ccps fall 09 catalog

center for continuing and

professional studies

pratt institute

Manhattan/Brooklyn

Pratt Institute200 Willoughby AvenueBrooklyn, NY 11205-9975Telephone 718-636-3453

Pratt Manhattan144 West 14th StreetNew York, NY 10011-2700Telephone 212-647-7199

Non-Profit Org.

U.S. Postage

PAID

Pratt Institute

www.pratt.edu/prostudies

classes begin aug. 31, 2009

AIA Professional DevelopmentArchitectureArt and DesignAssociate Degree ProgramsAudio Engineering and ProductionCareer DevelopmentCenter for Real Estate EducationCertificate ProgramsComputer GraphicsConstruction ManagementCorporate TrainingCreativity and Artistic ExpressionDesignFacilities and Environmental ComplianceFine and Decorative Art AppraisalIndustrial DesignInterior DesignMarketing WorkshopsMartial ArtsMedia Arts/PhotographyMerchandise and Product DevelopmentPre-CollegeSustainable Building, Infrastructure Design, and ManagementStudy Abroad

Fall 2009

AIA ProfessIonAl DeveloPment for ArchItects AnD engIneers

Pratt’s Center for Continuing and Professional Studies (CCPS) is an AIA/CES registered provider. The Professional Development Series is designed to meet the professional development needs and requirements of architects and engineers. It consists of a broad range of courses, workshops, and lectures. Please refer to the Special Programs section of this catalog for details on these courses.

let our ProfessIonAls trAIn Your ProfessIonAls

Pratt Manhattan offers corporate discount packages for on-site computer training and for training at our facility. For information on these packages, contact Karen Adler Miletsky, Associate Director, Center for Continuing and Professional Studies, at 212-647-7299 or 212-647-7199, or email her at [email protected].

creDIt courses for non-creDIt stuDents

Many of our credit courses may be taken on a non-credit basis. For information, contact the Center for Continuing and Professional Studies at 718-636-3453.

See page 71 for credit courses for non-credit tuition schedule.

counselIng Is AvAIlAble At the center for contInuIng AnD ProfessIonAl stuDIes—PrAtt mAnhAttAn ProgrAm

Learn about our courses in art and design, computer graphics, electronic publishing, electronic imaging and illustration, computer animation and video, computer-aided design and visualization, interactive media, and our certificate programs in photography and digital imaging, and computer graphics. To speak to a counselor or to schedule an appointment, please call 212-647-7199.

Pratt Institute’s Manhattan Center is located in Chelsea at 144 West 14th Street.

certIfIcAte ProgrAms

• Audio Engineering and Production • Computer-Aided Design and Visualization • Computer Animation and Video • Electronic Imaging and Illustration • Electronic Publishing • Fine and Decorative Art Appraisal • Interactive Media • Photography and Digital Media • Sustainable Building, Infrastructure Design, and Management

AIA ProfessIonAl DeveloPment Explore professional development for architects and engineers.

Pre-college ProgrAms Classes are available in Brooklyn and Manhattan.

InternAtIonAl stuDY AbroAD Investigate study programs in Europe.

contInuIng eDucAtIon Classes are available in Brooklyn and Manhattan.

certIfIcAte ProgrAm In sustAInAble buIlDIng, InfrAstructure DesIgn, AnD mAnAgement

Designers have long been able to meet the needs of their clients and businesses by using their creativity to blend form and function. Today’s world of limited resources and changing economic and environmental values requires a new set of tools to design a sustainable world.

This certificate program, Sustainable Building, Infrastructure Design, and Management, brings designers into 21st-century design by building on their exist-ing design abilities and enhancing them with cutting-edge skills and knowledge that enable designers to meet the new goals and challenges of sustainability.

certIfIcAte ProgrAm In fIne AnD DecorAtIve Art APPrAIsAl

Growing popularity inspired by television programs has generated high interest in personal property appraisal. Pratt Institute’s Center for Continuing and Professional Studies, in an exclusive collaboration with the American Society of Appraisers (ASA), is pleased to announce its certificate program in Fine and Decorative Art Appraisal. The Pratt Certificate Program will prepare you to become skilled appraisers, and/or develop a thorough appreciation of collectable items. Through lecture, demonstration, and display, you will learn the history, theory, and prac-tice for skillfully appraising and/or collecting a wide variety of collectable items. For more information, visit http://prostudies.pratt.edu or contact Karen D’Angelo at 212-647-7298 or 212-647-7199.

certIfIcAte ProgrAm In PhotogrAPhY AnD DIgItAl meDIA

Photography as artistic medium and visual communication crosses international divides, and the advent of digital photography has made taking photos accessible to all of us. This program is designed for serious amateurs, those who would like to take their techniques, vision, and current knowledge to another level, or those interested in changing careers, preparing for a master’s degree, or pursuing personal growth. The coursework for this program offers beginning, intermedi-ate, and advanced classes in black-and-white and digital photography. For more infor-mation, visit http://prostudies.pratt.edu or contact us at 212-647-7199.

ProfessIonAl DeveloPment serIes

Pratt CCPS has expanded the Professional Development Series offerings. They now include:

• Web-based AIA/CES courses at Pratt Online Center for Continuing and Professional Studies. See page 40.

• Web-based AIA/CES courses.

Courses can be provided on-site for corpo-rate clients. For information, contact Karen Adler Miletsky at [email protected].

Visit http://prostudies.pratt.edu now, and earn while you learn.

Mail application

Mail application with a check or money

order payable to Pratt Institute/Center

for Continuing and Professional Studies.

Pratt Manhattan

Center for Continuing and Professional Studies

144 West 14th Street, room 209

new York, nY 10011-2700

212-647-7199

or

Pratt InStItute


200 Willoughby avenue

Brooklyn, nY 11205-9975

718-636-3453

Method oF payMent

Cash Check/money order

amex Discover

Visa MasterCard

I hereby authorize use of my credit card.

SIgnature

CarD nuMBer

exPIratIon Date: Month/Year

SeCurItY nuMBer

For oFFice use only

Log #

Date reCeIVeD

tuItIon

FeeS totaL

mAnhAttAn

In Person 144 West 14 Street, Room 209 Between 6th and 7th Avenues M–Th, 10 AM–6 PM; F, 10 AM–2 PM

By Mail Fill out the registration form and mail with check or money order to our office.

Pratt Manhattan Center for Continuing and Professional Studies 144 West 14 Street, Room 209 New York, NY 10011

By Telephone Call 212-647-7199 with your credit card. M–Th, 10 AM–6 PM; F, 10 AM–2 PM

By Facsimile Send your fax to 212-367-2489. Be sure to have your registration form filled out with your credit card number and expiration date.

Online/Instant Enrollment http://my.pratt.edu

brooklYn

In Person 200 Willoughby Avenue ISC Building, 2nd floor M–Th, 10 AM–4:30 PM; F, 10 AM–2 PM

By Mail Fill out the registration form and mail with check or money order to our office.

Pratt Institute Center for Continuing and Professional Studies 200 Willoughby Avenue, ISC 205 Brooklyn, NY 11205

By Telephone Call 718-636-3453 with your credit card. M-Th, 10 AM–4:30 PM; F, 10 AM–3:30 PM

By Facsimile Send your fax to 718-399-4410. Be sure to have your registration form filled out with your credit card number and expiration date.

Online/Instant Enrollment http://my.pratt.edu

We AccePt

• American Express • Discover • MasterCard • Visa

corPorAte bIllIng

Purchase orders accepted. Please forward billing information with registration.

LaSt naMe FIrSt MIDDLe

SoCIaL SeCurItY # Date oF BIrth

Street

CItY State zIP

Phone

eMaIL oCCuPatIon

CourSe LoCatIon Pratt/Manhattan CertIFICate PrograM ($100 Fee) CoMPuter graPhICS

Pratt BrookLYn PhotograPhY

BrookLYn CaMPuS ParkIng $5 Fee FIne anD DeCoratIVe art aPPraISaL

note: all courses with numbers beginning with PM meet in Manhattan. auDIo engIneerIng anD ProDuCtIon

SuStaInaBLe BuILDIng, InFraStruCture

DeSIgn, anD ManageMent

course nuMBer section course title dates day & tiMe tuition

registration Fee*

additional Fees*

total

* $10 registration fee per course is

applied to registrations over $95.

* additional fees refer to non-Credit

Information section of this catalog.

i heard about your program through:

Friend

new York magazine

the new York times

Yellow Pages

Internet

other

If you are registering for a credit

course, please contact the Center for

Continuing and Professional Studies.

how to register continuing education programs

all photographs © 2008 BoB handelMan

pratt institute oFFice oF puBlic relations

and coMMunications 4283_6.09

Non-Credit ContinuingEducation: Brooklyn2 Art and Design2 Decorative Arts

2 Fashion Design

2 Fine Arts

4 Illustration

4 Industrial Design

5 Interior Design

5 Jewelry Making

6 Media Arts /Photography

6 Sculpture

6 Career Development6 Creativity and Artistic Expression7 Sacred Singing

7 Vocal Improvisation

7 Voice and Movement Improvisation

7 Legal Topics for the CreativeProfessional

8 Marketing Workshops8 Martial Arts8 Personal Enrichment8 Special Programs8 Center for Real Estate Education

8 Study Abroad Programs

8 Summer Pre-College Program

Non-Credit ContinuingEducation: Manhattan9 Art and Design9 Book Arts

9 Decorative Arts

10 Design

11 Fine Arts

13 History of Art and Design

13 Illustration

14 Jewelry Making

15 Media Arts /Photography

15 Certificate ProgramPhotography and DigitalImaging

15 Photography and Digital Imaging

19 Career Development19 Creativity and Artistic

Expression19 Construction Management19 Facilities and Environmental

Compliance19 Law19 Marketing Workshops19 Publishing for the Real World

20 Computer Graphics Courses20 Classes for Beginners

20 Animation

22 Animación Clases Nuevas en

Español

24 Digital Video and Audio

25 Drafting and Modeling on the Mac

25 Electronic Publishing and Digital Art

27 Electronic Publishing and Digital Art:

Short Classes for Pros

27 Interactive Media and the Internet

29 Programming

30 Training Centers30 Authorized Autodesk

Training Center:

30 AutoCAD

35 AutoCAD LT

36 New Classes in Spanish36 Clases Nuevas en Español37 Autodesk Training Center

Software Update Training

37 Autodesk Authorized Training

Center Premier Media and

Entertainment

37 Autodesk Authorized Training

Center Customer Testimonial

38 Computer Graphics Certificates38 Interactive Media

38 Electronic Imaging and Illustration

39 Electronic Publishing

39 Computer Animation and Video

39 Computer-Aided Design and

Visualization

40 Special Programs40 Professional Development for

Architects, Professional Engineers,

and Land Surveyors

40 AIA/CES Registered Provider

61 Certificate Program in Sustainable

Building, Infrastructure Design and

Management

62 Certificate Program in Audio

Engineering and Production

64 Certificate Program in Fine

and Decorative Art Appraisal

64 Fine and Decorative Art Appraisal

67 Pre-College Program: Fall

67 Pre-College Program: Summer

School of Art and DesignAssociate Degree Programs:Manhattan69 Two-Year Associate Degree

Programs69 Associate of Occupation Studies

69 Associate of Applied Science

General Information2 Administration: Brooklyn9 Administration: Manhattan69 Administration: AOS/AAS70 Directions and Map71 CCPS Policies and Procedures71 Alumni Audit

71 Changes to Policies, Procedures,

and Fees

71 Classroom Assignments

71 Continuing Education Units

71 Corporate Billing

71 OneKey Instructions

71 Tuition and Fees

72 Faculty: Non-Credit

72 Refunds

72 Withdrawal Policy

72 Register Online

72 Semester Student Photo Id

72 Supply Lists

72 Transcripts

72 Weather Emergency Line

73 Index77 How to Register: Non-Credit

Weather Emergency LinePratt Institute’s Weather Emergency

Line can be reached by dialing:

718-636-3700.

Callers will get information on anyweather-related closings at either theBrooklyn or Manhattan campuses.Visit our website: www.pratt.edu.

Registration DeadlinesRegistration deadlines for all courses

are one week prior to course start

dates, unless otherwise noted.

Exceptions will be allowed based on

space availability. We recommend that

you register early.

TA B L E O F C O N T E N T S

FA L L 2 0 0 9

CALENDAR

July27 Open Registration Begins

Continuing Ed

August31 First Day of Fall Classes

September7 Labor Day

All Institute, School Closed

19-20 Rosh Hashanah

Continuing Ed Only, No classes

28 Yom Kippur

Continuing Ed Only, No classes

October12 Columbus Day

All of Pratt Institute, Classes meet

November26-29 Thanksgiving

All Institute, School Closed

December24-31 Winter Vacation

All-Institute, School Closed

January1 New Years Day


18 Martin Luther King Jr. Day


Announcement:Pratt Manhattan ChelseaPratt Institute’s Manhattan campus is located at 144 West 14th Street,between Sixth and Seventh avenues.

Catalog InformationCover Design Office of PublicationsPrinting Conceptual Litho

ART AND DESIGNCOURSES

Decorative Arts

Quilting and the HandmadeThis course is a non-traditional sewing

class for both beginners and those

who would like to expand their skills

in quilting and sewn projects. While

focusing on quilting, you will also be

exposed to a range of possibilities and

will learn how to develop and make

your own projects during class. Rather

than adhering to pre-made patterns,

this class will emphasize an inventive

approach to making things. You will

learn basic building blocks that you

will use to create your own projects.

Students are encouraged to use recy-

cled materials to make projects such

as quilts, quilt squares, throws, bags,

custom pouches (i.e. for removable

disk drives, iFones), laptop covers,

pillows, patches, toys, and more.

Topics include: Learning the basics:

simple hand-stitches that you will use

to make limitless projects; stitching

as binding; stitching as drawing and

accent; inside/out technique for struc-

tures; making shapes, quilting, sourcing,

and using recycled materials; rolled

edges, raveled edges, using a sewing

machine; color, pattern, and assemblage;

patches; designing your own patterns;

and more. Inspiring reference media

will also be shared and discussed.

This class is for the adventurous!

Note: Tools and other supplies must

be purchased for the first day of class:

A list will be provided. Range of

expenses depends on your budget;

recycled materials are encouraged and

will cut costs. Any questions that you

have may be directed to the instructor

at [email protected].

• M 6–9 PM

10 sessions Oct 5–Dec 7

Sue Havens

XDA 101 3.0 C.E.U.s $375

Fashion Design

Fashion Design: ConstructionTechniques for Garments IThis hands-on course teaches the

actual construction of garments,

using existing commercial patterns.

Learn design room sewing techniques

and terms, proper layout, transferring

and marking techniques. This course is

intended for beginners. The instructor

will provide a supply list on the first

day of class. You will be responsible

for bringing your own supplies.

Topics include: hand-sewing techniques,

a variety of zipper applications, and use

of industry machines and equipment.

Facilities Fee: $5 payable directly to

instructor on first day of class.

• Tu 6–9 PM


Adrienne Jones

XFD 107 3.0 C.E.U.s $375

Pattern-Making Basicsfor the Female FormThis course introduces the beginning

student to the basics of patternmaking

for the female form. The goal of this

course is to develop beginning pat-

ternmaking skills with the use of the

basic bodice and skirt slopers. You will

learn how to make a variety of bodices

and skirts.

Topics include: creating and fitting the

basic sloper, the 8 basic darts, and dart

manipulation.

• Th 6–9 PM


Adrienne Jones

XFD 113 3.0 C.E.U.s $375

Illustrator for Fashion DesignSee page 25 for course description.

Fine Arts

Abstract Painting:Concepts and TechniquesThis course will examine the concepts

and techniques used in abstract painting

from the turn of the twentieth century

to the present. We will use a combina-

tion of in class demonstrations and

assigned projects to examine notions

of painterly abstraction, using a brush

and easel, as well as post-painterly

abstraction in techniques such as the

pour-and-spatter techniques of Jackson

Pollock and Morris Louis. We will also

explore the use of digital media, text

in painting, and other topics relevant

to the creation of contemporary

abstract painting.

Topics include: Working from observa-

tion or concepts, using a combination

of techniques to create a personal

painting language, and the relevance

of historical awareness to a contempo-

rary painting practice.

• M 6–9 PM

6 sessions Oct 5–Nov 9

Ethan Greenbaum

XFA 483 1.8 C.E.U.s $165

Abstract Painting: Conceptsand Techniques: The Workshop This workshop will examine the concepts

and techniques used in abstract painting

from the turn of the twentieth century

to the present. We will use a combina-

tion of in class demonstrations and

assigned projects to examine notions

of painterly abstraction, using a brush

and easel, as well as post-painterly

abstraction in techniques such as the

pour-and-spatter techniques of Jackson

Pollock and Morris Louis. We will also

explore the use of digital media, text in

painting, and other topics relevant to

the creation of contemporary abstract

painting.

Topics include: Working from observa-

tion or concepts, using a combination

of techniques to create a personal

painting language, and the relevance

of historical awareness to a contempo-

rary painting practice.

NON-CREDITCOURSES

Pratt is committed to serving theBrooklyn community. To this end, theInstitute offers a wide range of courses on its campus in the historicClinton Hill section of Brooklyn.Course topics range from art anddesign to computer graphics and technology classes. Please contact ourBrooklyn office at 718-636-3453 formore information or to be placed onour mailing list.

CENTER FORCONTINUING ANDPROFESSIONAL STUDIES

DirectorDr. Charles W. Münster

Assistant to the DirectorJoanne James

Associate DirectorKaren Adler Miletsky

Academic DirectorJoelle Danant

Director EnrollmentManagement forNon-Credit ProgramsPerry Han

Account/Customer ServiceSpecialistAlana Smith

Pre-College CoordinatorElizabeth Kisseleff

Administrative AssistantBrooklynJohndell Wilson

LIBERTY PARTNERSHIP

DirectorBrooklynFrederick Watson

Administrative AssistantBrooklynVeronica Darby

STEP

Director BrooklynDr. Georgianna Glose

Telephone718-636-3453

Facsimile718-399-4410

Internetpratt.edu/prostudies

[email protected]

B R O O K LY N

C O N T I N U I N G E D U C AT I O N

2

• Section 1: Th 6–9 PM

1 session Oct 1

Ethan Greenbaum

• Section 2: Th 6–9 PM

1 session Nov 12

Ethan Greenbaum

XFA 484 0.3 C.E.U.s $35

Chinese Drawing andPaintingThis class is an introduction to tradi-

tional and impressionist Chinese art

styles. The focus will be on drawing

and painting with Chinese brushes.

Demonstration of different subjects

and techniques will be covered. You

will practice in class and create your

own compositions from sketches.

Learn to perfect your skills in drawing

and painting with Chinese brushes:

spatial relations and brush manipulations

to achieve line quality. Chinese art

styles are applicable to various fields,

such as fine arts, graphic design, illus-

tration, and fashion design; as well as

to various media, such as oils, acrylic

and watercolor. In this class, we will

use ink for drawing, and then we will

use water-based, Chinese paint to

apply color to our drawings, including

the unique Chinese technique of loading

two-to three separate colors into one

brush in impressionist style.

Topics include: Basic techniques with

Chinese brushes; manipulating Chinese

brushes in various hand- and arm-

positions; incorporating the Chinese

style of line quality in your work;

how to draw and paint plum/cherry

blossoms, orchids, and bamboos with

Chinese brushes.

Materials fee: $20 payable to the

instructor at the first class.

Recommended audience: Fine artists,

graphic designers, illustration and

fashion designers.

Prerequisite: Basic drawing skills.

• Sa 1–4 PM


Victoria Chang

XFA 479 3.0 C.E.U.s $375

Expressive FormsYou will learn to express yourself in

various painting, simple printmaking

and drawing materials while creating

unfolding formats in series, scrolls,

color music, etc. Horizontal formats will

introduce space and time elements

while incorporating text, collage and

other art forms such as music notation

into your artwork. We will learn simple

linoleum block printing with hand

pressing techniques to create multiples

of an image that can be used as a

repeated theme throughout your

extended art format. The addition of

collage, cut and pasted paper using

acrylic gel mediums, textures such as

wood chips, pasta, sand, coffee, metal

slag, fabric, or heavy paint will be

demonstrated. Layering techniques

with masking tape, masking fluid,

blocking out areas, plus use of palette

knives and sponges as painting tools

will be introduced along with non-

traditional and alternative supports

(cardboard, wood, found objects).

Topics include: multiple panel paintings,

visual poems, visual novettes, text and

music manuscripts, visual diaries,

an exploration of your personal or

autobiographical ideas, abstraction,

conceptual or traditional themes such

as still life and landscape.

• W 6–9 PM

10 sessions Sept 30–Dec 2

Michael Poast

XFA 475 3.0 C.E.U.s $375

Fine Arts/Mixed MediaExplore using a variety of mediums in

this introductory hands-on course on

traditional drawing techniques and

painting mediums. Demonstrations will

be provided on acrylic, watercolor, and

egg tempera (grinding and preparing

of earth pigments), as well as on a variety

of mixed media techniques including

painting with spices and working with

collage and with found and collected

objects. This studio course offers a

series of assignments supplemented

by group discussions, individual

instruction, as well as critiques.

