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Full text of "Circular"

The Swain School of Design is a four-year professional college 
of art and design offering the Bachelor of Fine Arts Degree in 
graphic design, painting, print making and sculpture. 




1982-1983 Catalogue 




Swain School of Design Catalogue 



:•: 



f)t t • 




Table of Contents 

4 General Information 

4 Introduction 

6 Location and Facilities 

8 The Curriculum 

8 Foundation Program 
10 Major Program 
12 Graphic Design Major 
16 Painting Major 
20 Printmaking Major 
24 Sculpture Major 
28 Liberal Arts 

30 Policies and Procedures 

30 Admission 

33 Fees and Financial Aid 

34 Student Services and Student Life 
36 Academic Policies and Procedures 

39 Academic Calendar 

40 Course Descriptions 

40 Foundation: Freshman Year 

40 Foundation: Sophomore Year 

41 Major Studios 

42 Studio Electives 

42 Liberal Arts Electives 

46 Faculty, Administration and Trustees 

48 Maps 




The Swain School of Design reserves the right to 
change, at any time and without prior notice, its 
course offerings, fees, calendar, rules, regulations 
or procedures stated in this catalogue or 
elsewhere. 

Non-Discrimination Policies In accordance with 
the Civil Rights Act of 1964 and Title IX of the 
Educational Amendments of 1972, the Swain 
School of Design admits students of any race, 
color, age, sex or national and ethnic origin to all 
the rights, privileges, programs and activities 
generally accorded or made available to students 
at the School. It does not discriminate on the basis 
of race, handicap, age, sex, color or national and 
ethnic origin in the administration of its employ- 
ment policies, educational policies, admissions 
policies, scholarship and loan programs, or other 
school-administered programs. Inquiries regard- 
ing compliance with the Civil Rights Act of 1964 
and Title IX may be directed to the Dean of the 
Swain School of Design, or the Director of the 
Office of Civil Rights, Department of Education, 
Washington, D. C. 

Credits 

Edited by: Peter Newport 

Design: Thomas Corey, Henry Berthiaume 

Photography: Catherine McGuiness, Esther 

Solondz, and Sarah Benham. 

Printing and typesetting: Reynolds-DeWalt 

Typing: Diane Cambra, Ginny Sexton 



4 General Information 



The purpose of the Swain School of Design is to educate men 
and women to become professional artists and designers. The 
school offers a specialized program of studies intended to 
foster the student's individual growth through the close 
attention of the faculty. This education aims to develop in 
the student the ability to produce works of art and design 
that are thoughtful contributions to the culture as a whole. 







Introduction 5 



Because of its small size, Swain is an 
intimate college whose course of 
instruction depends on an intense and 
continuing relationship between students 
and faculty. 

Society needs visually intelligent people 
to make its art and to design its artifacts 
and communications. A dissonant 
environment needs artists and designers 
to imagine how it can be made whole and 
hospitable, and to work to make it so. 
Artists and designers need a broad 
understanding of history and culture to 
do that work well. For that reason, 
students at Swain study art history, 
literature and social science as well as 
those specific disciplines that lead directly 
to their professional goals. 

We expect our graduates to be prepared 
to enter the professional fields for which 
they have studied, either through 
undertaking further studies at the 
graduate level, or by entering their 
individual fields directly. 

Graduate Profile During 1981 we made 
a survey of what our most recent 
graduating class was doing, and were able 
to make the following profile for the class 
of 1980. Out of a class of thirty-two, 
eight were attending graduate schools at 
institutions including Cranbrook 
Academy of Art, Queens College of the 
City University of New York, Pratt 
Institute, Parsons School of Design, and 
the Rhode Island School of Design. 
Eleven of the graduates were working in 
their professional fields, two were 
teaching, and one was traveling in South 
America. Three were working at home, 
one found employment in an area not 
directly related to the arts. The remaining 
six could not be reached for comment. 

History The Swain School of Design was 
established in 1881 as a free school, 
bearing the name and good wishes of the 
New Bedford philanthropist, William 
Swain. When the textile industry came to 
dominate the city, the Swain School 
began to concentrate on instruction in 
design. Gradually, the school developed 



programs in painting, sculpture, 
printmaking and graphic design. Within 
the last fifteen years, Swain has tripled its 
enrollment, added six buildings to the 
campus, established a department of 
liberal arts, and achieved accreditation as 
a Division I member of the National 
Association of Schools of Art. 

Swain has become distinguished for 
disciplined vitality both in its program of 
basic studies and in its advanced studio 
areas. 

Accreditation and Affiliations Swain is 
fully accredited as a Division I member of 
the National Association of Schools of 
Art, and is a Candidate for Accreditation 
with the New England Association of 
Schools and Colleges, Inc. 

The college is accepted by the Veterans 
Administration for the education of 
veterans and authorized by the United 
States Department of Justice to enroll 
non-immigrant alien students. 

The Swain School of Design is a fully 
participating member of the Southeastern 
Association for Cooperation in Higher 
Education in Massachusetts (SACHEM), a 
consortium of nine area colleges. Through 
SACHEM, Swain students may enroll in 
selected courses at other member 
institutions at no extra cost. 
Other groups or associations with which 
the college is affiliated include: 

The College Art Association 

The American Federation of Art 

The Council for the Advancement and 
Support of Education 

The Art Librarians Society of North 
America 

The New England Association of College 
Admissions Counselors 

The New England Association of College 
Registrars and Admissions Officers 

National Association for Student 
Financial Assistance 

Effective April. 1982 the 
Swain School of Design voluntarily 
withdrew from affiliation with the 
New England Association of 
Schools and Colleges 




"My hope is that the 
provision made herein will be 
sufficient for establishing 
and supporting a school of 
high character, where the 
pupils may receive a thorough 
education based upon the 
most liberal and enlightened 
principles. " 

From the will of William 
W. Swain, September 21, 
1858 



XI 



6 General Information 



The William Crapo Galley 
was built in 1925 to provide 
a space for regular exhibitions 
as an enrichment to the Swain 
community . 




Location and Facilities The Swain 
School of Design is set in the city of New 
Bedford, Massachusetts, in one of the 
city's historic residential districts and 
within walking distance of both the 
downtown area and the waterfront. The 
five-acre campus includes nine buildings 
which house ample, well-equipped 
studios, including individual studio 
spaces for juniors and seniors. As a 
professional college of art and design, 
Swain is almost unique for its location in 
a small city with ready access to major 
metropolitan centers. 

The Rodman building is one of the city's 
many notable nineteenth-century 
mansions. It houses the President's office, 
the Graphic Design Department, the 
cafeteria and other classroom space. 



Designed by William Russell, it is 
considered one of the best examples of 
Greek Revival architecture still existing 
in New Bedford. 

The Crapo building contains four large 
studios with north light where students 
can work in close proximity to the Crapo 
Gallery, built in 1926 as an exhibition 
space for the school. 

In addition to group shows or exhibitions 
of faculty or student work, the gallery has 
shown the work of such artists as: 

Joseph Albers Richard Hunt 

James J. Audubon Lester Johnson 



Harry Callahan 
Freidel Dzubas 
Frederick Frieseke 
David Hockney 
Jim Hodgson 



Tomoko Miho 
Robert Rauschenberg 
Robert Reed 
Maraja Villila 
Massimo Vignelli 



The Whaling Museum, not 
far from the Swain campus, 
represents a part of the rich 
cultural heritage of New 
Bedford. 



Location and Facilities 7 



The library is housed in a stone carriage 
house and offers an extensive and 
diversified collection of about 16,000 
books on the visual arts and other fields. 
The resources of the library also include 
26,000 slides of works of art and design. 
Sections of the collection support the 
literature and humanities programs of the 
college. Through the SACHEM 
consortium, students at Swain have full 
privileges at the libraries of Southeastern 
Massachusetts University and other 
consortium members. 

Also included on the main campus at 
County and Hawthorn streets are the 
Rodman Annex; the Currier Building, 
which contains additional studio space; 
and the Melville Building, which was the 
home of Herman Melville's sister. A fine 



example of Italianate period architecture, 
the Melville Building currently provides 
studio space for junior and senior 
painters. 

A few blocks away is Swain's newest 
acquisition, the Elm Street building. A 
large open space of 12,000 square feet, 
the Elm Street facility houses studio and 
shop space for both the sculpture and 
printmaking departments. The 
printmaking facility includes studios for 
individual students and a pressroom 
equipped for intaglio, lithography, 
silkscreen and relief printing. The 
sculpture facility includes studio and shop 
space in which students may work in 
wood, metals, clay, fabric, plaster, stone 
and concrete. 




The front door of the Crapo 
Building leads to the Crapo 
Gallery, a facility available 
to the Swain community and 
the public alike. 



The library is a remodeled 
stone carriage house and pro- 
vides the best resource in the 
area for the fields of art and 
design. 



8 The Curricuh 



•an 



The Foundation Program uses a carefully devised curriculum 
to acquaint students, through their own work, with the 
variety and precision of visual experience. 




An awareness of past art is a 
valuable product of any 
artist's education. 



Foundation Program: Freshman Year 

The Foundation Program has been 
designed to develop in each student the 
skills and understandings which are basic 
to further study in the visual arts. The 
program seeks to develop the following 
abilities: 

— to analyze and solve problems in two- 
and three-dimensional design. 

— to understand the principal theories of 
color and composition, their historical 
foundations and their relationship to 
human physiology and psychology. 

— to translate volumes, rhythms and 
structural relationships to a two- 
dimensional surface, the page. 
— to use reading and writing as a means 
to find information, develop ideas and to 
communicate one's own convictions. 

— to understand that civilization is an 
evolving process in which clear relation- 
ships exist between the arts and man's 
other accomplishments. 

In order to meet its goals, the Foundation 
Program is structured around six-hour 
studio classes which generally meet once a 
week. During the course of the day, each 
student receives the individual attention 
of the instructor. 



Foundation Program: Sophomore Year 

The sophomore year continues and 
intensifies the aims of the Freshman year. 
Sophomores choose two trial majors, in 
order to explore the fields in which they 
might wish to concentrate their studies 
during their junior and senior years. In 
addition, students choose among studio 
elective courses which tend to emphasize 
specific technical skills. Some examples 
include Basic Photography, Materials and 
Techniques in Contemporary Sculpture, 
and Production and Processes, for graphic 
design. 

All sophomores take two semesters of 
printmaking and generally carry one 
liberal arts elective each semester. 

Trial Majors In each semester of the 
sophomore year students select trial 
majors in at least two of the three 
following areas: graphic design, painting 
or sculpture. This allows the student to 
obtain enough first-hand experience in 
the major fields of study offered by the 
college to choose a major wisely at the end 
of the sophomore year. 

Sophomore Review During Sophomore 
Reviews, which occur at the end of the 
year, students present themselves as 
candidates for acceptance into one of the 
major programs of the college. Before the 
review, each sophomore presents to the 
Dean's office, a written statement 
indicating the choice of a major field and 
the reasons for that choice. 

The work presented at the review should 
include examples done for all the studio 
courses taken, but should emphasize work 
done in the field of intended 
concentration. The review gives the 
student and the faculty an opportunity to 
assess the student's overall performance in 
the foundation program and to discuss the 
student's individual needs and goals. 



Foundation Program 9 





Following a successful review, the student 
is accepted, by faculty action, into one of 
the major programs of study. 



