temper, and
enlarge the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the
work-in-progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the
widest possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance
of received notions. The seminar will also include lectures, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by one of the MFA in Print Media faculty, who may also enlist
other faculty members, as well as visiting artists, critics and scholars, to join discussions and critiques.
Students may also be assigned critical readings to prepare for presentation and discussion, and class
meetings would be supplemented by lectures and performances of visiting artists to PNCA, as well as by
trips off-campus to exhibitions and performances locally and beyond.
3
PRM626 Graduate Critique Seminar Taken all four semesters by all students in the Print Media program, the Graduate Critique Seminar
provides candidates with an intellectual community and critical forum in which they may test, temper, and
enlarge the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the
work-in-progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the
widest possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance
of received notions. The seminar will also include lectures, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by one of the MFA in Print Media faculty, who may also enlist
other faculty members, as well as visiting artists, critics and scholars, to join discussions and critiques.
Students may also be assigned critical readings to prepare for presentation and discussion, and class
meetings would be supplemented by lectures and performances of visiting artists to PNCA, as well as by
trips off-campus to exhibitions and performances locally and beyond.
3
PRM651 or
PRM652
Collaboration & Research Lab This Print Media course provides an experimental laboratory experience supporting research, collaboration
and creativity. Students will collaborate on projects as both experiments and professional practice. They
will be required to search out a topic of research for each semester, which could continue through all four
semesters. Research logs and presentations will be conducted in the lab and presented to the community.
This course allows the student to use the scientific process as an alternative form of making as they take a
more independent and creative line of inquiry in other courses.
3
PRM661 Critical Studies:Multiples This course examines "multiples" in historical and contemporary contexts in order to develop criteria for
understanding and strategies for reconfiguring the concept. Our exploration will include examples from
craft, design, art, media, and technology and the intersections and exchanges between these interrelated
fields. Throughout, we will be interested in exploring relations between making and thinking, hand and
mind, human and machine, objects and systems, materiality and abstraction and the ramifications of the
pairs' interactions for perception, sensibility and intelligence. The course will also address issues relevant
to the course material raised by and related to the MFA lectures and invited guests. In addition to preparin
g
weekly readings, students will engage in a semester-long research project and present their findings in
both written formats and oral presentations.
3
PRM662 Crit Studies:Capstone
Research & Writing
This course is designed to instruct, guide, and support Print Media students with the completion of a Thesi
Paper. The Thesis Paper is a statement of your critical positions as an artist and/or collaborator. It is
informed by your creative practice and supported by relevant sources. This course prepares students to
develop a successfully researched paper that relates the concept, process, and evaluation of their
capstone project. At the end of this course, the student should be prepared to present a thoroughly
developed Thesis Paper, Oral Presentation, and defense of their Capstone Project. Each student will be
led through rough drafts before the final paper is presented for grading, binding, and storage in the PNCA
library holdings.
3
PRM663 or
PRM664
Projects & Explorations Graduate Printmaking Projects and Explorations. This semester long course provides a graduate level
approach to various printmaking practices supporting research, collaboration, creativity, and craft. Student
s
will explore projects as experiments to their specific practices. Processes will include both analog and
digital systems, while exploring ways to define prints as objects, multiples and editions. Students will be
required to conduct research and presentations throughout the semester. Prerequisites: Open to all
g
raduate students
.
3
3
39 PNCA2022‐23COURSECATALOG
Crs#Name Credit
GRADUATE / Visual Studies
VS501 Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in VS program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
o
n-
ca
m
pus
act
ivi
t
i
es.
9
VS502 Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in VS program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
o
n-
ca
m
pus
act
ivi
t
i
es.
9
VS525 Graduate Critique Seminar Taken all four semesters by all students in the MFA program, the Graduate Critique Seminar provides
candidates with an intellectual community and critical forum in which they may test, temper, and enlarge
the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the work-in-
progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the widest
possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance of
received notions. The seminar will also include, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by MFA faculty members, as well as visiting artists, critics and
scholars, who join in on discussions and critiques. Students may also be assigned critical readings to
prepare for presentation and discussion, and class meetings are supplemented by lectures and
performances of visiting artists to PNCA through the MFAVS visiting artist series.
3
VS526 Graduate Critique Seminar Taken all four semesters by all students in the MFA program, the Graduate Critique Seminar provides
candidates with an intellectual community and critical forum in which they may test, temper, and enlarge
the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the work-in-
progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the widest
possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance of
received notions. The seminar will also include, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by MFA faculty members, as well as visiting artists, critics and
scholars, who join in on discussions and critiques. Students may also be assigned critical readings to
prepare for presentation and discussion, and class meetings are supplemented by lectures and
performances of visiting artists to PNCA through the MFAVS visiting artist series.
3
VS551 Contemporary Art and Design
Seminar
This is a graduate level one-semester course that exposes students to contemporary art making strategie
s
artists, curators, critics, histories and systems that influence and drive the expansion of the current art
world. This is an image-based course in which art and theory are approached in an interconnected fashion,
with an emphasis on the flow and interchange of significant ideas between the visual and the textual — art
in dialogue with theory and history. Topics will be explored through: slide lectures, museum and gallery
visits, videos and web sites, as well as reading discussion of selected books, articles and essays. Student
s
engage in research methodology as part of the oral presentation and writing component of the class,
providing an opportunity to share research. In order to reflect a variety of viewpoints and disciplines, guest
s
are invited to speak on a broad range of contemporary art and theoretical concerns. Over the course of the
semester, a series of related issues are addressed in conjunction with invited guests and MFA lectures
whose work is relevant to the subject under discussion.
3
VS552 Contemporary Theory
Seminar
This seminar explores critical theory as a critique of seeing, images, art, the construction of “otherness”
(sexism, racism, classism, heterosexism, nationalism, etc.), and the roles and responsibilities of artists and
viewers. Questions about theory and practice will be grounded in examples of the work of artists. The
seminar begins and ends with questions. When images can be used both to save and to kill, what does it
mean to be an artist? Drawing on critical theory, performance theory, rhetorical analysis, and ethics, we will
attend to the responsibilities of image-makers and image consumers; the roles of artists in an image-
saturated culture; the (mis)use of images to construct difference; and questions about how human beings
engage language and images to make worlds. Topics to be covered include: visuality, panopticism,
performativity, ideology, experience, racism, whiteness, phenomenology, postcolonialism, sexism,
queerness, resistance, agency, language, grievability, mystery, and (in)visibility.
3
VS555 Critical Pedagogy Offered both Fall Semester and Spring Semester
This is a graduate level course addressing pedagogical strategies in post-secondary arts education.
Students will be introduced through readings to various philosophies of education from arts educators and
philosophers from around the globe and will critically discuss these ideas in class. By the end of the course
students will develop their own written teaching philosophy, a sample syllabus of a class of their choice, a
cover letter and a teaching CV. Lectures and invited guests will augment discussion of professional
practice issues surrounding arts education and what is involved in successfully applying for teaching
positions. MFA students enrolled in this course will simultaneously act as a student teacher to one of the
PNCA faculty and will maintain a weekly log of their experience in the class.
3
VS601 Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in VS program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
o
n-
ca
m
pus
act
ivi
t
i
es.
9
40 PNCA2022‐23COURSECATALOG
Crs#Name Credit
VS602 Graduate Studio Graduate Studio, the foundation of the 60-credit, two-year MFA in VS program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of the second year. In addition to working with faculty mentors, students meet for group critiques and
o
n-
ca
m
pus
act
ivi
t
i
es.
6
VS625 Graduate Critique Seminar Taken all four semesters by all students in the MFA program, the Graduate Critique Seminar provides
candidates with an intellectual community and critical forum in which they may test, temper, and enlarge
the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the work-in-
progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the widest
possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance of
received notions. The seminar will also include, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by MFA faculty members, as well as visiting artists, critics and
scholars, who join in on discussions and critiques. Students may also be assigned critical readings to
prepare for presentation and discussion, and class meetings are supplemented by lectures and
performances of visiting artists to PNCA through the MFAVS visiting artist series.
3
VS626 Graduate Critique Seminar Taken all four semesters by all students in the MFA program, the Graduate Critique Seminar provides
candidates with an intellectual community and critical forum in which they may test, temper, and enlarge
the ideas that underlie their artistic goals. The Seminar will meet weekly to critique, in rotation, the work-in-
progress of all candidates. The cross-disciplinary nature of the conversation is meant to foster the widest
possible dialogue among artists, encourage divergent thinking and discourage the easy acceptance of
received notions. The seminar will also include, critiques, and discussions with Visiting
Artists/Scholars/Critics. The Seminar is led by MFA faculty members, as well as visiting artists, critics and
scholars, who join in on discussions and critiques. Students may also be assigned critical readings to
prepare for presentation and discussion, and class meetings are supplemented by lectures and
performances of visiting artists to PNCA through the MFAVS visiting artist series.
3
VS672 Graduate Thesis Writing This course is designed to instruct, guide, and support the MFA student with the completion of her/his
Thesis Paper. The Thesis Paper is a statement of your critical positions as an artist. It is informed by your
studio practice and supported by relevant sources. This course prepares the MFA student to develop a
successfully researched Thesis Paper that relates the concept, process, and evaluation of their artwork to
a reader. At the end of this course, the student should be prepared to present a thoroughly developed
Thesis Paper. Each student will be led through three rough drafts before the final paper is presented for
grading, binding, and storage in the PNCA library holdings. The final body of text will be between 6000 and
9000 words (approximately 20-30 pages) in length.
3
41 PNCA2022‐23COURSECATALOG
Crs#Name Credit
GRADUATE / Visual Studies Low-Residency
VSLR501 Graduate Studio Summer
Onsite
Graduate Studio, the foundation of the 60-credit, MFA in VS (low-res) program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of their final summer. In addition to working with faculty mentors, students meet for group critiques and
o
n-
ca
m
pus
act
ivi
t
i
es.
3
VSLR502
VSLR503
Graduate Studio Fall Offsite /
Spring Offsite
Graduate Studio, the foundation of the 60-credit, MFA in VS (low-res) program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of their final summer. In addition to working with faculty mentors, students meet for group critiques and
o
n-
ca
m
pus
act
ivi
t
i
es.
9-FA 6-SP
VSLR512 Winter Studio Review During five days in January, students meet on campus for Winter reviews during which they receive
feedback on work produced during the Fall and engage in intensive seminars and short workshops.
1.5
VSLR525 Graduate Critique Seminar The goal of this course is to provide candidates with an intellectual community and critical forum in which
they may test, temper, and enlarge the ideas that underlie their artistic goals. The Seminar will meet
regularly to critique, in rotation, the work of all candidates. The cross-disciplinary nature of the conversation
is meant to foster the widest possible dialogue among artists, encourage divergent thinking and discourage
the easy acceptance of received notions. MFA students will participate with regional, national and
international visiting artists, designers, critics, scholars, curators and others, in student critiques and
discussions. Professional practice is embedded in these seminars. Faculty leading this course may also
enlist other faculty members, as well as visiting artists, critics and scholars, to join discussions and
critiques. Students may also be assigned critical readings to prepare for presentation and discussion.
Visiting artists may engage students through demonstrations as well as by trips off-campus to exhibitions
and performances locally and beyond.
3
VSLR534 Library Research Seminar Structured to take place during the first year winter review session, the Library Research Seminar provides
both an orientation to library resources and critical independent research skills for students who will be at
distance between summer intensives. The seminar provides tools and instruction for using online digital
resources and access to journals, periodicals and texts. A short research paper on a topic of interest is
used to showcase best practices and initiate the assessment of a student's writing.
1.5
VSLR551 Contemporary Art Seminar This is an upper division one-semester course that exposes students to contemporary art histories,
strategies, artists, curators, critics, and systems that influence and drive the expansion of the current art
world. Art, criticism and theory are approached in an interconnected fashion, with an emphasis on the flow
and interchange of significant ideas between the visual and the textual — art in dialogue with theory and
history. Topics will be explored through slide lectures, gallery visits, videos, web sites and reading
discussion of selected books, articles and essays. Students will engage in research methodologies within
the written and oral presentation components of this course, with the final oral presentation providing the
opportunity to share research with the class. In order to reflect a variety of viewpoints and disciplines, gue
s
artists and lecturers relevant to topics under discussion will be invited to speak with the class.
3
VSLR601 Graduate Studio Summer
Onsite
Graduate Studio, the foundation of the 60-credit, MFA in VS (low-res) program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of their final summer. In addition to working with faculty mentors, students meet for group critiques and
on-campus activities.
3
VSLR602
VSLR603
Graduate Studio Fall Offsite /
Spring Offsite
Graduate Studio, the foundation of the 60-credit, MFA in VS (low-res) program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of their final summer. In addition to working with faculty mentors, students meet for group critiques and
on-campus activities.