Topics include: examples of mixed

media techniques in art history;

hands-on work from observation of

still life and landscape as well as from

abstraction and ideas with a focus on

form and content.

• Tu 6–9 PM


Errin Heilman

XFA 461 3.0 C.E.U.s $375

Fundamentals ofAcrylic PaintingIn this course, acrylic painting materials

and techniques are discussed and

demonstrated. Classes will experiment

with a variety of application methods,

among them opaque, transparent,

acrylic tempera, mixed media, and others.

We will work in class and supplement

painting projects with presentations of

contemporary acrylic painting and

class critiques.

Topics include: preparing a variety of

surfaces for acrylic paint, use of acrylic

paint with other media, applying paint

with an airbrush, and hard edge painting

techniques.

• Tu 6–9 PM


Ethan Greenbaum

XFA 481 1.8 C.E.U.s $165

Fundamentals of AcrylicPainting: The WorkshopIn this workshop, acrylic painting materials

and techniques are discussed and

demonstrated. Classes will experiment

with a variety of application methods,

among them opaque, transparent,

acrylic tempera, mixed media, and

others. We will work in class and

supplement painting projects with

presentations of contemporary acrylic

painting and class critiques.

Topics include: preparing a variety of

surfaces for acrylic paint, use of acrylic

paint with other media, applying paint

with an airbrush, and hard edge

painting techniques.

• Section 1: W 6–9 PM

1 session Sept 30

Ethan Greenbaum

• Section 2: Sa 1–4 PM

1 session Nov 14

Ethan Greenbaum

XFA 482 .3 C.E.U.s. $25

Fusion PaintingThis course is for people who wish to

explore a relief effect in their paintings.

When combining the two dimensional

painting surface with three dimensional

forms, you can create an exciting,

dynamic art work. To produce fusion

paintings, you will adhere and inter-

twine raised shapes such as wood,

folded cloth, bent cardboard, organic

materials, crockery and modeling paste

onto the painting. Working out your

concepts through sketches and

maquettes, you will explore the

relationships of color and form, while

finding your own personal expression.

Topics include: paint application; usage

of different glues; alternative techniques

such as nailing, tying, screwing; experi-

menting with a variety of textures; and

discussion of historical examples.

• Tu 6–9 PM


Beth Bailis

XFA 469 1.8 C.E.U.s $165

Introduction toCuratorshipDuring this course, you will research

various kinds of artwork (paintings,

photography, films, documentary,

video, advertising), as well as the

implications of each type of artwork

for presenting it publicly, the effects

they might have on the public, and

solutions to presenting the various

types of artwork in exhibitions. You

will develop your own critiquing skills;

determine how to make a decision

that facilitates the understanding of a

curatorial work, such as overseeing

themes, artwork, display modes, and

settings to present an exhibit in a

cohesive way. Through research, you

will have the opportunity to analyze

current exhibits and create their own

show using cultural institutions as

models (national or international).

Topics include: Media implication,

gallery visits, discussions with painters

and curators, field trips to venues,

film screening: Work in Progress and

Howard Zinn: You Can’t Be Neutral on

a Moving Train, individual oral presen-

tations, keeping a journal.

• M 6–9 PM


Zulema Mejias

XFA 478 3.0 C.E.U.s $375

Making Art in New York CityAs artists living in and around New York

City, we are surrounded by the world’s

most diverse and vibrant art community.

This course will help students draw

inspiration for their own work from the

contemporary New York art world and

contextualize themselves as artists in a

city full of artists and galleries.

This course will be taught in two sec-

tions. Classes 1-6 will concentrate on

visiting the studios of working artists

and looking at new work in the galleries

of Chelsea, Williamsburg, and Long

Island City. These classes will include dis-

cussions with gallery owners and artists.

Classes 7-10 will be studio based. You

will learn to apply the concepts, move-

ments, and trends seen in the galleries

to your own work. These classes will

include individual and group critiques.

Topics include: discussions and readings

on trends in contemporary art, challenges

of making art in New York City.

• Tu 6–9 PM


Abraham McNally

XFA 477 1.8 C.E.U.s $455

BROOKLYN CE FALL 2009 3

REGISTER ONLINE: my.pratt.edu

Fine Arts continued

New Materials in Sculpture:Using Material from theWorld Around UsThe traditional boundaries of sculpture

have been shattered. Today’s 3-D artists

are not confined to traditional materials

(stone, clay, bronze, etc.). Almost any

material can be used to express personal,

philosophical, or political ideas. In this

course, students will be introduced to

the central tenets of three-dimensional

art and design by working with the

everyday materials and objects that

surround us. You will be encouraged to

recognize and develop your individual

style and vision. Classes will include

demonstrations, critiques of student

projects, slide presentations, and group

discussions.

Topics include: scale, volume, mass,

and space; building techniques.

• M 6–9 PM


Abraham McNally

XFA 471 1.8 C.E.U.s $215

Painting and DrawingWorkshopThis workshop focuses on general

painting and drawing techniques.

You may choose to work on class projects

based on a theme, still life, nude model,

or other motifs. Both beginners and

“veterans” are welcome. Please bring

examples of previous work to the

first class, if applicable. Field trips to

Brooklyn Botanic Garden are included

so that students may have an opportunity

to sketch.

Topics include: basic color theory; color

mixing; differences among drawing

media, as well as between oil and

acrylic paint; various types of brushes;

and the stretching of canvas.

• Sa 10 AM–1 PM


John Mandile

XFA 457 3.0 C.E.U.s $375

Painting with WatercolorsThere is no medium that can be made

to offer greater scope for spontaneity

and directness of expression than

watercolor. The essential character of

watercolor painting is transparent color

on white paper. This studio class will

give instruction, demonstrations and

critiques in color design, light and value

studies, and fundamental techniques,

as students work from subjects such as

still life, landscape, abstraction, and

imagination. Other water-based paints

such as gouache and acrylic will be

introduced with exploration into more

experimental approaches.

Topics include: basic drawing for

composition; brush techniques such as

wet, dry and washes; light effects;

glazing; combing ink with watercolors;

color relationships; cold and hot

pressed and other types of papers.

• Sa 2–5 PM


Michael Poast

XFA 459 1.8 C.E.U.s $215

Illustration

Introduction toBotanical IllustrationBotanical art is a satisfying and rewarding

way to encounter natural systems.

This course invites people to focus on

the details of plants through close

examination. Learn to record the

structure and beauty of the stem,

leaf, branch, root system and flower.

Students will start with an accurate

pencil drawing and develop a painting

strategy to achieve a detailed portrait

of the specimen. Steps include studying

the gesture of the plant, arranging the

isolated subject on the page, drawing

the distinguishing characteristics

of the plant, transferring the detailed

drawing to watercolor paper, and

completing the work with washes of

watercolor. This structured approach

provides a jumping-off point for exploring

a personal style. Demonstrations will

be given with individual instruction.

The course will benefit those interested

in painting botanicals for personal

enrichment and commercial uses.

Topics include: the structure of plants,

measuring, foreshortening, perspec-

tive, color, value, materials, technique

and history of botanical illustration.

• Sa 1–4 PM


Nancy Glover

XFA 467 3.0 C.E.U.s $375

Industrial Design

The ProgramsThe product design programs are com-

prised of two courses each—Drawing

for Product Design and Product Design.

Both programs are designed to help

students gain knowledge and hands-on

experience. It is recommended, but not

mandatory, to take both courses in the

program of your choice.

Program I, is geared to: • Those with minimal or no experience

who are curious about the field

and who wish to acquire first-hand

experience in industrial design.

• Professionals looking to expand their

repertoire of skills and knowledge.

Each course may be taken separately

or together.

Program II (Graduate Preparationor GP) is geared to: • Individuals with minimal or no prior

experience in the field who wish to

gain admission to and succeed in

Pratt’s graduate industrial design

program.

• The grad prep courses are not

required for acceptance to Pratt’s

graduate program, are not credited

classes, nor do they guarantee

acceptance into the program, but can

be useful in gaining insight into Pratt’s

graduate industrial design program,

and helping the student prepare for

future graduate design studies.

Program I - Course Descriptions

Product Design IThis course is an introduction to prod-

uct design and the product develop-

ment process. Learn how products are

designed and what it takes to bring a

product to market in this hands-on

class. Exercises will include analyzing

and dissecting current products; brain-

storming, prototyping, and materials

workshops; and developing a product

from concept to basic prototype.

Topics include: designers and design

firms, the elements of a successful

product, basic prototyping, materials,

manufacturing processes, understanding

the current market, and patents.

• SU 10 AM–2 PM

9 sessions Sept 13–Nov 15

Noah King

XIND 105 3.6 C.E.U.s $595

Drawing for Product Design IThis course will emphasize drawing

as a form of visual communication.

Experiment in different media, including

pen, pencil, markers, and pastels to

develop a broad range of skills and an

understanding of two- and three-point

perspectives. You will also study com-

position and basic rendering techniques

that will help to create a sense of light

and atmosphere and make your drawings

more exciting and dynamic. The course

will culminate in presentation drawings,

which can be valuable additions to a

portfolio.

Topics include: basic drawing skills

geared towards developing geometric

and amorphic forms; ideation through

freehand sketching techniques;

presentation techniques; and technical

drawing/drafting.

• M 6–9 PM


Bethany Martin

XIND 107 3.6 C.E.U.s $505

Program II (GraduatePreparation or GP) –Course Descriptions

Drawing for Product Design (GP)Intended for those who are interested

in gaining admission to a graduate

industrial design program, this course

will help you develop your drawing

skills to a level that will allow you to

quickly and accurately visualize your

ideas. The course will culminate in

presentation drawings, which can be

valuable additions to a portfolio.

Topics include: two- and three-point

perspective; ideation through freehand

sketching techniques; presentation

techniques; introduction to marker

rendering and technical drawing/drafting.

Please note: Special permission is

required to take this course; please

inquire at CCPS or contact by email:

Joel Wennerstrom: [email protected]

(instructor), or Rick Goodwin:

[email protected] (administration).

Once approved, please contact Johndell

Wilson at CCPS, at [email protected],

or call 718-636-3453 to register.

Supplies will cost $50–$75.

Special Note: The grad prep courses are

not required for acceptance to Pratt’s


classes, nor do they guarantee accept-

ance into the program, but can be

useful in gaining insight into Pratt’s




4 FALL 2009 BROOKLYN CE


• Th 6–9:15 PM


Joel Wennerstrom

XIND 101 3.6 C.E.U.s $595

Product Design (GP)Intended for those interested in gaining

admission to Pratt’s Graduate Industrial

Design program, this course introduces

you to product design, with a workload

similar to a graduate-level course (average

8–14 hours per week). You are given

weekly assignments with an emphasis

on creative problem solving, lateral

thinking, conveying ideas quickly,

visual presentation, and model-making

techniques. You are taken through

multiple design problems culminating

in numerous finished, painted models.

Topics include: what designers do and

how they do it; critical thinking and

theory; the design process; creating a

portfolio; manufacturing processes;

modeling and prototype techniques.

Please note: Special permission is

required to take this course; please

inquire at CCPS or contact by email:

Joel Wennerstrom: [email protected]

(instructor), or Rick Goodwin: rgood-

[email protected] (administration). Once

approved, please contact Johndell

Wilson at CCPS, at [email protected],

or call 718-636-3453 to register. Model

making supplies will cost $100–$200.

Special Note: The grad prep courses are

not required for acceptance to Pratt’s


classes, nor do they guarantee accept-

ance into the program, but can be

useful in gaining insight into Pratt’s




• Tu 6–9:30 PM


Joel Wennerstrom

XIND 103 3.6 C.E.U.s $775

Other Industrial Design Courses

From Product to Profit: How toMake Money from Your Ideas How do you make money from your

innovative product or service? What

route is best for your personality, goals,

and the nature of your idea? Why do

you need a business plan? How much

does it all cost? Entrepreneurship is a

complex process that requires broad

knowledge and detailed planning.

Every decision is informed by strategic,

psychological, and ethical considera-

tions. This course will provide the

information and resources common to

all new business ventures. Emphasis is

placed on teaching the student how to

adopt the perspectives of those on

whom the entrepreneur relies, such as

the customer, manufacturer, or finan-

cier. The instructor will approach the

abstract nature of business and law

through the use of visual metaphors

and props, to render these topics both

more tangible and approachable. This

course is specially crafted to appeal to

the creative person, and does not

require prior business knowledge.

Topics include: Entrepreneurial

Character, Risk Intelligence, Consumer

Psychology, Product Development,

Business Plans, Business and

Intellectual Property Law, Licensing,

and the Distribution Channel from

Manufacturing, Shipping and Customs

to Tradeshows and Internet Retailing.

Recommended text to read before the

first class: Outrageous Optimism by

Jack Roseman and Steve Czetli,

Corbett Publishing 2004

Materials fee: $20 for handouts

payable to instructor at first session.



Flann Lippincott

XIND 111 3.0 C.E.U.s $495

Interior DesignPreparatory CourseThe summer course is intended for

students who have been accepted into

the three year qualifying graduate pro-

gram in Interior Design. It is a prepara-

tory course for those students entering

the program in the fall of the same

year. This non-credit course will be

taught in a studio environment on

Pratt Institute’s Brooklyn campus. This

course is required for students with no

prior studio arts background.

For information, please contact Pratt

Institute’s Interior Design Department,

Graduate Admissions Committee at

718-636-3630, email [email protected].

To register, contact Pratt Institute,

Center for Continuing and Professional

Studies at 718-636-3453 or email

[email protected].

Registration deadline: May 1, 2010.

Drawing Foundation forInterior Design You will develop your drawing skills to

a level that will allow you to quickly

and accurately visualize your ideas.

The course will culminate in presenta-

tion drawings, which can be valuable

additions to a portfolio.

Topics include: introduction to various

drawing media and equipment; freehand

sketching, orthographic projection

(plans, sections, elevations), line weights,

line types, symbols, scale and dimensions,

lettering, introduction to presentation

and rendering techniques.

• Tu, Th 6–9 PM

10 sessions Offered Summer 2010

Ike Cheung

XID 109 3.0 C.E.U.s $400

Jewelry Making

EarringsThis workshop explores the design

and construction of various styles of

earrings. Learn wire wrapping, how

to make perfect loops, dangles and

draped chain designs. With these basic

skills you will be able to go on and

create original works of art. You will

create several original pieces during

class.

Topics include: design, decorative wire-

wrapping, wire gauges, beads and

findings.

Please note: A $20 fee payable to the

instructor will be collected to cover

supply costs for the session. Students

should provide a basic tool set of a

chain nose pliers, round nose pliers

and cutter pliers.

• F 6–9 PM

1 session Oct 16

Melanie Schmidt

XJM 108 .3 C.E.U.s $40

Forged Metal ComponentsThis workshop explores the design and

manipulation of metal through bending

and hammering. Learn to bend wire by

hand and create original shapes to be

used for pendants, earrings, decorative

chain links, and clasps.

Topics include: design, forging,

hammering, jigs, wire gauges, beads,

and findings.



supply costs for the session. You


chain nose pliers, round nose pliers,

and cutter pliers. A chasing hammer

and small steel block will be shared in

class, but you may bring in your own if

you have them.

• F 6–9 PM

1 session Oct 9

Melanie Schmidt

XJM 114 .3 C.E.U.s $40

Leather JewelryThis workshop works with leather as a

jewelerís material. Learn how to

manipulate cording, attach gemstones,

design cuffs and mix wire with leather.

Topics include: design, types of leather,

metal end caps, cutting leather, snaps

and studs.






and cutter pliers.

• 1 session Offered Spring 2010

Melanie Schmidt

XJM 110 .3 C.E.U.s $40

Organic Wire WrappingThis workshop explores the versatility

of the wire as a free flowing element

in design. Learn to balance the decora-

tive use of wire with its functionality.

Class time will be spent wrapping large

stones to create unique pendants and

customize beads with this application.

Topics include: design, functional and

decorative wire-wrapping, wire gauges,

top and side drilled beads, and findings.



supply costs for the session. You should

provide a basic tool set of a chain nose

pliers, round nose pliers, cutter pliers,

and flat nose nylon jawed pliers.


Melanie Schmidt

XJM 115 .3 C.E.U.s $40

Pearl KnottingThis workshop focuses on basic

techniques needed to produce hand

knotted necklaces and bracelets.

This course will enable you to create

traditional knotting, floats and discuss

all the proper tools and the differences

in stringing materials.

Topics include: stringing materials,

knotting, beads, clasps and finishing

techniques.




should provide a sharp scissor.

• W 6–9 PM

1 session Oct 14

Melanie Schmidt

XJM 107 .3 C.E.U.s $40



Jewelry Making continued

StringingThis workshop explores the versatile

technique of stringing. Beading wire

and stretch materials will be used to

create single and multi-strand styles.

You will create original necklaces and

bracelets during class.

Topics include: design, beads, beading

wire sizes, crimping and findings.






and cutter pliers.

• Th 6–9 PM

1 session Oct 15

Melanie Schmidt

XJM 109 .3 C.E.U.s $40

Wire WrappingThis workshop explores the versatility

of the wire-wrapped loop. Learn wire

wrapping, how to make perfect loops,

and how to wrap teardrop shaped

beads. With these basic skills you will

be able to go on and create unlimited

works of art. Class time will be spent

designing and constructing a necklace

or bracelet.

Topics include: design, functional

and decorative wire-wrapping, wire

gauges, top and side drilled beads

and findings.






and cutter pliers.


Melanie Schmidt

XJM 111 .3 C.E.U.s $40

Wire Wrapping with ChainThis workshop further explores the

versatility of the wire-wrapped loop.

Learn wire wrapping, how to make

perfect loops, and how to incorporate

chain into your designs. With these

basic skills you will be able to expand

into designing more complicated looks.

Class time will be spent designing and

constructing a necklace and earrings.

Topics include: design, lariats, functional

and decorative wire-wrapping, metal

chains, wire gauges, top and side

drilled beads and findings.






and cutter pliers.


Melanie Schmidt

XJM 113 .3 C.E.U.s $40

See page 14 for additional Jewelry

courses offered at Pratt Manhattan.

Media Arts/Photography

Intro to Bollywood Cinema:An Exploration of Indian Cultureand History through Films Did you love the colorful aesthetics

and the exotic nature of musicals like

Monsoon Wedding, Guru and Moulin

Rouge? Want to know more about the

Indian culture represented through the

world’s biggest film industry? Then this

is the perfect course for you. As a

group, we will watch and discuss films

that are packed with colorful cine-

matography, high-energy dances,

passionate romances, and intense drama.

Through screening, lectures, and dis-

cussions, you will gain an appreciation

of the Indian culture that embodies rich

religious, traditional, and political history.

Some screenings will be on campus

and some at a cinema in Times Square.

Topics include: Hindu religious mythology

and rituals, political and religious tension

between Hindus and Muslims, family

ideals, tradition and fashion in weddings,

the role of women, traditional values

vs. cultural modernization, the Romeo

and Juliet complex, and much more.

Facilities fee: $10

• W 6:30–9:30 PM


Mareena Waheeda Daredia

XCS 101 3.0 C.E.U.s $375

The Artist’s Diary: DigitalPhotography and BookmakingIn this course, you will create a unique

and personal visual journal using tech-

niques of photography and bookmak-

ing. You will begin by developing

a daily practice of exploring your life

through digital photography (daily

routines, family and friends, neighbor-

hoods, etc.) You will then learn to edit

and organize images, adding them to

their own handmade book. Various

bookbinding techniques will be

demonstrated, including Japanese

binding, accordion folding and signa-

ture binding.

Topics include: basic techniques of

digital photography, bookmaking

techniques, collage, cut paper, transfer

methods, etc.

• Tu 6–9 PM


Abraham McNally

XFA 473 1.8 C.E.U.s $215

Sculpture

Metalworking IThis introduction to metalworking as

an art form includes an examination

of welding, brazing, soldering, bending,

cutting, forging, and drilling techniques.

You will create and complete a small

sculpture by the end of class.

Facilities Fee: $80



Kirsten Campbell

• Section 2: F 6–9 PM


Adam Apostoulos

XFA 106 3.0 C.E.U.s $385

Metalworking IIThis course continues the in-depth

study of metalworking techniques.

Topics include: finishing methods,

special applications of welding

procedures.

Prerequisite: Metalworking I or

demonstrated equivalent.

Facilities Fee: $80

• F 6–9 PM


Adam Apostoulos

XFA 107 3.0 C.E.U.s $385

New Materials in Sculpture:Using Material from the WorldAround UsSee page 4 for course description.

CAREERDEVELOPMENT

From Product to Profit: How toMake Money from Your Ideas See page 5 for course description.

