Design (DESG-GT)

In Costume Studio 1 we will dive headfirst into the understanding of fabric, fabric sourcing and technical drawings to help better develop your design “process” as well as give you a strong foundation to the many different textiles available to us to help you in your future design work. In class we will examine extant historical garments and textiles from around the world to help connect the threads between old and new as well as help us to understand the WHY of fabric. We will also immerse ourselves in the world of fabric sources by spending time in fabric stores and thumbing through swatch books from various sources available to help us “put our hands on it". By the end of the semester, you will have created your own Fabric Binder and Online Research Folder to use as a source of knowledge and inspiration for future projects in NYU and your professional career.

COSTUME (001): This dynamic course will break down and rebuild drawing and rendering skills so that one can more easily and clearly communicate3-d design choices. This is a three-hour drawing class that incorporates assignments that develop a wide and rich range of skills including drawing the figure and basic figure structure and proportion. This class focuses on pacing, as well as fundamentals of dynamic picture making. It is also an excellent opportunity to bring in current design renderings produced in other classes to serve as an example in addressing rendering and picture-making issues. SET (002): A drawing class focused on creating, capturing, and meditating on space, spatial relations, and form revealed by light. Traditional and digital drawing media will be used to explore form and space - specifically theatrical and cinematic ways of looking will be explored. LIGHTING (003): The entertainment industry, and the world at large, is a rapidly evolving digital landscape. Learning to learn, (rapidly) is the new frontier in being an active artist and a prepared collaborator. Now is not the time to take a backseat to the onslaught of advancements, but to plunge headfirst into the unknown. In this course we will cover the foundations of drawing for designers. Drawing is a way to communicate ideas: both emotionally expressive, and technically precise. Drawing is the translation of 3D space into flat 2D representations, and 2D representations into digital and physical 3D space. We will use traditional drafting practices to represent and communicate spaces, enhanced with Vectoworks as a hybrid 2d/3d drawing suite. We will also explore new ways to capture 3D, such as Lidar, Photogrammetry, camera projection, and AR scanning. We will introduce the foundational 3D toolsets of material creation and UV mapping, so that these skills can be applied to future instances of 3D lighting, modeling, previz, digital art, and beyond.

COSTUME (001): This dynamic course will break down and rebuild drawing and rendering skills so that one can more easily and clearly communicate3-d design choices. This is a three-hour drawing class that incorporates assignments that develop a wide and rich range of skills including drawing the figure and basic figure structure and proportion. This class focuses on pacing, as well as fundamentals of dynamic picture making. It is also an excellent opportunity to bring in current design renderings produced in other classes to serve as an example in addressing rendering and picture-making issues. SET (002): A drawing class focused on creating, capturing, and meditating on space, spatial relations, and form revealed by light. Traditional and digital drawing media will be used to explore form and space - specifically theatrical and cinematic ways of looking will be explored. LIGHTING (003): The entertainment industry, and the world at large, is a rapidly evolving digital landscape. Learning to learn, (rapidly) is the new frontier in being an active artist and a prepared collaborator. Now is not the time to take a backseat to the onslaught of advancements, but to plunge headfirst into the unknown. In this course we will cover the foundations of drawing for designers. Drawing is a way to communicate ideas: both emotionally expressive, and technically precise. Drawing is the translation of 3D space into flat 2D representations, and 2D representations into digital and physical 3D space. We will use traditional drafting practices to represent and communicate spaces, enhanced with Vectoworks as a hybrid 2d/3d drawing suite. We will also explore new ways to capture 3D, such as Lidar, Photogrammetry, camera projection, and AR scanning. We will introduce the foundational 3D toolsets of material creation and UV mapping, so that these skills can be applied to future instances of 3D lighting, modeling, previz, digital art, and beyond.

This course aims to hone students’ familiarity using the Vectorworks Spotlight and Lightwright software platforms to generate professional-quality lighting plots and paperwork packages that meet current entertainment lighting industry standards. Other related topics such as drafting for repertory plots, documentation, and assisting will be discussed as time allows.

