ARTSTUDI 136A: Future Media, Media Archaeologies (ARTSTUDI 236, MUSIC 236)
Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate.
Last offered: Winter 2022
| Units: 3-4
| UG Reqs: WAY-CE
ARTSTUDI 139: Portraiture and Facial Anatomy for Artists (SURG 241)
Focus is on the art of portraiture and underlying structures of the face, fundamental anatomical elements such as the skull and muscles of facial expressions, and the intersections between human anatomy and art. Studio sessions incorporate plastic models, dry bones, cadaveric specimens, and live models. Encourages use of proper anatomical terminology for describing structures and their relationships.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Srivastava, S. (PI)
;
Toomer, L. (SI)
ARTSTUDI 140: Drawing I
Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)
Terms: Aut, Win, Spr
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 140P: The Anatomy of Figure Painting (SURG 240)
This course explores surface anatomy and the practice of depicting the human form through drawing and painting. Together, we will carry forward the longstanding tradition of blending anatomical study with artistic creation. Through weekly studio sessions, students will produce anatomically inspired works using both traditional and contemporary techniques. Emphasis will begin with drawing, then transition to grisaille (a monochromatic painting technique).
Terms: Aut, Win
| Units: 1-2
Instructors:
Srivastava, S. (PI)
;
Toomer, L. (PI)
ARTSTUDI 141: Plein Air Painting
Plein Air (Outdoor) Painting is a wonderful way to build skills, explore your relationship to site, and unlock your voice and hand. We will paint at different locations on and off-campus, learning a variety of painting techniques in changing weather and light. This class is great for both true beginners and advanced students. Basic painting skills are incorporated throughout the quarter, with advanced options at each stage. Acrylic paint is versatile and fast-drying; we will use it to get a range of effects from washy watercolor, blended oil effects, and building the surface sculpturally, painting on different surfaces. As we move, we will consider the elements of site and the materiality of paint: water, earth, architecture and the nuance of human gesture. History and memory are parsed in both the visible and hidden worlds around us. On-site paintings are not touched after class; rather they exist as an ephemeral moments in time. Three outside projects allow each person to paint at th
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Plein Air (Outdoor) Painting is a wonderful way to build skills, explore your relationship to site, and unlock your voice and hand. We will paint at different locations on and off-campus, learning a variety of painting techniques in changing weather and light. This class is great for both true beginners and advanced students. Basic painting skills are incorporated throughout the quarter, with advanced options at each stage. Acrylic paint is versatile and fast-drying; we will use it to get a range of effects from washy watercolor, blended oil effects, and building the surface sculpturally, painting on different surfaces. As we move, we will consider the elements of site and the materiality of paint: water, earth, architecture and the nuance of human gesture. History and memory are parsed in both the visible and hidden worlds around us. On-site paintings are not touched after class; rather they exist as an ephemeral moments in time. Three outside projects allow each person to paint at their own pace, and spend more time developing ideas and skills. In this class, process is privileged and 'failure' is embraced. Adventure is our priority; weather is our co-creator. Final projects will be based on individual concepts, allowing each person to stretch creatively and develop their own voice.
Last offered: Spring 2021
| Units: 4
| UG Reqs: WAY-CE
ARTSTUDI 141A: Drawing from Life (ARTSTUDI 241A)
The subject of this course is Life as we know it, and artists at all levels will learn to communicate their questions, concerns, and perspectives on paper. The drawing process empowers students to express themselves in their already unique visual languages, while the objects will be testimonies to their personal, cultural, spiritual, and revolutionary experiences. We begin by developing or refining students' fundamental techniques through indoor and outdoor observational drawing. Our focus shifts toward representational and conceptual strategies for storytelling that reference students' archives, popularized content, literature, historical references and more. Through drawing, we discuss and examine a diverse range of contemporary art to address the legacy of visual art. All preparation must be done between class meetings, and all artworks will be made during class to maximize the studio art-making experience.