9-FA 4.5-SP
VSLR604 Graduate Studio Summer
Onsite
Graduate Studio, the foundation of the 60-credit, MFA in VS (low-res) program, students take an
individualized approach to their education, synthesizing their diverse experiences into their work. Students
work in private studios within a shared community environment, where cross-disciplinary exchange is
highly encouraged. Studio practice is guided by faculty mentors who meet with students weekly to provide
critique, dialogue, and occasional assignments geared toward the individual student's creative
investigations. Graduate Studio culminates in an exhibition of work and a written thesis presented at the
end of their final summer. In addition to working with faculty mentors, students meet for group critiques and
on-campus activities.
4.5
VSLR612 Winter Studio Review During five days in January, students meet on campus for Winter reviews during which they receive
feedback on work produced during the Fall and engage in intensive seminars and short workshops.
1.5
42 PNCA2022‐23COURSECATALOG
Crs#Name Credit
VSLR625 Graduate Critique Seminar The goal of this course is to provide candidates with an intellectual community and critical forum in which
they may test, temper, and enlarge the ideas that underlie their artistic goals. The Seminar will meet
regularly to critique, in rotation, the work of all candidates. The cross-disciplinary nature of the conversation
is meant to foster the widest possible dialogue among artists, encourage divergent thinking and discourage
the easy acceptance of received notions. MFA students will participate with regional, national and
international visiting artists, designers, critics, scholars, curators and others, in student critiques and
discussions. Professional practice is embedded in these seminars. Faculty leading this course may also
enlist other faculty members, as well as visiting artists, critics and scholars, to join discussions and
critiques. Students may also be assigned critical readings to prepare for presentation and discussion.
Visiting artists may engage students through demonstrations as well as by trips off-campus to exhibitions
and performances locally and beyond.
3
VSLR626 Graduate Critique Seminar The goal of this course is to provide candidates with an intellectual community and critical forum in which
they may test, temper, and enlarge the ideas that underlie their artistic goals. The Seminar will meet
regularly to critique, in rotation, the work of all candidates. The cross-disciplinary nature of the conversation
is meant to foster the widest possible dialogue among artists, encourage divergent thinking and discourage
the easy acceptance of received notions. MFA students will participate with regional, national and
international visiting artists, designers, critics, scholars, curators and others, in student critiques and
discussions. Professional practice is embedded in these seminars. Faculty leading this course may also
enlist other faculty members, as well as visiting artists, critics and scholars, to join discussions and
critiques. Students may also be assigned critical readings to prepare for presentation and discussion.
Visiting artists may engage students through demonstrations as well as by trips off-campus to exhibitions
and performances locally and beyond.
3
VSLR634 Professional Practice This course is designed to develop effective professional strategies for successfully pursuing and
navigating a sustained and meaningful artistic practice upon completion of the MFA LRVS program; taking
into consideration the multitude of disciplines, interests and goals the program supports. We will consider
protocols for professional etiquette, identify opportunities for achieving career objectives, and examine
personal and social identities that comprise an individual's professional identity. Emphasis is placed on
developing strong self-presentation skills to best represent your individual practice. This may include:
portfolio development, submission materials, grant and exhibition proposals, working with galleries,
residencies, fellowships, teaching positions, interviewing, public lectures, job search resources, calls for
entry, taxes, websites, shipping, contracts, commissions, and establishing a studio. The objective is to
prepare students to identify, plan and pursue strategies for successful career development and
professional accomplishments from which to offer a meaningful cultural contribution.
1.5
VSLR652 Critical Studies/Visual Media
Seminar
This seminar explores critical theory as a critique of seeing, images, art, the construction of "otherness"
(gender, race, class, sexuality, nation), and the roles and responsibilities of artists and viewers. Though o
u
subject is theory, questions about theory and practice will be grounded in examples of the work of artists.
Our seminar begins and ends with questions. When images can be used both to save and to kill, what
does it mean to be an artist? Drawing on critical theory, performance theory, rhetorical analysis, and ethic
s
we will attend to the responsibilities of imagemakers and image consumers; the roles of artists in an image-
saturated culture; the (mis)use of images to construct difference; and questions about how human beings
engage language and images to make worlds. Topics to be covered include: visuality, panopticism,
performativity, ideology, experience, racism, whiteness, phenomenology, postcolonialism, sexism,
resistance, agency, language, grievability, mystery, and (in)visibility.
3
VSLR672 Graduate Thesis Writing This course is designed to instruct, guide, and support the MFA student with the completion of her/his
Thesis Paper. The Thesis Paper is a statement of your critical positions as an artist. It is informed by your
studio practice and supported by relevant sources. This course prepares the MFA student to develop a
successfully researched Thesis Paper that relates the concept, process, and evaluation of their artwork to
a reader. At the end of this course, the student should be prepared to present a thoroughly developed
Thesis Paper. Each student will be led through three rough drafts before the final paper is presented for
grading, binding, and storage in the PNCA library holdings. The final body of text will be between 6000 and
9000 words (approximately 20-30 pages) in length.
3
43 PNCA2022‐23COURSECATALOG
Crs#Name Credit
GRADUATE / Creative Writing Low-Residency
WR503
WR513
WR603
WR613
Residency 1 2 3 4 Graduate students attend lectures, panels, informal discussions, generative making sessions, and public
readings and performances by faculty mentors, peers, and guest artists and writers. Topics include literary
and theoretical texts, methods / materials / forms / processes, how artists encounter issues around social
injustice and social change, and possibilities for professional engagement, e.g., publishing, promotion,
social practice, writers in the schools. Graduate students are exposed to multiple ways in which writer-
teachers cultivate their own creative practices.
5
WR505 Creative Writing Studio 1 Graduate students generate rough drafts of original prose, cross-genre, poetry, and literary translations
while further developing close reading and critical writing skills about literature, writing methods, and
various aesthetic approaches to making. Through regularly scheduled packet exchanges, graduate
students submit to faculty mentors creative work, critical responses to readings, a bibliography in MLA
format of literary works and texts, and personal letters discussing their own work and their responses to th
e
faculty mentor’s feedback. The aim is for graduate students to generate as many rough pages as possible.
Graduate students are encouraged to take risks, experiment, and make use of a variety of forms, genres,
mediums, and materials.
7
WR515 Creative Writing Studio 2 Graduate students generate and exchange new creative and critical works along with letters with faculty
mentor a total of five times. Graduate students also prepare for their First Year Review Presentations---to
occur at Residency #3; this includes a polished artist’s statement, complete bibliography (in MLA format) of
books read during the first year of the program, a five-minute public reading of creative work, and a brief
question-and-answer session with faculty mentors and students.
7
WR615 Creative Writing Studio 3 Graduate students develop and begin to revise a creative writing thesis draft along with letters. This is
done in three exchan
g
es with letters between students and facult
y
mentor
s
3
WR620 Forms & Methods 1 Graduate students draft, revise, polish a 15-20-page essay on methods / materials / forms / process. This
is done in three exchan
g
es with letters between students and facult
y
mentor
s
5
WR621 Forms & Methods 2 Graduate students prepare a 45-minute generative making session or a 30-minute talk on methods /
materials / forms / process to be given at their final residency. Students draft and revise a teaching
philosophy, cover letter, and teaching CV. This is done in two exchanges with letters between students and
facult
y
mentors
.
5
WR698 Creative Writing Thesis Graduate students revise and polish creative writing thesis with the goal of creating a polished, publishable
book-length manuscript of creative writing work. This is done in four exchanges with letters between
students and facult
y
mentors a total five times
4
WR699 Thesis Presentation Graduate students in their final residency give a public reading of their creative work, defend their creative
writing thesis, and facilitate a 45-minute generative making session or a thirty minute talk on methods /
materials / forms /
p
rocess
.
9
44 PNCA2022‐23COURSECATALOG
Crs#Name Credit
PACIFICNORTHWESTCOLLEGEOFART
UNDERGRADUATEMAJORS2022‐23
STUDIOREQUIREMENTSFORANIMATEDARTSMAJOR
RequiredCourses Credit
AA231AnimationI:Materials,Methods&Motio
n
3
AA232AnimationII:HybridMovingImag
e
3
VID211BeginningVideoorAA236Character&IdentityorAA237StopMotion,AA238Puppet
Fab. 3
VID211BeginningVideoorAA236Character&IdentityorAA237StopMotion,AA238Puppet
Fab. 3
VID212BeginningSound 3
IM201Theory&Practice 3
AA331AnimatedShortFil
m
3
AA332AnimatedInstallatio
n
3
AA333NarrativeStrategie
s
3
AA301AnimatedDoc.orIM301Theory&Practic
e
3
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 18
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
45 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORGENERALFINEARTSMAJOR
RequiredCourses Credit
200levelstudio(sequenceoptional
)
3
201levelstudio(sequenceoptional
)
3
202levelstudio(sequenceoptional
)
3
203levelstudio(sequenceoptional
)
3
IM201TheoryandPractice 3
300levelstudio(sequenceoptional
)
3
301levelstudio(sequenceoptional
)
3
302levelstudio(sequenceoptional
)
3
303levelstudio(sequenceoptional
)
3
IM301TheoryandPractice 3
TH300ProfessionalPractice 3
TH401ThesisCritiqueSeminar(orDA453DesignArtsThesisDevelopment,ifdesignfocused) 3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 18
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
46 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORGRAPHICDESIGNMAJOR
RequiredCourses Credit
GD241DesignStudioI:Signs 3
GD242DesignStudioI:PsychofSeeing 3
GD245TypographyI 3
GD246TypographyII 3
GD247Production 3
GD251FundofInteractiveMedia 3
GD341DesignStudioII:Culture&Audienc
e
3
GD342DesignStudioII:Rhetoric&Persuasion 3
*RequiredStudioElectivefromsuggestedmenuofcourses(seebelow
)
3
GD350Interface&Structure;PH272Concept/Capture/PrintI;AA231BeginAnimatedArts;VID211
BeginVideo;VID212BeginSound;Printmaking:Screen/Relief,Letterpress/BookArts,Intaglio/Litho;
IL354Design&Image,IL252VisualTechniques,IL254orIL256DigitalMediaStrategies,IL257Children’
s
BookIllustration,IL351VisualVocabulary;additionalInternship.
GD351MotionGraphics 3
GD344Marketing&Branding 3
GD443DesignArtsAdvancedStudio:Strateg
y
3
ND301InternshiporGD445CenterforDesign 3
GD453DesignArtsThesisDevelopmen
t
3
GD444DesignArtsAdvancedStudio:Vision 3
TH499Thesis 3
StudioElectives 12
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
47 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORILLUSTRATIONMAJOR
RequiredCourses Credit
IL251Word&Image 3
IL252VisualTechniques 3
IL253PaintingforIllustration 3
IL255DrawingforIllustration 3
IL254DigitalMediaStrategiesI3
IL256DigitalMediaStrategiesII 3
IL351VisualVocabular
y
3
IL354Design&Image 3
IL352CulturalMarketplace 3
Electivefromrecommendedmenuoptions(seebelow
)
3
recommendedelectives:IL257CharacterDesign,IL257VisualDevelopment,IL257
Environments&Architecture,IL410CapsuleCollection,IL357GraphicNovel,IL358Advanced
GraphicNovel,IL358PictureBook,IL257ExperimentsinMovement,IL358CharacterDesign,
GD351MotionGraphics,GD251FundamentalsofInteractiveMedia
IL450AdvancedIllustrationStudi
o
3
IL453DesignArtsThesisDevelopmen
t
3
GD445CenterforDesignorND301Internship 3
IL451IllustrationAdvancedStudi
o
3
TH499Thesis 3
StudioElectives 15
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
48 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORINTERMEDIAMAJOR
RequiredCourses Credit
200‐levelstudiocours
e
3
200‐levelstudiocours
e
3
200‐levelstudiocours
e
3
200‐levelstudiocours
e
3
IM201TheoryandPractice 3
Junior300‐levelInterdisciplinarystudiocours
e
3
Junior300‐levelInterdisciplinarystudiocours
e
3
( )
IntermediateVideo
IntermediateSound
ExperimentsinCombinedPrintMedia
IntermediateSculpture(canbetakenfortwosemesters)
HybridPainting
IntermediateAnimatedArts
NarrativeStrategies(AnimatedArts)
DrawingSeminar(DR363/364)
Screens&Devices
Junior300‐levelIntermediastudiocourseorany300‐levelstudi
o
3
IM301TheoryandPractice 3
IM301TheoryandPractice 3
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 18
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
49 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORPAINTINGMAJOR
RequiredCourses Credit
PA261PaintingStudio:MaterialsandMethodsorPA266ObservationalPaintin
g
3
PA262PaintingStudio:Techniques&Application
s
3
Choose6crfromany200‐levelDrawing,PaintingorTheory&Practice(frommenu)
Course1 3
Course2 3
DR265
Drawing
Studio:
Technique
&
Applications
DR266DrawingStudio:ImageinContext
DR261TheFigure
DR267Anatomy
orotherapprovedbyDept.Head.