The Set Studio 1 class will be in close conversation with your Set Design 1 class. Primarily, the goal is to support your design work and be a resource for any technical skills that are needed to achieve your design. Secondarily, the course is designed to further your understanding of specific skills to help with your design process. We will be focusing on various skills which will help execute a successful ½” scale physical model as well as the continued dialogue between drafting (hand and digital) and the model. If things come up in your design class that demand extra attention or warrant more exploration, either individually or with the entire group, this class is a forum for these needs. We can and will adjust the syllabus accordingly throughout the semester to meet the specific needs, demands, and strengths of your cohort.

As designers at NYU, you will learn much about collaborating with many different people and specialties in the process of designing produced work. This includes the subject of this class, your work with production artisans who will build, prop, paint, and otherwise execute the designs you and your creative team create. Stagecraft I will focus on this production process and how designers interact with their technical staff. There will be a heavy focus on the budgeting and technical design processes because that is the phase where designers and production staff have a meaningful interaction and when iteration of design ideas can happen with intention and support. This course will elaborate on the scenery, paints, and props production processes with a focus on how designers can successfully work alongside their production teams in the creation of theater pieces at NYU and beyond.

This class will deal with the initial process of lighting design, how to give light significance in context. Questions of meaning, structure, process and intent will be investigated. The class will also explore the qualities and functions of light, what light can and cannot communicate. The student will begin to develop a visual and conceptual vocabulary, a ‘first step’ in the practice of creating ideas with light. Individual creativity will be nurtured within an environment of shared experience. Much emphasis will be placed on process, both intellectual and practical.

In this class we will be learning to use new and emerging design tools and exploring different ways of integrating them into our design processes. The focus will be on 3D modeling and 2D image-making. The intention is to give each student the tools they need to effectively model a scene in 3 dimensions, and use that model to create compelling images which tell the story of their designs.

This class is meant to highlight and reinforce the symbiotic relationship between set, lighting and costume design. Students will do primary research, which is meant to be the foundation of their set designs. Emphasis will be placed on the cultural and historical meaning of everything in the material world and how theater design is meant to mine this information to communicate ideas about a text. The goal of the class is to understand the process of creating spaces for Theater using 3D scale models, research and drafting to communicate Design/Dramaturgical ideas. The aim is to understand these as process skills and not exclusively as presentation tools.

The main purpose of this course is supporting students’ design process for the projects in Set Design III course. We will explore creative ways to use tools and materials, and investigate and practice high level skills that should be acquired by set designers in their design process; such as building firm structures and textural surfaces, and 3 dimensional details for model making, lighting methods for model photography, and organizing drawing packets. We will also focus on looking at models as representation of realized full scale sets, to figure out the construction and technical matters that could occur in the real productions.

The goal of Costume 1 is to allow each member of the class to develop for themselves, through a series of projects, an individual process of designing. We will explore dramaturgy, art and technique, designing clothing and most importantly the art of designing for a performer and a text. Dramaturgy includes script analysis and history, both costume history and world history, and the ability to research. You will explore art and technique through the use of color, proportion, value, and volume. Designing clothing introduces the art of a garment: fabric, construction techniques, patterns, and understanding a period and its details. We will cover character development, conceptual thinking, critical thinking, connecting your thoughts to the realized design, and the ability to verbalize your ideas. You will work as director and designer. Every week you are expected to work a minimum of 20 hours on your work for this class. You, your classmates, and your teachers will offer feedback on your work.

The goal of Costume 1 is to allow each member of the class to develop for themselves, through a series of projects, an individual process of designing. We will explore dramaturgy, art and technique, designing clothing and most importantly the art of designing for a performer and a text. Dramaturgy includes script analysis and history, both costume history and world history, and the ability to research. You will explore art and technique through the use of color, proportion, value, and volume. Designing clothing introduces the art of a garment: fabric, construction techniques, patterns, and understanding a period and its details. We will cover character development, conceptual thinking, critical thinking, connecting your thoughts to the realized design, and the ability to verbalize your ideas. You will work as director and designer. Every week you are expected to work a minimum of 20 hours on your work for this class. You, your classmates, and your teachers will offer feedback on your work.

In Cutting and Draping, you will be introduced to the essential elements of draping, drafting, fitting and construction. You will gain a better understanding of the nuances of how fabrics, grain and seam placement all work together to create a well-proportioned silhouette. This class will cover a variety of periods for both men and women. We will explore modern and historical patterns from various cultures around the world. The structure of the course will be lab-based with a focus on hands-on projects. We will be working on both half-scale and full-scale dress forms. You will also have a chance to do at least two fittings per semester on your fellow classmates. Fabric swatching will be an ongoing assignment throughout the semester.