Freshman Courses 

Freshman Drawing 
Drawing 121 , 122 

Introduction to Three-dimensional 

Design 

Sculpture 151, 152 

Introduction to Two-dimensional 

Design 

Design 111, 112 

Freshman English 
Humanities 100, 105 

Readings in Western Civilization 
Humanities 110 

Introduction to Art History 
Visual Studies 100 

Total freshman program 

Sophomore Courses 

Introduction to Printmaking 

Printmaking 24 1 , 242 

Trial Major 
Trial Major 
Studio Elective 
Liberal Arts Elective 

Total sophomore program 



3 


3 


3 


3 


3 






3 


15 


15 


1st 


2nd 


3 


3 


3 


3 


3 


3 


3 


3 


3 


3 


15 


15 



Individual course descriptions begin on 
page 40. 



Ed Benguiat 
Visiting Artists 

The programs of the college 
have been richly supplemented 
through the presentations of 
visiting artists, designers and 
lecturers, including the 
following: 

Rosemary Beck, Painter 

Ed Benguiat, Typeface Designer 

Kenneth Baker, Critic 

Carl Belz, Curator 

Ivan Chermayeff, Graphic 

Designer 

Seymour Chwast, Illustrator 

Muriel Cooper, Graphic 

Designer 

Stavros Cosmopulos, Art 

Director 

Robert DeNiro, Painter 

Richard Fishman, Sculptor 

Malcolm Grear, Graphic 

Designer 

Mary Gregory, Furniture 

Designer 

Arthur Hoener, Painter 

Helene Herzbrun, Painter 

Richard Hunt, Sculptor 

Lester Johnson, Painter 

Art Kane , Photographer 

Dick Lyons, Graphic Designer 

John McConnell, Graphic 

Designer 

John Matt, Sculptor 

Elise Meyer, Gallery Director 

Tom Ockerse, Graphic Designer 

Davis Pratt, Curator 

Chris Pullman, Graphic 

Designer 

Robert Reed , Printmaker 

John Udvardy, Photographer 

Dietmar Winkler, Graphic 

Designer 

Carl Zahn, Graphic Designer 

Two lecture programs, the 
GRAPHIC DESIGN FORUM 
and the FINE ARTS FORUM, 
were supported in 1980-81 by 
grants from the NATIONAL 
ENDOWMENT FOR THE 
ARTS and the POLAROID 
CORPORATION, respectively. 



10 The Curriculum 



Swain offers photography 
courses that are open to all 
students. Although the 
college does not offer a major 
program in the field, students 
in the graphic design 
department study 
photography as an integral 
part of their curriculum. 



Major Program Third- and fourth-year 
students concentrate in a single major 
field: graphic design, painting, 
printmaking or sculpture. This concen- 
tration allows students to find a sense of 
depth and discipline in a professional 
field. We expect students in the major 
programs: 

— to maintain a sense of direction in their 
work. 

— to speak and think clearly about the 
intentions of their work and the problems 
involved with producing it. 

— to apply the same critical standards to 
their own work and to the work of others. 

— to function as independent professional 
artists or designers capable of organizing 
both their work and their time. 

In order to make the major program more 
specific to individual needs, students in 
the junior and senior years may choose to 
satisfy three of the nine semester credits 
in the major studio through work with 
another instructor. The following options 
are available in any semester: 
— the Guided Studio. In the Guided 



Studio, students may devise, with the 
guidance of any instructor at the college, 
a course of study which they undertake 
together. This course must be approved 
by each student's major advisor and by 
the Dean. 

— the Studio Seminar. Students may 
request permission of their major advisor 
to apply Studio Seminar credits to their 
major studio requirements. This option 
also requires the approval of the Dean. 
Descriptions of studio seminars begin on 
page 42. 

Third- and fourth-year students continue 
to take elective courses in the liberal arts 
and studio areas. Complete descriptions 
of elective courses begin on page 42. 
Descriptions of the requirements for the 
Bachelor of Fine Arts degree begin on 
page 36. Individual departmental pre- 
requisites for graduation are noted in the 
appropriate sections below. 

Junior Year In the semester following a 
successful sophomore review, the student 
begins work in a field of major study. 
Ample studio space near appropriate shop 




Major Program 1 1 



I 



equipment allows students to work 
closely with faculty and exchange ideas 
with other students. 

Junior Review The Junior Review 
customarily occurs in the spring of the 
third year and affords the student an 
opportunity to evaluate with faculty, the 
student's progress in the major field. Two 
weeks before the Junior Review, the 
student is required to deliver a written 
statement to the major instructor about 
the work accomplished, formal problems 
encountered and intentions within the 
major area. With the approval of the 
major instructor, the paper is forwarded 
to the Dean's office. 

Senior Year In the senior year, students 
are advised to carry only 12 credits each 
semester. The reduced course load of the 
senior year reflects the conviction that 
students have achieved a level of concen- 
tration in their major fields that requires 
them to have access to large amounts of 
time that are not structured by the 
college. 

Unimpeded access to individual studio 
and equipment areas becomes the means 
through which the student may develop 
the discipline that is invaluable in later 
professional life. 

Senior Review In the middle of the 
senior year, the work of each student is 
again reviewed by the faculty. A week 
before the date of this review, seniors are 
required to deliver a written statement 
about their work to the Dean's office. The 
Senior Review allows fourth-year students 
to demonstrate to the faculty the 
direction their work has taken and the 
degree of mastery attained in their major 
fields. The faculty must act to approve 
the Senior Review before a student may 
receive credit for work done in the major 
studio course, or receive the degree. 

Senior Exhibition In order to graduate, 
each senior must submit acceptable work 
for inclusion in the Senior Exhibition. 
The public, formal presentation of this 
body of work is regarded as the culmina- 
tion of the academic program. 



Junior Courses 



Credits per Semester 
1st 2nd 



Major Studio 

Three major studio credits may be satisfied 
i>) Guided Studio or Studio Seminar as 
described above. 

Studio Elective 

Liberal Arts Electives 

Total junior program 

Senior Courses 

Major Studio 

Three major studio credits may be satisfied 
by Guided Studio or Studio Seminar as 
described above. 

Liberal Arts Elective 
Total senior program 



3 


3 




6 


6 




18 


18 




1st 


2nd 


Most studio courses run the 


9 


9 


full day , punctuated only by 
two short breaks and lunch. 
Seated and drawing is 
Benjamin Martinez, 


3 


3 


Assistant Professor of 


12 


12 


Painting. 




Seated and pointing is David 
Smith, Professor of 
Painting. 



12 The Curriculum 



Graphic design is the process of identify ing problems in visual 
communication and solving them. While designers apply 
their skills to such varied projects as the design of an 
exhibition, a corporate identity program, highway signage, a 
poster, or a book, the method remains the same. It is first to 
research, to ascertain what is needed, and then to produce a 
solution that is both aesthetically and functionally effective. 



The Rodman Building 
provides classroom and studio 
space for the graphic design 
department. Designers have 
access to their own studio 
spaces at all hours during the 
school year. 




Graphic Design Major 13 



During the trial major in the sophomore 
year, students are exposed to the 
vocabulary that comprises the language of 
graphic design: typography, 
photography, illustration, color, and 
composition. The junior year, the first 
year of the major studio in graphic 
design, builds on the work of the trial 
major, but the problems become 
progressively more complex. The senior 
year is considered to be the first year of 
the student's design career during which 
the senior assembles an individual 
portfolio of work through the completion 
of a variety of problems presented by 
instructors. 



Students majoring in graphic design 
participate in numerous seminars with 
designers from outside the college. In 
their junior or senior year, students are 
placed for apprenticeships with 
professional graphic design offices. 

While some students graduating from the 
graphic design department proceed 
immediately to graduate study, most go 
directly to work as professional designers. 




Above is a photograph by 
Cathy McGuiness from her 
model for an exhibition 
entitled "Crime in Cinema". 

Below is Michael Persons 's 
poster completed as part of the 

senior graphic design 

program . 



14 The Curriculum 



Graphic Design Major — A Sample 
Curriculum 

Freshman and Sophomore Years 

Students who are considering a major in 
graphic design must have satisfied the 
requirements of the Foundation Program 
which are described beginning on page 8. 
A sample curriculum for the remainder of 
the degree program follows. 



Junior and Senior Years Following a 
successful Sophomore Review, the 
student is accepted, by faculty action, 
into the Graphic Design Major and 
undertakes the following course of study 
during the junior and senior years. A full 
description of the major program can be 
found beginning on page 10. 




In the white jacket is Cheryl 
Brzezinski, an instructor in 
graphic design. 



Graphic Design Major 15 



Credits per 
Sophomore Courses 

Trial Major in Graphic Design 

Design 21 1, 212 

Introduction to Photography 

Design 213 

Production and Processes 
Design 200 

Additional sophomore requirements are 
described on page 9. 

Total sophomore program 

Junior Courses 

Major Studio in Graphic Design 

Design 321, 322 

Three credits of this requirement may be 
satisfied by either a Guided Studio or a 
Studio Seminar. Descriptions of these courses 
begin on page 10. 

Additional junior requirements 
Total junior program 

Senior Courses 

Major Studio in Graphic Design 
Design 421, 422 

Three credits of this requirement may be 
satisfied by either a Guided Studio or a 
Studio Seminar. 

Remaining senior requirements 

Total senior program 

Total requirements for the Bachelor of 
Fine Arts degree in Graphic Design 



Semester 


1st 


2nd 


3 


3 


3 






3 


9 


9 


15 


15 


1st 


2nd 


9 


9 



9 


9 


18 


18 


1st 


2nd 


9 


9 



3 3 
12 12 

120 




A graphic designer spends a 
great deal of time collecting 
and sifting information 
before any work begins on the 
drawing board. 



16 The Curriculum 



Using the language of two-dimensional expression, painting 
tries to wrest understanding from the flow of experience. 
Georges Braque spoke about painting this way: "by 
(painting) an apple next to an orange they cease to be an 
apple or an orange and become fruit.' The painting 
becomes greater than the sum of its parts. 



The student majoring in painting builds 
on the abstract theories introduced in 
freshman two-dimensional design and the 
formal and observational skills 



emphasized in drawing classes as well as 
the sophomore Trial Major in Painting. 
In the junior year, emphasis is placed on 
unifying observational skills with 




Students majoring in 
painting have their own 
studio space in which they 
can store all of their work 
together, work on it for an 
extended period , paint in its 
midst, and have the 
instructor criticize it as a 
body of work. 



Painting Major 17 



consideration of form, color and 
composition. Students work in their own 
studio spaces on campus to facilitate 
continuing communication about works 
in progress both with the instructor and 
with other students. Principal studio 
spaces for painting majors are located in 
the Currier and Melville buildings, 
although some studio space is located in 
the Crapo building to take advantage of 
the generous north light which that 
building provides. Both the gallery and 
the library are central to the painting 
department studios. 



In the painting major, students work 
with increased independence as they move 
toward the end of the senior year and, by 
the time of graduation, they are expected 
to assemble a coherent body of work 
which demonstrates significant commit- 
ment to a number of clearly specified 
problems and concerns. 

Students also participate in group 
critiques, attend technical demonstra- 
tions as well as formal and informal 
seminars concerning traditional and 
contemporary art theory. 




During the junior and senior 
years, the instructor 
encourages students to work 
more and more independ- 
ently , to define fnore clearly 
the direction of their painting 
and to defend its validity. 