PADR361Painting&DrawingStudio:Self‐directedProjectsorIM351HybridPainting 3
PADR362Painting&DrawingStudio:Pre‐Thesis 3
Choose6crfromany300‐levelDrawing,PaintingorTheory&Practice(frommenu)
Course1 3
Course2 3
DR361
Ad
vance
d
Fi
gure
DR363DrawingSeminar:TheMediatedImage
DR364DrawingSeminar:Systems,Structures&Strategies
PADR365SpecialTopics
IM301Theory&Practice
IM351IntermediaSpecialTopicsorotherapprovedbyDept.Head.
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 24
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
50 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORPHOTOGRAPHYMAJOR
RequiredCourses Credit
PH265Intro.tothePhotographicImage 3
PH273StudioLightingEssential
s
3
PH272Concept/Capture/PrintI3
PH274PhotographicInvestigations 3
PhotographicInvestigationsmenu:AnalogProcesses
AlternativeProcesses
ProductPhotography
FashionPhotography
DocumentaryPhotography
IM201TheoryandPractice 3
PH371PhotographicPracticeandResearch 3
PH372ThePhotographicinContemporaryAr
t
3
IM301TheoryandPractice 3
PH375Concept/Capture/PrintII 3
PH374StudioLightin
g
3
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
AdvancedPhotographicInvestigationsmenu:SculptureandPhotography
PhotographyandPerformance
ImagingandtheInternet
DigitalPublications
InteractivePhotographicMedia
Structuring,Sequencing,Series
TH499Thesis 3
StudioElectives 18
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
51 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORPRINTMAKINGMAJOR
Credit
PR281BeginningPrintmaking(Intaglio&Relief
)
3
PR282BeginningPrintmaking(Screen&Lithography) 3
PR286BeginningPrintmaking(Letterpress&Book) 3
IM201TheoryandPractice 3
PR370or371or372or385or389IntermediatePrintmakin
g
(Choosefrommenubelow) 3
PR370or371or372or385or389IntermediatePrintmakin
g
(Choosefrommenubelow) 3
PR370or371or372or385or389IntermediatePrintmakin
g
(Choosefrommenubelow) 3
P
r
i
ntmenu:
PR370
P
r
i
ntsta
ll
at
i
on;
PR371
P
r
i
nt
S
tu
di
o;
PR372
P
r
i
nt
i
ngon
F
a
b
r
i
c;
PR385
E
xper
i
ments
in
CombinedPrintMedia;PR389Print:SpecialTopics.
IM301TheoryandPractice 3
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 24
Total 60
52 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORSCULPTUREMAJOR
RequiredCourses Credit
SC291SculptureI 3
SC291SculptureI 3
SC291SculptureI 3
IM201TheoryandPractice 3
SC391SculptureII 3
SC391SculptureII 3
IM301TheoryandPractice 3
IM301TheoryandPractice 3
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 24
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
53 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORVIDEOSOUNDMAJOR
RequiredCourses Credit
VID211BeginningVideo 3
VID212BeginningSound 3
StudioElectiveasrecommendedperDeptHead
.
3
IM251Performance,AA231BeginningAnimatedArt
s
3
IM201Theory&Practice 3
VID300levelSpecialTopicsorasrecommendedperDeptHea
d
3
VID312IntermediateSound 3
VID313Screens&Devices 3
VID314Projection,Sound&Space 3
IM301Theory&Practice(chooseImage,Text,MediaORNarrative) 3
TH300ProfessionalPractices 3
TH401ThesisCritiqueSemina
r
3
*400‐lvlStudiocoursemenu:OfferedbyDepts.inallareasofBFAStudiomajor
s
3
TH499Thesis 3
StudioElectives 18
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyrseminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
54 PNCA2022‐23COURSECATALOG
Crs#Name Credit
STUDIOREQUIREMENTSFORCREATIVEWRITINGMAJOR
RequiredCourses Credit
CW221IntrotoShortForms 3
CW223ExpandedPoeticFields 3
200‐levelCreativeWritingcourse(seemenuA) 3
200‐levelCreativeWritingcourse(seemenuA3
MenuA:CW224Scripting(newtitle),
CW225WritingwithDigitalMedia,
CW200CreativeWritingSpecialTopics(TBD)
IM201Theory&Practice 3
LA325LiteratureSemina
r
3
300‐levelWritingcourse(seemenuB
)
3
300‐levelWritingcourse(seemenuB
)
3
MenuB:CW323PoetryIntensive,
CW324ScriptingIntensive,
CW300CreativeWritingSpecialTopics(TBD),
CreativeWritingInternship,
CreativeWritingInternshipCW322TheLitZine
LA325LiteratureSemina
r
3
IM301Theory&Practice(ImageTextMediarecommended
)
3
TH300ProfessionalPractice 3
TH401ThesisCritiqueSemina
r
3
PR411(Artist'sPublicationsrecommended)0r400levelstudiocourse*Amenuof400‐level
optionswillbeofferedeachsemester. 3
TH499Thesis 3
StudioElectives 18
Total 60
StudioFoundation(AllUndergraduatemajors) 15‐16
ArtHistory(AllUndergraduatemajors) 15
LiberalArts 30
Total 60‐61
Overallcreditsrequiredtograduate120‐121*(*121iffirstyr
seminarrequired
)
SeeRequirements:AllUndergraduatemajors(StudioFoundation/ArtHistory/LiberalArts)
55 PNCA2022‐23COURSECATALOG
Crs#Name Credit
StudioFoundation(AllUndergraduatemajors)
FD101VisualElements:2‐D3
FD102VisualElements:DigitalTool
s
3
FD105DrawingI 3
FD1113‐DDesign 3
FD112TimeArts 3
**FD100FirstYearSeminar‐req.ofFreshmenwith<than30transfercredit
s
1
Total 16
ArtHistory(AllUndergraduatemajors)
AH125ExploringVisualCultur
e
3
AH210IntrotoWorldArtHistor
y
3
AH213‐218Historyof:topicspecifictomajo
r
3
(GD)(IL)DesignArts
(PR)PrintedMatter
(SC) Object, Space, and Time
(AA)(VIDSND)MovingImage
(PH)Photography
(PA)PaintingandDrawin
g
(CW)&(IM)choose1ofanyPNCAofferin
g
ArtHistoryElective(200‐400level
)
3
ArtHistoryElective(300‐400level
)
3
Total 15
LiberalArts
LA122WritinginContex
t
3
MTH101MathorSCI223Science 3
MTH101MathorSCI223Science 3
LA225PerspectivesonSociety&Cultur
e
3
LA225PerspectivesonSociety&Cultur
e
3
LA321SocialScienceSemina
r
3
LA325LiteratureSemina
r
3
LiberalArtsElective*(300‐400level
)
3
LiberalArtsElective*(300‐400level
)
3
LA421ResearchforaCreativePractic
e
3
earnedbyadditionalclassesofLA321SocialScienceSeminar,LA325LiteratureSeminar
Total 30
Overallcreditsrequiredtograduate120‐121*
(*121iffirstyrseminarrequired)
56 PNCA2022‐23COURSECATALOG
Crs#Name Credit
PACIFICNORTHWESTCOLLEGEOFART
HallieFordSchoolofGraduateStudiesatPNC
A
RequirementsforMFAinAppliedCraft+Design
FALLSemester1
Course Credit
StudioPractice
6
CritiqueSeminar
3
CriticalStudies:ModernCraft+DesignHistory
3
Elective
3
SPRINGSemester1
Course Credit
StudioPractice
6
CritiqueSeminar
3
CreativeEntrepreneurship1
3
CriticalStudies
3
Total 30
FALLSemester2
Course Credit
StudioPractice
6
CritiqueSeminar
3
CreativeEntrepreneurship2
3
Practicum
3
SPRINGSemester2
Course Credit
StudioPractice
6
CritiqueSeminar
3
Practicum
3
Elective
3
Total 30
Overallcreditsearnedtograduate60
57 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMAinDesignSystems
FALLSemester1
Course
Credit
SystemsThinking 3
Research+Insights 3
DesignMethods 3
DesignSprint 1
SPRINGSemester1
Course Credit
DesignFuturesandEcologies 3
StylesofFacilitationandCollaboration 3
Methods2:DesignDeliverables 3
VisualFacilitation 1
Total 20
FALLSemester2
Course Credit
CulturalEntrepreneurship 3
Strategy&Forsight 3
CapstoneStudio 3
DataVisualization 1
SPRINGSemester2
Course Credit
CreativeLeadership,EquityandEthics 3
CapstoneSeminar(Writing) 3
CapstoneStudio(Critique) 3or6
ConflictFacilitation 1
Total 20
Overallcreditsearnedtograduate 40
58 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMFAinCollaborativeDesign
FALLSemester1
Course Credit
COL502
InformationDesign
3
COL525
Research+Insights 3
COL501
DesignMethods 3
COL511
Workshop:DesignSprint 1
COL551
AppliedSystemsThinkin
g
3
HallieFordElective‐Prin
t
3
SPRINGSemester1
Course Credit
DesignEcologies 3
StylesofFacilitationandCollaboration 3
COL503
CDStudio:DesignDeliverables 3
COL504
CDStudio:Project 3
Workshop:Futures‐CenteredDesign 1
HallieFordElective‐CodeorCraft
3
Total 30
FALLSemester2
Course Credit
CulturalEntrepreneurship 3
Strategy&Forsight 3
ThesisStudioI 3
col 511
Workshop:VisualFacilitation 1
CollaborativeDesignStudioI 3
HallieFordElective‐TeachorCraf
t
3
SPRINGSemester2
Course Credit
COL652
CreativeLeadership,EquityandEthics 3
ThesisStudioII 3
CollaborativeDesignStudioII
3
Workshop:ConflictFacilitation 1
DesignStudio(Making)
3
HallieFordElective‐Craft
3
Total 30
OverallcreditsearnedtograduateMFAinCollaborativeDesign 60
59 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMAinCriticalStudie
s
FALLSemester1
Course Credit
CriticalTheory1:Introduction 3
IntroductiontoCulturalStudies 3
Ethics&VisualCulture 3
Elective 3
SPRINGSemester1
Course Credit
CriticalTheory2:FeministTheory,QueerTheory,Gender,andSexuality 3
ResearchforaCreativePractice23
CreativeNon‐FictionWriting 3
Elective 3
Total 24
FALLSemester2
Course Credits
CriticalTheory3:CriticalRaceTheoryandPostcolonial
Theory 3
ThesisWriting1 6
SPRINGSemester2
Course Credit
ThesisWriting2:PreparingforPublication 6
Internships 3
ProfessionalPractice 3
Total 24
Overallcreditsearnedtograduate
45
60 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMFAinPrintMedia
FALLSemester1
Course Credits
GraduateCritiqueSeminar 3
PrintMedia‐GraduateStudio 3
GraduatePrintmaking:ProjectsandExplorations 3
Collaboration&ResearchLab 3
CriticalPedagogy 3
MidYearAssessment
SPRINGSemester1
Course Credit
GraduateCritiqueSeminar 3
PrintMedia‐GraduateStudio 3
Collaboration&ResearchLab 3
Elective1 3
CS:Multiples 3
FirstYear
Review
Total
30
FALLSemester2
Course Credits
GraduateCritiqueSeminar 3
PrintMedia‐GraduateStudio(withMentor) 3
Elective2 3
Collaboration&ResearchLab 3
Elective3 3
Mid‐yearAssessment
SPRINGSemester2
Course Credits
GraduateCritiqueSeminar 3
Collaboration&ResearchLab 3
CriticalStudies:CapstoneResearchandWriting 3
CapstoneProject(withmentor) 6
Total 30
Overallcreditsearnedtograduate
60
61 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMFAinVisualStudie
s
FALLSemester1
Course Credits
GraduateStudio(thisreflectsstudioworktime) 6
GraduateCritiqueSeminar 3
ContemporaryArtSeminar 3
ElectiveCredit 3
SPRINGSemester1
Course Credits
GraduateStudio(thisreflectsstudioworktime) 9
GraduateCritiqueSeminar 3
CriticalPedagogy 3
ElectiveCredit(option) 3
Total
30 / 33
FALLSemester2
Course Credits
GraduateStudio(thisreflectsstudioworktime) 9
GraduateCritiqueSeminar 3
ElectiveCredit 3
SPRINGSemester2
Course Credits
GraduateStudio(thisreflectsstudioworktime) 9
GraduateCritiqueSeminar 3
ThesisWriting 3
Total 30/33
Overallcreditsearnedtograduate
60
62 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMFAinCreativeWritin
g
Year1‐SUMMER‐FallSemesterResidenc
y
Course Credits
WR503Residency1 5
WR505CreativeWritingStudio1 7
Total
12
Year1‐SPRINGSemeste
r
Course Credits
WR513Residency2 5
WR515CreativeWritingStudio27
Total
12
Year2‐SUMMER‐FallSemesterResidenc
y
Course Credits
WR603Residency3 5
WR615CreativeWritingStudio33
WR620Forms&Methods15
Total
13
Year2‐SPRINGSemeste
r
Course Credits
WR613Residency4 5
WR621Forms&Methods25
WR698CreativeWritingThesis 4
Total
14
Year3‐SUMMERSemesterResidenc
y
Course Credits
WR699ThesisPresentation 9
Total
9
Overallcreditsearnedtograduate
60
63 PNCA2022‐23COURSECATALOG
Crs#Name Credit
RequirementsforMFAinVisualStudiesLowRes.