In Cutting and Draping, you will be introduced to the essential elements of draping, drafting, fitting and construction. You will gain a better understanding of the nuances of how fabrics, grain and seam placement all work together to create a well-proportioned silhouette. This class will cover a variety of periods for both men and women. We will explore modern and historical patterns from various cultures around the world. The structure of the course will be lab-based with a focus on hands-on projects. We will be working on both half-scale and full-scale dress forms. You will also have a chance to do at least two fittings per semester on your fellow classmates. Fabric swatching will be an ongoing assignment throughout the semester.

A weekly 3-hour class taking curated deep dives into aspects of world culture, especially in the intersections of influence, change, and design. The course will mix lectures, analysis of images, research projects, discussion, field trips, guest speakers, and student presentations. Attention will be paid to how we know what we know and how knowledge is discovered, hidden, lost, reused, misused, and reinterpreted.

Students will build the Broadway production of Amelie in 3d in Vectorworks, including the scenery and lighting. Then the students will learn how to transfer that information into ETC Eos Augmented and Twinmotion, and explore the Broadway show file in 3d.

The goal of Intro to Art Department is to develop further your computer-based design skills with a focus on surveying, drafting for film, set replication, construction drawings, 3D drafting, and digital rendering. This semester, we will try to simulate the tasks and deliverables that you will be required to know in order to successfully work in an art department in film. The most common thing you are asked to do as first-time Assistant Art Director is to survey a location, take extensive notes and photographs, bring those notes back to the office, draft that space in 2D (and often in 3D), draft any set builds or set extensions for that space, produce construction drawings for that set, 3D model that set, and render that set for presentation or photoshop a version of that set into a location photograph. Film work is fast, detailed, and multitudinous. You are expected to be able to understand a space quickly, both in its larger characteristics and in its details, and to use that information to develop designs and represent those designs quickly, clearly, and thoroughly.

LIGHTING (001) Each year we in the lighting department read and discuss plays together every week. The plays are used in the curriculum of the Year 1 lighting classes, but we all benefit from practice discussing plays with others in a more public setting. In addition, we will have brief 5-10 minute biographies of significant lighting designers. It is very important to us as faculty that you know all of us well, and you know the other lighting designers who are not in your year. By the time you leave us in 3 years, you will have read and discussed 72 plays with 5 classes of students. SET (002): As theater and film artists, we are constantly required to react to new and unfamiliar work: in performance, on screen, at public and private readings, in scripts. The ability to think and talk about the work you encounter is an essential part of finding your voice and identity as an artist. At each class, we will discuss an assigned play, screenplay, or theater production. Brief written responses may be assigned before each class. This is not a literary analysis class, or a theater history class. The scripts are chosen for individual merits and also, as a collection, to constitute a broad range of ideas and challenges, but the collection is not chronological, nor drawn from any single genre, style, or cultural context. It is an intentionally diverse and eclectic set of texts. Students are encouraged to investigate each text as deeply as possible on your own; this should include, at a minimum, familiarizing yourself with the author and identifying some basic historical and cultural context in which to begin to understand the play.

LIGHTING (001) Each year we in the lighting department read and discuss plays together every week. The plays are used in the curriculum of the Year 1 lighting classes, but we all benefit from practice discussing plays with others in a more public setting. In addition, we will have brief 5-10 minute biographies of significant lighting designers. It is very important to us as faculty that you know all of us well, and you know the other lighting designers who are not in your year. By the time you leave us in 3 years, you will have read and discussed 72 plays with 5 classes of students. SET (002): As theater and film artists, we are constantly required to react to new and unfamiliar work: in performance, on screen, at public and private readings, in scripts. The ability to think and talk about the work you encounter is an essential part of finding your voice and identity as an artist. At each class, we will discuss an assigned play, screenplay, or theater production. Brief written responses may be assigned before each class. This is not a literary analysis class, or a theater history class. The scripts are chosen for individual merits and also, as a collection, to constitute a broad range of ideas and challenges, but the collection is not chronological, nor drawn from any single genre, style, or cultural context. It is an intentionally diverse and eclectic set of texts. Students are encouraged to investigate each text as deeply as possible on your own; this should include, at a minimum, familiarizing yourself with the author and identifying some basic historical and cultural context in which to begin to understand the play.