Getting Out There: How toPresent, Promote, Exhibit,and Sell Your ArtworkThis course is designed to help visual

artists thrive in the competitive New

York art world. Our city abounds with

opportunities for artists in the fields of

commercial and fine art—one simply

needs to know where to look. Learn

how to connect with galleries, museums,

art buyers, alternative exhibition

spaces, interior designers, architects,

and a host of other outlets for showing

and selling your work. In-class discussions

will be accompanied by comprehensive

tours through the city’s most vital art

and design districts, including

Williamsburg, Chelsea, and Tribeca.

Topics include: portfolio building,

business practices, funding sources,

self-promotion, current trends in the

visual arts, and much more.

• Su 2–5 PM


Rodger Stevens

XCD 114 3.0 C.E.U.s $375

Introduction to Curatorship See page 3 for course description.

CREATIVITY ANDARTISTIC EXPRESSION

This series of courses is hands-on,

experiential, participatory, reflective,

and interactive. The classes approach

creativity from the inside-out, through

the practice of meditation and a reflec-

tion on the intention behind creative

expression in the moment before you

express yourself in your medium of choice.

Creative expression is approached as

play and self-discovery, without any

self-limiting judgments. The disciplines

offered in this series include vocal

improvisation, movement, sacred

singing, and creative writing.

Authentic, creative expression from

the inside-out tends to be naturally

transformative. The primary goal of

these courses is for students to tap into

their natural, inherent creativity, with

the premise that there is an artist/

musician within everyone, awaiting

our recognition. No prior experience

is required, whether in meditation or

in any of the above disciplines.



Introduction to CreativeExpression from the Inside-Out:An InterdisciplinarySampler Course This course introduces students to a

hands-on exploration of creative

expression from the inside-out, aiming

to expand the mind and open the

heart. Meditation is combined with a

different art discipline for each class.

These classes will serve as introduc-

tions to their own courses. The

sampler course will culminate in an

interdisciplinary class: using a thematic

approach, each student will have the

opportunity to express their creativity

in their medium of choice.

Topics include: vocal improvisation,

sacred singing, movement, and

creative writing.

Prerequisite: No prior experience is

required, whether in meditation or in

any of the above disciplines.

Please note: Wear comfortable clothing.

• Th 6:30–9 PM

4 sessions Sept 17–Oct 8

Joelle Danant

Ivy Angelina Lofberg

XCD 110 1.25 C.E.U.s $100

Creative WritingIn this experiential interfaith class, we

will revitalize the artist within and travel

uncharted terrain to find the stories

within your Soul. Enjoy an exploration

of diverse meditation practices that

will ignite your inner story-teller, in your

own unique way. By delving into several

modes of meditation, we will break

open our concepts of how to contact

the Presence within, creating new

ground for our writing. There will be

plenty of in-class writing and sharing

with suggested weekly assignments for

soulful creative expression.

• W 6:30–9 PM


Ivy Angelina Lofberg

XCD 117 1.5 C.E.U.s $165

Sacred SingingInvoke and celebrate the Universal

Source of Creation through sacred

song and chant offerings—lyrics not

required. Experience the transforma-

tional grace coming from letting your

heart sing in reverence for source.

Activities may include: guided medita-

tion, improvisational warm-ups; and

singing your soul’s song, and singing

for healing individuals, peace, and the

planet. Chants may include: originals

by the instructor; existing sacred

chants from various spiritual traditions

and sacred chants offered by participants

—whether originals or spontaneously

improvised. Opportunities to sing in

solo and in community. No prior

experience required.

Please note: Wear comfortable clothes

and bring your bottle of water.

• M 6:30–9 PM


Joelle Danant

XCD 112 1.5 C.E.U.s $165

Sacred Singing: The WorkshopInvoke and celebrate the Universal

Source of Creation through sacred

song and chant offerings—lyrics not

required. Experience the transforma-

tional grace coming from letting your

heart sing in reverence for source.

Activities may include: guided medita-

tion, improvisational warm-ups; and

singing your soul’s song, and singing

for healing individuals, peace, and the

planet. Chants may include: originals

by the instructor; existing sacred

chants from various spiritual traditions

and sacred chants offered by participants

—whether originals or spontaneously

improvised. Opportunities to sing in

solo and in community. No prior

experience required.

Please note: Wear comfortable clothes

and bring your bottle of water.

• Section 1: M 6:30–9 PM

1 session Sept 21

• Section 2: M 6:30–9 PM

1 session Nov 16

Joelle Danant (all sections)

XCD 123 .25 C.E.U.s $25

Vocal ImprovisationThis highly experimental course invites

you to “come from nothing” by first

delving into the infinite well of silence,

the birthplace of all sounds, where

music is inherently available to every-

one. Starting with guided meditation,

we clarify our intention before expressing

freely, authentically and creatively.

We will tune ourselves as instruments

through voice and body warm-ups,

and use a variety of improvisational

activities, primarily derived from David

Darling’s school in improvisational

music making, called Music for People.

Topics include: key principles for

music-making, listening, intention,

inspiration, musical support structures,

rhythms, multi-layering of patterns,

breath and body wisdom, authenticity,

ensembles, and soloing. Supportive

atmosphere.

Prerequisite: No experience required.

Note: Wear comfortable clothes.

• W 6:30–9 PM


Joelle Danant

XCD 111 1.5 C.E.U.s $165

Vocal Improvisation:The WorkshopThis highly experimental course invites

you to “come from nothing” by first

delving into the infinite well of silence,

the birthplace of all sounds, where

music is inherently available to every-

one. Starting with guided meditation,

we clarify our intention before expressing

freely, authentically, and creatively.

We will tune ourselves as instruments

through voice and body warm-ups,

and use a variety of improvisational

activities, primarily derived from David

Darling’s school of improvisational

music making, called Music for People.

Topics include: Key principles for

music-making, listening, intention,

inspiration, musical support structures,

rhythms, multi-layering of patterns,

breath and body wisdom, authenticity,

ensembles, and soloing. Supportive

atmosphere.




1 session Sept 26

Joelle Danant


1 session Nov 7

Joelle Danant

XCD 121 .3 C.E.U.s $25

Voice and MovementImprovisation from theInside OutLet your creative expression flow

authentically through voice and

movement improvisations in this

inspirational class. We explore: deep

listening and body wisdom; connected-

ness among breath, movement, vocal

sound, space, feelings, others; the

power of intention; key music-making

principles; inspiration; support structures;

multi-layering of patterns; ensemble

work; soloing; creative expression as

offering. Activities are derived from

Music for People techniques (David

Darling’s music improvisation school),

improvisational theater, and Meredith

Monk’s teachings. Supportive and

playful atmosphere.



• Tu 6:30–9 PM


Joelle Danant

XCD 129 1.5 C.E.U.s $165

Voice and MovementImprovisation from theInside Out: The WorkshopLet your creative expression flow

authentically through voice and

movement improvisations in this

inspirational class. We explore: deep

listening and body wisdom; connected-

ness among breath, movement, vocal

sound, space, feelings, others; the

power of intention; key music-making

principles; inspiration; support structures;

multi-layering of patterns; ensemble

work; soloing; creative expression as

offering. Activities are derived from

Music for People techniques (David

Darling’s music improvisation school),

improvisational theater, and Meredith

Monk’s teachings. Supportive and

playful atmosphere.



• Section 1: Th 6–8:30 PM

1 session Oct 1

Joelle Danant

• Section 2: Th 6–8:30 PM

1 session Nov 19

Joelle Danant

XCD 122 .25 C.E.U.s $25

LEGAL TOPICS FORTHE CREATIVEPROFESSIONAL

Art LawArt law governs the entire lifespan of

a work of art, including every person,

business, and institution that the work

and the artist interact with. We will

examine this subject through the eyes

and interests of the creative person.

Artists’ rights in their work include

copyrights, trademarks, and moral

and First Amendment rights, and are

governed by statutes, treaties, common

law, and the U.S. Constitution. The

artist should understand how these

rights are transferred in sale, licensing,

and loan transactions, and how they

are transferred to trusts and estates.

Topics include: auctions, museums, the

art market, the Internet, conservation,

and taxes. We will discuss how these

practical concerns are framed by com-

plex ethical issues and market forces.

This course will help visual and per-

forming artists and writers understand

how they can better control the future

of their creative output. The course

can be modified to reflect the interests

of the class.



OneKey Account InformationOneKey usernames and passwords

are necessary for all students of Pratt

Institute. Please see page 71 for

detailed instructions.

LEGAL TOPICS FORTHE CREATIVEPROFESSIONALcontinued

Required text: Art Law Handbook

edited by Roy S. Kaufman, Aspen

Law & Business 2000. Alternate

(less expensive) text: Legal Guide

for the Visual Artist by Tad Crawford,

Allworth Press 2001.

• M 6–9 PM


Flann Lippincott

XAL 102 3.0 C.E.U.s $395

MARKETINGWORKSHOPS

Getting Out There:How to Present, Promote,Exhibit, and Sell Your ArtworkSee page 6 for course description.

MARTIAL ARTS

Tai ChiThe course begins with a basic intro-

duction to Tai Chi theory. Students

learn a Chi Qong/Tai Chi warm up that

promotes chi flow and relaxation and

enables them to better understand the

mind/body connection.

Topics include: Twenty-four Moves

Yang Style of Tai Chi, a new step

learned in each class; successive

movements from the Chi Qong warm up;

various Tai Chi styles—demonstrated

by senior students of the Chen Robert

School of Tai Chi in Manhattan—

including weapon forms. By the end

of the course, you will have completed

the Twenty-four Moves form and the

Chi Qong warm up.

• M 6–7:30 PM


Madalina Stefan

XTC 101 1.5 C.E.U.s $160

PERSONALENRICHMENT

Art of Living CourseThe course provides you with the

means to achieve your ideal life. This

program empowers participants with

effective tools that eliminate stress,

increase energy and focus, heighten

awareness and develop strong social

and leadership skills.

During the Art of Living Course,

you’ll learn a set of powerful breathing

techniques which decrease stress,

increase energy and stamina, detoxify

the body, balance the emotions and

clear the mind. Through discussion

and exploration of the mind and its

tendencies, you will develop and refine

skills for success in school and the

work place.

Topics include: stress-management;

increasing energy; managing the mind

and emotions; interpersonal relation-

ships; leadership and entrepreneurship;

and personal and social responsibility.

Please note: up to 3 free follow-up

and upgrade classes provided for

those who have attended the Art

of Living Course.

• Section 1: M–Tu 6–10 PM,

Sa–Su 10 AM–4 PM

6 sessions Oct 16–20

Annelies Richmond

• Section 2: Th–F, M 6–10 PM,

Sa–Su 10 AM–4 PM

6 sessions Nov 19–23

Annelies Richmond

XPE 101 1.8 C.E.U.s $275

SPECIAL PROGRAMS

Center for Real EstateEducation

Please visit our website for course

descriptions and schedules.

www.pratt.edu/prostudies.

Study Abroad Programs

Spring 2010

• Copenhagen

Interior Design

Jan 17–May 14, 2010

• London, Milan, Paris

Mar 11–24, 2010

Fashion in Europe

• Rome (Ungraduate)

Jan 11–May 14, 2010

Architecture

Summer 2010

• Copenhagen

Jun 27–Aug 14, 2010

Architecture, Urban Design,

Industrial Design, Interior Design,

Furniture Design, Textile Design,

Glass Design, Jewelry Design

• Rome (Graduate)

Jun 1–Jun 30, 2010

Architecture

• Tuscany

Jun 11–Jul 24, 2010

Fine Arts

• Venice

Jun 9–Jul 21, 2010

Art History, Printmaking, Materials

and Technique, Painting and Drawing

SUMMERPRE-COLLEGEPROGRAMS

Jul 5–30, 2010High school students will have an

invaluable opportunity to sharpen their

portfolios and get a taste of college

life, while earning four college credits.

Scholarships are available. The pro-

gram is offered on both the Brooklyn

and Manhattan campuses.

Program includes: Architecture, Art

History, Creative Writing, Fashion

Design, Foundation Art, Graphic

Design (including Computer Design),

Traditional Illustration, Painting and

Drawing, Photography, and Portfolio

Development.

Tuition: $2,445, plus fees*

* Tuition and fees are subject to change.

For more information and a detailed

brochure, contact our Brooklyn office

at 718-636-3453 or email us at

[email protected]. Visit our web

site at: www.pratt.edu/ccps-precollege



ART AND DESIGNCOURSES

The Center for Continuing and

Professional Studies offers superior

professional art and design education,

with an outstanding faculty and excep-

tional facilities. Courses are taught by

the finest professional artists and

designers in the world. This, along with

the cultural resources of New York City,

ensures an exceptional education.

Book Arts

Book Arts WorkshopThis class is an overview of the tech-

niques, processes and concepts in the

production of artist books. Students will

create a variety of book formats, learn

about paper/glues, creating decorative

papers, and paper-based techniques

(collage, cut paper, simple printmaking,

transfer methods, etc). Emphasis is on

techniques and concepts to create

interesting books and art works that

function on many levels. Slide presenta-

tions, in-class projects, demonstrations

as well as a semester project.

Note: Students will be required to

purchase their own materials.

• M 6:30–9:30 PM


Mary Ting

PMFA 503 3.0 C.E.U.s $375

Decorative Arts

Block Printing and StenciledPatternmaking IntensiveWorkshopDecorated patterns on band motifs and

border designs will be explored as an

art form in themselves. This course will

deal with Ornamental Design principles

and composition including shape,

linear elements, planes, spirals and

angular subdivisions of a square.

Topics include: Study motifs from

Greek vases, Byzantine, Persian,

Chinese, Indian ornament, stained

glass and illuminated manuscripts.

Explore how to create repeatable

patterns using surface transfer and

stenciling techniques. Geometric and

organic shapes can be captured in

templates made in a range of common

materials utilizing simple subtractive

processes. You will practice block

printing skills (wood block, collagraph,

rubber stamp) and stencil making skills

(etched brass, cut mylar, and cardboard).

• Th 6:30–9:30 PM


Alicia Rothman

PMPF 493B 1.5 C.E.U.s $195

GildingOil gilding is the technique of applying

very thin sheets of precious and non-

precious metals to wood, metal, glass,

ceramics, or any non-porous surface.

After these metals (gold, silver, brass,

aluminum or copper) are gilded, they

can be patinated or antiqued to

achieve a variety of colors and effects.

Topics include: preparing and gilding

wood samples, and observing demon-

strations of patinating procedures.

• Su 10 AM–4:30 PM

1 session Oct 4

Susan Perry

PMPF 495 .6 C.E.U.s $75

Entering the Handcrafted Gift MarketLearn to create a unique gift line

incorporating your own artwork and

other skills that can be sold to boutiques,

stationary stores, and galleries. You will

bring in 3-4 samples of their finished

art or designs, photos, or computer

graphics and learn how to adapt their

work into a small collection for the gift

market. We will research the handmade

market using websites and visiting

shops, with emphasis on identifying

and reaching high-end luxury and mid-

level diverse markets. We will discuss

materials, construction, and sourcing

inexpensive materials that can later be

purchased wholesale, and preparing

for handmade reproduction.

Topics include: trends, colors, and

categories (e.g.: wedding, baby, Judaica,

gender specific); simple business plans

for artists: choosing a business name,

creating a business card, buyer/customer

relationships, entering juried wholesale

shows, applying for a resale number,

setting up a studio, internet sales,

expanding or redesigning your line,

wholesale market supplies, test

marketing, and more. By the end of

the course you will design a small

collection or gift line that will be

ready for buyers.

• Th 6:30–9:30 PM


Lisa Steinberg

PMDA 102 3.0 C.E.U.s $385

Hand-Painted Fabric WorkshopWearables and FurnishingsSee page 12 for course description.

COMPUTERGRAPHICSCERTIFICATEPROGRAM ANDNON-CREDITCOURSES

Pratt’s well-known continuing educationclasses at our Manhattan center offer abroad range of courses in computing,computer graphics, art and design, careerdevelopment, writing, and much more. Ourcomputer courses, taught at our AdvancedComputer Applications Training Center,consist of interactive media, electronicimaging and illustration, electronicpublishing, computer animation andvideo, and computer-aided design andvisualization.

CENTER FORCONTINUING ANDPROFESSIONAL STUDIES

DirectorDr. Charles W. Münster

Associate DirectorKaren Adler Miletsky

Academic DirectorJoelle Danant

Director EnrollmentManagement forNon-Credit ProgramsPerry Han


Special Programs CoordinatorKaren D’Angelo

Account/Customer ServiceSpecialistAlana Smith

Administrative SecretaryManhattanShirley McClean

Technician ManhattanFederico Savini

ACADEMIC COMPUTING

Associate DirectorTechnology and ProgramDevelopmentDavid Marcinkowski



Internetpratt.edu/prostudies

[email protected]

M A N H AT TA N

C O N T I N U I N G E D U C AT I O N

9


Decorative Arts continued

Handmade ToysThis course is a non-tradi-

tional sewing class for both beginners

and those who would like to expand

their skills in making handmade toys.

You will learn how to make your own

special toys out of recycled fabrics.

You will also be exposed to a range of

possibilities and will learn how to

develop and make your own projects

during class. You will have the option

of using patterns made by the teacher

and author of a soon-to-be released

book about toy making, Pottercraft

(Random House, 2010). This course will

emphasize an inventive approach to

making things. You will learn basic

building blocks that you will use to

create your own projects. You are

encouraged to use recycled materials

to make toys that are both classic and

unconventional.

Topics include: Fabric sourcing, hand-

stitching, shape building, attaching

shapes, using patterns, and tricks and

tips that you can use to make limitless

soft creatures. Inspiring reference

media and notes from the author’s

book will be shared and discussed.


Note: Tools and other supplies must

be purchased for the first day of class:

A list will be provided. The range of





at [email protected]

• Th 9:30 AM–12:30 PM


Sue Havens

PMDA 105 3.0 C.E.U.s $375

Quilting and the HandmadeThis course is a non-traditional sewing

class for both beginners and those


in quilting and sewn projects. While

focusing on quilting, you will also be

exposed to a range of possibilities and

will learn how to develop and make

your own projects during class. Rather

than adhering to pre-made patterns,

this class will emphasize an inventive

approach to making things. You will

learn basic building blocks that you

will use to create your own projects.

Students are encouraged to use recycled

materials to make projects such as

quilts, quilt squares, throws, bags,

custom pouches (i.e. for removable disk

drives, iFones), laptop covers, pillows,

patches, toys, and more.

Topics include: Learning the basics:

simple hand-stitches that you will use

to make limitless projects; stitching

as binding; stitching as drawing and

accent; inside/out technique for struc-

tures; making shapes, quilting, sourcing

and using recycled materials; rolled

edges, raveled edges, using a sewing

machine; color, pattern, and assemblage;

patches; designing your own patterns;

and more. Inspiring reference media

will also be shared and discussed.


Note: Tools and other supplies must be

purchased for the first day of class:

A list will be provided. Range of





at [email protected].

• Tu 9:30 AM–12:30 PM


Sue Havens

PMDA 101 3.0 C.E.U.s $375

Quilting and theHandmade: AdvancedWorkshopThis class builds upon the basics of

Quilting and the Handmade I. It is a

non-traditional sewing class, for those


in quilting and sewn projects. In addi-

tion to quilting, you will be exposed

to a range of possibilities and will

learn how to develop and make your

own projects. Rather than adhering

to pre-made patterns, this class will

emphasize an inventive approach to

making things. You will learn advanced

building blocks that you will use to

create projects, and you are encouraged

to use recycled materials to make quilts,

throws, bags and totes, custom pouches

(i.e. for iFones and laptops), wallets,

pillows, toys, and more.

Topics include: intricate hand stitching;

stitching as drawing and accent;

inside/out technique for structures and

making complex shapes. Examples of

possible projects include pieced hats,

or a wallet with three sections. This

class will continue an emphasis on

quilting, color, pattern, and assemblage,

as well as designing one’s own patterns.

Inspiring reference materials and demon-

strations will be shared and discussed.



purchased for the first day of class: A

list will be provided. Range of expenses

depends on your budget; recycled

materials are encouraged and will

cut costs. Any questions that you have

may be directed to the instructor at

[email protected].

• F 9:30 AM–12:30 PM


Sue Havens

PMDA 103 3.0 C.E.U.s $375

The Embroidered ArtJournal: Embroidery asNarration and IllustrationThis introductory workshop on embroi-

dery and artist books will begin with

making a sampler of 12 embroidery

stitches and learning some basics

about how to work with different

fibers and fabrics. Your instructor will

work with you to develop concepts for

an artist book that incorporates

embroidery and other media. Emphasis

will be on the creative process, and

the application and use of new skills

and materials. In addition to experi-

menting with embroidery, you will be

asked to record information in visual

and/or textual form during and in

between each class. You can do this in

any way you choose: by keeping a

conventional sketchbook or diary; writing

a blog; taking photographs; making

paintings or sculptures; even recording

notes in your iPhone or through emails

or text messages. The goals of this

course are to become comfortable with

embroidery and fabric; practice engage-

ment with your daily visual and social

environment; develop a project from

initial concept to artistic execution;

and participate in a group environment

where new artwork and ideas are

created and shared.