Year1‐SUMMER‐Fallresidenc
y
Course Credits
VSLR501GraduateStudio1SUonsit
e
3
VSLR525GraduateCritiqueSeminar
1
3
VSLR551ContemporaryArtSemina
r
3
VSLR502GraduateStudio1FAoffsit
e
9
Total 18
Year1‐SPRINGSemeste
r
Course Credits
VSLR512WinterReview
1
1.5
VSLR534LibraryResearch 1.5
VSLR503GraduateStudio1SPoffsit
e
6
9
Year2‐SUMMER‐FallSemesterResidenc
y
Course Credits
VSLR601GraduateStudio2SUonsit
e
3
VSLR625GraduateCritiqueSeminar
2
3
VSLR652CriticalStudies/VisualMediaSemina
r
3
VSLR602GraduateStudio2FAoffsit
e
9
Total 18
Year2‐SPRINGSemeste
r
Course Credits
VSLR612WinterReview
2
1.5
VSLR672GraduateThesisWritin
g
3
VSLR603GraduateStudio2SPoffsit
e
4.5
9
Year3‐SUMMERSemesterResidenc
y
Course Credits
VSLR604GraduateStudio3SUonsit
e
4.5
VSLR626GraduateCritiqueSeminar
3
3
VSLR634ProfessionalPractice 1.5
9
Overallcreditsearnedtograduate 60
64 PNCA2022‐23COURSECATALOG
Crs#Name Credit
DUALDEGREES(MA&MFA)
CRITICALSTUDIESMA+MFAAPPLIEDCRAFTANDDESIGN
Semester1(Fall‐15Credits)
Course Type Credits
CriticalTheory1 CS 3
IntrotoCulturalStudies CS 3
CritiqueSeminar AC+D 3
StudioPractice AC+D 6
Semester2(Spring‐15Credits)
Course Type Credits
CreativeNonfiction CS 3
CriticalTheory2:QueerandFeministTheory CS 3
CritiqueSeminar AC+D 3
Studio
Practice AC+D 6
Semester3(Fall‐9Credits)
Course Type Credits
CriticalWritingandVisualCulture CS 3
CriticalTheory3 CS 3
ModernCraft&DesignHistory AC+D 3
Semester4(Spring‐9Credits)
Course Type Credits
ResearchforaCreativePractic
e
CS 3
TheoryoftheObject AC+D 3
CreativeEntrepreneurshipI AC+D 3
Semester5(Fall‐18Credits)
Course Type Credits
Thesis1 CS 6
CreativeEntrepreneurshipII AC+D 3
CritiqueSeminar AC+D 3
StudioPractice AC+D 6
Semester6(Spring‐12Credits)
Course Type Credits
Thesis2 CS 6
ProfessionalPractice CS 3
CritiqueSeminar AC+D 3
StudioPractice AC+D 6
84
65 PNCA2022‐23COURSECATALOG
Crs#Name Credit
CRITICALSTUDIESMA+MFACOLLABORATIVEDESIGN
Semester1(Fall):15c
r
Course Type Credits
CDCritSeminar:ResearchandInsights CD 3
CDCritStudies:A
pp
liedS
y
stemsThinkin
g
CD 3
CDStudio:DesignMethods CD 3
CSCriticalPedagogy CS 3
CSCriticalTheoryI CS 3
Semester2(Spring):15cr
Course Type Credits
CDCritSem:StylesofFacilitationandCollaboration CD 3
CDCritStud:DesignFuturesandEcologies CD 3
CDStudio:DesignDeliverables CD 3
CreativeNonfictionWriting CS 3
CSCriticalTheoryII CS 3
Semester3(Fall):15c
r
Course Type Credits
CDCritSem:StrategyandForesight CD 3
CDStudio:InformationDesign CD 3
CriticalWritingandVisualCulture CS 3
CriticalTheoryIII CS 3
IntrotoCulturalStudies CS 3
Semester4(Spring):12c
r
Course Type Credits
CDStudio:DesignProject(client‐based) CD 3
CSEnvironmentalCriticism CS 3
Elective(or3workshopsthroughouttheyear) CS 3
Studio:Elective CS 3
Semester5(Fall):15c
r
Course Type Credits
CDStudio:Thesis CD 6
CDCritStud:CulturalEntrepreneurship CD 3
CSThesisI CS 6
Semester6(Spring):18c
r
Course Type Credits
CDStudio:Thesis CS 6
CDCriticalStud:Leadership,Equity,Ethics CS 6
Thesis2 CD 6
ProfessionalPractice CD 3
Course Type Credits
Total 90
66 PNCA2022‐23COURSECATALOG
Crs#Name Credit
CRITICALSTUDIESMA+MFAPRINTMEDIA
SemesterOne(Fall‐15credits)
Course Type Credits
IntrotoCulturalStudies CS 3
CriticalTheory1 CS 3
GradStudio1 PM 3
CritSem1 PM 3
GraduatePrintmaking:ExperimentsandExplorations PM 3
SemesterTwo(Spring‐15credits)
Course Type Credits
CreativeNonfiction CS 3
CriticalTheoryII:QueerandFeministTheory CS 3
GradStudio2 PM 3
CritSem2 PM 3
PrintMediaSeminar PM 3
SemesterThree(Fall‐12credits
)
Course Type Credits
CriticalTheory3:CriticalRaceTheory CS 3
CriticalPedagogy CS 3
GradStudio3 PM 3
CritSem3 PM 3
Semester4(Spring‐15credits)
Course Type Credits
ResearchforCreativePractice CS 3
Elective1 3
GradStudio4 PM 3
CritSem4 PM 3
Collaboration&ResearchLab1PM3
Semester5(Fall‐12credits)
Course Type Credits
Thesis1 CS 6
CriticalWritingandVisualCulture PM 3
Elective2 PM 3
Semester
6(Spring‐15credits)
Course Type Credits
ProfessionalPractices CS 3
Thesis2 CS 6
CapstoneProjectPRM PM 3
Collaboration&ResearchLab2PM3
87‐90
67 PNCA2022‐23COURSECATALOG
Crs#Name Credit
CRITICALSTUDIESMA+MFAVISUALSTUDIES
SemesterOne(Fall‐15credits)
Course Type Credits
VS501Studio VS 6
VS525CritiqueSeminar1VS3
CRIT501CriticalTheory1CS3
CRIT555CriticalPedagogy CS 3
SemesterTwo(Spring‐18credits)
Course Type Credits
VS502Studio VS 9
VS526CritiqueSeminar VS 3
CRIT502CriticalTheory2:FeministTheory,QueerTheory,
GenderandSexuality CS 3
CRIT526CreativeNonfictionWriting CS 3
Semester3(Fall‐12credits)
Course Type Credits
CRIT521IntrotoCulturalStudies CS 3
VS551ContemporaryArtSeminar VS 3
CRIT525CriticalWritingandVisualCulture CS 3
CRIT601CriticalTheory3:CriticalRaceTheory CS 3
Semester4(Spring‐9credits)
Course Type Credits
ElectiveorInternship 3
Elective 3
CRIT522ResearchforCreative
Practice CS 3
Semester5(Fall‐18credits)
Course Type Credits
CRIT631ThesisWriting1CS6
VS601Studio VS 9
VS625CritiqueSeminar VS 3
Semester6(Spring‐15credits)
Course Type Credits
CRIT632ThesisWriting2CS6
VS626CritiqueSeminar VS 3
VS602Studio VS 6
CRIT630ProfessionalPractices CS 3
84‐87
68 PNCA2022‐23COURSECATALOG
Crs#Name Credit
UndergraduateMinors
ArtandEcology
Inthisinterdisciplinaryminor,you’lldevelopabroadunderstandingofpressingecological
issuesandtheirrelationshiptothesocial,political,cultural,andeconomicsystemsthatimpact
thefutureofhumanity,otherspecies,andoursharedplanet.You'llunderstandhowyourown
workasanartistoradesigner
cancommenton,interactwith,andimpacttheworld.
Coursehighlights:EcologyandResilience,EnvironmentalScienceandEcology,Art+Ecology:
GlobalCultureandEcology.15credits,2requiredcoursesIM201TheoryandPractice:Art+
Ecology:GlobalCultureandEcology,EcologyandResilience(SCI223)orEnvironmentalScience
andEcology.Choose3
electivecoursesfromamenu.
ArtHistory
ArtHistoryexaminesthebreadthofhumancreativityandconsidershowitinfluencesand
reflectsthecultureofitstime.Power,myth,science,religion,philosophyandtechniqueareall
included.Bydelvingintohistoricalandcontemporaryartistictenetsandtheirsocialcontexts,
you’llgain
aricherandmorediversevisualarsenalwhichwillsharpenyourcriticalfacultiesand
helpyoudevelopadeeperunderstandingofyourownwork.TheArtHistoryminorincludes
writingandresearchskillsthatprepareyouforgraduatestudyandprofessionalcareers.
Coursehighlights:TheMovingImage,DesignHistory,Artof
WestAfrica,ContemporaryTopics,
TheoryandCultureofArtHistory.Requirements18totalcreditsofarthistory(6classes).15
creditsofarthistory(5classes).FortherequiredAHcredits,two300‐levelAHseminarsplus
theextracourseforthe
minor.Thismeansthatthestudent’sAHelecves
needtobeatthe300‐level(studentsnot
pursuingtheminorhavetheoptiontotakeone200‐levelelectiveandone300‐levelelective).
Theadditionalclass(3credits)requiredfortheminorcomesfromtherequiredcourseAH319
TheoryandCultureofArtHistory
Ceramics
Inthisminor,
youcanchoosetofocusonclayasadynamicsculpturalmediumormaterialfor
fabricatingwaresandfunctionalobjectsasyoudevelopskillsandtechniqueswhiledeveloping
abroaderunderstandingofhistoricalprecedentsandcontemporarypractices.You’llworkin
ourdynamicCeramicsstudiowithseasonedprostodeepenyour
practiceorexpandoutward
intonewpathwaysincludingentrepreneurialstudiostrategies.
Coursehighlights:Moldmaking,ExperimentingwithMaterials.Requirements15credits,
Ceramicspecificcurriculum(Ceramics1,2and3)issupportedbyamenuofotherstudio
coursework(Moldmaking,ActivatedObjects,Multiples,ExperimentingwithMaterials)anda
requiredtopicrelevantArtHistory
course(Object,SpaceandTime).
CreativeWriting
CreativeWritingatPNCAoffersauniqueopportunitytoexplorewriting'srelationshipto
contemporaryartthroughinterdisciplinaryandhybridforms.Throughcreativewritingstudio
classesyou’llexploreexperimentalwritingpracticesincludingtheuseoflanguageasavisual
mediumandincorporatewritingintovisualwork
aswellasthosefocusedoncontemporary
formsoffiction,poetry,andscriptwriting.
Coursehighlights:IntrotoShortForms,ExpandedPoeticFields,WritingwithDigitalMedia.
Requirements:15credits,Chooseatleast3ofthesecoreCWclasses:CW221ShortForms
(req.)CW223ExpandedPoeticFields(req.)CW224ScriptingCW322
TheLitZineChoose
remainingcredits(2classes)frommenu.
Drawing
Drawingispracticedbyartistsacrossgenresanddisciplinesasawaytotranslateideastoform,
anduseofdrawinginitscapacityasanexploratorymediumisnearlyuniversal.TheDrawing
minorofferstheopportunityforsustainedstudy
andpracticeofdrawingsupportingboth
practices:drawingasexplorationanddrawingasform.
Coursehighlights:TheFigure,AdvancedDrawing‐ProcessandIdea,DrawingSeminar:Systems,
Structures,andStrategies.Requirements:15credits,AH218HistoryofPaintingandDrawing
(req.).RequiredtotakeatminimumtwocoursesinDrawingatthe
200level(menu),two
coursesinDrawingatthe300level(menu).