The painting is by Nancy 
Carrozza. 






18 The Curriculum 



Painting Major — A Sample 
Curriculum 

Freshman and Sophomore Years All 

students who are considering a major in 
painting must have satisfied the require- 
ments of the Foundation Program which 
are described beginning on page 8. A 
sample curriculum for the remainder of 
the degree program follows below. 

Sophomore Year Sophomores may 
formulate their programs to include the 
requirements for the Bachelor of Fine 
Arts degree in Painting. 

Junior and Senior Years Following a 
successful Sophomore Review, the 
student is accepted, by faculty action, 
into the Painting Major and undertakes 
the following course of study during the 
junior and senior years. A full description 
of the major program can be found 
beginning on page 10. 



Sophomore Courses 

Trial Major in Painting 
Painting 231, 232 

Life Drawing I 
Drawing 221 

Figure Modeling 

Sculpture 222 

A dditional sophomore requirements are 
described beginning on page 8. 

Total sophomore program 



Credits per Semester 
1st 2nd 



3 



I 




Painting Major 19 



Junior Courses 



Credits per Semester 
1st 2nd 



Senior Courses 



Credits per Semester 
1st 2nd 



Major Studio in Painting 

Painting 33 1 , 332 

Three credits of this requirement may be 

satisfied by either a Guided Studio or a 

Studio Seminar. Descriptions of these courses 

begin on page 1 . 

Life Drawing II 

Drawing 321 

Additional junior requirements 
Total junior program 



6 
18 



9 
18 



Major Studio in Painting 
Painting 43 1 . 432 
Three credits of this requirement may be 
satisfied by either a Guided Studio or a 
Studio Seminar. 

Remaining senior requirements 

Total senior program 

Total requirements for the Bachelor of 
Fine Arts degree in painting 



3 
12 



3 
12 

120 



To the left, is a life painting 
class in a studio in the Crapo 
B uiding. In the center is a 
painting junior in his studio. 




\L 



20 The Curriculum 



To the right is a view of the 
Elm Street Building which 
accommodates both the 
printmaking and sculpture 
departments. 



Printmaking is a means of expression that allows 
investigation into the explicit relationship of image and 
craft. In addition to being an art in its own right, 
printmaking has drawn the attention of painters, designers 
and sculptors, since it offers the means to produce a single 
visual thought in multi-original form. 




In the middle of the year, 
seniors have reviews in which 
their work is shown to the 
faculty. At the reviews , 
students discuss their goals, 
direction and progress . They 
demonstrate to the faculty the 
extent of their mastery of 
their work. 



Printmaking Major 2 1 



The printmaking facility at the Elm 
Street Building provides 4,000 square 
feet for junior and senior students. The 
space includes a general studio containing 
equipment for lithography, intaglio, silk- 
screen and relief painting; a group 
critique area, and individual work spaces 
for juniors and seniors. 



In addition to expanding their proficiency 
in basic printmaking methods, juniors in 
printmaking study increasingly sophisti- 
cated techniques. As the year progresses, 
students should develop the ability to 
justify the relationship of medium to 
content. 




To the left, a hand colored 
etching by Carlotta Michel, 
is entitled "Robert Mitchum 
hears the alarm and wakes 
me up for crit". To the left 
below is an assemblage on 
foam core board by Sandy 
Magsamen. 



22 The Curriculum 




Virtually unlimited access to these 
facilities allows major students to develop 
an independent approach to their work 
and to explore and master the techniques 
needed for their expression as artists. 
Careful faculty guidance helps students to 
speak and think critically about their 
work in the context of contemporary art 
and to see its place in the continuum of 
art history. 



Printmaking Major — A Sample 
Curriculum 

Freshman and Sophomore Years All 

students who are considering a major in 
printmaking must have satisfied the 
requirements of the Foundation Program 
which are described beginning on page 8. 
A sample curriculum for the remainder of 
the degree program follows below. 

Junior and Senior Years Following a 
successful Sophomore Review, the 
student is accepted, by faculty action, 
into the Printmaking Major and 
undertakes the following course of study 
during the junior and senior years. A full 
description of the major program can be 
found beginning on page 10. 



Printmaking Major 23 




Sophomore Courses 

Introduction to Printmaking 

Printmaking 24 1 . 242 

Additional sophomore requirements are 
described beginning on page 8. 

Total sophomore program 

Junior Courses 

Major Studio in Printmaking 

Printmaking 341 . 342 
Three credits of this requirement may be 
satisfied by either a Guided Studio or a 
Studio Seminar. Descriptions of these courses 
begin on page 10. 

Remaining distribution requirements 
Total junior program 

Senior Courses 

Major Studio in Printmaking 

Printmaking 441 , 442 
Three credits of this requirement may be 
satisfied by either a Guided Studio or a 
Studio Seminar. 

Remaining senior requirements 

Total senior program 

Total requirements for the Bachelor of 
Fine Arts degree in printmaking 



1st 2nd 



9 
18 



9 

18 



1st 2nd 

9 9 



3 
12 



3 
12 

120 



"Through his hands man 
establishes contact with the 
austerity of thought. They 
quarry its rough mass. Upon 
it they impose form. " 
H. Focillon 



24 The Curriculum 



By projecting visual concepts into three-dimensional space, 
sculpture creates objects that compete for attention with all 
the other objects in the three-dimensional world. It asks to 
be measured against one's experience of things as they are 
and poses questions of how things might be. Sculpture 
doesn't mean something, it is something. 




Sculpture Major 25 



Initially students are encouraged to exper- 
iment with a wide range of materials and 
ideas, allowing them to find a unity be- 
tween concepts and the materials which 
best express their sculptural concerns. 

Working closely with their instructors, 
students develop progressively greater in- 
sight into concepts guiding their work 
and attain mastery over necessary mate- 
rials and techniques. 

The facilities of the sculpture studio 
include over 5,000 square feet of studio 
and shop space in the Elm Street 
Building. High ceilings, lifting 



equipment and industrial grade power 
tools allow students to produce large-scale 
work. A partial equipment inventory 
includes an overhead crane, several 
welders, a 10' metal brake, band saws for 
metal and wood, a 10" table saw, a radial 
arm saw, a commercial sewing machine, a 
bench grinder and various other hand and 
power tools. 

Graduating seniors are expected to have a 
broad understanding of contemporary and 
earlier sculpture and to have attained a 
general competence in important 
sculptural techniques. 




26 The Curriculun 




Sculpture students and 
faculty use the campus 
grounds to site thejr larger 
outdoor pieces. 



Sculpture Major 

A Sample Curriculum 

Freshman and Sophomore Years All 

students who are considering a major in 
sculpture must have satisfied the 
requirements of the Foundation Program 
which are described beginning on page 8. 
A sample curriculum for the remainder of 
the degree program is shown here. 

Junior and Senior Years Following a 
successful Sophomore Review, the 
student is accepted, by faculty action, 
into the Sculpture Major and undertakes 
the following course of study during the 
junior and senior years. A full description 
of the major program can be found 
beginning on page 10. 



Sculpture Major 27 




Sophomore Courses 

Trial Major in Sculpture 

Sculpture 251 , 252 

Materials & techniques in 
Contemporary Sculpture 
Sculpture 200 

Additional sophomore requirements are 
described beginning on page 8. 

Total sophomore program 

Junior Courses 

Major Studio in Sculpture 

Sculpture 351, 352 

Three credits of this requirement may be 

satisfied by either a Guided Studio or a 

Studio Seminar. Descriptions of these courses 

begin on page 42 . 

Remaining junior requirements 

Total junior program 



1st 2nd 

9 9 



Senior Courses 



Credits per Semester 
1st 2nd 



9 

18 



Major Studio in Sculpture 
Sculpture 45 1 . 452 
Three credits of this requirement may be 
satisfied by either a Guided Studio or a 
Studio Seminar. 

Remaining senior requirements 

Total senior program 

Total requirements for the Bachelor of 
Fine Arts degree in sculpture 



3 

12 



3 
12 

120 



28 The Curriculum 



A scene from "One Swan 
Street" by Nicholas Kilmer. 



Liberal Arts Good visual work does what good writing does: 
it makes experience more vivid. A place or an idea is 
ignored, invisible, until it has been painted, or used in a 
story, or mapped, or gardened or in some other way 
imagined. The deepest craft of any artist is that of falling in 
love with the world, of knowing that something which has 
been seen is worth seeing. 




Liberal Arts 29 



Courses in the liberal arts take the work of 
art historians, poets, travelers, novelists, 
historians, sociologists, anthropologists, 
psychologists, philosophers and presents 
them in a form designers and artists can 
respond to and use productively. 

During the four-year course of study, 
students take twelve courses in the liberal 
arts: four in visual studies, six in the 
humanities and two in social or natural 



sciences. Required courses, Freshman 
English, Readings in Western 
Civilization and An Introduction to Art 
History, are taken in the freshman year. 
The rest are elective courses which are 
described beginning on page 42. 



About one third of the credits 
required for the degree are taken in 
the liberal arts. 




"to 



"Jelly Roll Comic" by Ben 
Martinez 



' 



30 Policies and Procedures 



Diat?e Cambra, the Registrar. 




Ginny Sexton, Secretary of 
Admissions 



Your application for admission may be regarded as a dialogue 
between you and this college, during which both of us learn 
more about the other. You take the responsibility for 
providing information about yourself in support of your 
application. We take the responsibility to insure that you 
have every opportunity to form a frank and complete 
understanding of the Swain School of Design; its programs, 
its environment and its potential value to you as a visual 
artist. 

understand rhem through the admissions process; 
through our evaluation of each other. Ideally, the 
decision will be one on which we can both agree, 
since we will have reached it together. 

Freshman Admission 

A high school diploma or successful completion of 
General Educational Development examination 
(GED) is required for admission to Swain. 

Students applying directly from high school are 
generally considered only for fall admission, 
although the Admissions Committee may provide 
for spring semester admission. 

There is no deadline for application, although 
early application is recommended. The 
Admissions Committee meets often to review 
completed applications. Notifications of 
committee action are sent out by the Admission 
Office twice each month during the academic 
year. After June first, applications are processed 
on a continuing basis until all positions in the 
entering class are filled. 

Applicants should note that the most critical 
deadlines are those for financial aid. Applications 
for some state programs, for example, should be 
filed by early February. 

The following steps are required for admission to 
the college: 

1 . Complete the Application for Admission found 
in this catalogue. If the application is missing, 
write or call the Secretary of Admissions to 
request the necessary materials. 

Send the completed application and application 

fee of $15.00, payable to the Swain School of 

Design, to: Mr. Peter W. Newport 

Admissions Director 

Swain School of Design 

19 Hawthorn Street 

New Bedford, Massachusetts 02740 

Should the application fee represent an unusual 

financial hardship, the Admissions Director may 

waive the fee on the written request of a parent, 

art teacher, or guidance counsellor. 



Your application is evaluated by the faculty 
Admissions Committee in consultation with the 
Admissions Director. We consider your academic 
record, interview reports, letters of recommen- 
dation and your portfolio. 

The work presented in your portfolio is considered 
in the light of your individual background and is 
the single most important factor influencing our 
decision. Talent is impossible to judge absolutely. 
Some successful candidates have had little or no 
previous experience and others have had extensive 
backgrounds. In any case, strong personal 
motivation is essential. 