An introduction to the unique qualities of opera as a performing art and as a viable medium in which to practice theater design. This class requires students to listen and react to carefully chosen works, to attend and discuss an opera performance, to begin to think about opera performance in relationship to design, and to participate in a multitude of classroom discussions covering a wide range of topics related to the art, craft, and business of opera, as well as some historical, dramaturgical and contemporary cultural context.

Film Studio is designed to support the technical needs of your film design class. It is concerned with tools - how and when to use the best tool, to make for yourself a process that flows, a process of choosing, refining, and describing the spaces and objects you would use, to tell a moving-picture story.

Film Studio is designed to support the technical needs of your film design class. It is concerned with tools - how and when to use the best tool, to make for yourself a process that flows, a process of choosing, refining, and describing the spaces and objects you would use, to tell a moving-picture story.

This course is geared towards integrating the student’s design classes with a consistent drawing practice. Class assignments and homework will support the work in other courses so there is a continuity of the student’s time, resources, energy and attention. The goal is for the student to come to the place in their work where it is understood that drawing is designing. The fall semester will focus on figure drawing, while the spring semester will include a digital drawing component.

This course is geared towards integrating the student’s design classes with a consistent drawing practice. Class assignments and homework will support the work in other courses so there is a continuity of the student’s time, resources, energy and attention. The goal is for the student to come to the place in their work where it is understood that drawing is designing. The fall semester will focus on figure drawing, while the spring semester will include a digital drawing component.

This class will work to help make the invisible visible, the picture in your mind’s eye seen. We will do this by experimenting with how to read plays, examining ways to respond to the text, and exploring different methods to turn a response into a realized design.

This class will work to help make the invisible visible, the picture in your mind’s eye seen. We will do this by experimenting with how to read plays, examining ways to respond to the text, and exploring different methods to turn a response into a realized design.

This class will deal with the initial process of lighting design, how to give light significance in context. Questions of meaning, structure, process and intent will be investigated. The class will also explore the qualities and functions of light, what light can and cannot communicate. The student will begin to develop a visual and conceptual vocabulary, a ‘first step’ in the practice of creating ideas with light. Individual creativity will be nurtured within an environment of shared experience. Much emphasis will be placed on process, both intellectual and practical.

This class will deal with the initial process of lighting design, how to give light significance in context. Questions of meaning, structure, process and intent will be investigated. The class will also explore the qualities and functions of light, what light can and cannot communicate. The student will begin to develop a visual and conceptual vocabulary, a ‘first step’ in the practice of creating ideas with light. Individual creativity will be nurtured within an environment of shared experience. Much emphasis will be placed on process, both intellectual and practical.

The course is a survey into the work, tools and profession of Production Design. A companion to both physical and conceptual Production Design work that students create for graduate films and in designing class projects. This is an exploration of both practice and profession. During the course we will share and discuss films from development to work on locations both the processes and components in realizing designs for films ranging from Independent to Studio Budgets. We will also read scripts and do quick concepts and analysis - research, sketches and pitching of creative briefs for working in the field.

The purpose of Film Studio 2 is to support and compliment your work in Production Design 2. This course is intended to give you the opportunity to continue and complete Production Design 2 assignments during our class time. I urge you to begin assignments before class time I order to make the best possible use of our time together. This spring you will design a Thesis Project based on a screenplay of your own choosing.

The purpose of Production Design 2 Studio is to support and compliment your work in Production Design 2. This course is intended to give you the opportunity to continue and complete PD 2 assignments during our class time. I urge you to begin assignments before class time I order to make the best possible use of our time together. This spring you will design a Thesis Project based on a screenplay of your own choosing.

The class combines first-year design students of all disciplines, along with dance students, and musical composition students into creative teams- to create original works of dance, music and design. The teams create a dance piece from the ground up, as advisors evaluate concepts and assist them to move the pieces into production, culminating in executing the scenic, costumes, and lighting designs and technical execution of all the elements as the choreographers, dancers and musicians assemble and refine the performance aspects.