69 PNCA2022‐23COURSECATALOG
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Fashion
FashionDesignisaminorwithamulti‐disciplinaryapproach.Weencouragestudentstodelve
intomaterialexploration,garmentconstruction,fabricmanipulationandembellishment,
silkscreenprinting,patterndraftinganddraping,textiles,conceptdevelopment,andfashion
sketching.Theminorinvitesyoutoconsiderfashionasanembedded
aspectofcontemporary
societywhileexploringthegarmentitselffrommanyperspectivesincludingcostuming,
wearabletechnology,textiledesign,softsculpture,performance,andbodyaugmentation.
Coursehighlights:PrintingonFabric,FashionMatters,CapsuleCollection,SpecialProjects:
SewingConstructionI.Requirements:15credits,AH219HistoryofFashion(req.).SC293
SpecialProjects:
SewingConstructionI(req.).Studentshouldselecttwocoursesfromthe300‐
levelmenuofcourses.
Game
Gaminginbothanaloganddigitalformatsisoneofthemostrelevantandpervasiveformsof
entertainmentworldwide.Beyonditsroleinentertainment,socialscientistsandcultural
anthropologistsalikehaveidentifiedgamingasa
dominantformoffindingandbuilding
communityincontemporarysociety,usinggamecultureasanexpressivemeansofconnecting
withothers.Inthisminor,you’lldevelopageneralunderstandingofthephilosophies,systems,
andmechanicsutilizedincontemporarygameandinteractivedesignwhilebecomingfamiliar
withprocessesforresearch,experimentation,
design,prototyping,andproduction.
Coursehighlights:WorldBuilding,CharacterDesign,Scripting,InteractiveAesthetics.
Requirements:15credits,IL257‐SpecialTopics:IntroGameDevelopment(req.).Select4
coursesfromamenuofcourses(2shouldbe300levelcoursework).
GraphicDesign
Designshapesthewayweinteractwiththeworldaroundus.Thesame
skillsthatdesignersuse
workingwithclientscanalsobeusedto“move”people—formorepowerfulcommunication,
ortocreatesocialchange.Thisminorisawayforyoutogainfundamentalgraphicdesign
techniquesworkingwithtypographyandvisualsystemsforarangeoftechnology.Youwillalso
gaincore
skillsinideation,criticalevaluation,andrevisionthatyoucantakeintoabroadrange
ofcareers.Aminoringraphicdesignwillgiveyouageneralunderstandingofthebroad
possibilitieswithindesignandhelpyoulearntospeakthelanguageofdesignforfruitful
collaboration.
Coursehighlights:Signs+Symbols,
Typography,Culture+Audience,Brand+Marketing.
Requirements:15credits,StudentsminoringinGraphicDesignwillberequiredtotakeat
minimumthreecoursesin
GraphicDesignatthe200levelincluding:
●GD245TypographyI
●GD241DesignStudioI,part1:SignsandSymbols
●GD242DesignStudioI,part2:Psychology
ofSeeing
●plusthreeothercoursesatthe200,300,or400level.
Photography
Photographicskillshaveendlessapplicationsandareincreasinglyvaluableinamarketplace
thatreliesonphotographyasacentralformofcommunication.APhotographyMinoroffers
thechanceforstudentstodeepentheirtechnicalknowledgeandconceptualengagementwith
themediumofphotographyintheirpractice.PhotoclassesatPNCAaddress
arangeof
professionalandartisticgoalsthatstudentsbring:usingphotographyindialoguewithother
media,exploringanalogprocessesinthedarkroom,ordevelopingastrongportfolio
demonstratinglightingtechniques.Thisminorisanopportunityforyoutofocusonanaspect
ofphotographythatwouldbestcomplimentyour
aspirations.
Coursehighlights:StudioLighting,ThePhotographicinContemporaryArt,ConceptCapture
Print,PhotographicInvestigations
70 PNCA2022‐23COURSECATALOG
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StopMotion
Thestopmotionminorbecomesavehicleforbothmajorsandnon‐majorstogainexperience
inaquicklygrowingfield.Portlandisananimationtown,withthreestop‐motionfeaturesin
productionthislastyearalone.Weareluckytoregularlyinvitelocal
industryprofessionalsto
sharetheirworkandexpertise.StopMotionasanartpracticeformseasylinkageswithother
majorsandminorsfromSculpturetoFashiontoIllustrationtoPrintMediatoAppliedCraftand
Design.AnimatedArtsinvitesahealthycross‐disciplinarymixingofstudentswithvaryingpost
gradgoals
beitindustryorindiemediaproduction.
Ourcurriculumhasanopenstudioformatgivingstudentsachancetogainabasic
understandingofanimationandexplorepathwaystowardpuppetfabrication,costuming,set
construction,lighting,rigging,andcinema,propsculpture,characterdevelopment,
storyboarding,andanimating.Withageneralknowledgeof
animation,studentscanbuildout
theirportfoliodemonstratingspecificstopmotioncraftskillsthatarealsoimbuedwiththeir
owncreativespark.
Featuredcourses:Stop‐motionanimation,AdvancedStop‐motionanimation,Puppet
Fabrication,CollaborativeProduction.
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PNCA Faculty
Willamette Univ. PNCA Faculty bios: https://pnca.willamette.edu/faculty
Abra D Ancliffe Associate Professor
Sasha Archibald Assistant Professor
Robin Ator CE Instructor; Adjunct Instructor, PNCA; Instructor
Gordon A Barnes Assistant Professor
Dylan J Beck Assistant Professor
Sara T Bernstein Assistant Professor
Rose Bond Emritus
Kristin P Bradshaw Department Head of BFA Creative Writing; Assessment; Accreditation Coordinator; Associate Professor
Kristin L Rogers Brown Department Head of Graphic Design; Associate Professor
Ryan M Bubnis Assistant Professor
Maeve Callahan Assistant Professor
David J Chathas Assistant Professor
Teresa F Christiansen Department Head of BFA Photography; Director of Academic Technology; Associate Professor
Cole Cohen Assistant Professor
Lisa Congdon Assistant Professor
Benjamin Craig Assistant Professor
Herman D'Hooge Assistant Professor
Lori R Damiano Assistant Professor
Joy Davis Assistant Professor
Joel Davis Assistant Professor
Ardis DeFreece Assistant Professor; CE Instructor
Carl F Diehl Assistant Professor
Erin Doughton Assistant Professor
Meghan E Drury Assistant Professor
Leila B del Duca Assistant Professor; CE Instructor
David J Eckard Department Head of Sculpture; Associate Professor
Sunny Eckerle Adjunct Instructor, PNCA
Taylor A Eggan Assistant Professor
Sarah J Farahat Assistant Professor
Joshua B Flint Assistant Professor
Martin L French Department Head of Illustration / BFA Chair; Associate Professor
Chris M Gander Assistant Professor
Katja A Gantz Assistant Professor
Emma Gerigscott Assistant Professor
Damien Gilley Assistant Professor; CE Instructor
Emily L Ginsburg Department Head of Intermedia / BFA Chair; Associate Professor
Laura J Heit Associate Professor Department Head of Animated Arts; Associate Professor
David T Hohn Assistant Professor
Sara Huston Associate Professor, Applied Craft + Design; Program Head of Applied Craft + Design; Associate Professor
Sara E Jaffe Assistant Professor
Kristan Kennedy Assistant Professor
Yoshihiro Kitai Department Head of Printmaking; Associate Professor
Linda E Kliewer Associate Professor
Ric Lanciotti Assistant Professor
Carly Larsson Adjunct Instructor, PNCA
Michael S Lazarus Assistant Professor
Matthew Letzelter Associate Professor; MFA Chair, Print Media
Shannon M Lieberman Assistant Professor
Auden M Lincoln-Vogel Assistant Professor
Shawna Lipton Chair of Critical Studies MA; Academic Director, Hallie Ford School of Graduate Studies; Associate Professor
Zak Margolis Assistant Professor
Maximiliano C Martinez Assistant Professor
Katherine J McCallum Assistant Professor
Abby McGehee Assistant Professor
Phoenix McNamara BFA Co-Chair, Foundation
Jason McNamara Assistant Professor; CE Instructor
Sloane McNulty Assistant Professor
Zach Meyer Assistant Professor
Abbie Miller Assistant Professor
Chloe A Miller Assistant Professor
Rachel L Milstein Assistant Professor
Kanani Miyamoto Assistant Professor; CE Instructor
Monica Mo Assistant Professor
Paul M Montone Assistant Professor
Skye E Moret Assistant Professor; MFA Chair, Collaborative Design Design Systems
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Alexandria M Nanneman Assistant Professor
Seth A Nehil Assistant Professor
Mollie Nouwen Chair of Liberal Arts; Associate Professor
Laura O'Quin Assistant Professor
JooYoung Oh Assistant Professor
Danielle R Olson Assistant Professor
Laurel Reed Pavic Department Head of Art History; Assistant Professor
Barry M Pelzner Emeritus
Aaron Piland Adjunct Instructor, PNCA
Jay Ponteri Chair of the MFA, Visual Studies; Assessment Coordinator, PNCA; Associate Professor
Reid Psaltis Assistant Professor
Zachary Rau Assistant Professor
Lettie Rennekamp Assistant Professor
Justin Rigamonti Assistant Professor
Ryan Riss Adjunct Instructor, PNCA; Instructor, Drawing Painting
Bernadette M Rodgers Assistant Professor
Michael Rogers Assistant Professor
Michelle C Ross Assistant Professor, Dept. Head of BFA Painting
Georgina E Ruff Assistant Professor
Robert A Ryan Assistant Professor
Ivan D Salcido Assistant Professor
Alejandra Salinas-Tolosa Assistant Professor
Mickey S Sanchez Assistant Professor
Crystal A Schenk Assistant Professor
Sally Schoolmaster Associate Professor
Amelia R Sechman Assistant Professor
Marissa L Seiler Assistant Professor
Mary Sherwin Assistant Professor
Sara Siestreem Assistant Professor
Howard D Silverman Assistant Professor
Rory R Sparks Assistant Professor
Erin R Stevanus Assistant Professor
Melanie Stevens BFA Co-Chair, Foundation
Stephanie A Sun Assistant Professor
Abigail L Susik Associate Professor
Ariella V Tai Assistant Professor
Sharita Towne Assistant Professor; Associate Professor
Jeremy Townley Assistant Professor
Yer Za Vue Assistant Professor
Jeffrey D White Assistant Professor
Rachel Wolf Assistant Professor
Roland Dahwen Wu Assistant Professor
Linda M Wysong Adjunct Instructor, PNCA; Associate Professor
Takahiro Yamamoto Assistant Professor
Marilyn Zornado Assistant Professor
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UNDERGRADUATE
PROGRAMS TUITION Tuition and Fees 2022-23
Tuition and Fees
Full Tuition $45,000 per year / $22,500 per semester, full time enrollment
Part-Time Tuition $1,875 per credit (part-time) or $1,250 (overload per credit over 18 credits)
PNCA will NOT bill overload for the 2022-23 academic year for PNCA students
Studio Rental fee $900 per year / $450 per semester (Intermediate Painting & Senior Studio students only)
Late Registration fee $250 per semester
Student Activity fee $100 per year
Standard studio
$9,800
p
er
y
ear/ $4,900
p
er semeste
r
Private bedroom in multi-bedroom unit
$15,950
p
er
y
ear / $7,975
p
er semeste
r
Shared bedroom in multi-bedroom unit
$11,100
p
er
y
ear / $5,550
p
er semeste
r
Private Studio
$19,600 per year / $9,800
Security Deposit $300
Residence Life Program Fee $75 per semester / $150 per year
Health Insurance TBD estimate $1935.00 fall semester $2,518.00 spring semester
Tuition and fees published below apply to BFA students enrolled for the 2022-2023 academic year, Fall and Spring semesters. There is no
cost to apply to PNCA's undergraduate programs.
PNCA Student Housing
(ArtHouse)
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GRADUATE PROGRAMS
TUITION
Tuition and Fees 2022-23
Full time tuition includes 18.0 credits. Additional credits will result in additional charges. $1,250 (overload per credit over 18 credits).