Your grades are of interest to us since they are an 
indication of where you have placed your priorities 
as well as a record of how well you have done in 
school. Letters of recommendation and 
conversations with your art teachers and guidance 
counsellors may also help us to evaluate your 
application. 

You can best measure our ability to meet your 
expectations by visiting the campus and talking 
with students and faculty about Swain. We will 
try to keep you informed of on-campus activities 
that may be of interest to you. In addition, we 
will also notify you of opportunities to meet in 
your area with representatives of the college. 

When we reach a decision on your application, it 
will reflect an assessment of our ability to meet 
your educational goals as we have come to 



Admission 31 



2. Arrange for your school to send an official copy 
of your transcript to Swain. Unofficial, or student 
copies, of transcripts are not suitable for 
admission purposes. 

3. Request letters of recommendation from people 
who know either you or your work well. 

Recommendations from art teachers and guidance 
counsellors are certainly appropriate, but letters 
describing your interests and achievements 
outside the visual arts are frequently very useful, 
also. 

4. Choose or prepare two examples of your work 
that meet the following specifications: 

A. An 8V2 x 11 inch drawing in pencil, drawn 
from life (i.e. while looking directly at another 
person or into a mirror). 

B. An SV2 x 11 inch drawing in pencil of a still- 
life containing at least four objects, also from life. 

Then submit these two examples for our review in 
either of the following ways: 

A. Send in the required examples of your work 
before your Portfolio Interview. The Admissions 
Committee can then consider your drawings, 
together with your transcripts and letters of 
recommendation, and make a preliminary offer of 
admission. A formal offer may -be made once you 
have satisfied the Portfolio Interview requirement 
as described below. 

B . Present the required examples with the rest of 
the work you choose to include in your portfolio. 
These two required drawings become part of your 
application and are retained by the college. They 
may be returned if your application is withdrawn, 
provided that you supply sufficient return 
postage. 

5. Assemble a portfolio of your work to present as 
part of your application. Your portfolio gives us a 
clear indication of how you may benefit from 
professional training in the visual arts. We look 
for signs of accuracy and independence in the way 
you see, and evidence of your ability to develop 
visual ideas. 

Your portfolio should include what you feel to be 
your best and most representative work. The 
pieces you choose as well as the manner in which 
they are presented is largely for you to decide. We 
have seen work presented of every imaginable 
subject, including portraits, still-life studies, 
abstract designs, interiors, exteriors, light plugs, 
juke boxes, dogs, sewing machines, figures in 
space suits, figures posing, boyfriends, 
girlfriends, plans for underwater cities, package 
designs for trick dice, stage sets, musical 
instruments, pots and ceramic candies. Work in 
any medium is acceptable but we have found that 
drawings in black and white from life represent 
your ability best. Please do not present work 
copied from photographs. 



' 



Your portfolio should consist of about eight pieces 
to fifteen pieces of original work. Slides are an 
acceptable alternative in instances in which great 
inconvenience will result if original work is 
submitted. 

6. Arrange a Portfolio Interview with a 
representative of the Admissions Committee. This 
occasion gives you and the interviewer a chance to 
talk about your expectations and those of the 
college as well as an opportunity to present your 
portfolio for evaluation. 

We prefer to interview candidates on the Swain 
campus. However, if the demands of time or 
distance present difficulty, the Secretary of 
Admissions can make special arrangements in 
individual cases. 

With the exception of the required drawings 
described above, Swain does not retain any of your 
work following the interview. 

Additional Admissions Recommendations 

In addition to the steps required for admission 
listed above, applicants may wish to consider the 
following recommendations: 

1. We recommend that applicants take the 
Scholastic Aptitude Test (SAT) sometime before 
the end of their academic senior year. Although it 
is not required for admission, it provides us with 
an additional means to evaluate your academic 
ability. 

2. For many students Swain is either their first or 
single choice college. If you are sure this is true in 
your case, please request Early Decision Plan 
information from the Secretary of Admissions. 

3. We recommend that all applicants complete 
the financial aid section of the Application for 
Admission bound into this catalogue. The 
Admissions Office will routinely send all financial 
aid applicants detailed descriptions of programs 
available and precise instructions to follow to 
complete the financial aid application process. 

4. Writing, like drawing, is another way to 
record the world around you. If you wish to send 
us a sample of your written work, it may help us 
to get to know you better. 

The Swain School of Design supports the efforts of 
secondary school officials and governing bodies to 
have their schools achieve regional accredited 
status to provide reasonable assurance of the 
quality of the educational preparation of its 
applicants for admissions. 

Transfer Admission 

Swain encourages students with previous college 
experience to apply for admission at an advanced 
level. Policies which pertain to the admission of 
transfer students and to the award of credits in 
transfer may be found beginning on page 38. 
below. 



32 Policies and Procedures 



The Admissions Committee will consider transfer 
applications for either fall or spring semester 
admission. Applicants will insure the best 
possible selection of elective courses by 
completing the application process no later than 
April first for fall semester admission and no later 
than November first for spring semester 
admission. 

To apply as a transfer student you must meet all 
application requirements specified for freshman, 
as stated above, in addition to the following: 

1. Provide a list of courses in which you are 
currently enrolled, if applicable. 

2. Include in your portfolio recent work which 
represents the field in which you intend to study. 

3. Have transcripts sent to Swain from all colleges 
attended. 

Commitment Deposit 

Once you have been accepted, you must pay a 
$50.00 commitment deposit within two weeks of 
your notification of admission. That deposit is 
refundable, upon your written request, at any 
time before the first of May preceding fall 
semester admission; or before the first of 
December preceding spring semester admission. 
After the first of May or the first of December, 
whichever applies, the commitment deposit is 
applied towards tuition charges and cannot be 
refunded. 

If you have been offered admission and wish to 
defer your enrollment you may do so by notifying 
the Admissions Director of your decision. 
Commitment deposits that have been applied to 
tuition charges will remain in force if your 




Nickie Pelczar, Financial Aid 

Officer. 



notification is received before the fifteenth of the 
month preceding that for which admission was 
offered. Admission may be deferred for a 
maximum of one year. 

Special Students 

Any individual may be admitted into credit 
courses of the college as a Special Student, under 
the following conditons: 

1. A Special Student is not a candidate for the 
Bachelor of Fine Arts degree. 

2. A Special Student is admitted to a course by 
consent of the instructor. 

3. The applicant must have earned a high school 
diploma or its equivalent; or be judged, by the 
course instructor, to be of comparable age and 
maturity. 

4. Specific prerequisites must have been met to 
the satisfaction of the course instructor. 

5. Space in the course must be confirmed to be 
available by the Registrar after regular students 
have registered. 

Individuals applying under this classification do 
not pay the usual application fee, but do pay the 
normal registration deposit and tuition charges as 
listed on page 33. 

Course credits accrued as a special student may be 
counted towards the requirements for the 
Bachelor of Fine Arts degree if a special student is 
subsequently admitted into the degree program. 

Courses Not for Credit 

Individuals meeting the requirements of Special 
Students may take courses not for credit. In this 
case, tuition charges are equal to two-thirds of the 
usual fee for the course. 

Fees and Financial Aid 

Financial Aid The financial aid program of the 
Swain School of Design is intended to enable 
students to meet the costs of attending the 
college. 

Federal financial aid guidelines state that the 
primary responsibility for meeting the expenses of 
higher education lies with the student and/or the 
student's family. The amount a family can 
reasonably expect to contribute to cover 
educational costs, as detailed above, is established 
through a need analysis based on the information 
supplied by the student and the student's family 
on the Financial Aid Form (FAF). 
The extent to which estimated costs exceed the 
funds available to the student is defined as 
demonstrated need. It is this amount that the 
college tries to match through various financial 
aid sources. Financial aid to students at Swain is 
provided in three basic forms: 



Financial Aid 33 



1. Grants are given without requiring the student 
to work or to repay the money. The following 
kinds of grants are available: 

a. Pell Grants, (formerly, Basic Grant) provided 
by the federal government. Students not eligible 
for Pell Grants may be eligible for other federally 
funded aid administered through the college. 

b. Supplemental Educational Opportunity 
Grants are also funded by the federal government, 
but are administered by the college. 

c. Swain School of Design Scholarships for full- 
time students only. 

d. State scholarships, provided by Massachusetts, 
Rhode Island, and many other states to residents 
of the respective state. 

e. Other scholarship and grant programs 
provided by independent agencies. 

2. Employment opportunities are provided 
during the school year and in the summer through 
the College Work-Study Program. 

3. Loan programs which permit students to 
borrow funds at favorable rates of interest include 
the National Direct Student Loan (NDSL) and the 
Guaranteed Student Loan (GSL). 

Tuition Fees The 1982-83 fee for regular full- 
time study (12 credits or more) is $1,995. per 
semester. For less than a full-time course of study 
program, the fee is $135. per credit. 

The college offers a $50. reduction in tuition for 
students who pay fall semester tuition before May 
1, or spring semester tuition before September 1. 
For further information about these optional 
programs please contact the Admissions office. 

Tuition fees are payable upon registration for each 
semester. Financial aid awards, if applicable, are 
credited towards tuition obligations as funds are 
received by the comptroller. Late registration may 
result in an additional $50. charge, please see 
page 36. 

Two optional programs are available to help 
families and students meet educational expenses. 
Although the details vary, each program allows 
the payment of school costs on a monthly basis. 
These are as follows: 

The Deferred Payment Program is a loan plan 
which advances money to the parent to pay for 
college costs. This program provides for 
monthly payments and makes available a wide 
variety of payment terms. 
The Monthly Budget Program offers parents a 
method of budgeting educational expenses 
without going into debt. This program is not a 
loan, tuition is prepaid in advance of each 
school term. 



Additional information may be obtained by 
writing to: 

Tuition Plan 
Concord, NH 03301 
or by calling toll free 1-800-258-3640. 

Other fees and deposits which are described 
elsewhere in this catalogue are listed below. 
Application Fee $25.00 to correct page 30 

Commitment Deposit $50.00 see page 32 

Studio Deposit $10.00 see page 10 

Transcript Fee $ 2.00 see page 38 

Other policies concerning payment of fees may be 
found on page 36. 

Refund of Tuition Fees Students withdrawing 
from the college within the first two weeks of 
school receive a refund of 75% of the tuition fee 
and forfeit the commitment deposit. After the 
first two weeks of school, no refund of the tuition 
fee is available. Please see page 36 for withdrawal 
procedures. 

Cost of Education We estimate the total cost of 
education at the Swain School of Design for the 
1982-83 academic year as follows: 





Resident 


Cormnuter* 


Tuition 1982-83 


$3990 


$3990 


Books and Supplies 


500 


500 


Room and Board 


1875 


1100 


Transportation 


225 


930 


Personal Expenses 


500 


500 



$7090 $7020 

transportation expenses based on 60 mile round 
trip. 

How to Apply for Financial Aid The Swain School 
of Design strongly urges all applicants and 
prospective applicants for admission to apply for 
financial aid by completing either or both of the 
preliminary steps below: 

1. Complete the Financial Aid section of the appli- 
cation for admission found in this catalogue. If the 
application is missing, write or call the Secretary of 
Admissions to request this application material. 

2. Complete the Financial Aid Form (FAF) from 
the state in which you are now a resident and 
submit it to the College Scholarship Service soon 
after January 1 of the year in which you are 
planning to attend college. For example, if you 
intend to attend college during the 1983-84 school 
year, you should file your FAF soon after January 

1, 1983. Our school code is 3803. 