Topics include: A vocabulary of embroi-

dery stitches; the basics of fabrics and

fiber materials; conventional and

unconventional materials in embroidery;

transferring images and text onto fabric;

drawing and writing with embroidery;

text as a primary artistic medium; an

introduction to book arts, including blogs.

Prerequisite: No previous experience

with embroidery, sewing, or book arts

needed.

• Section 1: W 6:30–9:30 PM

5 sessions Sept 2-30

Iviva Olenick

• Section 2: Su 9:30 AM–12:30 PM

5 Sessions Nov 15–Dec 20

Iviva Olenick

PMDA 104 1.5 C.E.U.s $195

Design

Visual Iconography-Art asLanguage: Elements of DesignIn this course, you will explore the

techniques, design and aesthetics

necessary to communicate visually.

Lectures will be given on how to best

communicate visually using textures,

lines, values, colors and forms; which

images are associated with certain

feelings and ideas and why; and how

visual imagery can be used to evoke

reactions in ourselves and others.

Projects will involve visually conveying

specific messages by understanding the

logic of observers, thus being able to

draw their attention, maintain their

interest and communicate.

Recommended audience: commercial

and visual artists, and those interested

in advertising, marketing, and business;

all others who would like to learn how

best to convey messages in a visual and

often subliminal way.

• Sa 9:30 AM–12:30 PM


Francis James

PMGD 430 3.0 C.E.U.s $375

Color TheoryColor awareness is realized through

experimentation with optical illusions,

color harmony, and psychological

associations. Color exercises and creative

assignments are supplemented by

lecture, group discussions, critiques,

and individual instruction. Paint, collage,

and color aid paper are used.

• M 6:30–9:30 PM


Richard Beenen

PMGD 429 3.0 C.E.U.s $375

Basic Layout and TypographyCreate effective layouts from concept

to finish. This course is 10% hands

work and 90% computer work. Learn

the “nuts and bolts” of layout and

typography. Working with markers

and tracing paper is the natural way

to break into design and layout.

First you will start with small black

and white ads, logos, and business card

design; then on to color and book

jackets, posters. Next we introduce

general sales graphics. You will develop

the jobs that interest them and drop the

projects that don’t. Help with freelance

work is offered.

Topics include: design principles;

visualizing layouts; three types of layouts

(thumbnails, roughs, comprehensives);

choosing an effective typeface for a

10 FALL 2009 MANHATTAN CE


particular job; learning to group type,

adjust negative space, and build contrast.

The creation of a 10 to 12 sample

professional graphics design portfolio

has been achieved by many willing

students in this course. Created by hand

with markers and tracing paper, these

layout sketches serve as guidance for

work on the computer.

Recommended audience: Electronic

publishing and interactive media

designers or those who want to

learn design by diving head first

into the work.

Prerequisite: A working knowledge of

InDesign or QuarkXPress is helpful.

• Tu 6:30–9:30 PM


Newton Meyers

PMGD 463 3.0 C.E.U.s $375

Creatively Speaking: InnovativePromotions that WorkFor course description, please visit our

website: www.pratt.edu/prostudies.

• Not offered this semester.

1 session

Lisa L. Cyr

PMGD 440 .3 C.E.U.s $45

Greeting Card DesignCreate exciting greeting cards with

drawings, cartoons or collage.

Topics included: create a line of greeting

cards; finding venues and places

to sell cards; types of drawing styles;

contacting greeting card companies;

sizes; various holidays; materials;

hand-made greeting cards.

• Sa 9:30 AM–12:30 PM


Mark Ziemann

PMGD 443 3.0 C.E.U.s $375

Introduction to Graphic DesignThis course is an introduction to the

study of graphic design as a communi-

cation tool on an intensive, professional

level. Areas of Exploration: The designer’s

role as a communicator and innovator

of design; creative, technical, and busi-

ness skills will be developed to under-

stand the need to think conceptually,

creatively, and appropriately in order

to reach a specific target audience;

the steps in creating a project from

concept through execution; the visual

quality of the final artwork through

the use of high resolution imagery and

dynamic composition; the value of

class critiques for helpful suggestions

and other points of view; the impor-

tance of graphic design as an informa-

tive and promotional presence in both

commerce and society.

Topics include: The graphic design field;

high-resolution vs. low-resolution

(including Internet) imagery; creating

high quality artwork: conventional/digital

techniques, scanning steps, pixels;

design research via graphics annuals

(i.e., Graphis, Print.); color usage and

psychology: visual, emotional, and

cultural; the use of appropriate fonts

to enhance concepts; aspects of dynamic

page layout (giganticism, cropping,

movement); the development of type

fonts, printing; the history of paper,

paper terminology; the development

of the advertising industry. Software

applications used in class: Adobe

Creative Suite: InDesign, Illustrator,

and Photoshop. The class will work on

several projects applying design and

technical skills covered, such as

newsletter/magazine layout; logo

design for product or service;

brochure/poster design, unique folds,

die-cuts, paper engineering.

Please note: Course will meet in

a Mac lab.

Computer facilities fee: $25

• Section 1 (m): Th 6:30–8:30 PM


Elaine Tannenbaum

PMCG 475 3.0 C.E.U.s $775

Graphic Design and Print ProductionThis is a comprehensive course designed

to give you a practical overview of the

field of graphic arts from type and

design through prepress, paper, and print

production. The course aims to provide

a general understanding of the various

areas and steps involved in the creation

and printing of graphic materials. There

will be invited speakers on paper/pro-

duction or printing during the course.

Topics include: lecture/demonstrations,

computer projected visuals, and online

films. History of graphic design and

fonts; points and picas; leading and

kerning; design and composition; the

design brief; the grid system; color systems;

raster vs. vector art; color correction; file

preparation for production; paper and

imposition; buying art; buying print

services, types of printing; binding,

folding, die-cuts and embossing.

Projects include: Poster design, a

newsletter; learning to build a layout

by understanding font styles and sizes,

using a grid and the addition of appro-

priate artwork to create a proper

mechanical for production and printing.

Please note: Home access to a computer

is recommended. There is no access to

a computer in class.

Required Text: Pocket Pal, 20th ed.

International Paper Company

Recommended audience: This is an

excellent course for those who are

considering a career change to graphic

design and/or print production or are in

an allied field in which knowledge of

these areas would be beneficial.

• Tu 8:10–10:10 PM


Elaine Tannenbaum

PMGD 468 .3 C.E.U.s $375

Expressive Design: CreatingDistinction through InnovativeProduction TechniquesIn today’s highly competitive market-

place, survival is dependent upon the

ability to make an impact. Designers

need to think more strategically and to

experiment more from a production

standpoint. This highly visual presenta-

tion by author and artist Lisa L. Cyr

will enable creative professionals, both

seasoned and newcomers, to confidently

employ alternative design approaches

and techniques into their work.

Topics include: Alternative materials

and innovative production techniques,

which will be introduced in inventive

combinations. The use of unconventional

surfaces and printing techniques, unique

constructions, folds and die-cuts,

interesting bindings, fasteners and

wraps, alternative add-ons and

signature treatments will be explored.

• Sa 9 AM–12 PM

1 session Oct 17

Lisa L. Cyr

PMGD 441 .3 C.E.U.s $45

Package Design andBrand IdentityWith the continuing importance of

”the brand” in our global society, this

is a comprehensive course in package

design and corporate identity—the

building blocks of brand identity. A

strong emphasis is placed on logo/type

design, color, shape, and developing

rough ideas to 3D comps for presenta-

tion. A combination of constructions

and computer printouts will be used.

Topics include: how to go from the

initial creative concepts to the printed

piece and display in the marketplace;

good design solutions; appropriate

materials—glass, plastic, metal, paper—

and printing methods for each project;

logo and type design; color and shape.

Prerequisite: Home access to a computer

is recommended. Basic knowledge of

graphic design and typography.

Knowledge of Adobe Illustrator and

Photoshop.

• Tu 6:30–9:30 PM


Susan Meshberg

PMGD 464 3.0 C.E.U.s $375

See pages 21, 26 and 28 for the

following course descriptions.

Continuity Storyboards: The Filmmaker’s Best Friend

Create a Professional PortfolioDesign for Computer AnimationFrom Here to There: A Seven-Step

Web Site Recovery Program

Fine Arts

Alternative Approaches:Exploring Mixed MediaThroughout this highly visual, step-by-

step presentation, attendees will learn

how to use a combination of both

two-dimensional as well as three-

dimensional mixed media to expand

and transform their visual vocabulary.

Discussions on conceptual development,

composition, and individual process

development will help each attendee

to expand upon their own creative

process and approach. There are no

supplies required for the class.

Topics include: Employing a vast array

of unorthodox surfaces, creating alter-

native painting grounds, toning the

surface in imaginative ways, building

the visual architecture, creating a pre-

existing density in which to work into,

utilizing resists and other techniques to

create intriguing effects, and employing

alternative collage, assemblage, and

sculptural accents.

• Sa 1–4 PM

1 session Oct 17

Lisa L. Cyr

PMFA 442 .3 C.E.U.s $45

Basic DrawingDrawing is a vital means of seeing the

world. This course explores how to

draw using a variety of mediums.

Beginners need only enthusiasm to

take the class. Advanced students will

be able to expand their drawing skills.

All students are given the opportunity

to develop their imagery or style.

Topics include: working from observa-

tion of the figure, cityscape, objects, as

well as from ideas; learning the skills

for the basis of any visual art.

• Section 1: Su 1–4 PM


Phyllis Rosenblatt

PMFA 429 3.0 C.E.U.s $375

MANHATTAN CE FALL 2009 11


Fine Arts continued

Figure Drawing WorkshopThe figure as a basis of individual expres-

sion is explored in this studio course.

An understanding of line and volume

is developed through a variety of media.

Topics include: techniques ranging from

charcoal and pastel to wash drawings,

as well as experiments with the nude

as a unit of abstraction.

• M 6:30–9:30 PM


Gillian Hughes

PMFA 456 3.0 C.E.U.s $225

Basic Drawing for AnimationThis drawing course is recommended

for the novice who wishes to develop

drawing skills for traditional and

computer animation.

Topics include: gesture drawing; drawing

with a sense of volume; construction

of animation style characters; creation

of a cartoon skeleton based on three-

dimensional basic shapes; how to draw

a character from many angles; how to

imply motion in a single drawing, from

rough draft to clean-up (tighten it up);

drawing heads, hands, feet, hips, thorax,

and finally the whole cartoon and

semi-real body. The course finishes

with how to draw from imagination.

Recommended audience: Students

enrolled in Traditional Animation and

the computer animation program.

• F 6–9 PM


Greg Webb

PMFA 476 3.0 C.E.U.s $375

Drawing on LocationDrawing on location is

designed to train you to visualize and

document the environment that you

observe. Locations are used as refer-

ence material for communication solu-

tions that relate to timely subjects and

provocative themes. You will complete

an 8-image drawing series based on

one location. This series will be pre-

sented in sequential form.

Locations will include but not be limit-

ed to the zoo, Coney Island, Ground

Zero, Chinatown, South Street, St. John

the Divine, and Union Square, where

we will gather visual data. We will also

be going to night court. You will keep

intensive journals of your visits that

include observations of each location,

interviews with people connected with

these locations, and photographs.

• Sa 9:30 AM–12:30 PM


Lynn Foster

PMFA 485 3.0 C.E.U.s $375

Drawing on Location: AdvancedFor course description, please visit our

website: pratt.edu/prostudies.

• Sa 9:30 AM–4:30 PM


Phyllis Rosenblatt

PMFA 486 3.0 C.E.U.s $375

Fundamentals of Oil PaintingFor course description, please visit our


• W 6–9 PM

10 sessions Not offered this semester.

John Mandile

PMFA 461 3.0 C.E.U.s $375

FusionArts Workshop: Philosophy andMethodologyIn this 2-day weekend workshop you

will be introduced to FusionArt, a multi-

disciplinary art movement that incorpo-

rates any or all art disciplines into one

cohesive work (painting/sculpture/light/

kinetic movement/sound/performance,

etc.). The philosophy will be presented

and discussed and the various method-

ologies will be explored.

Topics include: Lecture with slide show

and video presentation featuring a

brief historical overview of multidisci-

plinary art followed by an introduction

and demonstration of techniques and

tools; studio visit with hands-on work-

shop to create artwork where you will

have full use of available power tools,

welder, and other equipment.

• Su 9 AM–5 PM

2 sessions Sept 13–20

Shalom Neuman

PMFA 504 1.4 C.E.U.s $185

Intermediate Drawing This course will help you develop

your style and skills in figure drawing,

portraiture, cityscape, interiors and

still objects, through observation and

imagination. There will be a special

exploration of pictorial composition.

Topics include: materials and techniques

in charcoal, brush and ink, pencil, pastel

and collage; examining representation

and abstraction in characteristics of space,

tone, volume, line, scale and proportion.

Single and serial drawings will be assigned.

• Su 9:30 AM–12:30 PM


Phyllis Rosenblatt

PMFA 430 3.0 C.E.U.s $375

Intermediate Drawing IITo follow through on the ideas you

have worked with in Intermediate

Drawing, this second class,

Intermediate Drawing II, will be

offered for those who wish it to work

for three more hours per week with

tutorial help from the instructor.

Topics include: interaction of color,

composition, representation and

abstraction and better observation.

This time also will give a better idea of

what can happen in the studio of pro-

fessional artists when more time is

given to the exploration of work.

Prerequisite: Intermediate Drawing

• F 6–9 PM


Phyllis Rosenblatt

PMFA 430B 1.8 C.E.U.s $225

Hand-Painted Fabric WorkshopWearables and FurnishingsIn this workshop you will paint directly

on silk and cotton using appropriate

dyes for setting colors permanently.

The class will explore the use of hand-

painted fabrics for home furnishings

and wearables. The course is designed

for painters as well as those new to the

medium and is suitable for students of

all levels. Color theory and textile design

will be an integral part of this class.

Topics include: The first session will

focus on painting on silk and creating

a few original designs on crepe de

chine scarves. We will experiment with

painting yardage of cotton which can

then be applied to a variety of home

furnishing objects such as quilts and

pillows. The last session will be devoted

to designing a table top of hand-painted

napkins and tablecloths.

Materials Fee: $35 fee payable to

instructor at the first class session.

Scarves, fabric, and dyes will be supplied.

• Th 6:30–9:30 PM


Susan Steinbrock

PMFA 464B 1.2 C.E.U.s $155

Acrylic Painting MasteryJoin the acrylic revolution!Acrylic painting is creating oil painting

effects without the unpleasant smell

and long drying time of oil paint.

Anything that can be done in oil paint

can be done better and faster in acrylic.

Learning how to paint is sensing what

you love and who you are as you

experiment with all the specific neces-

sities of craft. We start by showing you

how to stretch a canvas in the classical

manner. Although you can also paint

on a prestretched canvas you buy in

an art store if you wish or even on

cardboard if you like.

You’ll keep a sketchbook that you

bring to class and with this we’ll work

together to solve the problem of how

a painting is started. Step by step we’ll

solve each problem as it presents itself.

For painting is just one interesting

visual problem after another. In

between each class you’ll be working

with that trusty sketchbook creating

the raw material that you’ll turn into

paintings. In class you can work from a

live model or a still life subject. Picasso

said, “When I paint I am not in my body.”

I have had this experience many times

myself and I can explain exactly how it

is done. Once the technique is under-

stood, those who are interested can

experiment. It is not for everyone.

Topics include: Translating everything

into a simplified value system to create

a grayscale underpainting for color

glazing; the power of silhouette as a

design element as seen in the work of

Goya and other artists; finding inspira-

tion in artist’s work you admire; a

posterizing technique for fine art.

• Th 6:30–9:30 PM


Newton Meyers

PMFA 469 3.0 C.E.U.s $375

Pastel Intensive Workshop: The Versatile MediumSoft pastel has the range and richness

of oil painting without the oil, drying

time or solvents. It can be developed

over several work sessions or rapidly

on one colorful sketch. In this class,

we will begin with exploring the

techniques of pastel use, and work

from observation and imagination in

figurative narration, city and land

scapes, and still life. Structured to work

with both beginners and more advanced

students, it is an ideal course for

personal development.



Topics include: color work in select and

full range, techniques for observation

and composition, ideas on approaches

and interpretation of subject.

• Tu 6:30–9:30 PM


Phyllis Rosenblatt

PMFA 433B 1.2 C.E.U.s $155

Perspective Drawing and RenderingThis course, created for students,

professional designers, and architectural

renderers, emphasizes the skills necessary

to produce quick sketches or well-

developed renderings.

Topics include: one-, two-, and three-

point perspectives, overhead projections,

side elevations, measurement systems,

plan and section perspectives, and

various rendering techniques.

• Sa 1–4 PM


Sandra Rodriguez

PMFA 428 3.0 C.E.U.s $375

Pictorial PerspectiveThis course is intended to further

develop your drawing skills either as

an artist, architect, interior, or product

designer. Gain the foundation to draw

in perspective and develop an intuitive

approach to three-dimensional visuali-

zation. The course teaches various

perspective methods in the same class,

bearing in mind that a wide variety of

pictorial approaches will guarantee

masterful results. Exercises are either

free-hand, as a conceptual approach to

a three dimensional space, or derived

from a given ground plan, section, and

elevation. Each class introduces drawing

exercises, as well as demonstrations,

including a survey of techniques of

representation.

Topics include: shortcuts to establishing

a point of view and calculating

diminishing sizes in scale; easy and

effective ways to generating your ideas

for exteriors and interiors; textural

values and composition; theatricality

and ambiguity in pictorial perspective.

Prerequisite: Basic drawing experience.

• Th 6:30–9:30 PM


Ricardo Morin

PMFA 440 3.0 C.E.U.s $375

Watercolor Realism WorkshopWatercolor lovers, you can combine

your love of the painterly, transparent,

watercolor medium with skills that

achieve a little or a great deal of hyper-

dimensional realism. You can utilize

subtle or exaggerated warms and

cools, as well as paint from a wide

range of subject matter, from still-life

fruits and vegetables to metals and

glass to portraits, nudes, street clothes

and theatrical costumes, all from life.

We’ll include landscapes and cityscapes

from photo reference. Join us to create

at least one painting per session and

achieve a wonderful portfolio of your

works that grow with each session.

Topics include: Watercolor techniques,

color theory, mixing and use, easy

perspective, illusion of depth, exaggera-

tion of figure, composition success,

and value pattern.

Prerequisite: Basic Drawing.

• Sa 1–4 PM


Jacqui Morgan

PMFA 463 3.0 C.E.U.s $375

History of Art and Design

History of AnimationIn this class we will learn about the

origins of animation—from cave

paintings, to Muybridge photography,

through the introduction of film, early

Windsor McCay, Warner's and Disney

cartoon shorts, and feature length films,

the beginning of sound and color.

Topics include: We’ll learn about limited

animation and animatics, the introduc-

tion of computer animation, and up to

the present.

• Su 9:30 AM–12:30 PM

1 session Sept 13

Mark Ziemann

PMHA 100 .3 C.E.U.s $45

History of ComicsThis class traces the beginnings of

comics from ancient drawings to the

arrival of sequential art. We’ll look at

pre-comic styles through the centuries

and the abundant changes comics

have made each decade throughout

the 20th century. Graphic novels,

zines, and online comics: What’s to

come for the 21st century?

Topics included: Sizes of comics; Online

cartoons; Getting your comic out

there; Rough sketches and choosing

the right comic to complete; Edit your

work; Copying skills and techniques.

• Su 1–4 PM

1 session Sept 13

Mark Ziemann

PMHA 101 .3 C.E.U.s $45

Illustration

Introduction to IllustrationThe Illustration Portfolio Illustrators are artists who are motivated

to make pictures inspired by stories.

As visual communicators, illustrators

use various means in order to tell these

stories. In this course you will be given

assignments investigating problems

such as metaphor, allegory, and narrative

as ways to achieve this goal. We will

focus on developing a body of work

that reflects each student’s personal

style, while developing clear and

strong ideas. You will learn the entire

process of executing an illustration,

from preliminary sketch to finished

product. Once a month students will

draw on location at the Society of

Illustrators. Guest lecturers may also

be included. Sample assignments may

include but are not limited to visual

puns in editorial illustration, science

fiction and fantasy for book jackets.

Topics include: the elements of picture

making, design composition, and

color; how to gain and use reference;

materials and techniques; presentation

both digitally and traditionally; keeping

a sketchbook; the Broadway poster in

advertising; and the artists book as

portfolio sample.

Prerequisite: Basic drawing experience.