PNCAwillNOTbilloverloadforthe2022‐23academicyearforPNCAstudents
MFA in Visual Studies (60
credits)
Tuition $44,000 per year/$22,000 per semester
(
Cost before scholarshi
p
s are a
pp
lied
)
Student Activity fee $100 per year/$50 per semester
Health Insurance * TBD estimate $1935.00 fall semester $2,518.00 spring semester
MFA in Collaborative Design
(60 credits)
Tuition $43,500 per year/$21,750 per semester
(Cost before scholarships are applied)
Student Activity fee $100 per year/$50 per semester
Health Insurance TBD estimate $1935.00 fall semester $2,518.00 spring semester
MFA in Print Media (60
credits)
Tuition $42,750 per year/$21,375 per semester
(
Cost before scholarshi
p
s are a
pp
lied
)
Student Activity fee $100 per year/$50 per semester
Health Insurance TBD estimate $1935.00 fall semester $2,518.00 spring semester
MFA in Applied Craft + Design
(60 credits)
Tuition $43,500 per year/$21,750 per semester
(
Cost before scholarshi
p
s are a
pp
lied
)
Student Activity fee $100 per year/$50 per semester
Health Insurance * TBD estimate $1935.00 fall semester $2,518.00 spring semester
MA in Critical Studies (45
credits)
Tuition $32,500 per year/$16,250 per semester
(Cost before scholarships are applied)
Student Activity fee $100 per year/$50 per semester
Health Insurance * TBD estimate $1935.00 fall semester $2,518.00 spring semester
MA in Design Systems (40
credits)
Program costs published below apply to MA students enrolling in the Design Systems programs.
Tuition $32,500 per year/$16,250 per semester
(
Cost before scholarshi
p
s are a
pp
lied
)
Student Activity fee $100 per year/$50 per semester
Health Insurance * TBD estimate $1935.00 fall semester $2,518.00 spring semester
75 PNCA2022‐23COURSECATALOG
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Low-Residency MFA in
Creative Writing (60 credits)
Program costs published below apply to MFA students enrolling in the Low-Residency programs.
Tuition $30,500 per year/$15,250 per semester
(Cost before scholarships are applied)
Health Insurance * Not eligible
Housing
Transportation
Books & Supplie
s
Low-Residency MFA in Visual
Studies (60 credits)
Program costs published below apply to MFA students enrolling in the Low-Residency programs.
Tuition $32,500 per year/$16,250 per semester
(
Cost before scholarshi
p
s are a
pp
lied
)
Health Insurance Not eligible
Not included in costs above:
Housing
Transportation
Books & Supplie
s
Dual MFA/MA in Critical Studies
Tuition $36,500 per year/$18,250 per semester
(
Cost before scholarshi
p)
Student Activity fee $100 per year/$50 per semester
Technology fee $700 per year/ $350 per semester
Health Insurance TBD estimate $1935.00 fall semester $2,518.00 spring semester
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AcademicPolic
y
MFA DEGREE REQUIREMENTS
The MFA degree program requires 60 credits of graduate study. Requirements for MFA degree
programs and course descriptions are available at www.pnca.edu. The Graduate program may
accept Transfer credit on a limited basis. Changing programs within the Graduate program is
only available with the approval of the Academic Dean and the Dept. Chairs. These exceptions
may affect a students financial aid package and/or requirements to complete the degree.
MA DEGREE REQUIREMENTS
The MA in Critical Studies degree program requires 45 credits of graduate study. The MA in
Design Systems degree program requires 40 credits of graduate study. Requirements for
majors and course descriptions are available at www.pnca.edu. The Graduate program does
not accept transfer credit. Changing programs within the Graduate program is only available
with the approval of the Academic Dean and the Dept. Chairs. These exceptions may affect a
students financial aid package and/or requirements to complete the degree.
BFA DEGREE REQUIREMENTS
A minimum of 120 credits is required to earn the Bachelor of Fine Arts degree (121 credits if
required to take the ‘First Year Seminar course’). For all majors this includes: 75 (76) in studio,
30 in Liberal Arts and Sciences, and 15 in Art History. Of the studio credits, 15 (16) are
required courses in the Foundation program, at least 36 are the required courses in the studio
major, and the remainder are available for studio electives. Requirements for majors and
course descriptions are available at www.pnca.edu. A minimum two-year residency at the
College is required.
SELECTING A MAJOR
You will choose a major at the end of your Freshman Year. Consult with Area Chairs,
Department Heads, and your faculty advisor for more information. In the fall, there is a Majors
Week as well as opportunities to meet with Faculty Mentors, Area Chairs and Department
Heads to ask questions and gather information about making the best choice.
CHANGING YOUR MAJOR
You may change your major at any time, but due to course requirements within each area,
additional coursework may be required, which could possibly extend your time at the College. If
you would like to change your major, schedule an appointment with your Department Head in
that major to plan a course schedule that will allow you to graduate in a timely fashion. You
must submit a Declared/Change of Major form to the Registrar's Office
[email protected].
ATTENDANCE
The College expects students to attend all of their scheduled classes. Instructors have the right
to lower a student’s grade for absences. Attendance policies and procedures are included on
every course syllabus. If you must miss classes due to illness or extenuating circumstances, b
e
sure to inform your instructors and discuss the assignments you have missed to determine
whether the work can be made up.
CREDITS
PNCA is on a semester-credit system. One semester-credit represents three hours of work per
week for 15 weeks. Each lecture hour of class in Liberal Arts and Science requires a minimum
of two hours of work outside of class.
PN
C
A typically o
ff
ers 3 credit
S
tudio courses that meet
f
or 6 hours o
f
classroom time and
require 3 hours of work outside of class per week.
Liberal Arts, Art History and
S
cience courses o
ff
ered
f
or 3 credits meet
f
or 3 hours and require
6 hours of work outside of class per week.
ENROLLMENT STATUS
Undergraduate students may enroll on a full-time (minimum of 12 and up to 18 credits per
semester) or part-time (fewer than 12 credits per semester) basis. Courses taken concurrently
at other schools do not count towards PNCA enrollment status. If a student changes to part-
time status, their financial aid award will be adjusted accordingly.
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Graduate Program students are expected to be enrolled full-time and are considered full-time
at 9 credits. However if approved for less than full-time then 7 credits = three quarter-time, 4.5
credits = half- time, and less than that = less than half-time.
REGISTERING FOR COURSES
Students register for courses through the Self-Service student portal
https://portal.willamette.edu/student/Pages/default.aspx each semester during the dates listed
in the academic calendar. (see page 5 or the Registration page on Homeroom). Registration is
available for returning students before the end of the previous semester. By registering for
courses, you are agreeing to pay in full all tuition and fees associated with your schedule,
whether or not you attend all classes.
ADD/DROP
You may add or drop courses during the first two weeks of the Fall and Spring semeste
r
through SAGE student portal https://portal.willamette.edu/student/Pages/default.aspx After the
Drop/Add period, you are financially and academically responsible for all classes appearing on
your schedule.
Graduate Students - Undergraduate Course for Graduate Elective Credit
Graduate Students may sign up for Undergraduate Courses for Graduate Elective Credit onl
y
with approval from the pertinent Graduate Chair and by making arrangements with the Course
Instructor. Chair decisions are based on a thorough vetting of course material to determine
suitability, and by determining whether this course material fits with the student’s academic
plan. In addition, Course Outcomes for each Undergraduate course must be adjusted by the
Course Instructor, in conversation with the pertinent Graduate Chair and Area Chair, to ensure
they fulfill the expectations of Graduate-level coursework
This form must be completed by the end of the Add / Drop period in order to receive Graduate
Elective credit for the Undergraduate Course. Return completed form to Registration Office.
[email protected].
https://willamette.edu/offices/registrar/pdf/forms/graduate-student-elective-approval-form.pdf
WITHDRAWAL FROM A COURSE
After the Add/Drop period, your schedule is final and you are financially and academically
responsible for all courses on your schedule. You may, however, withdraw from a course up
through the tenth week of the semester. To withdraw from a course,
https://willamette.edu/offices/registrar/pdf/add-drop-process-for-students-sage.pdf
There will be an option to submit your withdraw from a class.
You should carefully consider withdrawing from a course, and should meet with your
department head, and a Financial Aid Office staff member beforehand. Withdrawing from a
course may affect your eligibility for financial aid contact [email protected]
AUDITING POLICY
Auditing a BFA course for non-credit is an option for students who are not interested in
obtaining credit. Auditing a course is allowed on a space-available basis and with the
permission of the instructor. https://willamette.edu/offices/registrar/pdf/add-drop-process-for-
students-sage.pdf
There will be an option to submit your Audit request for the class
Audited courses do not count as credits earned toward a degree, nor do they affect the
student’s GPA. You may want to consult with your department head about your desire to audit
a course for non-credit.
No additional tuition will be charged for full-time students.
REPEATING A COURSE
If you fail a required course, you must repeat it. If you fail a non-required course, you have the
option of repeating it. Studio courses above the Foundation level can be taken again as studio
electives. In all cases, the original grade remains on your transcript for the semester in which it
was given, and the new grade is recorded on your transcript for the semester in which it was
given.
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INDEPENDENT STUDY - UNDERGRADUATE
If you cannot access a particular kind or level of class through the existing PNCA course
offerings, you may propose an Independent Study. The purpose of an Independent Study is to
provide undergraduate students with studies that are not available through the regular courses
offered within the PNCA curriculum. Independent Study is for Junior or Senior students only.
You may take no more than one Independent Study per semester. Each credit represents thre
e
hours of work per week for the 16-week semester. An Independent Study must first be
approved by your Area Chair and the Academic Dean. A faculty member has the option to
decline an independent study. To propose an Independent Study, you should do the following:
Independent Study Contract forms are available in the Registration office.
Request approval for your proposal from your Department Head. In your proposal, state your
specific goals and the projects, methods of evaluation, and number of credits for your
Independent Study.
Department Head will work with you to further develop your proposal and select an appropriate
Faculty supervisor. The Department Head, Faculty supervisor, and Academic Dean must sign
the form.
Submit your completed Independent Study Contract to the Registration Office.
The Registration office will officially register you for the Independent Study. These steps must
be completed before the Add/Drop deadline for the semester.
A
s
t
u
di
o
i
n
d
epen
d
en
t
s
t
u
d
y
i
s
t
yp
i
ca
ll
y
3
cre
dit
s,
b
u
t
can
b
e
f
ewer
i
n
th
e case o
f
ma
ki
ng up
partial units. You may not exceed a total of 6 independent study credits in all (only upon
approval of Academic Dean).
https://willamette.edu/offices/registrar/pdf/forms/independent-study-contract.pdf
INDEPENDENT STUDY - GRADUATE
Graduate program students: Independent Study requires approval of your Department Chair.
Independent Study Forms are available in the Registration office.
https://willamette.edu/offices/registrar/pdf/forms/independent-study-contract.pdf
INTERNSHIPS
An internship is a high quality, art or design-related work experience that supplements
and enhances your academic training and formal education at PNCA. Internships
introduce you to a specific field, bridge the gap between the academic environment
and employment, and provide a unique opportunity to gain valuable professional
experience before graduation. All students are encouraged to complete an internship.
In order to be eligible, you must have completed a minimum of 60 credits and be in
good academic standing. Internships can range from one to six credits, although the
average number of credits is three. Each credit equals 45 hours of work (two credits
equals 90 hours, six credits equals 270 hours). You may not exceed six Internship
credits. Internship information is available in the Office of Career Design
https://pnca.willamette.edu/career-readiness/career-design/internships You should
speak with the Office of Career Design, faculty members, and department chairs to
find an ideal internship. Once you have secured an internship, meet with the Office of
Career Design to complete the necessary paperwork. All internships are graded on a
Pass/No Pass basis.
To accommodate physical distancing we have developed some additional ways to earn
internship credits. Please contact the Office of Career Design for more information.
INTERNSHIPS - GRADUATE
Graduate program students: Graduate Internship (Course number HF501) internships are
graded on a pass/fail basis. Please contact the Office of Career Design for more information.
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GRADES
Evaluations of student performance are linked to the stated objectives of each course. At the
onset of each course and on the course syllabus, instructors explain:
How evaluation of student performance is linked to the course objectives
How each element
/
assignment in the coursework will be considered in assigning the
f
inal
grade
The criteria used for evaluation
The policies on attendance, make-up work, and extra credit, and the grading implications of
those policies
Grades are available in Self-Service https://portal.willamette.edu/student/Pages/default.aspx at
the end of each semester.
PNCA BFA Grade Values:
A+.............................
A...............
.................
4.00......................... Excellent
A-
.................
.............
4.00......................... Excellent
B+.............
.................
3.67......................... . Excellent
B...............
.................
3.33.......................... Above Average
B-
.................
..............
3.00......................... Above Average
C+............
.................
.
2.67.......................... Above Average
C...............
.................
2.33.......................... Average
C-
.................
...............
2.00......................... Average
D+............
.................
..
1.67.......................... Average
D...............
.................
1.33........................ . Below Average
D-
.................
.............
1.00........................ . Lowest Passing Grade
F...............
.................
.
0.67......................... . Failing
W..............
.................
0.00......................... Withdrawal (not included in GPA)
I................
.................
.
0.00........................ . Incomplete
P...............
..............
0.00......................... Pass
NP............