1. Do not assume that you are ineligible for 
financial aid. 

2. Be sure to observe deadlines. Deadlines for 
some state programs are as early as February. 

3. Take advantage of our experience with financial 
aid. Personnel in both the Admissions and 
Financial Aid Offices are able to answer your 
questions. 



1 


KpS 


Pjj 


i 




IfS^^Mk ^ ^8H 



' 



34 Policies and Procedures 



Student Services and Student Life 



The Student Council plans a 
number of parties and other 
events during the year. To 
the right, students prepare for 
the Halloween party. 




A significant part of the 
Swain social life involves 
gallery openings, small 
concerts, and talks by 
visiting artists. Below, 
visiting designer Ivan 
Chermayeff is wearing 
3-D glasses. 



Housing Swain maintains a housing 
service which receives information about 
rooms and apartments available to 
incoming students in the community. 
Referrals are made on the basis of the 
student's response to a questionnaire sent 
out by the admissions office to determine 
financial considerations and the type of 
accommodation desired. 

Housing expenses are estimated on page 
33. Further questions may be directed to 
the Office of the Director of Admissions. 

Medical Care We advise all students to 
participate in the student Blue Cross/Blue 
Shield Master Medical group coverage 
available through the college. Specific 
information on this program is available 
through the admissions office. 

All students are covered for accidents 
which may occur in the course of 
activities sponsored or supervised by the 
college. Maximum coverage is $1000: a 
$25 deductible is borne by the student. 

A medical doctor is available to consult 




Student Services and Student Life 35 



with any student. Arrangements may be 
made through the Dean's office, but the 
costs of consultation are borne by the 
student. However, such costs may be 
covered under the Blue Cross/Blue Shield 
program mentioned above. 

Faculty Advisors A member of the 
faculty is appointed by the Dean to serve 
as an advisor to each student. This 
appointment is made in the fall, and both 
student and faculty advisor are informed 
of the appointment at the time of 
registration. 

The advisor's role is to be available to 
discuss academic or other matters with 
the student, as well as to take some 
concern for the student's general well- 
being. Faculty advisors are automatically 
given copies of letters from the Dean's 
office relating to academic matters. 

Both student and advisor should feel free 
to initiate discussion when appropriate. 

Student Services Student Services sees its 
primary role as actively supporting and 
helping students achieve their educational 
objectives while they are in residence at 
Swain and as they begin their careers once 
they have graduated. 

In addition to short term counseling and 
referral, Student Services provides 
information and programs in areas such as 
housing, legal services, fuel assistance, 
tutoring, money management and aid, 
advocacy and health education. Career 
development workshops are also held as 
preparation for resume writing, job 
interviews, and eventual career placement 
for graduates. The Student Services Office, 
located in the Crapo building also serves as 
the office of the Student Council. The 
Student Services Director works closely 
with the Council in coordinating all 
matters of student governance throughout 
the college. 

Additional Services The college 
maintains a cafeteria in the Rodman 
Building. A book and supply store carries 
most of the materials students need for 
classes. Through the bookstore, the 
college assembles a freshman kit for 



incoming students so books and 
hard-to-find materials are available as 
needed during freshman year. Costs for 
the kit vary from year to year, and are 
borne by the student. Specific 
information is available through the office 
of the Admissions Director. 

Student Participation in Institutional 
Governance The Student Council with 
members chosen by the student body is 
responsible for student governance, and 
participation on all school committees. In 
addition, representatives of the Student 
Council from each class are invited to 
attend the monthly faculty meetings. 

Students take an active part in the faculty 
committee work of the college. They are 
represented on the Academic Affairs 
Committee, and the Gallery Committee 
and help to monitor the academic program 
of the college and schedule gallery 
presentations. 

The Student Affairs Committee evaluates, 
discusses and makes recommendations to 
the faculty or administration in matters 
regarding student life. This committee is 
made up of five students, three faculty 
members, the Financial Aid Director and 
the Student Services Director. This 
committee is the central forum for issues 
that pertain to student affairs. 

Student insights are also considered 
through representation on the Board of 
Trustees which concerns itself with the 
long-term development of the college. 

Extracurricular Activities The Student 
Council plans extracurricular activities 
according to the interests of the student 
body. Each year Swain sponsors a number 
of bus trips to museums and galleries in 
New York and Boston. 

Student Conduct Students and faculty 
at Swain are committed to their work to 
an extent that makes problems of personal 
conduct rare. However, a serious breach 
of reasonable standards of conduct will be 
regarded as the grounds for disciplinary 
action which may include suspension 
from the school. 




The cafeteria and student 
lounge are located in the 
Rodman Building, and serve 
as a meeting place for 
students and faculty during 
lunch and between classes. 



36 Policies and Procedures 



Academic Policies and Procedures 

1. Requirements for the Degree of Bachelor of Fine 
Arts To qualify for the degree of Bachelor of 
Fine Arts from the Swain School of Design, a 
student must meet the following requirements: 

A. A total of 120 credits in the following 
distribution: 

18 in freshman foundation studios 

6 in An Introduction to Pnntmaking 

12 in studio electives 

12 in trial majors 

36 in the liberal arts: 12 visual studies, 18 

humanities, 6 social studies and natural sciences 

36 in major studio, of which as many as 12 may 

be in studio seminars. 

B. Sophomore Review, accepted as satisfactory by 
the faculty. 

Junior Review, accepted as satisfactory by the 
faculty. 

Senior Review, accepted as satisfactory by the 
faculty. 

Senior Exhibition: work accepted as satisfactory 
by the major instructor. 

1. A review will not be accepted unless the 
required letter of intent is approved by a 
designated member of the faculty. 

2. Credit will not be awarded for work done in the 
major studio during the semester of the review, 
unless the student presents a satisfactory review, 
as evaluated by the faculty. 

C. A grade of C or better (C— will not suffice) for 
juniors and seniors for courses in the major field. 

D. A minimum of 30 credits taken at Swain, 18 of 
which must be in 300 - 400 level advanced studio 
courses. 

E. A minimum of 9 credits of 400 level studio 
work in the student's chosen major field. 

F. For the painting major, a student must take 6 
credits of life drawing and 3 credits of figure 
modeling. 

For the sculpture major, a student must take 3 

credits in Sculpture 200, Materials and 

Techniques. 

For the graphic design major, a student must take 

3 credits in photography and 3 credits in Design 

200, Production and Process. 

G. Exceptions to the distribution requirement in 
liberal arts may be made by the Chairman of the 
Liberal Arts Department. 

H. For incoming students, the Admissions 
Committee may make exceptions to the studio 
distribution requirements. 

I. For students who are already enrolled, 
exceptions in the studio distribution requirements 
may be made by action of the faculty. 



J. A senior who has received an academic 
warning must complete a satisfactory review in 
order to graduate. 
K. Seniors must submit six slides of their work to 



the library. 




2. Registration for Classes Returning students 
are required to indicate during the spring 
semester whether they intend to return to school 
in the fall. Formal registration for classes, 
including payment of fees, occurs on an 
announced day immediately before the beginning 
of each semester. A student is not counted as 
registered for classes until all financial 
arrangements for the term have been completed. 
There is a fifty dollar fee for late registration. 

A student may enroll for no more than 18 credits 
in any one semester. A student who has received 
an academic warning may not enroll for more 
than 15 credits during the following semester. 

3. Changing Courses In order to withdraw from a 
course, add a course, or change from one course to 
another, the student must use the Notice of 
Change of Course Form available from the 
Registrar's office. It is the student's responsibility 
to secure the instructor's signature and return the 
completed form to the Registrar's office before the 
deadline. The student will receive credit for new 
courses added only if the Notice of Change of 
Course form has been recorded by the Registrar by 
the end of the second week of a semester. The 
student will be allowed to withdraw from a course 
without receiving a grade in it only if the Notice 
of Change of Course Form has been recorded by 
the Registrar by the end of the eleventh week of 
the semester. After the eleventh week, any 
withdrawal will automatically be recorded as an F. 

4. Withdrawal from the College A student who 
finds it necessary to withdraw from the college 
during the semester must follow this procedure: A 
freshman or sophomore who intends to withdraw 
must meet with the Dean, and must submit a 
letter to the Dean indicating the reason for 
withdrawal. A junior or senior who intends to 
withdraw must first meet with the chairman of 
the major department, then must submit a letter 
to the Dean indicating the reason for withdrawal. 
In all cases, the date on which the Dean receives 



Academic Policies and Procedures 37 



the letter of withdrawal shall be considered as the 
official date of withdrawal. Tuition refunds are 
calculated on the basis of the official date of 
withdrawal. 

5. Attendance Students are permitted to be 
absent from class only in extreme circumstances: 
illness and emergencies. It is the student's 
responsibility to notify the school of the absence 
and its cause. 

6. Grading 

A. Credit Hours. Each credit hour represents 
approximately three hours of productive work a 
week, over the period of one semester. Typically, 
in studio classes, two of those hours will be spent 
in class and one will be in work outside of class. In 
a liberal arts course, one hour is spent in class and 
two hours are spent in work outside of class for 
each credit. For example, a three-credit drawing 
class will meet six hours a week and will require 
about three additional hours outside of class time. 

B. Grades. A grade report is given for each course 
at the end of each semester. Mid-semester grades 
are also given to all freshmen during the first 
term, and when an instructor wishes to advise a 
student of inadequate performance in a course. 

We use the grade scale A, B, C, D, F to indicate a 
student's achievement in a course. The grade A 
designates true excellence; B, an original and 
substantial contribution; C, that the student did 
what was expected; D, that the student did 
somewhat less. F indicates an inadequate 
performance and does not carry credit. 
No credit shall be given to juniors or seniors for a 
grade of less than "C" in the major field of study. 

"C" shall be an acceptable grade in a major studio 
course. A student receiving a grade of less than 
"C" in a major studio course will receive notice of 
academic warning. 

C. Grade Averages. To calculate the grade 
average we assign a number for each of the letter 
grades. A is 4.0, B is 3.0, C is 2.0, D is 1.0, 

F is 0. Each number equivalent of the grade the 
student earns is multiplied by the number of 
credits in the respective course. The resulting 
numbers are totaled and divided by the total 
credits for the term to give the student's grade 
average for the term. The grade average is a 
summary, giving an indication in a single 
number, of how well a student is doing. 

D. Grade Change. Once a grade has been 
reported to the Registrar, it may only be altered 
by the instructor upon approval of the Faculty 
Affairs Committee. 

E. Grade Appeal. If a student feels that an 
extreme injustice has been done in the assigning 
of a grade, the student may present the matter to 
the Dean. If the Dean agrees that there is cause for 



review, he may call a committee of three members 
of the faculty to review the student's work, and 
the grade assigned to it. If the committee finds 
the instructor incapable of giving grades with the 
normal degree of professional discernment, the 
instructor's responsibility may be reassigned by 
the Dean according to the usual processes of the 
school. 

F. Incompletes. If, because of extraordinary 
circumstances, a student is unable to complete the 
work required for a course by the time the course 
ends, the student may be given the grade of I 
(Incomplete) by prior formal arrangement with 
the instructor. The grade is a temporary grade, 
and will automatically become an F if the required 
work has not been completed within three weeks 
of the beginning of the following term. In order 
to carry a grade of Incomplete beyond this 
three-week limitation, the student must secure 
the written consent of the instructor and approval 
of the Dean. 