• F 6–9 PM


Lynn Foster

PMFA 452 3.0 C.E.U.s $375

Comic Book IllustrationYou will learn how to create and design

cartoon characters and put them into

a story in a comic book format. We’ll

examine types and styles of comics and

how to assemble the scenes into panels,

and then assemble the panels on the

pages. We’ll look at methods of story-

telling, and how to edit a story. The story

will be made to make sense, as well as

work graphically. The instructor will

draw in class and also bring in visuals.

Topics include: how to design characters

and create a comic book; drawing

basics; storytelling; costumes/clothing;

inking styles and techniques; various

comic art styles; model sheets; thumb-

nails and roughs; designing the cover

of a comic book; expressions and

moods of characters; movement;

coloring techniques; how a character

functions in the story; panel and page

design; lettering and word balloons;

how the central and other characters

help the story; supporting characters;

editing/refining; putting it all together.

• Sa 1–4 PM


Mark Ziemann

PMFA 455 3.0 C.E.U.s $375

Editorial IllustrationEditorial illustration has been around

as long as newspapers and magazines.

It is a good way for papers to accom-

pany a story without using a photo-

graph. Most papers today use illustra-

tion. There are lots of trade magazines

and newsletters that you can find

work in with illustrations.

Topics include: The various styles of

editorial illustration – cross-hatching,

digital color, watercolor and ink washes.

Learn how to read a story and get an

idea for an illustration to accompany

it. Draw likenesses of politicians and

celebrities.

• Tu 6–9 PM


Mark Ziemann

PMFA 465 3.0 C.E.U.s $375

Manga ComicsLearn the art of drawing Japanese

comics. Manga is the style of comics

used in Japan and is one of the most

popular comic styles today.

Topics include: Pens and papers used,

different types of characters, story

lines, page format, panel layout and

motion/action lines, facial features of

Manga, and the color palate.

Prerequisite: Some drawing experience

helpful.

• F 6–9 PM


Mark Ziemann

PMFA 466 3.0 C.E.U.s $375

See pages 12, 13, 20 and 26 for the


Basic Drawing for AnimationDrawing on LocationIllustrator for Fashion DesignPastel: The Versatile MediumTraditional Animation I and IIWatercolor Realism Workshop


REGISTER ONLINE: my.pratt.eduREGISTER ONLINE: my.pratt.edu

Jewelry Making

Jewelry Design Intensive IThis four-day, intensive jewelry-making

class, is for both beginners and those

looking to learn new skills and/or refine

the ones they have. You will receive

a solid foundation and develop your

own designs through class projects.

An overview of several techniques and

materials, as well as proper tools and

their usage will be discussed, taught,

and applied. Also covered are the

abundant sources for beads, tools,

findings and other materials. Your

completed projects, including earrings,

necklaces, and bracelets, may inspire

you to create your own line or give

them away as gifts.

Topics include: creating jewelry working

with wire; making perfect loops,

wraps, and findings; stringing beads

and pearls; traditional and non tradi-

tional knotting; crimping; professional

finishes; and more. Also covered is

organizing your workspace; tools and

materials; establishing a library of

resources and materials.

Materials fee: Please bring $25 cash

(payable to the instructor) to the first

session for materials such as (not

limited to) wire, beads, elastic, etc. for

projects that will be created in the first

two classes. Additional supplies will

need to be purchased for sessions 3

and 4. The dollar amount will depend

on your budget and savvy. Estimated

range-$50-$150.


purchased for 1st day of class; a list

will be provided. If you would like to

ask questions of the instructor by email

please write to: [email protected]

• Sa–Su 9 AM–5 PM

4 sessions Nov 14–15, 21–22

Maria Leather

PMJ 470 2.8 C.E.U.s $365

EarringsThis workshop explores the design and

construction of various styles of earrings.


perfect loops, dangles and draped

chain designs. With these basic skills

you will be able to go on and create

original works of art. You will create

several original pieces during class.

Topics include: design, decorative

wire-wrapping, wire gauges, beads

and findings.






and cutter pliers.

• Section 1: Sa 9:30 AM–12:30 PM

1 Session Oct 10

Melanie Schmidt

PMJ 108 .3 C.E.U.s $40

Forged Metal ComponentsThis workshop explores the design and

manipulation of metal through bending

and hammering. Learn to bend wire by

hand and create original shapes to be

used for pendants, earrings, decorative

chain links, and clasps.

Topics include: design, forging,

hammering, jigs, wire gauges, beads,

and findings.



supply costs for the session. You


chain nose pliers, round nose pliers,

and cutter pliers. A chasing hammer

and small steel block will be shared in

class, but you may bring in your own

if you have them.


1 session Oct 18

Melanie Schmidt

PMJ 114 .3 C.E.U.s $40

Leather JewelryThis workshop works with leather as

a jeweler’s material. Learn how to

manipulate cording, attach gemstones,

design cuffs and mix wire with leather.

Topics include: design, types of leather,

metal end caps, cutting leather, snaps

and studs.






and cutter pliers.

• Section 1: Sa 9:30–12:30 PM

1 session Oct 17

Melanie Schmidt

PMJ 110 .3 C.E.U.s $40

Organic Wire WrappingThis workshop explores the versatility

of the wire as a free flowing element

in design. Learn to balance the decora-

tive use of wire with its functionality.

Class time will be spent wrapping large

stones to create unique pendants and

customize beads with this application.

Topics include: design, functional and

decorative wire-wrapping, wire gauges,

top and side drilled beads, and findings.



supply costs for the session. You should

provide a basic tool set of a chain nose

pliers, round nose pliers, cutter pliers,

and flat nose nylon jawed pliers.

• Su 1–4 PM

1 session Oct 18

Melanie Schmidt

PMJ 115 .3 C.E.U.s $40

Pearl KnottingThis workshop focuses on basic

techniques needed to produce hand

knotted necklaces and bracelets.

This course will enable you to create

traditional knotting, floats and discuss

all the proper tools and the differences

in stringing materials.

Topics include: stringing materials,

knotting, beads, clasps and finishing

techniques.




should provide a sharp scissor.


1 Session Oct 17

Melanie Schmidt

PMJ 107 .3 C.E.U.s $40

Polyform Clay Workshop IThis special hands-on workshop

explores the many creative uses of the

versatile material known as polyform

clay (Fimo, Sculptey). This material can

be baked in your home oven to harden,

sculpted, painted, collaged with other

materials, and used for jewelry.

Topics include: mold making and casting,

translucent effects, marbling, blending

color, surface treatments with gold

leaf and metal foils, metallic and mica

powders, pastels and dry pigments,

color glazes and image transfers.

Materials Fee: $5 paid to instructor

at first class.

• Su 10 AM–4:30 PM

1 session Oct 25

Susan Perry

PMJ 479 .65 C.E.U.s $80

StringingThis workshop explores the versatile

technique of stringing. Beading wire

and stretch materials will be used to

create single and multi strand styles.

You will create original necklaces and

bracelets during class.

Topics include: design, beads, beading

wire sizes, crimping and findings.






and cutter pliers.


1 session Oct 10

Melanie Schmidt

PMJ 109 .3 C.E.U.s $40

Wire WrappingThis workshop explores the versatility

of the wire-wrapped loop. Learn wire

wrapping, how to make perfect loops,

and how to wrap teardrop shaped

beads. With these basic skills you will

be able to go on and create unlimited

works of art. Class time will be spent

designing and constructing a necklace

or bracelet.

Topics include: design, functional

and decorative wire-wrapping,

wire gauges, top and side drilled

beads and findings.






and cutter pliers.

• Su 9:30 AM–12:30 PM

1 session Oct 11

Melanie Schmidt

PMJ 111 .3 C.E.U.s $40

Wire Wrapping with ChainThis workshop further explores the

versatility of the wire-wrapped loop.


perfect loops, and how to incorporate

chain into your designs. With these

basic skills you will be able to expand

into designing more complicated looks.

Class time will be spent designing and

constructing a necklace and earrings.

Topics include: design, lariats, functional

and decorative wire-wrapping, metal

chains, wire gauges, top and side

drilled beads and findings.






and cutter pliers.


1 session Oct 11

Melanie Schmidt

PMJ 113 .3 C.E.U.s $40



XXXXXX

15

CERTIFICATEREQUIREMENTS

In order to receive Pratt’s Certificatein Photography and Digital Imaging,students must complete foundationcourses, required core classes and atleast five electives. A Foundation orrequired Core Course(s) may bewaived for a more advanced courseif you show competency—for exam-ple, through a portfolio review inthe subject matter of the coursewishing to be waived.Application fee: $100, non-refundable

Required Foundation Courses: Four

PMPH 470 History of Photography

PMPH 481 Intro to Photography

PMCG 101 Computer Comp (PC) or

PMCG 180 Computer Comp (Mac)

PMCG 442 Photoshop for

Photographers I or

PMCG 422 Imaging I

Required Core Courses: Four

PMPH 475 Prof Practices for

Photographers

PMPH 485 Photographic Lighting I

PMCG 500 Digital Photo I

PMPH 600 Photography Portfolio I

Electives: Choose at least five.

PMPH 481B Intermediate Black and

White Photography

PMPH 484 Adv Black and White

Photography

PMCG 425 Imaging II

PMCG 426 Photoshop Retouching

PMCG 442 Photoshop for Photographers

PMCG 458 Photoshop Montage and

Collage

PMCG 501 Digital Photo II

PMCG 504 Web Design for Art and

Photography Portfolio

PMPH 476 How To Sell Your

Photographs to Fine Art

Markets

PMPH 487 Photographic Portraiture

PMPH 489 Fine Art Photography

PMPH 500 City as Subject: Margins

and Center

PMPH 501 City of Dusk: A Photographic

Walking Tour

PMPH 502 Documentary Photography

PMPH 506 Alter Photographic Process

PMPH 508 Adv Portrait Master Class

PMPH 512 Location Photography

PMPH 513 Photographic Illustration

PMPH 514 Creative Entrée to the

Photography Marketplace

PMPH 515 Experimenting with Papers

and Toners in the Darkroom

PMPH 517 Wide Format Printing

PMPH 518 Intro to Fashion Photography

PMPH 601 Photography Portfolio II

Special Lectures count as one course.

Lecture series to be announced.

PHOTOGRAPHY ANDDIGITAL ART

Introduction to the CameraThe basic principles of the camera are

explained in this workshop. An adjustable

SLR or 35mm camera is required.

Please bring your camera to class.

Topics include: F-stops, shutter speeds,

exposures and light readings, backlight-

ing, depth of field, film types and ASA.

• Su 10 AM–4 PM

1 session Sept 13

Richard Beenen

PMPH 480 .5 C.E.U.s $85

History of PhotographyThis course looks at the social, artistic

and political context surrounding the

history of photography, specifically

considering its appeal and authority

from its inception to the present day.

Weekly lectures will highlight various

photographic trends and photographers

who have had major contributions

regarding the changing concept of

what a photograph is. You will not

only become familiar with these

photographers and genres, but

will discuss various photography

exhibitions going on at NYC museums

and galleries.

Topics include: areas of photography

such as portraiture, documentary, land-

scape, advertising, as well as the role

of family photographs.

Prerequisite: None.

• Sa 1–4 PM


Maxim Ryazansky

PMPH 470 3.0 C.E.U.s $375

Introduction to PhotographyExplore the fundamentals of black and

white photography in this introductory

course. The focus of the class is on

darkroom work and individual or small

group critiques.

Topics include: basic technical skills

needed for 35mm camera operation,

exposing and developing film, making

contact sheets, and enlarging and

finishing of black and white photographs.

Lab Time: Twenty hours of lab time

included. Additional lab time is available

at $5/hour.

• Section 1: Th 6:30–9:30 PM


Federico Savini

• Section 2: Sa 9:30 AM–12:30 PM


Federico Savini

PMPH 481 3.0 C.E.U.s $405

Intermediate Black and WhitePhotographyThis course provides a more thorough

understanding of the basic knowledge

and skills necessary to develop fine

black and white silver prints. The

aesthetics of the photograph are

addressed in individual and/or small

group critiques. A personal project

will be developed by each student.

Topics include: light, contrast, tone,

toning, bleaching, the Sabattier effect,

content composition, framing, print size,

the zone system, and the application

and uses of various films and papers.

Lab Time: Twenty hours of lab time

included. Additional lab time is available

at $5/hour.

• Tu 6:30–9:30 PM


Richard Beenen

PMPH 481B 3.0 C.E.U.s $405

MEDIA ARTS/PHOTOGRAPHY

Certificate Programin Photography andDigital Imaging Photography as artistic medium and

visual communication crosses interna-

tional divides, and the advent of digital

photography has made taking photos

accessible to all of us. This program is

designed for photographers, artists,

designers, architects or anyone else

who would like to take their photo-

graphic techniques, vision and current

knowledge to another level. If you are

interested in changing careers, prepar-

ing for a Master’s degree or pursing

personal growth, our courses will provide

a course of study that will take you

through the fundamentals, as well as

intermediate- and advanced-level

classes in black and white, and digital

photography. The technical principles

of photography and lighting for still

life, portraiture, and commercial

applications will be taught. Aesthetics,

processs, and individual creative vision

will be emphasized to help students

find their own unique style. Digital

imaging, including retouching, color

correction, color, and asset manage-

ment will prepare photographers for

the new digital photography studio.

Students will build a thorough body of

work and a professional portfolio.

Non-certificate students are welcome

to take individual classes, as long as

class prerequisites are met or they are

admitted through a portfolio review.

OneKey Account InformationOneKey user names and passwords

are necessary for all students and

faculty of Pratt Institute. Please see

page 71 for detailed instructions.


are one week prior to course start dates,

unless otherwise noted. Exceptions will

be allowed based on space availability.

We recommend that you register early.

VA Benefits forCertificate ProgramThis program is approved for veterans

and other eligible persons under the

GI Bill for education. Contact the

Department of Veterans Affairs at

1-888-GI BILL1 (1-888-442-4551 ), or

www.gibill.va.gov regarding eligibility.

Contact: Perry Han [email protected] or

Karen D’Angelo [email protected]

C E R T I F I C AT E P R O G R A M

P H OTO G R A P H Y A N D

D I G I TA L I M A G I N G


PHOTOGRAPHY ANDDIGITAL ART continued

Advanced Black and WhitePhotographyThis course is designed for those who

have a working knowledge of black

and white photography and are com-

fortable in the darkroom. The intent is

to produce exhibition-quality prints by

working within a theme, to create an

artistic statement, and to develop the

photographer’s portfolio.

Topics include: grants, gallery represen-

tation, commercial and fine art photog-

raphy (including photo history), and

advanced black and white printing.

• W 6:30–9:30 PM


Sara Signorelli

PMPH 484 3.0 C.E.U.s $405

Advanced Portrait Master ClassThis course taught by award winning

photographer Enrico Sacchetti, will

expand your skills and techniques

learned in The Art of Photographic

Portraiture and is well suited to advanced

students who want to take their skills

to the next level or prepare themselves

for a professional photography career.

You will be introduced to new

concepts, and challenge some conven-

tional thinking, while reaffirming some

very important photographic principles

such as light and composition. Throughout

the class we'll discuss contemporary

photographic ideas and visual concepts

and challenge you to photograph people

in different ways-from posed to sponta-

neous. We will work with composition,

lighting, point of view and will use

models to make unique and creative

images. Experimentation as well as

mistakes will be highly encouraged.

This course will steer clear of the

technical and digital in vogue consid-

erations and concentrate on the fun-

damental principles of great photography

that have never changed, regardless of

the equipment and technology: lighting,

composition and the photographer-

subject relationship.

The class will combine lectures,

demonstrations, fieldwork, and studio

assignments. Regular critique sessions

of your work, will allow for self-evalu-

ation and analysis. But the majority

your time will be spent behind the

camera photographing models and

fellow students to develop your

conceptual, technical, and personal

approach to portraiture.

Topics covered: Natural and artificial

lighting (flash and continuous), the

quality of light, lighting ratios (i.e. soft

vs. hard lighting), key light, hair light,

back lighting, and color temperature.

In addition, we will also cover lens

choices, light shapers, reflectors and

diffusers, framing and composition,

camera placement, expression, and

posing of the subject.

Prerequisite: The Art of Photographic

Portraiture or similar experience.

Please note: You may utilize either

digital or film, and may shoot in color

or black & white. Required equipment

will include an advanced camera, a

tripod, and a light meter.

• F 6–9 pm


Enrico Sacchetti

PMPH 508 3.0 C.E.U.s $405

Alternative PhotographicProcess Weekend WorkshopThis hands-on, non-computer workshop

will introduce students to the practice

of alternative photographic processes

and how they can interact with modern

technology. You will produce enlarged

negatives in Photoshop for contact

printing, mix chemicals, and hand-apply

emulsion. In addition to technique, a

brief overview of the historical context

and the work of contemporary practi-

tioners will be presented. You may

need to purchase additional materials.

Topics include: enlargement of negatives

for contact printing, creating images

using cyanotype and palladium

processes. Exposures can be made in

the sun or with UV exposure units

indoors...depending on the time of

the class and on weather conditions.

Materials fee: $35 for chemicals.

Prerequisites: Intro to Photography and

Basic knowledge of Photoshop.

• Sa 9 AM–5 PM

1 session Sept 12

Melissa Fleming

PMPH 505 .7 C.E.U.s $105

Alternative PhotographicProcessThis hands-on, non-computer course

explores the extensive range of alter-

native photographic processes and how

they can interact with modern tech-

nology. You will produce enlarged

negatives in Photoshop for contact

printing, mix chemicals, and hand-apply

emulsion. In addition to technique,

the historical context and the work of

contemporary practitioners will also be

presented. You may need to purchase

additional materials.

Topics include: enlargement of negatives

for contact printing, creating images

using cyanotype, palladium, Polaroid

and digital transfer processes.

Alternative cameras such as pinholes

and Holgas will also be used. Exposures

can be made in the sun or with UV

exposure units indoors...depending

upon the time of the class and weather

conditions.

Materials fee: $50 for chemicals.

Prerequisites: Intro to Photography and

Basic knowledge of Photoshop.

• Sa 1–4 PM


Melissa Fleming

PMPH 506 3.0 C.E.U.s $395

Creative Entrée tothe PhotographyMarketplacePhotography both plays a supportive

role to and requires support from many

industries in many markets. Under-

standing the conventions and expecta-

tions that are practiced is crucial to

operating effectively. Knowing what is

needed and wanted is the first step to

having a game plan to establish a place

for oneself. The classroom will serve as a

microcosm of the marketplace in which

you roll play as customers and vendors

in order to take stock of your capabili-

ties and learn how to compete to pro-

cure and render services proficiently.

Topics include: Understanding customer

expectations and industry practices;

gathering information from all avail-

able sources; taking stock of your

capabilities; setting attainable goals for

practicing professionally; packaging a

service in an original way; making a

presentation; finding your niche

through research and experimentation.

Prerequisite: Intro to Photography,

portfolio of work

• M 6–9 PM

10 session Oct 5–Dec 7

Ken Taranto

PMPH 514 3.0 C.E.U.s $385

Digital Photography IThis course is an overview of digital

photography, camera systems, and an

introduction to digital imaging using

Photoshop. Knowing how your camera

functions, how it collects information,

and how you can take control of the

photo-making process to create the

images you want, will be the primary

focus of this course. Photographic tech-

niques including content, composition,

selecting focal length, focus, and light

will be explored. The course combines

lectures, demonstrations, and fieldwork.

Topics include: basic camera functions,

exposure controls, file formats and

resolution, and digital imaging; digital

photography; film vs. digital; image

acquisition; scanners; TWAIN and

Photoshop plug-ins. Also covered are

image aesthetics; composition, image

editing and manipulation (software

applications, file formats, and color);

color correction; image and color

management, workflow, storage

archiving; and image output.

Prerequisite: Computer Competency

(Mac/PC).

Please note: Digital SLR cameras or

those capable of processing raw formats

are recommended. Class is taught in

a Mac lab.


• Section 1 (m): Tu 6:05–8:05 PM


Steven Hirsch

PMCG 500 3.0 C.E.U.s $785

Digital Photography IIThis level II course is for those interest-

ed in pursuing a more advanced study

of digital photography. This course will

teach you how to capture the best

initial image and explores the creativity

that digital capture allows. An exten-

sive exploration of Photoshop will

provide the background necessary to

use digital photography and digital

imaging in any design or production

process. You will explore your own

subjects and environments in pursuit

of a unique vision while learning from

in-class critiques and demonstrations.

Learning how to pre-visualize how you

see the end results of your subjects

before shooting.

Topics include: review of the basics

(your camera and the big three of

photography), batch processing, file

management and control, tagging,

keywords, content, form, and aesthet-

ics; the technical issues of processing

raw file formats; metering light, and

controlling exposure; getting the most

quality from digital camera files

through more advanced special effects

techniques. Converting your digital

color shots to black and white, you

will see, is the best way to achieve

custom black and whites, (whether

you want classic effects or a more

edgy modern look). We will also use

tripods in some interesting assign-

ments including: shooting for extend-

ed dynamic range (HDR), panaramas,

and self portraits.

