This lesson plan teaches students to elaborate on an event in a narrative by expanding their sentences into action chains. The result is a more detailed picture of an event in a narrative.

In this lesson, students will learn the process of cyanotype printing, an alternative photographic printing process that uses light-sensitive chemicals to create blue-toned prints. By the end of this lesson, students will be able to create their own cyanotype prints on pretreated fabric sheets.

This course will guide graduate students through the process of using rapid prototyping and CAD/CAM devices in a studio environment. The class has a theoretical focus on machine use within the process of design. Each student is expected to have completed one graduate level of design computing with a full understanding of solid modeling in CAD. Students are also expected to have completed at least one graduate design studio.

There has been much discussion in recent years, on this campus and elsewhere, about the death of the book. Digitization and various forms of electronic media, some critics say, are rendering the printed text as obsolete as the writing quill. In this subject, we will examine the claims for and against the demise of the book, but we will also supplement these arguments with an historical perspective they lack: we will examine texts, printing technologies, and reading communities from roughly 1450 to the present. We will begin with the theoretical and historical overviews of Walter Ong and Elizabeth Eisenstein, after which we will study specific cases such as English chapbooks, Inkan knotted and dyed strings, late nineteenth-century recording devices, and newspapers online today. We will also visit a rare book library and make a poster on a hand-set printing press.

This seminar is about the pleasures and power of reading. From the Sumerian clay tablets of more than four millenia ago through the spectacular emergence of the electronic text, the written word—in all its forms—has captivated the human mind, embodied our insights into the world around us, and made enduring our most profound artistic creations and scientific discoveries.

Subject combines practical instruction, readings, lectures, field trips, visiting artists, group discussions, and individual reviews. Fosters a critical awareness of how images in our culture are produced and constructed. Student-initiated term project at the core of exploration. Special consideration given to the relationship of space and the photographic image. Practical instruction in basic black and white techniques, digital imaging, fundamentals of camera operation, lighting, film exposure, development, and printing. Open to beginning and advanced students. Lab fee. Enrollment limited with preference given to current Master of Architecture students.

This activity was designed for blind learners, but all types of learners can use it to understand how to create a print through letterpress printing.

This course provides an introduction to major political, social, cultural and intellectual changes in Europe from the beginnings of the Renaissance in Italy around 1300 to the outbreak of the French Revolution at the end of the 1700s. It focuses on the porous boundaries between categories of theology, magic and science, as well as print. It examines how developments in these areas altered European political institutions, social structures, and cultural practices. It also studies men and women, nobles and commoners, as well as Europeans and some non-Europeans with whom they came into contact.

Risograph printing is a type of digital printing that uses heat to burn an image into a master. When the image is burned into the master it creates an opening that functions as an image carrier. It works similarly to screen printing where liquid ink is pushed through a mesh, or in this case a master, in the shape of the image being printed. RISO printers print using spot colors made from soy inks which allows for fun color combinations, overprinting, printing bright colors on colored paper, and more. However, RISO inks never fully dry so it is important to consider how much ink is used in a design and how much time is allowed for drying between print runs. Our MF9450 prints two colors in one pass, but addiitonal color combinatons can be achieved by running multiple passes on press.