7. Academic Warning 

A. Freshmen and sophomores with semester 
grade averages of less than 1.7, and juniors and 
seniors who have earned less than a C in a major 
studio course will receive an academic warning. 
Students given an academic warning may not 
enroll for more than 15 credits during any single 
semester until they have been removed from 
academic warning. 

B. A student on academic warning is required to 
submit work for a special review by a committee 
of the faculty. This review will take place during 
the semester in which the student is given an 
academic warning. During this review, the 
committee of the faculty will evaluate the 
student's improvement and determine whether 
the student should be removed from academic 
warning, remain on academic warning, or be 
recommended for suspension. It is the student's 
obligation, at this review to present evidence of 
significant improvement in the area where 
previous trouble has led to the academic warning. 
If there seems to be some discrepancy between 
the student's performance and the standards of 
the school, the student will be told after this 



38 Policies and Procedures 




review, and advised to leave the school and to 
reexamine his/her educational goals and objectives. 
The faculty may act to remove the academic 
warning following a satisfactory review. 

C. Except in extraordinary circumstances, a 
student receiving an academic warning for two 
successive semesters will not be permitted to 
continue enrollment. 

D. The faculty may act to place a student on 
academic warning for reasons other than failure 
to achieve a minimum grade point average. If the 
faculty does so act, that fact, and the reasons for 
it, will be conveyed to the student in writing. 

E. The faculty will use its discretion in giving any 
student an academic warning at the time of the 
sophomore, junior, or senior review. 

F. A senior who has received an academic warning 
must complete a satisfactory review in order to 
graduate. 

G. The faculty may use its discretion in putting 
any student on academic probation at the time of 
the sophomore, junior or senior review. 

H. A student cannot graduate while on probation. 

8. Policy for the Assigning of Transfer Credit 

Students accepted in transfer from other 
institutions shall be granted transfer credit toward 
the degree requirements of the school by action of 
the Dean and the Registrar, subject to the 
following policies: 

A. Credit will be granted for college-level courses 
that may be reasonably applied toward the degree 
requirements of the school. Courses in the arts and 
sciences will be transferable in so far as they meet 
the distribution requirements in visual studies, 
humanities, and social studies and natural 
sciences. 

B. Transfer credit will not be granted for courses 
completed with less than a grade of C. Courses 
graded C— are not acceptable. 

C. Admission of a transfer student into a major 
department, and placement within it, will be 
determined by the chairman of that department, 
or by a designated department member. 

D. Questions of doubt concerning acceptance of 
transfer credit will be referred for the 
determination of the Admissions Committee, or 
to the appropriate members thereof. 

E. At the time of admission, or at any time after 
the admission of a transfer student, the 
Admissions Committee may act to apply up to 15 
credits of transferable courses toward either the 
studio or the liberal arts requirements for the 
B.F.A. degree, on the basis of a portfolio review, 
or of an evaluation of the student's demonstrated 
competence in the liberal arts. Transfer students 
must meet requirements for the Bachelor of Fine 
Arts degree, as described in Section 1, above. 



9. Change of Major Students changing their 
major fields will be subject to the same rules that 
apply to students transferring into the college 
from other institutions. 

10. Other Policies 

A. Transcripts: Students in good standing and 
alumni who have met all financial obligations to 
the school, are entitled to request transcripts of 
the record of the grades they have received and 
the credits they have accumulated at Swain. Each 
transcript costs $2.00 and is released only at the 
written request of the student. 

B. Student Property: The school reserves the 
right to reproduce student work and to retain two 
works from each student for eventual exhibition. 
The student has the obligation to remove all other 
property from the school premises at the end of 
each academic year. At no time does the school 
take responsibility for safeguarding student 
property. 

C. Payment of Fees: Students and alumni who 
owe money to the school may not register for 
classes, receive official grade reports, or receive 
transcripts of their records. Such students may be 
given verbal reports of their grades, however. 
The only exceptions to this policy are as follows: 

1 . Students for whom funds are coming to the 
school, sufficient to discharge their debts, as 
confirmed to the Comptroller. 

2. New students or returning students who have 
financial aid applications in progress, may be 
registered, pending receipt of aid funds, by action 
of the President, upon the recommendation of the 
Financial Aid Officer. 

D. Graduation: Students who have not satisfied 
all requirements for the B.F.A. degree, may 
participate in the graduation ceremony with their 
class, but not receive the diploma, as long as they 
lack fewer than 12 credits of degree requirements. 

E. Rights and Privacy Act: Section 438 of the 
General Education Provisions Act, as amended, 
also referred to as the Family Education Rights 
and Privacy Act of 1974, was enacted by the 
Federal Government in 1974 with a view to 
protecting the privacy of students in certain 
educational institutions. This statute, among 
other things, governs access to official records 
directly related to students which are maintained 
by educational institutions, limits the release of 
certain records to third parties, and contains 
provisions permitting students to challenge the 
contents of certain records. It is the policy of the 
Swain School of Design to comply with this 
statute, as amended, and the related rules and 
regulations in implementation thereof issued by 
the United States Department of Education. 



Academic Calendar 39 



Academic Year 1982/83 

First Semester 

September 2 & 3 Thursday & Friday 



September 7 

September 8 
September 22 
September 29 
October 1 1 
October 27 
November 1 1 
November 24 
November 25 & 26 
December 1 
December 15 
December 16 & 17 



Tuesday 

Wednesday 

Wednesday 

Wednesday 

Monday 

Wednesday 

Thursday 

Wednesday 

Thursday & Friday 

Wednesday 

Wednesday 

Thursday & Friday 




Registration day: tuition fee due 

(returning students) 
Registration day: tuition fee due 

(new incoming students) 
First semester classes begin 
Last day to drop, add or register for classes 
Last day to make up incompletes 
Columbus Day, no classes 
Mid-semester grades 
Veteran's Day, no classes 
Last day to withdraw from a course 
Thanksgiving recess 
Second semester registration 
Last day of classes 
Examination period & Senior reviews 



Second Semester 

January 14 
January 17 
January 31 
February 7 
February 2 1 
March 14 
March 14-17 
March 28 
April 4 
April 11 
April 18 
May 6 
May 9 & 10 
May 11 - 13 
May 21 
May 28 



Friday 

Monday 

Monday 

Monday 

Monday 

Monday 

Monday - Thursday 

Monday 

Monday 

Monday 

Monday 

Friday 

Monday & Tuesday 

Wednesday - Friday 

Saturday 

Saturday 



Second semester tuition fee due 

Second semester classes begin 

Last day to drop, add or register for classes 

Last day to make up incompletes 

Washington's birthday, no classes 

Spring recess begins 

Junior reviews 

Classes resume 

Last day to withdraw from a course 

First semester 1983/84 registration 

Patriot's Day, no classes 

Last day of classes 

Examination period 

Sophomore reviews 

Senior Exhibition & Student Exhibition 

Commencement 



40 Course Descriptions 



Course Descriptions 




In Sculpture 151 an emphasis is 
placed on size and space as they 
relate to the human form . 



Foundation: Freshman Year 

Design 111, 112 

An Introduction to Two-Dimensional Design 

introduces those principles which underlie the 
organization of all two-dimensional surfaces, the 
manipulation of line, shape, space, color, value, 
texture. The course is presented as a sequence of 
problems. Instruction emphasizes the process 
through which a visual idea is developed from first 
sketch to completion. (2 semesters — 3 credits 
each) 

Drawing 121 , 122 

Freshman Drawing presents some of the basic 
problems, techniques and references of the artist. 
The student observes naturally occurring 
structures and translates them onto a page 
through line, form, and the contrast between 
light and shade. The second semester emphasizes 
the study of the figure, including some study of 
human anatomy. (2 semesters — 3 credits each) 

Sculpture 151, 152 

An Introduction to Three-Dimensional Design 

This course is basically concerned with the 
organization of space, and the expansion of the 
vocabulary of form. Emphasis is placed on 
developing technical skills to facilitate the 
translation of abstract ideas into tangible reality. 
(2 semesters — 3 credits each) 

Humanities 100, 105 

Freshman English Writing is a craft of finding 
and expressing one's convictions. Like drawing, 
writing is a means for making oneself more 
attentive to the working of the world. Like 
drawing, writing is a translation from the three- 
dimensional reality to the two-dimensional page. 
This course develops that craft. In addition, 
Freshman English presents for discussion 
significant writing by a variety of authors. 
(2 semesters — 3 credits each) 



Humanities 1 10 

Readings in Western Civilization The past 
informs the present. Aspects of the lives we live 
are organized in patterns as old as civilization. 
Through the study of major texts, this course 
presents some of the important themes that have 
occupied thinkers during the history of Western 
civilization. (Fall semester — 3 credits) 

Visual Studies 1 00 

An Introduction to Art History Anyone working 
in the visual arts has two sources of information 
and inspiration. One is the visible world. The 
other is past art. This course explores the process 
of looking at the art others have made. Students 
are asked to notice what goes on in the act of 
interpretation, and to become attentive to visual 
evidence; to see beyond their own immediate 
reactions. The object of this course is to introduce 
the craft of seeing what another has seen, using 
the work of art as a record of that vision. (Spring 
semester — 3 credits) 

Foundation: Sophomore Year 

Printmaking 24 1 , 242 

An Introduction to Printmaking All the major 
printmaking media are introduced in this course. 
Seven weeks are spent in intensive work with each 
of the following: relief printing, silkscreen, 
lithography, and intaglio printing (etching, 
drypoint, aquatint). The course also presents some 
of the history of printmaking, and the work of 
major figures who helped to shape that history. 
(2 semesters — 3 credits each) 

Design 211, 212 

Trial Major in Graphic Design is a foundation course 
in graphic design. The course introduces 
fundamental aspects of typography: type as 
imagery, type as verbal message, the history and 
development of type forms and type in 
combination with other graphic elements. A wide 
range of possibilities for those graphic elements is 
suggested: collage, illustration, abstractor 
geometric forms, etc. Students try a variety of 
approaches to design and evaluate their work in 
terms of solving visual communication problems. 
(2 semesters — 3 credits each) 

Painting 23 1 , 232 

Trial Major in Painting This introduction to 
painting builds on the foundation of freshman 
design and drawing courses, and introduces basic 
oil technique. In the course of the year, students 
work through a series of studio problems: the still 
life, the figure, the landscape — and study 
traditional methods of representation and 
composition. Painting from nature is stressed as a 
teaching device, since it presents both students 
and instructor an objective standard against which 
to measure success in dealing with space, light, 
form and color. (2 semesters — 3 credits each) 



Course Descriptions 41 



Sculpture 251. 252 

Trial Major in Sculpture is aimed toward students 
considering a major in sculpture. The course 
further examines basic materials, and attempts to 
make the student more aware of the forms in the 
natural and man-made environment. Drawing is 
used as a vital means of recording and testing 
these ideas. Class critiques provide for an 
exchange of information and for developing a 
better critical judgement. (2 semesters — 
3 credits each) 

Major Studios 

Design 321, 322 

Major Studio in Graphic Design is a continuation of 
the trial major, but here the problems considered 
are more complex. Students work in their studios 
on assignments and meet weekly for group 
critiques. Projects might include such things as 
designing a series of book jackets, an identity 
program for a small business or the layout of a 
magazine article. During the junior year, a 
student is expected to develop an individual 
approach to solving design problems. (2 semesters 

— 9 credits each) 

Design 42 1 , 422 

Major Studio in Graphic Design The fourth year 
is treated as the first year of the student's design 
career. A portion of the work is assigned by the 
instructor specifically to develop the student's 
professional portfolio. The remaining time is 
reserved for each senior, in concert with the 
instructor, to assemble an independent design 
program. The senior is expected to perform like a 
professional designer. The instructor plays the 
roles of consultant and client. (2 semesters — 9 
credits each) 

Painting 331 ,332 

Major Studio in Painting Painting 331 builds on 
the abstract theories introduced in freshman 
design and the formal and observational skills 
emphasized in sophomore painting. The emphasis 
is on the careful observation and evaluation of 
form, color, and composition. The students work 
more independently, defining the direction their 
painting will take. All juniors majoring in 
painting are required to paint in the life studio 
during the first term, and to attend technical 
demonstrations and group critiques. (2 semesters 

— 9 credits each) 

Painting 431 , 432 

Major Studio in Painting Students are expected to 
take increasing responsibility for their own 
direction and acquire skill at clarifying their 
goals. An important part of the major studio 
consists in seminars on traditional and 
contemporary art theory. 