Prerequisite: Digital Photography I and

Imaging I.



Please note: Digital SLR cameras or

those capable of processing raw for-

mats and at least manual controls

(being able to change f stop, shutter

speed and ISO) are recommended.

Also please bring your manual to every

class (Ideally read it several times

before the first class). A hard drive is

required to store your photos, and a

memory reader for your particular

memory card, ie, SD compact. For field

trips bring your battery charger or

extra charged batteries.


• Section 1 (m): F 6:05–9:05 PM


Melody Reed

PMCG 501 3.0 C.E.U.s $785

Experimenting withPapers and Tonersin the Darkroom The beauty of a well-crafted toned

black and white print can be subtle,

stark or sublime. The character and

characteristics of a silver gelatin print

vary by brand, surface and base, and

exponentially when toned chemically.

The results of printing one negative

hundreds of times on all available

papers and toned in all available ton-

ers will be shown to demonstrate the

unique effect of each pairing. A sepia

is not a sepia! It can have a colorcast

that runs from yellow to brown to red.

In this course, experimentation meth-

ods will be explained and explored and

you will pool your knowledge and

share your results. You will expand

your basic printing skills to include

controlling toning processes and add

another dimension of expression to

your photography.

Topics include: Determining desirable

dilutions, toning times, and exposure

requirements for a given paper/toner

combination; toning for archival pro-

cessing; learning how to use sepia, sele-

nium, gold, brown, copper, and tea

toners and which papers work the best.

Prerequisite: Intermediate Black and

White Photography or equivalent

printing knowledge.

Materials fee: $25

• W 6:30–9:30 PM


Ken Taranto

PMPH 515 3.0 C.E.U.s $405

Fine Art PhotographyThis course will provide the opportunity

for photographers to develop or evolve a

specific look or style that is uniquely your

own. In addition to studying the work

of well-known fine arts photographers,

you will present your work each week,

and the instructor will suggest specific

individual assignments that will help you

find and express your best artistic vision.

You will then work on a final project,

creating a body of work exhibiting a

unifying and coherent theme.

Topics include: self expression, what is

a good portfolio, major themes, master

photographers and their work, “fine”

vs. “commercial” art, discovering

your style.

Prerequisite: Intro to Photography or

Digital I, or portfolio review.

• Tu 6:30–9:30 PM


Paul Lachenauer

PMPH 489 3.0 C.E.U.s $385

How to Sell YourPhotographs toFine Art MarketsThis course is an introduction to various

fine art markets that purchase or

license photographs for use in public

spaces or for reproduction. You will

learn how to engage with buyers of

fine and decorative art photographs,

develop an understanding of the dis-

cipline and approaches required to

gain the attention of potential buyers

of fine art photographs, and cultivate

creative professionalism. The course is

divided into four parts: Fine Art

Photography vs. Decorative Art:

Similarities and Differences; Building a

Body of Work; Identifying Art Markets;

and Approaching Prospects.

Topics include: An overview that will

take a broad look at various fine art

markets: areas of interest, the profession,

its procedures, and practice; defining

fine art markets that may be interested

in your work; distinguishing between

fine art galleries, art consultants, and

art publishers; an explanation of the

differences between fine art and

decorative art; and a description of

the activities of art consultants and

art publishers. Also included is the

description and implementation

process for making professional

contact with prospects.

Prerequisite: It is recommended that

students send or show portfolio

pieces before class but not required.

You must have and maintain a func-

tioning email address.

• Tu 6–9 PM


Leonard Morris

PMPH 476 3.0 C.E.U.s $375

Location PhotographyThis course develops under-

standing and control of both natural

and artificial light while working on

location. Situations are studied using

the six qualities of light to understand

the limitations, advantages, and excit-

ing possibilities that shooting on loca-

tion has to offer. Portable electronic

flash and other light controlling

devices are used to teach how to mod-

ify “available” light to create a desired

result. You will learn how to accurately

control exposure in a mixed/multiple

light situation to render a professional

result. You will be given the opportuni-

ty to explore your own vision using the

techniques covered in class. This

course will be composed of in-class

demonstration, critique, and hands-on

location shooting.

Topics include: The qualities of light,

color temperature, mixing different

light sources, “finding” the light,

creating a new reality, exterior and

interior situations, location scouting,

and discussion of location permits.

Please note: You may shoot in black

and white, color, and digital formats

but DSLR’s are recommended since

being able to see your results instantly

will be advantageous.


Digital Photography

• Sa 1–4 PM


Ralph Masullo

PMPH 512 3.0 C.E.U.s $385

Intro to FashionPhotographyThis course is designed for those

interested in the fashion photography

genre. The course will emphasize the

art and production of the fashion shoot.

Primarily a hands-on studio course, all

aspects of the field will be examined:

editorial, advertising, and beauty.

Topics include: Many lighting techniques

will be covered, including strobe and

natural light. You will learn to produce

your own photo shoots including

scouting locations, working with models,

makeup artists, etc. The relationship

between photographer and model,

art director and client will be covered.

Photoshop processing and retouching

techniques will also be incorporated

into your photographic projects.

Portfolio development discussion will

include portfolio content and profes-

sional presentation.

Prerequisite: Digital Photography I and

Imaging I.

Please note: Students must work with

a digital SLR camera. Please bring

samples of your work to the first session.

• Th 6–9 PM


Tracy Toler

PMPH 518 3.0 C.E.U.s $405

Panoramic Photographyand the GigapanThis workshop will cover various methods

for making panoramas with point and

shoot as well as digital SLRs handheld,

on a tripod, and with the Gigapan

robotic camera mount system. Post-

capture techniques will be demonstrated

to show how to stitch files together

seamlessly and deploy retouching

solutions. The Gigapan is a hardware

and software system that uses ordinary

digital cameras to make incredibly

large and detailed panoramas that

can be uploaded and shared online for

free. A growing worldwide community

forum provides an audience and support

for this NASA-based technology made

available and affordable by Carnegie

Mellon University’s CREATE Lab, which

will make a limited number of loaner units

available for student experimentation.

Topics include: Camera setup, expo-

sure, alignment, controlling perspec-

tive and distortion; lens focal length

considerations; stitching with Photoshop’s

Photomerge; post-stitching problems

and solutions; Gigapan setup and

basic operations for optimum exposure

and successful end results; using the

Gigapan stitcher, uploader and forum;

saving files, making corrections in

Photoshop, and printing.

Prerequisite: Digital Photography 1

• Su 9:30 AM–1:30 PM


Ken Taranto

PMPH 516 1.2 C.E.U.s $165



PHOTOGRAPHY ANDDIGITAL ART continued

PhotographicIllustrationCreativity through the use of photog-

raphy is the emphasis of this course.

You will learn how to create imagery

that illustrates a concept. This course

will reinforce previously learned tech-

niques while exploring a problem solving

approach to image creation. You will

be encouraged to express your artistic

vision by creating concept-based still

life images. These images can be realistic,

highly stylized, or abstract in nature.

Through lecture, demonstration,

hands-on experience and critique you

will explore how to take a concept

from imagined vision to reality.

Topics include: Concept words and

topics; traditional and non-traditional

approaches; starting from an idea;

envisioning your image; planning

and executing the illustration; working

with miniature sets; studio lighting

techniques; advantages of digital

imaging; creating the impossible image.

Please note: You may shoot in black

and white, color, and digital formats.

Prerequisite: Photographic Lighting I

and Photoshop for Photographers

or Imaging I.

• Sa 9:30 AM–12:30 PM


Ralph Masullo

PMPH 513 3.0 C.E.U.s $385

Photographic Lighting IThis course will teach you the funda-

mentals of working with a variety of

lighting systems and techniques and

will cover the theory and application of

lighting in the studio and on location.

The photographic works and lighting

of master photographers will be

introduced to give you a background

in visualizing light and lighting

methodology. Work with a variety of

lighting systems including existing

light, enhanced by fill cards, reflectors

and flash, tungsten and studio strobes

with umbrellas, and soft boxes. Set ups

will include art and commercial applica-

tions of portraiture, still life and food,

editorial, magazine, and beauty

photography. You may shoot in black

and white, color, and digital formats.

Topics include: historical perspectives,

capturing truthful moments, new

perspectives, organizing a portrait

session, including scheduling and

setup, managing client expectations,

lighting, backgrounds, clothes, props,

and makeup. In-class critiques on your

personal imagery, the success of your

communication, and telling a personal

story will be covered.


Digital Photography, or portfolio review.

• W 6:30–9:30 PM


Don Penny

PMPH 485 3.0 C.E.U.s $385

Photographic Lighting II:Photographing CommercialProducts Whether working with film or digital

photography, it is essential to have a

strong understanding of lighting in

order to express your unique vision.

This course will strengthen your studio

strobe-lighting skills. Through demon-

stration and hands-on experience, you

will learn how to see, plan and control

multiple strobes lights on a tabletop set.

You will also learn how to photograph

various kinds of commercial products

such as jewelry, shoes, cosmetics, or

crystal. Each product poses its own

lighting challenges. Through the medium

of digital photography, you will be able

to instantly see and compare the results

of various lighting methods.

Topics include: how to create and

control reflections, how to light with-

out hot blinding spots, how to use a

strobe meter, how to balance lights by

controlling watt-second output on the

strobe power pack, how to use “gobos”

to control shadow and contrast?

• M 6:30–9:30 PM


Dawn Giarrizzo

PMPH 503 3.0 C.E.U.s $385

Photographing Artwork andSmall ObjectsThis course is designed for those who

wish to photograph their artwork accu-

rately and professionally. The emphasis

will be on lighting and color accuracy.

All types of two- and three-dimensional

works will be covered.

Topics include: Methods of photographing

two dimensional art such as drawings,

paintings prints, and photographs; three

dimensional objects such as sculpture

and ceramics; indoor spaces such

as gallery installations; choosing back-

grounds for the artwork; equipment

basics—cameras and lighting equipment;

choosing a format—35mm, 2 1/4, 4x5,

or digital; types of film; tungsten vs.

daylight; filtration and color correcting;

difficult subjects such as glossy surfaces,

metallic objects, jewelry, and dark

objects; and masking slides.

Prerequisite: Intro to Photography

• Sa 9:30 AM–12:30 PM


Paul Lachenauer

PMPH 511 1.2 C.E.U.s $155

Pratt Institute co-sponsorsThe Hollywood Film Institute’sTwo-Day Film School™:A Crash Course for Writers,Producers, and DirectorsThis acclaimed course has launched the

careers of such film notables as Quentin

Tarantino and Guy Ritchie; the creators

of Barbershop and My Big Fat Greek

Wedding; and twenty Sundance

entrants, including the creators of In the

Company of Men and The Blair Witch

Project. In just one weekend, this course

will show you how to “Make Your Film”

(produce, direct and shoot) and “Sell

Your Movie” (finance, distribute and

sell) in a simple, demystifying, step-by-

step process. By the end of the seminar,

you, a first-timer, will know what it

takes to make a feature film with

budgets from $5,000 to $10,000,000.

All participants will receive a producer’s

diploma, a graduation certificate, and

a filmmaker’s workbook.

Topics include: producing, writing, talent,

guilds and unions, financing, deal

making, directing, cameras, shooting,

editing, marketing, festivals, distributing

and negotiating, and, as a bonus, digital

filmmaking, and web distribution.

Course Location: Millennium Film

Workshops, Inc., 66 E. 4th St.,

between 2nd Ave. and Bowery.

• Section 1: Sa–Su 9 AM–6 PM


• Section 2: Sa–Su 9 AM–6 PM

2 sessions Dec 12–13

Dov S-S Simens (all sections)

PMFI 200 $389

Professional Practice forPhotographers: Getting fromHere to There—PhotographicThinking and StrategiesFor course description, please visit our


Prerequisite: Intro to Photography/

lighting useful; portfolio of work;

own camera.

• Tu 6–9 PM


Ron Nicolayson

PMPH 475 3.0 C.E.U.s $375

The Art of PhotographicPortraiturePortraiture represents perhaps the most

practical skills a photographer can have.

It is the foundation of a professional

photographer’s repertoire. This course

offers an intensive experience on all

phases of the discipline—from lighting

to studio and location. The instructor

will illustrate how to use portraiture

within photography. Geared to both

the amateur and professional, this

course will integrate creative and pro-

fessional skills so that each student can

express his or her own individual creative

abilities. Work in this class can be done

in black and white, color, or digital

camera formats. Students must have

a camera, tripod, and cable release.

Topics include: lighting studio, beauty,

location, editorial, celebrities, group

portraits and environment, building

a cohesive portfolio of portraits for

exhibition and publication.

Prerequisite: Introduction to Photography.

• Th 6–9 PM


Peter Bellamy

PMPH 487 3.0 C.E.U.s $385

Wide Format PrintingThis course covers the basics

of digital wide format inkjet printing

from planning through execution. You

will learn how to prepare your files

and follow essential routines to control

the quality of the finished product.

While the emphasis is on producing

archival fine art prints for exhibition or

portfolio, the same techniques can be

used for many commercial applications.

Instructor will offer to output your files

each week and charge according to

size and media. Whether you intend to

set up your own wide format printer

or not, this course will provide a foun-

dation for making critical choices and

gaining the knowledge and confidence

to get predictable and professional

results.

Topics include: Understanding workflow

in terms of input and output, color

management principles and practices;

Reviewing paper choices – photo and

fine art papers, canvas; learning file

re-sampling options in Photoshop,

Blow Up and Genuine Fractals;

Scanning film for optimum results,

fluid mounting, pre-scanning; Printing

from applications Lightroom and

Photoshop; Understanding a software

RIP such as Colorburst; Selecting an

image and print size; Testing output in

smaller sizes; Wall murals – tiling, file

prep, print and wall prep, installation.



Prerequisite: Intro to Photography or

Digital Photography I, and knowledge

of Photoshop.

Materials fee: Payable to instructor

according to size and media.

• F 6–9 PM


Ken Taranto

PMPH 517 3.0 C.E.U.s $385

See pages 25 and 27 for course

descriptions.

Adobe Lightroom for PhotographersMaking Masterpieces with

Corel PainterPhotoshop: Channels, Masks and

Layers: Essentials and AdvancedTechniques

Photoshop RetouchingPhotoshop Montage and CollagePhotoshop for Photographers

CAREER DEVELOPMENT

Selling Your Art inNew York CityNew York is a place filled with artwork,

but where can you sell it? Not only are

there galleries, but many stores and

shops that sell artwork. There are also

new venues available online.

Topics include: Preparing your work

for galleries; sending out postcards;

self-promotion; making contacts and

following up with calls and e-mails;

preparing art for public display; selling

your art at an art fair.

• Sa 9 AM–5 PM

1 session Sept 12

Mark Ziemann

PMCD 120 .7 C.E.U.s $105

See pages 9, 11, 16, 17, 26, 65 for

course descriptions.

Create a Professional Design PortfolioCreative Entrée to the

Photography MarketplaceEntering the Handcrafted Gift MarketExpressive Design: Creating

Distinction through InnovativeProduction Techniques

How To Sell Your Photographs toFine Art Markets

The Business of Contemporary Artand Professional Practice

CREATIVITY AND ARTISTICEXPRESSION

Secrets of Altered Statesof Consciousness for Artists,Writers, and Creative ThinkersIncrease your imagination and generate

creativity. Learn the techniques used by

exceptionally inventive people like

Robert Louis Stevenson, Edison, Einstein,

Marie Curie, Al Capp, and Picasso.

Topics include: dream interpretation,

dream journaling, dream programming,

visualization, self-hypnosis, deep relax-

ation, image scanning, plus a bibliog-

raphy of hard-to-find sources for

books and tapes on these subjects.

Materials fee: $35 for textbooks,

payable to instructor at first session.

For more information, call Professor

Meyers at 718-852-7636 or email

[email protected].

• Sa 1–4 PM


Newton Meyers

PMCD 101 1.5 C.E.U.s $175

CONSTRUCTIONMANAGEMENT

Blueprint ReadingThe prints may no longer be blue but the

lines drawn on the paper by a designer

tell the reader what to build. This hands-on

course explains the rules and techniques

of drawing preparation and leads to an

understanding and interpretation of this

unique means of communication.

Topics include: dealing with scale,

mechanical drawings, contract drawings,

and shop drawings.

• Su 9 AM–5 PM


Abraham Kovner, CPE

Alex MacKenzie, CPR

PMCM 100 1.4 C.E.U.s $189

See pgs. 43–56 for AIA-approved courses.

Bidding the Construction ProjectBuilding Green: An OverviewConstruction Methods and MaterialsConstruction Specifications WritingEstimating Cooling Load on Excel

(HVAC 1 and 2): RefrigerationPrinciples

Estimating Structural Steel ErectionEstimating Structural Steel FabricationFuel Properties, Combustion, Heating

Load Estimation on Excel (HVAC)Improving Public Health by

Greening Your SpecificationsSpecifications Writing, Principles,

and Practice

FACILITIES ANDENVIRONMENTALCOMPLIANCE

See pages 41-43, 59 for descriptions of

the following AIA-approved courses.

Architectural Restoration:Motivators and Constraints to thePreservation of Older Structures

Building Green: An OverviewBuilding Green ‘Round the WorldBuilding NaturallyClimate Change Fundamentals for

Design ProfessionalsDesigning and Renovating Carbon

Neutral BuildingsEarth in BalanceEnergy, Greenhouse Gas,

Weatherization Audits, andCapital Planning

Freshwater WetlandsGo Green RetrofitsGray Water Heat RecoveryGreen By DesignGreen Design Versus Historic

PreservationGreening Your Facilities:

A Holistic ApproachImproving Public Health by

Greening Your SpecificationsIndoor Air QualityLand Use EngineeringPerformance Modeling for

Carbon Neutral BuildingsPerformance Rating of New

Buildings: The ProcessRenewable/Green EnergySustainability Approach to

Engineering DesignSustainability Pioneers: Heroes

of the PlanetSustainable HabitatsSustainable RemodelingThe Environment. SEQRA and

the Engineered ProjectThis Hazardous HouseVisionary Designing with

Glass Block and High Performance Glass Block Systems

Wind Energy Systems

LAW

See page 54 for a description of the

following AIA-approved course.

New York Construction Law

MARKETINGWORKSHOPS

See pages 9, 18 for course descriptions.

Entering the Handcrafted Gift MarketProfessional Practice for

Photographers: Getting fromHere to There—PhotographicThinking and Strategies

PUBLISHING FOR THE REAL WORLD

Ghostwriting andSelf-Publishing toRocket Your CareerHaving your own book is the first step

to getting on TV, landing movie deals,

signing publishing contracts, and

launching a career as a public speaker.

CEOs, celebrities, artists, “talking-head

experts” are doing it. The hottest trend

today is being an author. Now you

can “make a name for yourself,” too.

If you can’t write, get a ghostwriter

(it’s tricky, but worth it). If you can’t

get an agent (Hollywood or literary),

self-publish (even Donald Trump did it).

This course is an absolute must for the

fame and fortune seekers out there.

Topics include: hiring the right writer

(costs, contracts, ownership of rights);

independent publishing (design, printing,

distribution); the top 10 secrets of the

professional promoters (low-cost

guerilla marketing tips, guaranteed

sales techniques, ways to entice

agents, getting into Barnes & Noble,

and much, much more).

• Tu 6–9 PM

1 session Dec 15

Larry Leichman

PMW 804 .3 C.E.U.s $45

Creative WritingSee page 7 for course description.

Electronic Publishing and Digital ArtSee pages 25–27 for course descriptions.



20

CLASSES FORBEGINNERS

These classes are for students with

little or no computing background.

These classes are also prerequisites

for most of the hands-on computing

classes. If you are uncertain of your

level of computing experience, see

a counselor at Pratt Manhattan.

Overview of Digital Creationand Digital MediaThis seminar offers an overview of the

creation and distribution of images

with digital tools and media, focusing

on fine arts and independent media

production. The seminar looks at how

digital technology has taken over most

aspects of the visual communication,

publishing, and entertainment indus-

tries. After viewing work in the class-

room for the first half of the day, the

afternoon portion will include a field

trip to galleries in Chelsea that present

work in the digital realm. Possible sites

include: Bitforms Gallery, The Kitchen,

among others (subject to gallery exhibi-

tion schedules at the time of the class.)

Recommended audience: Digital artists,

computer animators, designers, project

managers, producers, and anybody

interested in digital arts and production.

Prerequisite: None.

• Sa 9 AM–5 PM

1 session Sept 12

Kathy Brew

PMCG 100 .7 C.E.U.s $150

Intro to Computing (MAC)This seven-hour, hands-on seminar

addresses basic computing topics such

as file management and manipulation

of data files for the beginner.

Topics include: management of applica-

tions; customizing your Windows work

environment; basic operating

system functions, including copy and

format; basics of how the operating

system interacts with software and

hardware.

Prerequisite: None.