Students will do primary research which is meant to be the foundation of their designs. Emphasis will be placed on the cultural and historical meaning of everything in the material world and how Theatre Design is meant to mine this information to communicate ideas about text and music. The course builds on the skills and techniques learned in Set Design I. Participation in class depends upon drawing, drafting and model making skills primarily learned in Set Studio and other auxiliary classes. While the development of these skills are always part of the discussion in design class and specific problems are addressed in individual critiques by the teacher and the group, it is assumed that students begin the class with the ability to communicate their ideas clearly. That being said, Set Design II is supported by Set Studio II which deals specifically with skills issues that arise in Design class with emphasis on model building, drafting and photographing models.

This is the first semester of a two semester course. Students will do primary research which is meant to be the foundation of their designs. Emphasis will be placed on the cultural and historical meaning of everything in the material world and how Theatre Design is meant to mine this information to communicate ideas about text and music. The course builds on the skills and techniques learned in Set Design I. Participation in class depends upon drawing, drafting and model making skills primarily learned in Set Studio and other auxiliary classes. While the development of these skills are always part of the discussion in design class and specific problems are addressed in individual critiques by the teacher and the group, it is assumed that students begin the class with the ability to communicate their ideas clearly. That being said, Set Design II is supported by Set Studio II which deals specifically with skills issues that arise in Design class with emphasis on model building, drafting and photographing models.

The main purpose of this course is supporting students’ design process for the projects in Set Design II course. We will explore creative ways to use tools and materials, and investigate and practice high-level skills that should be acquired by set designers in their design process; such as building firm structures and textural surfaces, and 3 dimensional details for model making, lighting methods for model photography, and organizing drawing packets. We will also focus on looking at models as representation of realized full scale sets, to figure out the construction and technical matters that could occur in the real productions.

The main purpose of this course is supporting students’ design process for the projects in Set Design II course. We will explore creative ways to use tools and materials, and investigate and practice high-level skills that should be acquired by set designers in their design process; such as building firm structures and textural surfaces, and 3 dimensional details for model making, lighting methods for model photography, and organizing drawing packets. We will also focus on looking at models as representation of realized full scale sets, to figure out the construction and technical matters that could occur in the real productions.

Second-year design students work as designers and assistant designers on realized productions in collaboration with the Graduate Acting Program. Faculty serve as advisors and productions are supported by professionally staffed shops.

Second-year design students work as designers and assistant designers on realized productions in collaboration with the Graduate Acting Program. Faculty serve as advisors and productions are supported by professionally staffed shops.

This course is focused on manifesting the design and space of a play on stage, answering the question what makes the play come to life. Uniting directors and designers we seek to find what in the play unites performance and design. We will discuss the nature of collaboration as we examine the efforts of the assigned group collaborations and shared progress.

This semester we will concentrate primarily on the craft of lighting design: what is involved from initial impulse to stage reality. These skills include conceptualizing and drafting a light plot, paperwork, worksheets, and cueing. The emphasis this semester is on understanding the mechanics of how to begin, looking at light on a stage and in life, and analyzing plays in terms of light. We will use the analytical skills learned in Intro to Lighting and translate them into practical terms.

This semester we will concentrate primarily on the craft of lighting design: what is involved from initial impulse to stage reality. These skills include conceptualizing and drafting a light plot, paperwork, worksheets, and cueing. The emphasis this semester is on understanding the mechanics of how to begin, looking at light on a stage and in life, and analyzing plays in terms of light. We will use the analytical skills learned in Intro to Lighting and translate them into practical terms.

Costume II builds on the foundation of a design process established in Costume I. The student will focus in depth on two or three dramatic texts each semester, reinforcing and expanding his/her/their evolving design process to include the execution of a complete costume design for each project. Each week will be a step in discovering, revealing, and refining his/her/their approach to the text, from the formation of an initial response, through research and image gathering, conceiving of an approach to the design articulated both verbally and visually, laying out the whole design in rough sketches, developing refined sketches, detail drawings, and completing fully swatched and painted designs. Students are expected to present a minimum of 12 sketches per week, building each week on the goals set by the previous week’s critique.