.................
0.00......................... No Pass
Incomplete Grade: In certain situations, you may request an Incomplete grade for a course.
Often this is when an emergency situation has occurred after week ten of the term (week 5 in
Summer). You may petition for an Incomplete if your situation meets both of these conditions:
An extenuating circumstance (illness, family emergency) has occurred and it has prevented
you from completing coursework.
You are currently in good standing in the class.
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An Incomplete should be viewed as a response to a recent, unexpected, and dramatic event in
your life, such as an illness or family emergency. An Incomplete is not simply an extension of
time to complete work for a class. It is your responsibility to obtain an Incomplete Form from
the Registration Office and to present the request to your instructor. The decision to grant an
Incomplete is up to the instructor, and an Incomplete may not necessarily be appropriate in all
situations or for all types of courses. The instructor may deny the request if the circumstances
do not meet the above criteria, or if the amount or type of work does not lend itself to
completion outside the classroom. For example, a Life Drawing class requires a model, and
some classes are based on group critiques. An instructor will tell students what assignments,
projects, or tests are required to receive a passing grade. If an Incomplete is granted, you must
complete the required work within three weeks after the end of the term. At the end of these
three weeks, the instructor will submit the new grade to the Registration Office.
The grade of I will stand for Incomplete. This grade may be given only in cases where all but a
minor portion of the course work has been satisfactorily completed, and the instructor
determines there are legitimate reasons to grant the student an extension of time. Instructors
must submit a Report of Incomplete Grade form to the Registrar's Office within two weeks
following the grading deadline for the semester in which the incomplete grade is submitted.
The deadline for students to submit work to be graded to replace grades of I will be the fifth
Friday of the subsequent semester. This deadline may be extended by a maximum of one
semester, if the student successfully petitions the Academic Status Committee by the date on
which the outstanding coursework is due (the fifth Friday of the subsequent semester). All
grades of I will be accompanied by a contingency grade, in the computation of which the
instructor has considered work not completed as a zero or an F. The contingency grade will be
recorded on the permanent record (transcript) until that time when the Registrar receives the
final grade. If a replacement grade is not submitted, the contingency grade will be retained as
the final grade.
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PNCA GRADUATE PROGRAM GRADING CRITERIA
Please note: Graduate program students must maintain at least a 3.00 (B) grade point average
(GPA) in graduate courses taken in the degree program. Grades of D+ or lower for graduate
courses are not accepted for graduate credit but are computed in the GPA. A Graduate
program student has the right contest a grade by petitioning the Graduate Chair and Academic
Dean in writing.
PNCA Graduate Program Grade Values:
A+.............................
A...............
.................
4.00......................... Excellent
A-
.................
.............
4.00......................... Excellent
B+.............
.................
3.67......................... . Excellent
B...............
.................
3.33.......................... Above Average
B-
.................
..............
3.00......................... Average
C+............
.................
.
2.67.......................... Below Average
C...............
.................
2.33.......................... Below Average
C-
.................
...............
2.00......................... Below Average
D+............
.................
..
1.67.......................... not accepted for graduate credit
D...............
.................
1.33........................ . not accepted for graduate credit
D-
.................
.............
1.00........................ . not accepted for graduate credit
F...............
.................
.
0.67......................... . Failing
W..............
.................
0.00......................... Withdrawal (not included in GPA)
I................
.................
.
0.00........................ . Incomplete
P...............
..............
0.00......................... Pass
NP............
.................
0.00......................... No Pass
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UNDER
G
RADUATE
S
ATI
S
FA
C
T
O
RY A
C
ADEMI
C
PR
OG
RE
SS
, PR
O
BATI
O
N, AND
DISMISSAL
Undergraduate students who do not achieve a grade point average of at least 2.0 (C) in a
semester will be placed on academic probation the following semester. Probation is limited to
one semester. To regain good academic standing, the student must register for at least six
credits and maintain a GPA of 2.0 or higher. Students on probation must have an academic
advisor approve their registration before re-enrolling. If the student does not achieve a 2.0 GPA
or better in the probation semester, he or she will be dismissed from the College at the end of
that semester. If dismissed for unsatisfactory work, financial aid eligibility will be revoked.
Appeals of decisions regarding probation and dismissal are handled through the Grievance
Resolution Process. (See Student Grievance Resolution Policy.)
Seniors who are on probation may not register for any 400-level courses. They may, however,
register for other coursework that applies to their degree. Seniors on probation must petition
Academic Policy Review Committee at [email protected] to register for any 400-level
courses. Additional restrictions on the academic status of seniors are described in the Catalog
and in the Thesis Handbook.
GRADUATE First Year Review/ Program Assessment and Improvement
Formal program assessment and evaluation of student achievement and progress occurs
throughout the duration of each of the Graduate program according to program-specific
scheduling. Formal program assessment occurs specifically through:
First Year Review
Course and Faculty Evaluations
Mentor/Student Evaluations
Thesis Proposal Presentations
Thesis Exhibition and Oral Defense
Consult with your Department Chair for program-specific formats for each of these types of
assessment.
GRADUATE SATISFACTORY ACADEMIC PROGRESS, PROBATION, AND DISMISSAL
If at any point in time during MFA/MA program an MFA/MA candidate drops below a cumulativ
e
3.00 grade average they will be placed on probation for the following semester. The candidate
should consult with their Department Chair to create a plan for improvement in the next
semester. Probation is limited to one semester and if the MFA/MA candidate does not increase
their grade point to a 3.00 or above average by the end of the probationary semester the
candidate will be dismissed from the College.
LEAVE OF ABSENCE
You may take a leave of absence for up to two years, return without reapplying, and retain the
degree requirements from your major at the time you initially enrolled (Note: some programs
may have limits as to which semester you may return). If you wish to take a leave of absence,
you should complete the Withdraw from College/Leave of Absence Form available at the
Registrar’s Office [email protected] before the semester in which the leave is to begin.
ELIGIBILITY TO ENTER THE THESIS YEAR (UNDERGRADUATE)
To be eligible to enter the thesis year, you must have completed all lower-division coursework;
completed 90 credits; have a cumulative grade point average of 2.0 or better, with a minimum
grade point average of 2.0 in the required classes for the major; have completed one full year
of residence at PNCA, either as a full-time student or the equivalent as a part-time student; and
may not be on probation. Students declared ineligible to enter the thesis year may appeal for
review to the Academic Policy Review Committee at [email protected]. The
review process must be completed before the end of the semester in which eligibility is
determined. A more detailed account of the senior year process is covered in the Thesis
Handbook.
ELIGIBILITY TO GRADUATE (UNDERGRADUATE PROGRAM)
BFA seniors must maintain at least a 2.0 (C) grade point average during both semesters of the
senior year. Being on academic probation is not allowed during the senior year. Students must
also achieve at least a 2.0 (C, not C-) grade, in their Thesis Critique Seminar in the first
semester, and in their Thesis Studio class in the second semester. Students who receive an
unsatisfactory grade in any of the above classes must petition the Academic Policy Review
Committee at [email protected] in order to re-enroll and repeat those classes.
The Thesis Handbook, given to each thesis student, contains more information about the
thesis process.
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ELIGIBILITY TO WALK IN COMMENCEMENT (UNDERGRADUATE PROGRAM)
Seniors who have successfully completed all required coursework for the degree are eligible to
participate in the commencement exercises. If a senior has three or fewer outstanding credits,
they may submit a petition to the Academic Policy Review Committee at
[email protected] before the end of the 10th week of the semester, requesting an
exception. Students who have completed their Thesis coursework but still have outstanding
requirements have a maximum of 2 years to complete this work at either PNCA or another
accredited institution in order to remain under their current academic requirements. If the
student does not complete their work within this time frame, they will be responsible for any
curricular updates made since they started their program. It is recommended that students
contact an academic advisor at PNCA for advice on how best to complete any remaining
credits. The student’s graduation date will be the end of the semester in which all degree
requirements are completed and official transcripts have been received by the Registrar. They
would then be eligible to participate in the next commencement exercises.
GRADUATION DETAILS (UNDERGRADUATE PROGRAM)
In the semester before their final semester, the academic advising office will give students
preliminary notice of their credit status for graduation. Students take part in planning the
commencement program, including distributing the announcements and voting for their
graduation speaker. If you have an outstanding balance on your account you will not receive
your diploma until all financial obligations to the College have been met.
ELIGIBILITY TO GRADUATE (GRADUATE PROGRAM)
MFA Graduate Degree Requirements: The MFA degree program requires 60 units of graduate
study. Graduate students must maintain at least a 3.00 (B) grade point average (GPA) in
graduate courses taken in the degree program. Grades of D+ or lower for graduate courses ar
e
not accepted for graduate credit but are computed in the GPA.
MA Graduate Degree Requirements: The MA degree program requires 45 units of graduate
study. Graduate students must maintain at least a 3.00 (B) grade point average (GPA) in
graduate courses taken in the degree program. Grades of D+ or lower for graduate courses ar
e
not accepted for graduate credit but are computed in the GPA.
GRADUATION DETAILS (GRADUATE PROGRAM)
The Registrar in collaboration with your Department Chair will give students preliminary notice
of credit status for graduation in the semester preceding their graduation semester. You and
your classmates will take part in planning your commencement program, including the
distribution of announcements. If you have any outstanding balance on your account you will
not receive your diploma until all obligations to the College have been satisfied. This includes
all outstanding fees.
MFA/MA Program Chairs will nominate a graduate commencement speaker each year.
DEAN’S LIST
The Dean’s List recognizes academic excellence for full-time undergraduate students who
achieve a grade point average of 3.85 or above for the semester. Each semester Dean’s list
students are recognized publicly for their achievement
WITHDRAWAL FROM THE COLLEGE DURING THE SEMESTER
To officially withdraw from PNCA at Willamette University, you must complete and submit the
Withdraw from College Form contact the Registrar’s office [email protected]
Studentswithdrawingformedicalreasonsmaypetitionforamedicalwithdrawal.The
ApplicationforMedicalWithdrawalmaybeobtainedfromtheRegistrar'sOffice.
https://willamette.edu/arts‐sciences/catalog/policies/leave‐absence.php
Student Accounts Refund Policy
https://willamette.edu/offices/studentaccounts/information/withdrawals.htm
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Student Accounts Refund Policy
STUDENT ACCOUNTS MENU
Purpose
To provide guidelines for the processing of student accounts refunds, including adjustments related to student
withdrawals, calculation of refunds and return of financial aid, and overpayment refunds.
Policy
Adjustments Related to Student Withdrawals:
Students are admitted to Willamette University with the understanding that they will remain until the end of the
semester unless unforeseen circumstances necessitate their withdrawal. Students who are suspended or expelled
from the University forfeit all refunds of tuition and fees.
In compliance with the Higher Education Amendments of 1998 (Section 668.22), Willamette University's policy for
adjusting tuition and fees due to a withdrawal is as follows:
Students who wish to withdraw from courses after the 10th day of class (the Add/Drop Period) must notify the
Registrar’s Office. For additional information on the academic withdrawal policy, please review the Academic Policies
and Procedures: Leave of Absence or Withdrawal policy.
Students withdrawing for medical reasons may petition for a medical withdrawal. The Application for Medical
Withdrawal may be obtained from the Registrar's Office.
The date utilized for refunds will be the date of withdrawal determined and communicated to the Student Accounts
office by the Registrar.
Tuition adjustments for full withdrawals will be prorated, per day, based on the academic calendar up to the 60% point
in the semester. This deadline coincides with the final withdrawal deadline disclosed in the academic calendar. In the
case of an approved full medical withdrawal, the tuition refund is the same as a student who withdraws from the
University. After the 60% point in the semester, no refunds are granted for withdrawals.
Students who drop below full-time (3.0 credits) and remain enrolled after the Add/Drop Period will not have their tuition
charges adjusted, but will be billed as a full-time students for the semester.
Students with an approved medical withdrawal who drop below full-time (3.0 credits) but remain enrolled after the
Add/Drop Period will receive a tuition adjustment that is prorated per day, based on the academic calendar up to the
60% point in the semester. After the 60% point in the semester, no tuition adjustments are granted for partial medical
withdrawals.
Withdrawing students are responsible for applicable room and meal plan charges through the date they checked out
of their campus housing with Residence Life and Housing. Please review the Residence Life and Housing Handbook
for additional information on canceling a housing contract or apartment lease and prorated housing and meal plan
charges.
Instances when a military service member stops attending due to a military service obligation, Willamette University
will work with the affected service member to identif
y
solutions that will not result in student debt for the returned
Health insurance charges and student body fees will not be refunded to withdrawing students.
In the case of a student's death during a term, a full tuition refund will be granted to the student's estate.