Last offered: Summer 2021
| Units: 2-4
ARTSTUDI 141S: Drawing Outdoors
In this introductory class, we take drawing out into the world, exploring different environments, techniques, and approaches as we go. The fundamental nuts-and-bolts of basic drawing techniques: light logic, depicting depth and drawing the figure, are integrated into each environment. From the Stanford campus: its cafe's, architecture and landscaping, to redwoods and water, to more urban settings, drawings will range from high-speed gestures to longer, more contemplative work. Through pen, graphite, charcoal, ink, watercolor/gouache and mixed media, we explore dichotomous relationships, as well as those in seemingly perfect harmony. We move from the inanimate to animate, figure and architecture, motion and stillness, to the micro and macro, considering how even the smallest patch of earth may be as monumental as Hoover Tower. Both beginning and advanced students are welcome. Summer.
Last offered: Summer 2022
| Units: 3
| UG Reqs: WAY-CE
ARTSTUDI 142A: A Deep Dive in Artmaking During the Time of Covid-19
In this hands-on course, we produce a body of work that responds to key concepts examined in contemporary art with a specific emphasis on the impact of artmaking due to Covid-19. During this historical moment, we explore alternative possibilities of the artmaking process, geared to adjust to implementations of shelter in place, social distancing, and the reduction of resources. This course provides the opportunity to experiment with unconventional art media and develop new methods of engaging with each other and the community.
Last offered: Autumn 2020
| Units: 2
| UG Reqs: WAY-CE
ARTSTUDI 144: PRINTMAKING AND ACTIVISM
Hands-on studio course that introduces students to a variety of printmaking techniques, while exploring printed matter's role in activism in both history and in current events. This course introduces students to printmaking and graphic art techniques as tools for political activism, and explores how students can print as a tool in dialogue towards social change. Prior printmaking experience is helpful not necessary for this course.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 8 units total)
Instructors:
Wilson, M. (PI)
ARTSTUDI 144S: Texture, and Time: Cameraless Filmmaking on 16m
This hands-on studio course explores the expressive potential of 16mm film without the use of a camera. Through direct manipulation - drawing, scratching, painting, collaging, and dyeing - students create short experimental films that investigate texture, rhythm, and time as material. The course also examines the history and contemporary relevance of cameraless filmmaking, focusing on artists such as Len Lye, Stan Brakhage, Ja'Tovia Gary, and Jojo Yeldham (JoJo Editions), who use the medium as a site of abstraction, performance, and personal expression. Students will work individually and collaboratively to produce a final 16mm reel and digital transfer for projection at an end-of-quarter screening. The course encourages experimentation, cross-media exploration (including sound), and an embodied understanding of film as both image and object. By the end of the course, students will have developed a foundational understanding of 16mm film handling, including splicing and projection tech
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This hands-on studio course explores the expressive potential of 16mm film without the use of a camera. Through direct manipulation - drawing, scratching, painting, collaging, and dyeing - students create short experimental films that investigate texture, rhythm, and time as material. The course also examines the history and contemporary relevance of cameraless filmmaking, focusing on artists such as Len Lye, Stan Brakhage, Ja'Tovia Gary, and Jojo Yeldham (JoJo Editions), who use the medium as a site of abstraction, performance, and personal expression. Students will work individually and collaboratively to produce a final 16mm reel and digital transfer for projection at an end-of-quarter screening. The course encourages experimentation, cross-media exploration (including sound), and an embodied understanding of film as both image and object. By the end of the course, students will have developed a foundational understanding of 16mm film handling, including splicing and projection techniques. They will experiment with direct film manipulation and analog color processes to explore the tactile possibilities of the medium. Through critical discussion and creative practice, students will analyze the historical and contemporary relevance of material filmmaking, situating their work within broader experimental and artistic traditions. Each student will complete a short 16mm film loop and produce a digitized version suitable for screening or installation.
| Units: 2