The Drawing Concentration allows students to create their own pathway across identified courses throughout the College. Each year, a course listing is generated of all recognized Drawing Concentration eligible courses and published on the Drawing Concentration website. This provides a guide for students as they register. Students can request that the Drawing Concentration Coordinator recognizes courses that are not included in this listing. This could occur due to late announcements, new courses, or if students take relevant courses at Brown University.
(courses will be added each semester)

In addition to the courses offered by the Concentration listed below, see the list of pre-approved courses offered across campus here.

Drawing Concentration-Sponsored Courses:

HAVC: History of Drawing 
(offered Spring 2018 by Mary Bergstein)

As a stimulus to the imagination, method of investigation, or as a basic means of communication, drawing is a fundamental process of human thought. This class will examine various kinds of drawings from the history of art and visual culture moving chronologically from the medieval to the post-modern. Our studies will have a hands-on approach, meeting behind the scenes in the collections of the RISD Museum. Working from objects directly will be supplemented by readings and writing assignments as well as active classroom discussion. (This seminar is recommended for concentrators in History of Art and Visual Culture and for students especially interested in drawing.) 

In addition to the courses offered by the Concentration listed below, see the list of pre-approved courses offered across campus here.

DRAW: The Materials of Drawing: Technical Research and Practice in Historical Methods and Contemporary Applications
(offered Spring 2018 by Andrew Raftery)

Over thousands of years, the materials and methods of drawing have evolved in response to the needs of artists and designers. Technical manuals, patents and other texts record specific drawing techniques. Research into these sources will lead to making actual drawing materials – inks, quill pens, grounds for metal point, chalks, etc. – which will be tested through a range of personal drawing projects and copies of historical works. Trials of newly available drawing materials will yield information about potential uses and permanency. Best practices for care and display of drawings will be covered throughout the course.

DRAW: Thinking Through Drawing
(offered Fall 2017 by Dawn Clements)

Bringing together drawings from many different times and places allows direct comparison that reveals continuities in thinking on paper across continents and centuries.  We can see that drawing has been, and remains, a key conceptual tool at every stage of the artistic process, from first thoughts to final evaluation, and that while the concerns of artists may have changed greatly over the last five hundred years, the way they approach them is remarkably consistent. 

-Isabel Seligman, Lines of thought: Drawing from Michelangelo to now

In conjunction with the current RISD Museum exhibition Lines of thought, this course will explore drawing as a way of visualizing thinking through drawing.  Based on ideas presented in drawings from the exhibition and the text of the exhibition catalogue we will engage in a practice and discussion that concerns ways we as artists and designers have employed and continue to employ drawing as a way of searching and questioning through experimentation with materials and processes and ideas.   

This course will involve intensive practice of drawing in and out of the classroom studio.  

Students will be asked to experiment and explore ways that drawing can actively contribute to their own studio practice. 

DRAW: Spatial Investigations
(offered Fall 2017 by Masha Ryskin)

This course explores a wide range of possibilities in visualizing space through drawing. We will
explore space from a variety of points of view and through a variety of experiences and systems of representation. In addition, we will look at space through the lens of other disciplines, most notably mathematics. Sensory explorations, investigations of space through movement, systems of spatial representation, and virtual reality explorations will be part of the course. We will start with a series of prompts that will become increasingly open as the semester progresses. Emphasis will be put on process and conceptual development. Readings, lectures, critiques, and discussions will augment the studio work.

DRAW: Iterative Drawing Practices
(offered Spring 2018 by Norm Paris)

This course will explore drawing as a medium that fosters evolution through repetition. Strategies of iterative thinking will be explored historically, conceptually, and as a dynamic aspect of a contemporary studio practice We can see evidence of iterative process within the manipulated motifs of Jasper Johns and Katsushika Hokusai’s 36 Views of Mt Fuji, in the repetitive impulse conveyed in the work of Eva Hesse and within the accumulation of small elements in the installations of El Anatsui, in the screen prints of Andy Warhol and in the hand drawn animations of William Kentridge. All creative processes may be considered as iterative in nature, however this course will seek to isolate and employ serial modes to maximum effect.
Through discussions, lectures, in-class work, and out-of-class exploration, students will employ drawing as a flexible and permeable activity that can be intertwined with a variety of serial formats; basic information pertaining to printmaking and animation will be introduced as vehicles for drawing-based exploration. Non-press print processes will be demonstrated, including monotype, xerox transfer, and screen printing. Visits to the Prints, Drawings, and Photographs collection at the RISD Museum and the RISD Library will enrich our discourse within the class. Readings include relevant texts by Mel Bochner, Douglas Crimp, and Molly Nesbit, among others.

DRAW: The Adjacent Possible
(offered Spring 2018 by Deborah Zlotsky, Thursdays 8am-1pm. 

Drawing: The Adjacent Possible is a laboratory to initiate and develop new ideas through drawing. The term adjacent possible is a term used in science, referring to the small evolutionary shifts away from an established position to a new position. Eventually, these small increments of deviation become the stepping-stones for changes in species and the creation of new species. The concept of the adjacent possible in the studio is one of affirming the generative power of revisions and building an appreciation for unexpected anomalies. Students will innovate in weekly increments with a greater understanding of changing variables that propel the work.  Each weekly prompt will begin a new process, deviating away from initial or previous drawings.  The work created throughout the semester can enhance established studio practices and/or serve to launch the student into new territory.

Wintersession Drawing Concentration Courses:

DRAW 1509-01: Drawing Marathon 
(Offered by Gwen Strahle )

Intensive, perceptual drawing class meets from 9am to 9pm, Monday-Friday during the first two weeks of Wintersession and on Schedule B thereafter. A rigorous investigation of drawing from the model and/or large set-up sprawling across classroom. Deeper contact to the drawing experience through sustained exposure. Opportunity for re-invention, change. Confront problems of drawing, build on strengths. Emphasis on drawing consolidation, concentration, stamina, persistence. Regular critiques, slide talks, RISD museum trips. The goals of this course are to facilitate and maintain a continuous flow of drawing energy and examination. Students will re-examine the way they make drawings, in a progressive drawing environment. Through sustained contact with their drawing(s), students will make personal advancement.

DRAW 1106-01: Drawing and Collage
(Offered by Alfredo Grisholt )

This course will explore drawing and collage using various methods, materials and subjects. Students will use a variety of media, including their own drawings, found objects and photographic images. Students will be encouraged to instigate intuitive and open responses to perceptual and conceptual sources. The form of collage will give students the opportunity to build, develop and reprocess their drawings. Scale, subject, abstraction and materiality are some of the visual elements addressed in the course. Estimated material cost: $75.00

HVAC H682-01: Leonardo Davinci Drawings
(Offered by Matthew H. Landrus )

The course will explore the approaches and contexts of Leonardo da Vinci's draftsmanship. Studying primarily some of his surviving 6000 drawings and notes, the course will locate his aesthetic and analytical processes and contexts for a broad range of projects, such as paintings, sculptures, treatise literature, machines, weapons, maps, festivals, built environments, and studies of natural philosophy. We will also examine theoretical pursuits in the liberal and technical arts by Leonardo and his contemporaries, and their assessments of visual art as a science, and studies of natural science as a systematic art. Particularly informative will be Leonardo's responses to contemporary trends, to artisanal traditions, to the antique, to members of princely courts and republics, and more generally to investigative and inventive strategies.