Student Accounts Refunds:
Students who withdraw and have received financial aid will receive their refunds after the required portion of their
financial aid is returned to the aiding programs in accordance with federal guidelines. The required portion of financial
aid that is returned to the aiding programs is calculated as follows:
Title IV aid, military tuition assistance, and all other aid is earned in a prorated manner on a per day basis based on
the academic calendar up to the 60% point in the semester.
Recalculation of financial aid is based on the percent of earned aid using the following federal formula: Percent
Earned = Number of days completed up to the withdrawal date divided by total days in the semester. View tables that
show refund percentages based on term length.
Federal financial aid, including military tuition assistance, is returned to the federal government based on the percent
of unearned aid using the following formula: Aid to be returned = (Percent Earned × the amount aid that was eligible to
be disbursed) – aid that was actually disbursed.
When financial aid is returned, the student may owe a balance to the University. The student should contact the
Student Accounts Office to make arrangements to pay the balance.
SPECIAL CIRCUMSTANCE WITHDRAWAL FROM A COURSE
In the case of a personal emergency, you may petition for a Special Circumstance Withdrawal
from a course. This withdrawal is only granted in the case of a dramatic and extenuating event
that is unexpected, disabling, and outside your control, such as sudden illness or death in the
immediate family. (see section PETITION FOR AN EXCEPTION TO AN ACADEMIC POLICY).
READMISSION AFTER DISMISSAL
If you are dismissed for unsatisfactory academic progress, you must enroll as a full-time
student at another accredited institution for a minimum of one semester or two quarters, and
achieve a GPA of at least 2.0. Courses taken during this time should support PNCA
coursework. To be readmitted after fulfilling the above requirement, you must write a letter of
petition to the Registrar requesting readmission, and have official transcripts sent from the
institution you attended. Readmission will be determined by the Dean’s Office in concert with
the appropriate academic programs at PNCA. Additional steps will be necessary to regain your
financial aid eligibility. Please contact the Registration Office ([email protected]) and
the Financial Aid Office ([email protected]) for additional information.
PETITION FOR AN EXCEPTION TO AN ACADEMIC POLICY
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Policy Review Committee. You must explain in writing what special circumstances caused you
to be unable to meet the policy or deadline at issue.
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The Committee grants such petitions if the student can document “extenuating circumstances.”
Extenuating circumstances are typically unexpected, disabling, and beyond the student’s
control, such as serious illness or death in the family. The committee may ask for supporting
documentation, such as a letter from a health care provider. If appropriate, the petition should
include a plan for avoiding similar circumstances in the future.
Please contact [email protected] to request a form
They will convene the committee and respond to you with their decision.
PROTECTION AGAINST IMPROPER EVALUATION
PNCA students are responsible for meeting the standards of academic performance
established by their faculty at the beginning of each semester in each course in which they are
enrolled. The course requirements and the instructor’s expectations for performance should be
clearly stated in each course syllabus. Students should request clarity if they have questions
and have the right to be heard by instructors. Appropriate staff members can be consulted in
cases where there are lingering questions regarding instructor judgment on grading.
CONTESTING A GRADE
You have the right to question a grade and should first contact your instructor, since clerical
errors are sometimes made in the grading process. If you still feel that you have not received
an appropriate grade after discussion with your instructor, you should contact the department
chair, or if the grading was done by a department chair, follow up with the Academic Dean. If
this step does not lead to resolution, the following formal procedure is available
to challenge your grade. All documents required for the procedure will be kept in your academi
c
file in the Registration Office. Write a statement of your grievance and submit it to the
appropriate department chair and Academic Dean as soon as possible following your receipt of
the grade you want to contest. Please provide detail and evidence of why the grade was
incorrectly given. The department chair or Dean will, within one week of receiving your
statement, follow up with you. The next step will likely be a meeting with you and the instructor
to facilitate a meeting with the Chair and/or Dean. The department chair or Dean will make a
decision and write a summary of the meeting, sharing that with all parties involved.
COURSE EVALUATIONS
Course evaluations are essential to BFA, MFA, and MA program development program
development. The evaluation process provides you with the opportunity to anonymously
provide feedback about the quality of instruction facilities, and equipment in your classes.
Evaluations are completed at the end of each semester and are reviewed to continue to
improve academic quality.
DIGITAL TOOLS CHALLENGE EXAM
If you have significant experience with digital design tools and media, you may challenge the
Visual Elements: Digital Tools class. For more information, contact the Foundation Department
chair.
CHALLENGE TO PLACEMENT IN A COURSE
A student may choose to challenge placement prior to the beginning of the semester. A
challenge to placement must be brought by the student to the department chair responsible for
that course, and be reviewed by the department chair. Such a challenge to placement must be
completed and approved prior to the 2nd week Add/Drop deadline for classes if you need to
replace challenged credits hours with a new course or courses in order to maintain full-time
status for the semester (12 credit hours). It is best practice to have this completed prior to the
semester to allow you to find a replacement course before the end of the Add/Drop deadline.
COURSE WAIVER
PNCA may grant you a course waiver for one of the following reasons:
You demonstrate, by portfolio or examination, a level of competence equivalent to the expecte
d
learning outcomes for the course.
The range of your other accomplishments indicates an ability to quickly master the course
material. This is decided on a case-by case basis.
A course waiver does not alter credit requirements. Receiving a waiver is not the same as
receiving credit; the credits still need to be completed.
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by taking a course within the same category (Studio, Liberal Arts or Art History) that has the
same number of credits as the waived course. A course waiver requires approval from the
Chair of the Department in which the course is offered and approval of your Department Head
in your major. The course waiver must be completed and approved prior to the 2nd week
Add/Drop deadline for classes if you need to replace challenged credits hours with a new
course or courses in order to maintain full-time status for the semester (12 credit hours). It is
best practice to have this completed prior to the semester to allow you to find a replacement
course before the end of the Add/Drop deadline.Contact an Academic Advising / Registration
[email protected] for more information.
PREREQUISITE EXEMPTION
You may challenge a course prerequisite or take a prerequisite concurrently with the
sequenced course in some cases. An exemption from a course is not a waiver and, if granted,
the credit hours will need to be completed. Contact your or the Department Head in which the
course is offered for more information.
COMMUNITY EDUCATION COURSE BENEFIT
Full-time BFA, MFA and MA students may take Community Education classes or workshops
on a space-available basis contact PNCA Community Ed. (Community Ed. has discretion to
limit courses offered for benefit). Course tuition and credit fees are waived. However, students
must pay the department fees and any other course-related costs.
Full-time BFA, MFA and MA students may take summer classes on space-available basis,
provided they were enrolled full-time at PNCA during the previous spring semester and are
registered full-time for the upcoming fall semester.
UNDERGRADUATE TRANSFER POLICY
What we transfer
Credits earned at two-year and four-year institutions accredited by a regionally recognized
accrediting organization may transfer to PNCA as they apply to course requirements for the
student's chosen major.
Only credits earned with a letter grade of “C-” or better will be considered for transfer. A
maximum of 72 semester credits will be transferred. All students will be required to complete a
minimum of 48 semester credit hours at PNCA.
How it works
When you are admitted, PNCA's Academic Advisor, in consultation with faculty, reviews your
transcripts to determine your level of placement in liberal arts courses.
The transfer of studio classes is based on the college transcripts and review of examples of
work completed in studio classes indicated on the transcripts. The Academic Advisor and
faculty will consider the courses taken as they apply to the curriculum for the student’s chose
major. Transfer students will receive a credit audit, indicating which previously earned credits
will apply towards PNCA’s graduation requirements for their chosen major.
What we don't transfer
We do not accept transfer credit from non-accredited institutions, but may consider on a case-
by-case basis the transfer of credits from schools accredited under the category of trade and
technical schools, provided the curriculum is similar in content, purpose, and standards to the
curriculum of PNCA. Credits from an institution which is a candidate for regional accreditation
may also be considered on a case-by-case basis. There is no time limit on the transfer of
credits.
Transferring Credits from Institutions from Outside the U.S.
A credential evaluation from WES, ECE, or any other NACES member is required from
students who wish to transfer undergraduate credits from an institution located outside of the
United States that is not accredited by a U.S. accrediting body. The credential evaluation must
be received before a transfer audit can be completed. A course-by-course is the type of
evaluation to be ordered. Any questions concerning a credential evaluation can be emailed to
[email protected].
DownloadthefullTransferStudentpolicy
AP/IB Credit Transfer Policy
PNCA grants credit for specific requirements based on scores from the Advanced Placement
Examinations of the College Board as well as International Baccalaureate Exam for courses
taken at the Higher Level (HL).
Advanced Placement Examinations: Scores must be submitted by the testing service to
the College. Credit is available in Art History, Natural Science, Literature, Social Science
and Mathematics.
https://willamette.edu/offices/registrar/transfer-credit/new-students/advanced-placement/
index.html
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International Baccalaureate Exam (HL): Scores must be submitted by the testing service
to the College. Credit is available in Art History, Natural Science, Literature, Social
Science and Math.
https://willamette.edu/offices/registrar/transfer-credit/new-students/international-
baccalaureate/index.html
PNCA’s Graduate (MFA / MA) Transfer Credit Policy
PNCA GRADUATE TRANSFER CREDIT POLICY STATEMENT
Students with previous graduate credits are welcome and valued members of the educational
community at PNCA. Students with experience in non-PNCA graduate programs bring to the
College a diversity of ideas, experience and expertise that stimulate both the creativity and
growth in the classroom.
PNCA offers a comprehensive and rigorous program of sequential classes that lead to the
Master of Fine Arts and Master of Arts degrees. As such, this policy has been crafted to ensure
the best educational experience possible for students arriving at PNCA via another Graduate
institution, incorporating PNCA’s institutional desire to honor prior experience as well as our
commitment to stated learning outcomes within each PNCA Graduate program.
CRITERIA FOR GRADUATE TRANSFER CREDIT
Transfer credit at the graduate level is available upon permission of the Chair or Head of the
Graduate Program, the Director of Hallie Ford School of Graduate Studies, the Registration
Office, and the Dean of Academic Affairs.
Criteria for transfer credit eligibility is as follows:
• Credit must be earned at an academically accredited Graduate program
• To be eligible for consideration, coursework must be relevant to PNCA’s MFA or MA
degree requirements OR provide quality education in an alternate way in concert with
PNCA’s accreditation requirements and learning outcomes.
• There is no time limit on the transfer of credits.
• The cumulative average of credits accepted by PNCA must be B or higher.
• The Graduate Chair, in collaboration with the Registration office, will determine
placement of credit within PNCA’s Graduate curriculum
• In most cases, transfer credits at the graduate level will be minimal and limited to
Electives. However, in the case of college or university closure or other exceptional
circumstances, PNCA will accept a maximum of 30 graduate transfer credits.
Additionally, students in Low-Residency or Dual Degree programs may apply for
exceptions evaluated case by case nature, due to the unique circumstances and timeline
of Low-Residency and Dual Degree programs. To make requests based on exceptional
circumstances submit information in writing to the Registration Office
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Accreditation
Willamette University is accredited by the accrediting agencies for American colleges
and universities. It is a charter member of the National Commission on Accrediting
and is a member of the Northwest Commission on Colleges and Universities. We are
also a United Methodist Church-related institution.
Willamette University is accredited by the Northwest Commission on Colleges and
Universities.
Accreditation of an institution of higher education by the Northwest Commission on
Colleges and Universities indicates that it meets or exceeds criteria for the
assessment of institutional quality evaluated through a peer review process. An
accredited college or university is one which has available the necessary resources to
achieve its stated purposes through appropriate educational programs,is substantially
doing so, and gives reasonable evidence that it will continue to do so in the
foreseeable future. Institutional integrity is also addressed through accreditation.
Accreditation by the Northwest Commission on Colleges and Universities is not partial
but applies to the institution as a whole. As such, it is not a guarantee of every course
or program offered, or the competence of individual graduates. Rather, it provides
reasonable assurance about the quality of opportunities available to students who
attend the institution.
Inquiries regarding an institution’s accredited status by the Northwest Commission on
Colleges and Universities should be directed to the administrative staff of the
institution. Individuals may also contact:
Northwest Commission on Colleges and Universities
8060 165th Avenue N.E., Suite 100
Redmond, WA 98052
(425) 558-4224
www.nwccu.org
The music program is accredited by the National Association of Schools of Music, and
the University holds institutional membership in that organization. The Department of
Chemistry is on the approved list of the American Chemical Society
The College of Law is accredited by the American Bar Association and the Association
of American Law Schools. The Atkinson Graduate School of Management's full-time
MBA program is accredited by both the Association to Advance Collegiate Schools of
Business (AACSB International) and the National Association of Schools of Public
Affairs and Administration (NASPAA). It is one of only two MBA programs in the world
to achieve both accreditations. Willamette University's Professional MBA program is
accredited by AACSB International.
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