Costume II builds on the foundation of a design process established in Costume I. The student will focus in depth on two or three dramatic texts each semester, reinforcing and expanding his/her/their evolving design process to include the execution of a complete costume design for each project. Each week will be a step in discovering, revealing, and refining his/her/their approach to the text, from the formation of an initial response, through research and image gathering, conceiving of an approach to the design articulated both verbally and visually, laying out the whole design in rough sketches, developing refined sketches, detail drawings, and completing fully swatched and painted designs. Students are expected to present a minimum of 12 sketches per week, building each week on the goals set by the previous week’s critique.

Take a design from head to toe and communicate with artisans about different techniques to bring your ideas to life, continuing to keep in mind the proportions of the whole. Costume Studio 2 expands the YR2 students’ understanding of fabrication, research, technical and detail drawings in the development of their designs to full scale by working hands-on on various techniques with professional Artisans.

In Costume Studio 1 we will dive headfirst into the understanding of fabric, fabric sourcing and technical drawings to help better develop your design “process” as well as give you a strong foundation to the many different textiles available to us to help you in your future design work. In class we will examine extant historical garments and textiles from around the world to help connect the threads between old and new as well as help us to understand the WHY of fabric. We will also immerse ourselves in the world of fabric sources by spending time in fabric stores and thumbing through swatch books from various sources available to help us “put our hands on it". By the end of the semester, you will have created your own Fabric Binder and Online Research Folder to use as a source of knowledge and inspiration for future projects in NYU and your professional career.

The course builds on the skills and techniques learned in Set Design I and II where the student has developed a process defined and shaped by a coherent, logical and practical approach to design. Participation in class depends upon drawing, drafting and model making skills primarily learned in auxiliary classes. While these tools are always discussed as tools in the design process and specific skill problems are addressed in individual criticism, it is assumed that students begin the class with the ability to communicate their ideas clearly. During the Spring semester students will focus on their thesis projects in individual critique meetings with professors and guests.

The course builds on the skills and techniques learned in Set Design I and II where the student has developed a process defined and shaped by a coherent, logical and practical approach to design. Participation in class depends upon drawing, drafting and model making skills primarily learned in auxiliary classes. While these tools are always discussed as tools in the design process and specific skill problems are addressed in individual criticism, it is assumed that students begin the class with the ability to communicate their ideas clearly. During the Spring semester students will focus on their thesis projects in individual critique meetings with professors and guests.

In conjunction with collaborators from the Public Theatre, five set and costume students work in teams. Emphasis is placed on conceptual work conceived through discussion that gives equal weight to all members of the collaboration.

A collaboration with the Tisch Graduate Film Program. Six teams (director, production designer, costume designer, director of photography) collaborate to produce a portfolio quality short film shot on location with high levels of production value, including locations, props, and costumes. This course underlines the essential aspects of the collaboration process and focuses on the team effort of producing a film.

The course is an introduction to Production Design. A deep dive into the story, art and design in making a film by focusing throughout the semester on a single film project. During the arc of the project, students will production design a film including renderings, ground plans, models, location photos and mood boards with color and materials, prop, furniture and character casting and costumes ideas.

The course is an introduction to Production Design. A deep dive into the story, art and design in making a film by focusing throughout the semester on a single film project. During the arc of the project, students will production design a film including renderings, ground plans, models, location photos and mood boards with color and materials, prop, furniture and character casting and costumes ideas.

Continuation of Design for Film I on a more advanced level. To prepare the student for future professional work, this course is an in-depth exploration of all components of studio sets and the technical aspects of film design, including storyboarding. Thesis projects are undertaken in the second semester.

Continuation of Production Design I on a more advanced level. To prepare the student for future professional work, this course is an in-depth exploration of all components of studio sets and the technical aspects of film design, including storyboarding. Thesis projects are undertaken in the second semester.

Costume Studio III continues to expand the Third-Year students’ understanding of clothing through a deepening of their both their research skills and their exploration of fabric and fabrication techniques in the development of a design. Students will do an in-depth cultural and clothing research project in connection to their primary design class (Costume III) with the Indigenous Peoples Research project. The remainder of the course they will work in class on technical and detail drawings, explore fabrication techniques on the 1⁄2 scale form, and visit with New York Costume shops and Artisans to discuss their designs, for which some advance preparation will be required. Class visits to costume exhibits in local museums will focus on the study of fabrication techniques, and students may observe costume meetings and fittings by designers working in the major New York costume shops to learn about the process first-hand.