• Section 1 (m): Sa 9 AM–5 PM

1 session Sept 12

Stephen Blauweiss

PMCG 104 .7 C.E.U.s $175

Computer Competency (Mac)Fundamentals of computer use are

explored in hands-on laboratory and

lectures. The three core programs

that support the computer graphics

industry—Adobe Photoshop, Adobe

Illustrator, and QuarkXPress—are

then introduced. This course is recom-

mended for the beginning student

seeking a career in electronic publishing,

computer illustration, interactive media,

or web design.

Topics include: basic computing concepts

for graphic artists, file management,

the Macintosh operating system,

graphics programs, and Internet basics.

Note: This required foundation

course may be waived with proof of

professional competency.

Prerequisite: None.

• Section 1 (m): Sa 9:30 AM–12:30 PM


Vincent Yakoumakis

PMCG 180 3.0 C.E.U.s $735

PowerPoint:The Presentation ToolIf you are a producer, architect,

teacher, financial advisor, or anyone

the need to give a presentation, but

don’t have the time to commit to a

full semester, then this workshop is

for you. This four-hour intensive study

in PowerPoint is not a hands-on work-

shop but a demonstration in the use

and design of a quick and easy presen-

tation. Handouts and shortcuts on

creating a good presentation will be

shared and tips on creating down and

dirty programming will be discussed in

length. You will leave this workshop

being able to put together your own

presentation at work or home.

• Section 1 (w): Sa 9:30 AM–1:30 PM

1 session Sept 12

Carol Chiani

PMCG 191 .4 C.E.U.s $139

ANIMATION

Pratt Manhattan offers varied

approaches to animation and motion-

based media. We offer courses that

deal with traditional animation and

design as well as those that provide

technical training in digital animation.

Traditional Animation IAnimation is possibly the most versatile

art form, since anything that can be

seen can be made to move through

animation, whether it’s 3D or flat,

realistic or abstract. This studio course

focuses on drawn animation, starting

with simple flipbooks and working up

to fuller character-style animation.

Computer animation students will find

that working in traditional animation

and creating each frame by hand will

give them a more instinctive under-

standing of animation timing.

Topics include: timing and motion

charts, key-framing and in-betweening,

straight-ahead animation, gestures

and posing, anticipation and reaction,

overlapping motion, squash, and stretch.

Prerequisite: Basic Drawing or Basic

Drawing for Animation.

• W 6:30–9:30 PM


Greg Webb

PMFA 479 3.0 C.E.U.s $375

Traditional Animation IIThis course is a continuation of

Traditional Animation I.

Topics include: advanced character

development—creating a unique custom

“walk” for a character; developing its

body language, head, and hand gestures;

drawings for key frames of mouth;

in-betweening for proper lip-synch;

character coloring; background art;

multilayer background art; multi-plane

background art; illusion of movement

to create parallax-shift and illusion of

depth; short, finely tuned advanced

projects recorded with a digital camera

for viewing on the computer monitor

or “dumped” to video.

Prerequisite: Traditional Animation I or

experience in drawn animation and

with in-betweening.

Computer Facilities FeesStudents registering for thirty-hourcomputer courses are required to paya non-refundable facilities fee of:• $25 per course

Lab TimeTwo hours of lab time is available perweek, for those taking 10 and 15 session courses. Students also receiveadditional floating lab time for thesemester. Students must show their student IDs to gain entrance to the lab. Daytime seminars do notinclude lab time.

Make-up ClassesMake-up classes may be scheduled for atime other than your normally scheduledclass time, such as a Saturday or Sunday.

Computer courses can be taken on anindividual basis or as part of Pratt’sCertificate Program.See pages 38–39 for information on the Certificate Program.

OneKey AccountInformationOneKey user names and passwords arenecessary for all students and facultyof Pratt Institute. Please see page 71for detailed instructions.

Autodesk® Authorized Training CenterPremier Media and Entertainment,(formerly known as discreet®) courses,see pages 21-24.

Autodesk® Authorized Training Centercourses, see pages 30-37.

Registration DeadlinesRegistration deadlines for all coursesare one week prior to course startdates, unless otherwise noted.Exceptions will be allowed based onspace availability. We recommendthat you register early.

C O M P U T E R G R A P H I C S A N D

T E C H N O L O G Y C O U R S E

D E S C R I P T I O N S

• Th 6:30–9:30 PM


Greg Webb

PMFA 480 3.0 C.E.U.s $375

Basic Drawing for AnimationSee page 12 for course description.

Continuity Storyboards: The Filmmaker’s Best FriendThis course targets all areas of visual

pre-production and design for 2D,

3D computer, stop-motion and hand-

drawn animation, as well as live action.

Topics include: what a continuity story-

board is and its different uses; visuali-

zation of an idea or script; and how to

turn them into a series of frames to use

as a guide for the shooting of a film or

video production—including features,

shorts, animation, live action or

commercials. There will be discussions,

examples, and several hands-on exercises

to help students practice and perfect

their skills.

Prerequisite: Basic Drawing

• M 6:30–9:30 PM


Greg Webb

PMCG 250 3.0 C.E.U.s $375

3D Computer Graphics TheoryThis foundation course presents the

principles needed to understand

3D computer graphics.

Topics include: the differences between

2D paint systems, 2D drawing programs,

and 3D modeling and rendering systems;

modeling philosophies, vertices and

coordinate systems; viewing methods;

and construction techniques.

Prerequisite: Imaging I, Adv. Stop Motion

or Mac Graphic Illustration I.

• W 8:10–10:10 PM


Debbie Deas

PMCG 210 3.0 C.E.U.s $375

Design for Computer AnimationFocusing on design concepts of charac-

ters and special effects, this course will

use materials from production studios—

conceptual work from drawings as well

as finished film and television pieces.

You will also explore the differences

between 2D and 3D animation and

the fully animated film and animation

projects provided in class.

Storyboarding will be used to simulate

the final look of characters or special

effects and demonstrate how these will

be accomplished.

Topics include: character design; story-

boarding and animatics as tools

for communication of ideas; types

of animation design; and the differences

between 2D design and 3D design

for animation.

Prerequisite: 3D Computer Graphics

Theory and experience with one or

more imaging or computer animation

programs. Traditional Animation (may

be taken concurrently).

• F 6–9 PM


Instructor to be announced

PMCG 251 3.0 C.E.U.s $375

Maya™ I Fundamentals: 3D Modeling, Animation,and RenderingAlias-Wavefront’s Maya is the premiere

3D animation package used by film-

makers, architects, multimedia artists,

and game designers. This introductory

course using Maya gives you a solid

foundation in modeling, animating,

lighting, texturing, and rendering with-

in a 3D environment. You are expected

to complete a final project consisting of

a fully rendered 3D scene, complete

with lights and materials.

Topics include: overview of Windows

2000 and hardware as it pertains to

Maya, navigating the 3D workspace,

NURBS modeling techniques, basic

animation skills, overview of 3D lighting

design, creating isometric shading

networks, applying texture and bump

maps, and rendering scene files.

Prerequisites: Photoshop or Illustrator

or equivalent. 3D Computer Graphics

Theory is recommended.

• Section 1 (w): Th 6:05–8:05 PM


James Bowman

• Section 2 (w): Su 9:30 AM–12:30 PM


Daniel Krengiel

• Section 3 (m): Su 1–4 PM


Daniel Durning

• Section 4 (w): W–F 9 AM–3 PM

6 sessions Oct 14–16, 21–23

Frank Collazo

PMCG 230 3.0 C.E.U.s $845

Maya II: Modeling, Animationand EffectsThis intermediate course builds on the

skills learned in the Maya I Fundamen-

tals course. The focus is on advanced

modeling and animation techniques and

applying visual effects to your scenes.

Topics include: Advanced modeling

techniques using NURBS, polygons and

subdivided surfaces, advanced texturing

applications, dynamics properties within

Maya, and visual effects using particle

systems.

Prerequisite: Maya I.

• Section 1 (w): Th 8:10–10:10 PM


Daniel Krengiel

PMCG 241 3.0 C.E.U.s $845

History of AnimationSee page 13 for course description.

Maya AdvancedCharacter Design This course begins with a conceptual

and historical survey of caricature and

character development. Students will

then sketch and develop pre-production

studies of their characters, followed by

demos on how to create realistic faces,

hands, and clothing. The emphasis will

be on the design of a specialized “look”

to express character. Demos will also

be made on production of the students’

own designs. Final projects will be short

ten-second animations of characters,

after students learn to create the

specialized rigs and skinning techniques

for their characters’ motions.

Topics include: modeling a realistic head;

subdivision surfaces; advanced organic

modeling, including patch modeling

for seamless NURBS characters; blend

shape and other deformers; lip sync,

animating with sound, and advanced

rigging and skinning techniques.

Prerequisite: Maya II.

• Section 1 (w): Su 1–4 PM


Daniel Krengiel

PMCG 340 3.0 C.E.U.s $845

Special Effects with MayaThis workshop covers designing with

Maya Unlimited built-in plug-ins. Learn

to use the deep menu sets of these

tools to create a customized look that

vastly expands the visual potential of

3D beyond the constraints of NURBS

and polygonal geometry.

Topics include: Maya Paint, Cloth, Fur,

and Fluid Effects.

Prerequisites: Maya II and a working

knowledge of compositing software

such as Shake, combustion, or

After Effects.

• Section 1 (w): F 6–9 PM


Daniel Durning

PMCG 341 3.0 C.E.U.s $845

Autodesk® 3ds Max® DesignSee page 36 for course description.

Autodesk® 3ds Max® Design2010 UpdateSee page 37 for course description.

Autodesk® 3ds Max® 2010Fundamentals: Modelingand Rendering ICreating amazing visual effects shots,

animations, broadcast graphic designs,

or high-end design visualization

requires software that is flexible, open,

and has the rich range of tools that

free your talent to create mesmerizing

3D. That’s what Autodesk 3ds Maxprovides the user. This course is designed

for the entry-level 3D artist. Through a

series of small projects, students will

learn the basic skill-sets and concepts.

Topics include: navigation in 3D space;

polygon and spline modeling; manipu-

lation of objects; lighting interior and

exterior spaces; photorealistic and

procedural texturing; creating environ-

mental effects; cameras; rendering and

output techniques; and production

and efficiencies tools. Each topic will

be related to real-world production

examples, as well as various professional

fields—i.e. gaming, broadcast, web

production, and architecture.

Prerequisites: Working knowledge of

Windows, Computer Graphics Basics,

and 3D Computer Graphics Theory are

recommended.

• Section 1 (w): Tu 6:05–8:05 PM


Marc Floresant

• Section 2 (w): M 8:10–10:10 PM

15 sessions Aug 31–Dec 21

Ruslan Kuchman

• Section 3 (w): M–F 9 AM–4 PM

5 sessions Aug 31–Sept 4

Eric Kachelhofer, Ruslan Kuchman




PMCG 223 3.0 C.E.U.s $845

Autodesk® 3ds Max® 2010Modeling, Materials,and Rendering IIThis course takes the seasoned Auto-desk 3ds Max user through advanced

concepts and techniques for creating

complex models and materials. Learn

to determine project needs and incor-

porate correct modeling concepts,

material applications, and output

methods for desired results. Develop

the skills to outline, prepare, execute,

and output a virtual environment.





ANIMATION continued

Topics include: advanced modifiers;

creating advanced extrusions and

latched surfaces; advanced lighting

applications; incorporating patch and

mesh modeling tools and techniques;

and creating compound materials.

Prerequisite: Autodesk 3ds MaxModel and Rendering I

• Section 1 (w): W 6:05–8:05 PM


Eric Kachelhofer, Frank Collazo



Eric Kachelhofer, Marcello Ferri

PMCG 240 3.0 C.E.U.s $845

Autodesk® 3ds Max® 2010Animation IThis course is an introduction to

Autodesk 3ds Max’s animation

environment. Learn to analyze motion,

overlapping activity, and deformations,

which add clarity and strength to

animation.

Topics include: key framing, hierarchical

relationships, animated camera move-

ment, forward and inverse kinematics,

object metamorphosis and adjustments

to animated Splines, track editing

environment, expression keying, and

traditional animation principles.

Prerequisite: Autodesk 3ds MaxModel and Rendering I. Design for

Computer Animation recommended.

• Section 1 (w): M 6:05–8:05 PM






PMCG 254 3.0 C.E.U.s $845

Autodesk® 3ds Max® 2010Animation IIThis course is an in-depth continuation

of Animation I. Numerous techniques

related to subtle animation control

and animation rendering are discussed,

as you plan and execute a project.

Topics include: inverse kinematics,

character studio hierarchical linkage,

mesh morphing, animated maps,

and other advanced level animation

techniques.

Audience: Autodesk 3ds MaxAnimation I students; advanced

computer animators who wish to

become fluent in Autodesk 3ds Max.

Prerequisite: Autodesk 3ds MaxAnimation I or advanced computer

animation experience.

• Section 1 (w): F 6:05–9:05 PM


John Scalera



Eric Kachelhofer, Frank Collazo

PMCG 330 3.0 C.E.U.s $845

Clases Nuevas en EspañolNew Classes in Spanish

Diseño Arquitectónicocon Autodesk® 20103ds Max® DesignArchitectural Design withAutodesk® 3ds Max® DesignAutodesk 3ds Max Design es el soft-

ware de modelado 3D, rendering, y

animación para crear diseño de visual-

izaciones arquitectónicas Foto realísticas.

Sus excelentes herramientas para el

modelado e interoperabilidad única

simplifican la creación de contenidos 3D.

Las herramientas Layers, materiales,

y Schematic View incrementan la

eficiencia en el manejo de datos.

Y la Tecnología de punta usada en la

creación de imágenes, incluyen el Motor

de Render Mental Ray®, aseguran

cálculos de iluminación de alta calidad

y muy exactos.

Los temas incluyen: los conceptos de

3D, rendering, animación, modelado

3D, color, herramientas de creación y

edición, visualizadores 3D, transforma-

ción y modificación de objetos,

creación de formas, objetos lofting, el

editor de materiales, mappings, luces,

cámaras, tracking de perspectivas así

como generación de movimientos de

cámara en diferentes escenarios 3D.

Prerrequisito: el conocimiento de

Windows XP, los conceptos de mode-

lado 3D, Dibujo 2D y 3D o programas

de modelado.


5 sessions Offered Spring 2010

Alfredo Villalobos M.

PMCG 252S 3.0 C.E.U.s $845

Architectural Visualization using AutoCAD and Autodesk®

3ds Max® Design 2010See page 36 for course description.

ModeladoArquitectónico II con Autodesk® 3ds Max®

Design 2010Architectural Modeling II withAutodesk® 3ds Max® DesignEl propósito de este curso es producir

escenas más complicados para visual-

izaciones arquitectónicas en un ambiente

de producción. Este curso guiará

al estudiante ya familiarizado con

el contenido cubierto en el Level 1

a través de la creación de escenarios

más complejos, también el estudiante

aprenderá trucos atajos para modelar

rápidamente. Los materiales serán

aplicados a los lugares y dados.

Los temas incluyen: el modelado

avanzad, aplicación de materiales

avanzados y preparación de escenas

para render.

Prerrequisito: Autodesk 3ds MaxModel and Rendering I or Architectural

Visualization using AutoCAD and

Autodesk 3ds Max.

• Section 1 (w): M–Th 9 AM–5:30 PM


Alfredo Villalobos M.

PMCG 256S 3.0 C.E.U.s $845

Autodesk® 3ds Max® 2010Advanced Character Design(Modeling)The ability to create convincing 3D

characters is a skill that requires the

blending of art and science. This class

will take you step-by-step through the

process of creating finished 3D characters

that have believability and appeal,

using the latest professional techniques

aimed at the game, film, and broadcast

industries. By the end of this course,

you will have completed a 3D character

in class, and will have stronger knowledge

and insight into the world of professional

character modeling.

Topics include: creating character

designs based on the study of anatomy,

model sheets, reference imagery, and

3D production examples. A variety of

modeling methods will be explored in

detail, including Patch, Spline, and

advanced polygonal surface construction,

using native and add-on tool sets.

The course also covers texturing and

mapping techniques and the creation

of custom shaders.

Prerequisite: Autodesk 3ds MaxModeling, Materials, and Rendering II

or the instructor’s approval.

• Section 1 (w): F 6:05–9:05 PM


John Scalera

PMCG 331 3.0 C.E.U.s $845

Autodesk® 3ds Max® 2010Advanced Character AnimationCharacter animation is one of the most

challenging aspects of 3D. It is also one

of the most rewarding. Doing it well

requires keen observation of the

motion around you, extreme dedication,

focus, and a strong belief that you can

and will breathe life into your character.

This advanced course takes you through

the step-by-step process of preparing

and animating a 3D character using

proven professional techniques. The

class will be divided into three sections.

Section One: construction of a skeletal

“rig,” using inverse and forward

kinematics, and the creation of custom

controllers to help the animator

automate repetitive or tedious motion.

Section Two: skinning the mesh using

max’s native Skin Modifier and the built-in

Deformers.

Section Three: animating your character

based on the study of traditional

animation principles, motion guides,

and your own observation. Every student

will be expected to complete an

animation “short” created with a model

of their own or a model supplied by

the instructor.

Prerequisite: Autodesk 3ds MaxAdvanced Character Design or the

instructor’s approval.

• Section 1 (w): W 8:10–10:10 PM


Marc Floresant, Eric Kachelhofer

PMCG 332 3.0 C.E.U.s $845

Autodesk® 3ds Max® 2010Advanced Projects For course description, please visit our


Prerequisite: Advanced Character

Design and Advanced Character

Animation required.

• Not offered this semester.

Marc Floresant, Eric Kachelhofer

PMCG 337 3.0 C.E.U.s $845



Autodesk® 3ds Max® 2010 GameLevel and Character DesignMaking a 3D game is a ton of work.

From gathering assets (sounds, textures,

special effects) to creating model

animations and level placement, this

course takes you step by step into the

virtual world of 3D games using

Autodesk 3ds Max as the software.

At the end of the course you will have

all your 3D models for characters,

enemies, power ups, and levels.

This course is for creating characters,

enemies, power ups, scenery, and

animations all within Autodesk 3dsMax. It will give you the prototype to

any video game demo you wish to

create in 3D. Storyboards, models,

and object placement will be explored

as you delve into professional level and

character design. If you ever wanted

to create 3D video game levels and

characters and have fun while you do

it, this course is for you.

Topics include: use of Autodesk 3dsMax for all your assets, how to turn

your 3D video game demo idea into a

reality, game specific modeling standards

(high vs. low poly), why is image tiling

so important yet sometimes done

so poorly, how to keep the players

interested in your art, what makes

an enemy stand out, and more.

Prerequisite: Basic knowledge of

Autodesk 3ds Max construction.

• Section 1 (w): Su 9:30 AM–12:30 PM


Gabe Walter

PMCG 243 3.0 C.E.U.s $845

Special Effects (FX) with Autodesk® 3ds Max® 2010This course will teach Autodesk 3dsMax users how to accomplish special

effects in the Autodesk 3ds Maxenvironment. Autodesk 3ds Max is

being used more and more in film

and television arenas to create special

effects. As a result of a complete

rewrite of Autodesk 3ds Max’s

particle system, there is a new way to

accomplish this without the need for

expensive plug-ins. With the bar being

raised at every turn in animation, you

will learn how to make hair and clothing

for your characters as well as how to

make realistic fire and other special

effects in film and 3D animations.

Topics include: particles for simulating

dynamics with event-based (procedural)

animation that expands the special

effects artist/animators’ palette in an

ever more demanding work place; the

use of the native Autodesk 3ds Maxenvironment vs. purchased plug-ins;

specific plug-ins such as Shag-Hair,

Phoenix and Particle Studio, and

reactor (part of Autodesk 3ds Max).

Prerequisite: Autodesk 3ds Max.

• Section 1 (w): Tu 8:10–10:10 PM






PMCG 333 3.0 C.E.U.s $845

See page 36 for the following course

descriptions.

Architectural Design withAutodesk 3ds Max Design

Architectural Visualization usingAutoCAD and Autodesk3ds Max Design

Architectural Modeling II withAutodesk 3ds Max Design

Architectural Rendering andLighting in Autodesk3ds Max Design

Autodesk 3ds Max DesignIntensive Workshop

Autodesk® 3ds Max® 2010Design Advanced LightingScene lighting and animated lighting

are crucial in the design of animation

projects. This workshop analyzes

the lighting concepts and techniques

used in film, video, and computer

animation, and shows you how to

achieve these effects efficiently in

Autodesk 3ds Max Design.Topics include: the effects of various

types of light sources, setting environ-

mental tone, specific lighting cues used

to accentuate storyline, tips and tricks

for faking high-end effects.

Prerequisite: Autodesk 3ds MaxModel and Rendering I.

• Section 1 (w): Tu–Th 9 AM–5 PM



PMAM 224 2.1 C.E.U.s $615

Camera Matching andIntegration of Live Footagein Autodesk® 3ds Max® 2010This workshop will teach the camera

matching techniques for seamless

integration of live footage and computer

animation enabled by Autodesk 3dsMax.