Throughout the senior year the teacher functions 
as a critic. 



The graduating senior is expected to assemble a 
coherent and defensible body of work 
demonstrating significant commitment to a 
number of clearly specified problems and 
concerns. (2 semesters — 9 credits each) 

Printmaking 341 , 342 

Major Studio in Printmaking The student who 
chooses the printmaking major works in all the 
principal printmaking media. Printmaking is 
viewed not just as a technical exercise, but as an 
aesthetic challenge that involves questions of 
form, design, historical precedence. During the 
course of the year students are expected to 
demonstrate the appropriateness of the 
printmaking media for the working out of their 
visual ideas. (2 semesters — 9 credits each) 

Printmaking 441 , 442 

Major Studio in Printmaking By the senior year, 
students are expected to already have the formal 
mastery which will allow them to concentrate on 
imagery and formal questions. Special attention is 
given to exploring the graphic quality and the 
character peculiar to different printmaking 
methods. 

The graduating senior is expected to assemble a 
coherent and defensible body of work 
demonstrating a significant commitment to a 
number of clearly specified problems and 
concerns. (2 semesters — 9 credit hours) 

Sculpture 351. 352 

Major Studio in Sculpture builds on the basic 
information in problem-solving and use of 
materials gained during the two previous years. 
Students are encouraged to master the tools and 
techniques they are already familiar with, as well 
as more specialized ones introduced during the 
third year. Frequent discussions with instructors 
and regular group criticism with other students 
are scheduled. (2 semesters — 9 credits each) 

Sculpture 451 , 452 

Major Studio in Sculpture The great amount of 
time allotted to senior workshops allows for more 
ambitious series or larger works. At this point, 
students should be forming a commitment and a 
sense of discipline, concentrating more deeply 
upon those sculptural problems and materials 
which they find most compelling. 
The graduating senior is expected to assemble a 
coherent and defensible body of work 
demonstrating a significant commitment to a 
number of clearly specified problems and 
concerns. The final formal presentation is 
evaluated on the basis of aesthetic quality and 
professionalism in concept and execution, and 
documented in slide form. (2 semesters — 
9 credits each) 




Painters and printmakers as well 
as sculptors are encouraged to stud) 
the human form in three 
dimensions. 



42 Count Descriptions 



An exercise in photo- collage from 
Design 112. 




Studio Electives 

Design 200 

Production and Processes is an intensive technical 
course that explains the basic materials, tools, and 
processes that a graphic designer encounters. 
Practical exercises take a job from sketches to final 
printing. Areas covered include: methods of 
specifying type for typesetting, the use of 
photostats and halftones, mechanicals, 
photosilkscreen, and commercial printing. 
(3 credits) 

Drawing 221 

Life Drawing I is an intensive study of the human 
figure, intended to enable the student to translate 
exact observations to a page, and to understand 
the formal principles that organize a page. In the 
course of the semester, a number of attitudes 
toward the human figure are introduced. Some 
stress the idea that the body is a perfectly 
organized structure; others stress the expressive 
possibilities. (3 credits) Offered in the spring 
semester. 

Photography 213 

Basic Photography This course develops the use 
of the 35mm camera, basic techniques of film 
exposure and processing, and black and white 
printing. (3 credits) 

Sculpture 200 

Materials and Techniques in Contemporary 
Sculpture teaches the proper use of equipment 
necessary to manipulate steel, aluminum, bronze 
and wood, and provides familiarity with the 
properties of these materials in the light of 
contemporary aesthetics. (3 credits) Note: 
Sculpture 200 may be repeated for credit. 

Sculpture 222 

Figure Modeling The basic purpose of the course 
is to allow the student to begin analysis of the 
proportions of the human body, to experience a 
form in space — a three-dimensional reality as 
opposed to the two-dimensional illusion of 
drawing. The course deals with reliefs in addition 
to the free-standing figure, to provide a bridge 
between drawing and sculpture. (3 credits) 
Offered in the fall semester. 
Note: Figure Modeling may be repeated for 
credit. 

Drawing 321 

Life Drawing II Life Drawing I is a prerequisite 
for this course, which the instructor may waive at 
his discretion. Students are encouraged to apply 
the media with which they are chiefly concerned 
to this study of the human figure, and to join in 
the criticism of each other's work and methods. 
(3 credits) Offered in the spring semester. Note: 
Life Drawing II may be repeated for credit. 



Photography 313 

Advanced Photography Students do more 

advanced work with lights and studio equipment, 

and are introduced to the view camera and large 

format negatives. (3 credits) 

Note: Photography 3 13 may be repeated for 

credit. 

Studio Seminar 400 

Interdisciplinary Studies: Word and Image 

Students examine the various places that writing 
and visual art come together, in an attempt to 
clarify the nature of each. Illustration, criticism, 
the writing of artists and poets about visual art, 
the language we use to describe visual objects, 
conceptual art, and the possibility of inferring 
meaning from a formal structure are among the 
areas to be considered. 

There will be assigned visual work, writing and 
readings. 

Class limited to 8 students from all departments 
subject to approval of the instructors. (3 credits) 
Offered as announced. 

Studio Seminar 420 

Advanced Color Theory and Application begins 
with an examination of various color media 
including painting, printing, sculpture, 
architecture, stage design, textiles and film. It 
proceeds with the study of the elements, the 
science, the aesthetics, the traditional theories and 
the psychology of color. Color will be regarded 
according to its use as expression, as decoration, as 
structure and as information. (3 credits) 

Studio Seminar 440 

Graphic Design Forum is a series of lectures and 

seminars, coordinated by a member of the Design 

Department, in which a number of professional 

designers and other guests will present various 

aspects of the profession. (3 credts) Offered as 

announced. 

Studio Seminar 450 

Drawing for Illustration The purpose of the 
course is two-fold. It serves to advance the 
student's skills in rendering the figure, still-life, 
and architectural forms. At the same time the 
student considers and resolves problems of 
appropriate imagery and design, and learns 
methods of research into literary and advertising 
texts. (3 credits) 

Liberal Arts Electives 

Humanities 200 

Myth and Fable examines the nature and meaning 

of mythology. It considers aspects of mythic 

narrative from antiquity to the present, and it 

explores what myths can teach us about the world 

and ourselves. (3 credits) Offered once every two 

years. 



Course Descriptions 43 



Humanities 210 

Reading and Writing Books for Children is designed 
to provide a background in children's classics, as 
well as to consider the needs of children as an 
audience. Students enrolled in the course write 
one long work for children. (3 credits) Offered 
once every two years. 

Humanities 220 

The Structure of Theatrical Composition A 

primary aim of this course is to provide a 
thorough familiarity, by reading, with important 
works that have been made for the theater. In 
addition, students act, write, and direct enough 
to gain some first hand understanding of the 
nature of presenting a theater work publicly. (3 
credits) Offered once every two years. 

Humanities 240 

Intermediate Writing is a basic orientation in the 
rudiments of writing fiction, criticism, and 
practical business forms. (3 credits) Offered once 
every two years. 

Social Studies 200 

Technology and Society examines a series of 
historical examples illustrating the interaction 
between technology and society, beginning with 
England in the eighteenth century and ending 
with West Africa in the twentieth century. 
(3 credits) Offered once every two years. 



Social Studies 210 

Readings in Cosmic Theory and Social Design 

follows a historical sequence of written attempts 
at discovering, defining, or controlling a 
relationship between theories of world order and 
society, from Heraclitus to Frank Lloyd Wright. 
(3 credits) Offered once every two years. 

Social Studies 220 

On Science explores the historical development of 
certain key themes in the sciences from antiquity 
to the present and traces the evolution of our 
explanations for the variety of species, for the 
architecture of the universe, for the structure of 
matter, and for the nature of vitality. Equal 
attention will be paid to the process of scientific 
discovery and to its cultural consequences. 
(3 credits) Offered once every two years. 

Visual Studies 210 

A Survey of the History of Art before 1400 presents 
the history of the art of the Western world prior to 
the Renaissance. (3 credits) Offered every year. 

Visual Studies 215 

A Survey of the History of Art since 1400 presents 
the history of the art of the Western world from 
the Renaissance to the present. (3 credits) Offered 
every year. 



Left, self-portrait by Cat by 
M cGuiness made as part of a 
guided studio in photography. 
With the instructor's permission, 
guided studios , providing 
individual instruction on special 
projects, are available in all 
departments. 




44 Course Descriptions 



The darkrooms are located in the 
basement of the Rodman, and are 
open to students in all departments . 




Humanities 300 

Poetry Workshop Students write poems, and 
criticize, discuss and revise them in order to 
understand poetry as a means for clarifying 
thought. To further explore the nature of poetry, 
there are readings from major nineteenth and 
twentieth century poets. (3 credits) Offered once 
every two years. 

Humanities 310 

The Invention of America presents American 
literature in its historical context, examining the 
way in which that literature reflects principal 
themes in American social and intellectual 
history. (3 credits) Offered once every two years. 

Humanities 320 

Seminar on the Work of One Writer or School of 

Writers is a careful study of the works of a 
significant literary figure or movement, and of the 
world that is reflected in those works. The specific 
individual or movement whose works are to be 
examined varies from year to year. In one version 
of this course students read Ronsard, in another, 
Chaucer. (3 credits) Offered once every two years. 

Social Studies 300 

The History of the Future: The Utopian Vision 

Through an examination of a historical sequence 
of attempts to define the perfect human 
community, this course explores the values and 
perils of the Utopian imagination. (3 credits) 
Offered once every two years. 

Social Studies 310 

Readings in the Literature of Exploration studies 
first-hand narrative accounts by witnesses or 
participants in explorations and discoveries of 
historical or scientific importance, from Marco 
Polo to Teillhard de Chardin. (3 credits) Offered 
once every two years. 

Social Studies 320 

Seminar on the Work of One Social Thinker or 
School of Thought This is a careful study of the 
work of a single social thinker or movement and 
the effect of this work on contemporary and 
subsequent social thought. The thinker or 
movement whose works are to be examined varies 
from year to year. (3 credits) Offered once every 
two years. 




Visual Studies 310 

The Beginnings of Modern Art traces the 

development of modernism, beginning with the 

first Impressionist exhibition and ending with the 

dispersal and migration of artists from Europe in 

the late 1930's. (3 credits) Offered once every two 

years. 