Costume Studio III continues to expand the Third-Year students’ understanding of clothing through a deepening of their both their research skills and their exploration of fabric and fabrication techniques in the development of a design. Students will do an in-depth cultural and clothing research project in connection to their primary design class (Costume III) with the Indigenous Peoples Research project. The remainder of the course they will work in class on technical and detail drawings, explore fabrication techniques on the 1⁄2 scale form, and visit with New York Costume shops and Artisans to discuss their designs, for which some advance preparation will be required. Class visits to costume exhibits in local museums will focus on the study of fabrication techniques, and students may observe costume meetings and fittings by designers working in the major New York costume shops to learn about the process first-hand.

The course is designed to give you more authority in translating a narrative script into techniques that result in a coherent style. The class is structured according to the basic techniques of moviemaking: casting, location, use of color, production design, camera, lighting, sound design and editing.

The course is designed to give you more authority in translating a narrative script into techniques that result in a coherent style. The class is structured according to the basic techniques of moviemaking: casting, location, use of color, production design, camera, lighting, sound design and editing.

The goal of Costume Design III is to ​wrestle with story​. Over the past two years, you have practiced a variety of techniques as part of developing your personal process for designing.Now you are ready to take a ​text-based design (of your choosing) ​from the beginning to the end! In order to do so, this class will focus on ​story, myth, structure​,​​and, above all, dramaturgy​. As individuals, and as a group, we will work to discover how each designer can best crack a story to get to its heartbeat. Each of you will find a very different, very personal but equally exciting path. You will be encouraged not to begin by focusing on costumes or sets or even research. Instead, as a group and as individuals, we will begin by dealing with the universal myths at the heart of your text​, with exacting character details, and with the ​beginning​, middle​, and ​end of the story.

The goal of Costume 3 is to wrestle with story. Over the past two years, you have practiced a variety of techniques as part of developing your personal process for designing. Now you are ready to take a text-based design (of your choosing) from the beginning to the end! In order to do so, this class will focus on story, myth, and your personal point of view. As individuals, and as a group, we will work to discover how each designer can best crack a story to get to its heartbeat. Each of you will find a very different, very personal, but equally exciting path.

This semester we will concentrate primarily on the craft of lighting design: what is involved from initial impulse to stage reality. These skills include conceptualizing and drafting a light plot, paperwork, worksheets, and cueing. The emphasis this semester is on understanding the mechanics of how to begin, looking at light on a stage and in life, and analyzing plays in terms of light. We will use the analytical skills learned in Intro to Lighting and translate them into practical terms.

This semester we will concentrate primarily on the craft of lighting design: what is involved from initial impulse to stage reality. These skills include conceptualizing and drafting a light plot, paperwork, worksheets, and cueing. The emphasis this semester is on understanding the mechanics of how to begin, looking at light on a stage and in life, and analyzing plays in terms of light. We will use the analytical skills learned in Intro to Lighting and translate them into practical terms.

An exploration of lighting design for non-theatrical venues. Exercises in design for television, industrial, corporate presentations, museums, and other architectural forms. Visits to professional television studios to watch tapings of daytime talk shows, as well as visits to major area museums to tour the lighting design and discuss it with the museum designers.

An exploration of lighting design for non-theatrical venues. Exercises in design for television, industrial, corporate presentations, museums, and other architectural forms. Visits to professional television studios to watch tapings of daytime talk shows, as well as visits to major area museums to tour the lighting design and discuss it with the museum designers.

This class will deal with the complete process of lighting design, how to continue to give light significance in context. Projects and class trajectory will be tailored to each student’s needs and goals. Individual creativity will be encouraged within an environment of shared experience. Questions of meaning, structure, process and intent will be investigated. What light can and cannot communicate will be examined in detail. Much importance will be placed on process and product, both intellectual and practical. Major emphasis will be placed on genuine life procedures and practice, in a real-world context.Each student’s individual voice will be nurtured and considered. Individual expression will be our goal.

This class will deal with the complete process of lighting design, how to continue to give light significance in context. Projects and class trajectory will be tailored to each student’s needs and goals. Individual creativity will be encouraged within an environment of shared experience. Questions of meaning, structure, process and intent will be investigated. What light can and cannot communicate will be examined in detail. Much importance will be placed on process and product, both intellectual and practical. Major emphasis will be placed on genuine life procedures and practice; in a real-world context. Each student’s individual voice will be nurtured and considered. Individual expression will be our goal.

The class is a forum for Year 2 students in production from all three disciplines. The class slot allows for weekly production meeting times, budgeting process meetings and to observe and discuss each other's work during the process of designing, building and technical rehearsals.

The class is a forum for Year 2 students in production from all three disciplines. The class slot allows for weekly production meeting times, budgeting process meetings and to observe and discuss each other's work during the process of designing, building and technical rehearsals.

This semester we will use this time to discuss issues related to production currently happening at NYU. We will look over all drawings and models, each other’s light plots and paperwork and discuss tech process, meetings, etc. Each student should be prepared to discuss projects every week. Things will be in a different state each time, but this gives us a chance to check in throughout the process.

This semester we will use this time to discuss issues related to production currently happening at NYU. We will look over all drawings and models, each other’s light plots and paperwork and discuss tech process, meetings, etc. Each student should be prepared to discuss projects every week. Things will be in a different state each time, but this gives us a chance to check in throughout the process.

The class is a forum for Year 3 students in production from all three disciplines. The class slot allows for weekly production meeting times, and budgeting process meetings. You should not schedule work study or PA time during this slot unless your production assignment is completely finished.

The course builds on the skills and techniques learned in Set Design I and II where the student has developed a process defined and shaped by a coherent, logical and practical approach to design. Participation in class depends upon drawing, drafting and model making skills primarily learned in auxiliary classes. While these tools are always discussed as tools in the design process and specific skill problems are addressed in individual criticism, it is assumed that students begin the class with the ability to communicate their ideas clearly. During the Spring semester students will focus on their thesis projects in individual critique meetings with professors and guests.

Through creation of devised work students will examine the structure of performance and the relationship with design. Additional focus will be on critique styles and ways to engage new works.

The topics covered in this course are planned to assist you as a third year student to ease your transition from graduate school into the professional working community. We will provide you with a wide spectrum of information, much of which you have not explored in other Design Department courses. Guest speakers include recent alumni, a tax specialist, union representatives and an agent.

The topics covered in this course are planned to assist you as a third year student to ease your transition from graduate school into the professional working community. We will provide you with a wide spectrum of information, much of which you have not explored in other Design Department courses. Guest speakers include recent alumni, a tax specialist, union representatives and an agent.

The Set Studio 1 class will be in close conversation with your Set Design 1 class. Primarily, the goal is to support your design work and be a resource for any technical skills that are needed to achieve your design. Secondarily, the course is designed to further your understanding of specific skills to help with your design process. We will be focusing on various skills which will help execute a successful ½” scale physical model as well as the continued dialogue between drafting (hand and digital) and the model. If things come up in your design class that demand extra attention or warrant more exploration, either individually or with the entire group, this class is a forum for these needs. We can and will adjust the syllabus accordingly throughout the semester to meet the specific needs, demands, and strengths of your cohort.

The goal of CAD Drawing and Visualization is for students to become familiar with the principles of Computer- Aided Drafting as it applies to design for theater, film, and television, using the software Vectorworks. This course will focus on developing your abilities to use this software to create design drawings, to aid in the development of designs and models, to create technical schematics, to interface with other software, and to publish and print a package of drafting for a theater or film/TV set. This course will be focused on two major goals. One goal is to familiarize your understanding of the Vectorworks software, its tools, and its environment. The second goal is focused on your understanding of drafting for theater, film and television, and projects will be aimed at holistically developing your abilities to generate a complete package of drafting to communicate your designs to a production manager, your collaborators, or a builder. Class time will be devoted to examining techniques to utilize the CAD software and to looking at specific examples, while the homework assignments will be a chance for students to practice applying what you have learned in class. We will devote the last portion of every class to beginning the homework assignments together and spend some amount of each subsequent class looking at the previous week’s homework, especially if there were difficulties that need addressing and/or synthesizing.