Visual Studies 320 

Italian Renaissance studies painting, sculpture and 
architecture from Giotto to Michelangelo. The 
class examines developing techniques and varying 
approaches to subject matter and the way they 
reflect shifting intellectual and social attitudes. 
(3 credits) Offered once every two years. 

Visual Studies 330 

The History of Architecture is a survey which traces 

the history of architecture and explores the social, 

cultural, and aesthetic implications of the 

monuments of architecture from paleolithic times 

to the present. (3 credits) Offered once every two 

years. 

Visual Studies 335 

Modern Sculpture traces the roots and 
development of modern sculpture, examining its 
frequently changing formal and expressive 
manifestations, from Rodin to the present. 
(3 credits) Offered once every two years. 

Visual Studies 340 

Art in the 19th Century explores the variety of 
definitions given to realism in the 19th century, 
and traces the emergence of those particular 
formal concerns which, at their extreme, 
contribute to the logic of modernism. The course 
begins with a consideration of David and 
Neo-Classicism and concludes with an analysis of 
the late works of Cezanne and Monet. (3 credits) 
Offered as announced. 

Visual Studies 345 

Design History traces the evolution of the practice 
of graphic design. Major developments in 
printing from Gutenberg's time are discussed as 
an introduction, but the focus of attention is on 
developments in printing, typography and related 
fields in the 19th and 20th centuries. Several 
themes accompany the presentation of work in 
addition to questions of style and formal qualities: 
changes in methods of training graphic designers, 
the social role of graphic designers and the impact 
of changing technologies. (3 credits) Offered as 
announced. 

Visual Studies 350 

Art Since 1945 focuses on major artistic movements 
in America since 1945 — our modern tradition. 
It explores what these American movements are 
by seeing what triggered them, how they 
developed and how they affected both 
contemporary and later developments. This 
interweave of modern tradition is followed 



Course Descriptions 45 



through the art of the 60's. (3 credits) Offered 
once every two years. 

Humanities 400 

Creative Writing: The Craft of Fiction examines the 
writing of fiction as a fine art. Each student in the 
course writes a single work of fiction to a 
minimum length of 75 pages. Students read and 
criticize each other's work. (3 credits) Offered 
once every two years. 

Humanities 410 

History Workshop History is a way of reflection 
on those things which have been lost from human 
experience, a way of exploring themes which keep 
recurring, a way of thinking about the present as a 
moment which began ten or ten thousand years 
ago. This course focuses on the act of writing 
history. Each student writes a historical essay 
based on evidence gathered from such sources as 
photographs, maps, letters, diaries, business 
accounts, newspapers. (3 credits) Offered once 
every two years. 

Humanities 420 

Seminar in Ethical Theory: The Sense of Evil is an 

examination of crucial ethical themes in the 
history of Western culture, as revealed in the 
works of Plato, Augustine, Huysmans and 
Baudelaire. (3 credits) Offered once every two 
years. 

Social Studies 400 

Social Theory examines theories of society, 
exploring and evaluating a sequence of written 
attempts to define the nature of economy, politics 
and law. (3 credits) Offered once every two years. 

Social Studies 410 

Workshop in Social Observation introduces 
students to the art of social inquiry. Through a 
sequence of readings, students consider the 
perspectives of the ecologist, the anthropologist, 
the sociologist and the psychologist. Each student 
is expected to write a work of considerable length 
based on first-hand observation of some aspect of 
social behavior. (3 credits) Offered once every two 
years. 

Humanities 450 

Guided Reading A student may work with an 

instructor on an individually designed program of 

reading. The department must approve the 

program in advance. Enrollment in Guided 

Reading is limited. (3 credits) Offered every 

semester. 

Humanities 460 

Guided Writing A student may work with an 

instructor on an individually designed program of 

writing. The department must approve the 

program in advance. Enrollment in Guided 

Writing is limited. (3 credits) Offered every 

semester. 



Social Studies 450 

Guided Reading A student may work 
individually with an instructor on an individually 
designed program of reading. The department 
must approve the program in advance. 
Enrollment in Guided Reading is limited. (3 
credits) Offered every semester. 

Social Studies 460 

Guided Writing A student may work 

individually with an instructor on an individually 

designed program of writing. The department 

must approve the program in advance. 

Enrollment in Guided Writing is limited. 

(3 credits) Offered every semester. 

Visual Studies 400 

Aesthetics and Criticism By reading and 
discussing a sequence of major works, students 
examine the variety of philosophies of art and 
explore the way in which each can be used as a 
basis for criticism. (3 credits) Offered once every 
two years. 

Visual Studies 410 

Landscapes The goal of the course is to provide a 
new approach to the consideration of landscape 
painting. Students examine a series of topics 
concerning the discovery of form in terrain, and 
the imposition of form on it: gardens, 
fortifications, cartography, city building, roads, 
agriculture, and earth works. (3 credits) Offered 
once every two years. 

Visual Studies 420 

Workshop in Exhibition Members of this seminar 
consider the relationship between art and 
audience. Students conduct a careful experiment 
in formulating, documenting and presenting a 
modest exhibition using art drawn from outside 
the school community. (3 credits) Offered once 
every two years. 

Visual Studies 450 

Guided Reading A student may work 
individually with an instructor on an individually 
designed program of reading. The department 
must approve the program in advance. 
Enrollment in Guided Reading is limited. (3 
credits) Offered every semester. 

Visual Studies 460 

Guided Writing A student may work 

individually with an instructor on an individually 

designed program of writing. The department 

must approve the program in advance. 

Enrollment in Guided Writing is limited. 

(3 credits) Offered every semester. 



Also located in the Rodman 
Building are light tables, dry 
mounting and photostat equipment. 




46 Trustees, Administration, and Faculty 



Bruce H. Yenawine (center) 
at a recent opening. 




Trustees, Administration & Faculty 

Board of Trustees 

helen K. goddard, Chairman 
mark L. schmid, Vice-Chairman 
ERNEST c. frias, Treasurer 
CAROL leeson, Clerk 
RICHARD D. BATCHELDER 
DANIEL COONEY 

DICK DOUGHERTY, Faculty Representative 

HELGA FINGER 
GEORGE GRAY 
ELDREDGE H. LEEMING 
PAUL MENARD 
RICHARD A. PLINE 
WILLIAM H. POTTER 
ANTONE G. SOUZA, JR. 
MILLICENT TUCKERMAN 
SUMNER J. WARING, JR. 
MARION WILNER 



Administration 

BRUCE yenawine, President 

B.A. University of Louisville, Kentucky 

M.A. University of Louisville, Kentucky 

SARAH benham, Gallery Director 

B.A. University of Mississippi 

Elizabeth c. Bryant, Comptroller 

diane b. cambra, Registrar 

FRED GOMES, Superintendent of Buildings and 

Grounds 

lili hsing, Secretary to the President 

GRACE JONES, Supply Store Manager 

MARTHA maier, Library Director 

B.A. Skidmore College 

M.A. Syracuse University 

nickie pelczar, Financial Aid Officer 

Allen remorenko, Continuing Education 

Director 

B.A. North Carolina Wesley an College 

Virginia sexton, Secretary of Admissions 

CHERYL ziegert, Student Services Director 

B.A. University of Illinois 

M.A. University of Chicago 

ANN BORGES, Bookkeeping Assistant 



Trustees, Administration, and Faculty 47 



Faculty 

ROBERT BENSON 

Assistant Professor of Graphic Design 
B.F.A. Pratt Institute 
M.F.A. Boston University 
JACQUELINE BLOCK 

Assistant Professor of Painting 
B.F.A. Cooper Union 

JAMES BOBRICK 

Assistant Professor of Liberal Arts 
Chairman of the Liberal Arts Department 
A.B. Boston University 
Pb.D Boston University 

d'ann de simone 

Instructor of Printmaking 

B.F.A. Rhode Island School of Design 

M.F.A. University of Massachusetts, Amherst 

DICK DOUGHERTY 

Assistant Professor of Painting 
B.F.A. Maryland Institute 
M.F.A. Maryland Institute 
SEVERIN HAINES 

Assistant Professor of Painting 
Chairman of the Painting Department 
B.F.A. Swain School of Design 
M.F.A. Yale University 

KAREN HURST 

Instructor, English Laboratory 

B.A. University of California, Berkeley 

M.A. Southeastern Massachusetts University 

ERIC LINTALA 

Instructor of Sculpture 
B.F.A. Kent State University 
M.F.A. Kent State University 

VIKRAM MALIK 

Instructor of Liberal Art 

B.A. Michigan State University 

M.F.A. Case-Western Reserve University 

M.A. University of Saskatchewan 

M.F.A. University of Tennessee 

BENJAMIN MARTINEZ 

Assistant Professor of Painting 
B.F.A. Cooper Union 

JOHN OSBORNE 

Associate Professor of Printmaking 
Director of the Foundation Program 
N.D.D. Medway College of Art 
M.F.A. California College of Arts and Crafts 
SUSAN PERL 

Instructor of Design 

B.F.A. Montclair State College 

DAVID ROSENBERG 

Instructor of Liberal Arts 

B.A. Ithaca College 

M.A. University of Massachusetts, Amherst 



DAVID LOEFFLER SMITH 

Professor of Painting 

Hans Hofmann School 

B.A. Bard College 

M.F.A. Cranbrook Academy of Art 

ESTHER SOLONDZ 

Instructor of Photography 

B.A. Clark University 

M.F.A. Rhode Island School of Design 

MARC ST. PIERRE 

Instructor of Printmaking 

Chairman of the Printmaking Department 

B.F.A. Laval Universite 

M.F.A. Southern Illinois University, Edwardsville 

ROBIN TAFFLER 

Assistant Professor of Sculpture 
Chairman of the Sculpture Department 
B.F.A. Kansas City Art Institute 
M.F.A. Cranbrook Academy of Art 

JUDITH TOLNICK 

Assistant Professor of Liberal Arts 
B.A. Brandeis University 
M.A. Brown University 




48 Maps 



How to Get Here 



1 Crapo Building 
Admissions Office 
Registrar 

Dean 's Office 
Painting Department 
Gallery 
Bookstore 

2 Currier Building 

3 Library 

4 Melville Building 

5 President's House 

6 Rodman Building 
Business, Financial Aid 
Office 

President's Office 
Design Department 
Cafeteria 

7 Rodman Annex 

8 Elm St. Garage 
Printmaking Department 
Sculpture Department 

9 Genensky Building 
Maintenance 









1 North to: 








1 Interstate 195 








1 Boito>? 








1 Prrn'idence 




Rt. 6 West (Mill Street) 




1 Ca/)t CW 




Rt. 6 East (Kempton Street) 




II 








Historic District 






Elm Street 




Whaling Museum 






I ^I^Ks^l 








Morgan Street 










Court Street 












Downtown 






Union Street 




Fishing Piers 




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Clinton Street 














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Madison 


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West to: 




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Park & Zoo 


Eiawthorn Street 


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South to: ^^ 












Beaches ^L 












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Swain School of Design Campus 



Maps 49 




To: 
Hartford 
New York City 



Southeastern New England 



North to: 
Boston 




Interstate 195 



Route 6 



Union Street 



Hawthorn Street 



East to: 
Cape Cod 



New Bedford 
Harbor 




New Bedford 




Swain School of Design 19 Hawthorn Street New Bedford, Massachusetts 02740 (617)997-7831