Topics include: preparation of live

footage, use of outside programs for

extreme situations, preparation of the

scene for natural integration and

lighting concepts.

Prerequisite: Autodesk 3ds MaxModeling and Rendering I.

• Section 1 (w): F 9 AM–5 PM

1 session Oct 16

John Scalera

PMAM 246 .7 C.E.U.s $225

character studio® and skinfor Autodesk® 3ds Max® 2010This three-day workshop covers two

of the most essential tools for doing

serious character animation—character

studio and skin. Learn to use these

tools to generate skeletal structures,

correctly link character models to

bones, and apply realistic bipedal

motion to your characters.

Topics include: modeling techniques

for seamless characters, creating and

combining motion files, and character

interaction with props.

Prerequisite: Autodesk 3ds MaxAnimation I or equivalent.

• Section 1 (w): M–W 9 AM–5 PM


Kim Lee, John Scalera

PMAM 237 2.1 C.E.U.s $605

Facial Animation with Autodesk® 3ds Max® 2010In this one-day workshop, animators

learn professional techniques for

getting realistic facial expression and

animation, using built-in software

for Autodesk 3ds Max.

Topics include: lip synch, morphing

techniques, morph target creation

issues, and techniques, and specialized

plug-in software.

Prerequisite: Autodesk 3ds MaxAnimation I or equivalent.

• Section 1 (w): Th 9 AM–5 PM

1 session Dec 17

Kim Lee, John Scalera

PMAM 238 .7 C.E.U.s $225

Introduction to Special Effectswith Autodesk® 3ds Max® 2010and combustionThis one-day workshop will introduce

the concepts of special effects created

inside Autodesk 3ds Max and the use

of combustion to create content for

any kind of project.

Topics include: the introduction of

Autodesk 3ds Max as a special effects

tool; introduction to Particle Flow;

use of image types and the flexibility

inherent in each; using Autodesk 3dsMax with combustion; and the special

interoperability within the discreet

family of products.



1 session Sept 11

John Scalera

PMAM 249 .7 C.E.U.s $225

MAXScript Seminar MAXScript is a fundamental way to

get to the true power of Autodesk3ds Max. Easy to learn and program,

MAXScript allows the 3D artist and

animator complete control over the

MAX environment. From creating custom

tools and custom UI’s to reducing

repetitive tasks, MAXScript puts a lot

of power in the hands of the user.

Topics include: the basic structure of

the MAXScript programming language,

examples of tools and structure that

make the creation of scenes easier and

flexible and customizable UI’s that help

the 3D artist master the environment.

• Section 1 (w): M 9 AM–5 PM

1 session TBD

Eric Kachelhofer

PMAM 248 .7 C.E.U.s $225

Mudbox®

There’s a load of software

out there to help you get the job

done. But not too many of them are

revolutionary. Mudbox is such a soft-

ware. What would have taken a lot of

planning, modeling, and rigging can

now be done in a huge fraction of the

time, with a lot easier tools using

Mudbox. More energy can be spent on

creative purposes and less energy on

having to learn foreign icons and unin-

tuitive placements of those tools.

From the interface to the manage-

able prototype process, all the begin-

ning steps will be covered in this

course. Along with mini-assignments

and lessons, an overall project will be

preplanned and due at the end of the

course based on your own original

designs. Characters will be developed

and refined!

Topics include: Mudbox character

placement; Tool usages for figures

(life forms vs. mechanical objects);

Tools for details, higher mesh states;

Coloring schemes, materials, references;

Development of your characters;

Midterm/refining; Lighting scene

merging /3ds max workflow; Xref/

replacing different states/adding 3ds

props; Poses/animations in 3ds max;

and Adding refinements.

• Section 1 (w): Th 8:10–10:10 PM


Gabe Walter

PMCG 258 3.0 C.E.U.s $845

ANIMATION continued

Project Management SeminarProject management is an area that all

levels of animators and 3D artists need

to understand. This workshop will

show you how to evaluate the project,

make time projections and make realistic

estimates of time and expense. The

case scenarios presented in class will

be based on real-world examples.

Topics include: evaluation of time,

manpower, man hours, and resources.

• Section 1 (m): Tu 9 AM–5 PM

1 session Oct 1

Frank Collazo

PMAM 247 .7 C.E.U.s $225

Special ProjectsIndependent StudyAdvanced 3ds Max students can

arrange to take a special projects

seminar with Eric Kachelhofer

<[email protected]>. You

will be consulting with Eric on projects

for your portfolio with advanced

assignments.

For further information, please

contact Karen Adler Miletsky,

Associate Director, [email protected].

• PMCG 601 3.0 C.E.U.s $845

Texturing SeminarTexturing is one of the most important

aspects of 3D animation. This workshop

will take you through various phases of

the texture process from simple, low poly

modeling bitmap texturing to advanced

procedural techniques that lend towards

realism in high-end animation.

Topics include: the UVW unwrap modifier,

types of materials and when to use them

appropriately, mapping techniques for

characters and other organic models,

and maximizing the use of mapping

channels and the modifier stack.



1 session Oct 2

John Scalera

PMAM 245 .7 C.E.U.s $225

DIGITAL VIDEO AND AUDIO

Our digital video and audio courses are

useful for artists and designers interested

in incorporating multiple media into

existing projects and the professional

who needs these tools for post-pro-

duction and final output.

Adobe After Effects CS4: IAdobe After Effects is essential for digital

artists interested in 2D or 3D animation,

digital video, web video, broadcast

graphics, and film. Examine composition

and animation, using Adobe After

Effects. You will produce several weekly

assignments as well as a final project

of your own design.

Topics include: working with existing

visual materials; layer compositing,

rendering, and outputting movies;

special effects; key-frame animation

controls; and other production

techniques. Aesthetic problems

include motion, transparency, textures,

transitions, camera movement, music,

and structure.

Software tools include: Adobe After

Effects, Photoshop, Illustrator, Sound

Edit 16, and Painter.


(Mac/PC), Imaging I or equivalent are

required. Experience with time-based

media is recommended.

• Section 1 (w): M 6:05–8:05 PM


Adam Meyers

PMCG 436 3.0 C.E.U.s $805

Adobe After Effects CS4: IIThis course will focus on the role of

the After Effects animator in the

production pipeline.

Topics include: advanced key-framing

and motion, keying (blue-screening)

and compositing techniques, 3D

camera matching, motion tracking and

stabilization, advanced 3D and light-

ing, working with effects and tools,

working with time, expressions (After

Effect’s scripting language). Also,

discussions will cover a variety of

common challenges faced in the

production environment.

Software tools include: After Effects,

Photoshop, Illustrator, as well as a brief

exploration of several 3D packages.

Prerequisite: Adobe After Effects I.

• Section 1 (w): M 8:10–10:10 PM


Adam Meyers

PMCG 440 3.0 C.E.U.s $805

Adobe Premiere Pro CS4This course provides a comprehensive

overview of Premiere Pro, Adobe’s

latest non-linear digital video editing

software. Advances such as real-time

playback of transitions, effects, motion

paths, and titles; broadcast color

adjustment; DVD output; and Dolby

5.1 audio surround-sound production

positions this software’s as an important

force in today’s DV industry. Using

Premiere Pro as the primary software tool,

students will focus on visual effects

issues unique to time-based media.

Students will be assigned a series of

projects through which technical, aesthetic,

and narrative issues will be explored.

Topics include: optimization and com-

pression codes; time code, logging,

and capturing media; importing source

material; trimming, transition edits;

key-framing; compositing; title overlays;

applying video/audio effects and filters;

and outputting/archiving project material.

Prerequisite: Photoshop.

• Section 1 (w): W 8:30–10:30 PM


Mark Solomon

PMCG 435 3.0 C.E.U.s $805

Compositing with ShakeShake is a compositing application

optimized for film and video special

effects. Designed for quality, speed,

and efficiency, Shake has been used in

the broadcast, interactive gaming, and

multimedia effects industries. Shake

merges compositing, motion tracking,

color correction, image manipulation,

and special effects tools in an easy-to-

understand interface.

Topics include: compositing techniques,

as well as some of the more advanced

features of Shake; creating simple and

complex composites; and using techniques

such as keying, tracking, and rotoscoping.

The instructor will bring in footage for

hands-on demonstrations, but students

are encouraged to develop their own

projects as they learn the software.

Prerequisite: Comfort with OS X and

a background in video applications

(Premiere or Final Cut Pro) or time-line-

based environments (After Effects, Flash).

• Section 1(m): Su 9:30 AM–12:30 PM


Manuel Gonzalez

PMCG 463 3.0 C.E.U.s $815

Non-Linear Editing and VideoEffects with Final Cut ProThis course is a comprehensive overview

of non-linear editing using Apple’s

popular and powerful Final Cut Pro

software. The course is designed to

give an overall feel for Final Cut Pro. It

starts with the basics and will go as far

as title creation and video effects. The

course focuses on the application, its

interface, and relevant technicalities.

Editing techniques, aesthetics, theory

and basic production concepts will also

be discussed. You will learn to edit

shots, capture video, organize footage,

edit and mix sound, apply transitions

and effects, layer and composite video

tracks, and output to various formats.

Topics include: hardware configuration,

working with time code, traditional

editing techniques in digital media,

capturing setups, basic sound editing

and audio mixing, key framing, filters,

titles, compositions, exporting footage,

outputting to tape, media management,

and editing terminology

Tools include: Final Cut Pro, SoundTrack,

LiveType.

Prerequisites: Computer Competency

(Mac) or comfort with Mac OS X is

required. Highly recommended: some

previous experience working with

any web, video, sound, or graphic

applications.

You may contact the instructor if

unsure about these recommendations.

• Section 1 (m): Tu 8:10–10:10 PM


Shachar Langler

PMCG 434 3.0 C.E.U.s $815

Advanced Techniques in Final Cut ProThis course is designed for those who

have a basic understanding of Final Cut

Pro and want to go beyond an intro-

ductory skill-set. The emphasis is on

advanced editing techniques using FCP.

You are encouraged to work on inde-

pendent projects with the instructor's

guidance, to combine motion graphics

and other media to enhance their

projects, and to integrate their FCP

workflow with other applications. The

emphasis is on a mastery of all the appli-

cations in the Final Cut Studio 2 suite.

Topics include: advanced media man-

agement; multi-resolution editing;

advanced titles; post-syncing video and

sound elements; basic effects, split

screens; nesting; masking and mattes;

keying; compositing; color correction

and finishing.



Tools include: Final Cut Pro, After Effects,

Photoshop and helper applications. A

digital video camera is recommended if

a student wants to work on an individ-

ual project, but it is not required.

Prerequisite: Non-Linear Editing with

Final Cut Pro.

• Section 1 (m): Th 8:10–10:10 PM


Shachar Langler

PMCG 462 3.0 C.E.U.s $815

DRAFTING ANDMODELING ON THE MAC

AIAVectorWorks Professional IThis course introduces architectural,

design, and drafting professionals to

VectorWorks, a unique CAD program

for Macintosh and Windows that

integrates 2D, 3D, and hybrid objects

in the same drawing window.

Topics include: menu commands;

2D and 3D tool palettes; constraint and

attribute palettes; SmartCursor™ and

Screen Hints™; drawing environments,

including scales, units, layers, classes,

and snaps; graphic and keyboard

creation and editing of 2D objects;

dimensioning and text; direct 3D object

creation and conversion from 2D;

printing and plotting; 3D flyover;

walkthrough; and a demonstration

of QuickTime™ animation.

Prerequisites: Drafting experience

or mechanical drawing skills. Some

computer experience is a plus.

Please note: Not accepted by NYS

for credit.

• Section 1 (m): Tu 6:05–8:05 PM


Jeffrey Harris

30 AIA/CES LU’s

PMCG 212 3.0 C.E.U.s $815

AIAVectorWorks Professional II: 3D Modeling and Rendering In this course, you will learn all the skills

necessary to create quality 3D renderings.

You will also use these skills to study both

space and form in the 3D environment.

This course will cover material textures,

animated walk-throughs, lighting

scenes and objects, perspective views,

and all the essentials of 3D modeling.

Topics include: extrusions, nurbs,

textures, lighting, rendering techniques,

animated walk-throughs, 3D polygons,

image props, perspective, and lofting.

Prerequisites: VectorWorks Pro I or

knowledge of VectorWorks.

• Section 1 (m): Tu 8:10–10:10 PM


Jeffrey Harris

30 AIA/CES LU’s

PMCG 321 3.0 C.E.U.s $815

AIAform•Z Fundamentals:Modeling and Rendering IIn this course, you will learn design

for entry-level 3D modeling that gives

the artist the most proficient Boolean-

oriented modeling for object- and

space-oriented design. Create complex

three-dimensional computer models with

environments and textures. Final projects

will involve creating a fully-rendered

exterior and interior model for producing

still and fly-through animation.

Topics include: form modeling, meshing,

photo-realistic rendering, lighting

affects, bump mapping, texture mapping,

and simple fly-through animation.

Prerequisites: Basic knowledge of the

Macintosh interface, familiarity with

vector-based image generation.

• Section 1 (m): Tu 8:10–10:10 PM


Lara Guerra

30 AIA/CES LU’s

PMCG 213 3.0 C.E.U.s $815

Maya I Fundamentals: 3D Modeling, Animation, and Rendering On the MacSee page 21 for course description.



Daniel Durning

PMCG 230 3.0 C.E.U.s $845

ELECTRONICPUBLISHING ANDDIGITAL ART

These classes focus on the computer as

a design and imaging tool. They are

appropriate for artists and designers

going into all areas of digital media.

See pages 9-11 and 19 for the


Book Arts WorkshopGraphic Design and Print ProductionGhostwriting and Self-Publishing to

Rocket Your CareerIntroduction to Graphic Design

Adobe Acrobat CS4This workshop provides a thorough

understanding of the suite of applica-

tions collectively known as Adobe

Acrobat. These are Reader, Acrobat,

and Distiller—all of which are involved

in the viewing, creating, and editing of

portable document files (PDFs). PDF is a

cross-platform file format that encap-

sulates text, graphics, and multimedia

elements. Students learn how to create,

edit, enhance and distribute PDFs for

the web, on CDs, and for laser prints

and professional publishing.

Topics include: creating, using and editing

hypertext links; using bookmarks and

thumbnails; security settings; embedding

fonts; and file compression.

• Section 1 (m): Sa 9 AM–5 PM

1 session Sept 12

Mark Solomon

PMCS 252 .7 C.E.U.s $225

Adobe InDesign CS4InDesign is an extremely capable design

and production tool with unparalleled

precision and control, and seamless

integration with Adobe’s professional

graphics applications, including Adobe

Photoshop and Adobe Illustrator.

InDesign is capable of producing profes-

sional-quality, full-color output on high-

volume color printing presses and also

supports a wide range of output devices

and formats such as desktop printers,

PDF files, and HTML files. Simply put,

it is Adobe’s alternative to QuarkXPress,

with equal control capability in the sleek

interface we’ve come to expect form

Adobe’s suite of applications.

Topics include: setting up your document;

working with frames; creating and

applying colors, tints, and gradients;

importing and editing text; working

with typography; importing and linking

graphics; drawing; using advanced

frame techniques; color management;

ensuring consistent color and preparing

documents for high resolution printing.

Prerequisite: Computer Comp. (Mac).

• Section 1 (m): Su 9:30 AM–12:30 PM


John Pace

• Section 2 (m): F 6:05–9:05 PM


John Pace

• Section 3 (m): W–Th 8:30 AM–2 PM

6 sessions Sept 2–3, 9–10, 16–17

Joe Miceli

PMCG 303 3.0 C.E.U.s $785

Advanced Adobe InDesign CS4with Photoshop and IllustratorSince its release, InDesign—with its

consistency of color and commands

across these three invaluable graphic

artists tools—has steadily drawn more

and more converts from QuarkXpress.

This course is recommended for those

wishing to extend their Adobe skills in

all three programs with emphasis on

InDesign and those who wish to inte-

grate these three standards of the digital

design studio.

Topics include: Utilizing Adobe’s big

three in document layout, typesetting,

and combining vector art and raster art

to design and produce work for both

print and the web.

Prerequisites: Adobe InDesign I,

Graphic Illustration I, and Imaging I,

at a minimum.

• Section 1 (m): Su 9:30 AM–12:30 PM


• Section 2 (m): W–Th 8:30 AM–2:30 PM

6 sessions Sept 23–24, Sept 30–Oct 1,

Oct 7–8

Joe Miceli (all sections)

PMCG 352 3.0 C.E.U.s $785

Adobe Lightroomfor PhotographersLightroom enables you to import,

manage, and make global adjustments

to large volumes of images, all from

one intuitive interface. Adobe Photoshop

CS4 and Adobe Photoshop Lightroom®

software work hand in hand, so you

can efficiently manage thousands of

images-or perfect just one. Photoshop

CS4 provides unrivaled editing power

and breakthrough compositing capabili-

ties. Lightroom is the professional pho-

tographer's essential toolbox, providing

one easy application for managing,

adjusting, and presenting large volumes

of digital photographs.

Together, Photoshop CS4 and

Lightroom provide a complete solution

for the post-capture processing and

editing of digital photography.

Topics include: importing your photos;

finding your way around; sorting

your photos; keywords and metadata;

getting your photos out of Lightroom;

white balance; cropping and straight-

ening; toning photos; using the tone

curve; editing multiple photos; adjusting

specific colors; creating black and

whites; dust and spot removal; sharp-

ening and noise reduction; lightroom/

Photoshop workflow; getting great

prints; and creating killer web galleries.

Prerequisites: One year of Photoshop

or equivalent, hard drive with your

own high res images. You should own

a digital camera, and have the ability

to shoot and download images.

• F 2:30–5:30 PM


Melody Reed

PMCS 319 1.5 C.E.U. $388




ELECTRONICPUBLISHING ANDDIGITAL ART continued

Advanced Techniques inPhotoshop: Channels, Masks,Layers, Actions and Plug-insCombining the principles of painting and

photography with cutting edge tech-

nologies, this class will teach and inspire

your own creative vision. Using primarily

the latest version of Photoshop along

with the Bridge, raw editing mode, and

third party plug-ins, we will also learn

about downloading, editing and creating

different actions and brushes from the

internet, to use Photoshop in new and

transformative ways.

Step by step tutorials will first guide

you through inspiring techniques, and

then moving into a workshop environ-

ment where you will be encouraged to

explore these new ways of looking and

working on your own artistic images.

Topics include: selection strategies,

creating painterly effects, color control,

advanced channels and blending

manipulation, and achieving good

bokeh. Subtle and painterly surrealistic

HDR (High dynamic range) effects will

be explored and combined in your own

customized creation. (For examples, see

http://newweb2009.photosbymelody).

Prerequisite: Drawing or painting is not

required. A knowledge of the topics in

Photoshop I is required (or instructor’s

permission).

Please note: a camera, ideally with

some manual controls (f stop, shutter

and ISO controls), raw output a plus,

including any level of experience in

photography recommended.

• Section 1 (m): W 6:30–8:30 PM


Melody Reed

PMCG 481 3.0 C.E.U. $785

Create a ProfessionalDesign PortfolioYour portfolio is your image. It repre-

sents who you are and what you are

capable of. It is the key to success in

the highly competitive business of

graphics. Whether you are a beginner

who is creating a portfolio for the first

time or a more experienced designer

who wants to upgrade their presenta-

tion, this course will teach you how

best to present your unique identity.

Learn how to put together a memo-

rable portfolio from a professional

with years of experience as a senior

art director and designer.

Topics include: intensive hands-on skills

that will integrate Quark, Illustrator

and Photoshop.

Prerequisite: You must have a good

knowledge of Quark, Illustrator and

Photoshop.



Joe Miceli

PMCG 510 3.0 C.E.U.s $785

Desktop Publishingwith QuarkXPress IThis hands-on course provides a solid

foundation in QuarkXPress.

Topics include: basic typesetting and

paragraph formatting techniques,

creating single-and multi-page docu-

ments; importing pictures, creating

style sheets, preparing files for output,

and laying out documents such as ads,

brochures, and articles.

Prerequisite: Computer Comp. (Mac).

• Section 1 (m): Sa 1–4 PM


Vincent Yakoumakis

• Section 2 (m): Th–F 9 AM–3 PM

6 session Sept 3–4, 10–11, 17–18

Stephen Blauweiss

PMCG 304 3.0 C.E.U.s $785

Desktop Publishing with QuarkXPress IIFor course description, please visit our


Prerequisite: Desktop Publishing with

QuarkXPress I.

• Section 1 (m): Not offered this semester.

Vincent Yakoumakis

PMCG 421 3.0 C.E.U.s $785

Digital Photography I and IISee page 16 for course description.

Electronic Prepress ProductionThis course discusses the traditional

prepress process and how print tech-

nology has changed. Learn appropriate

electronic document construction, the

printing processes, and the best

approach to PostScript, the program-

ming language of high resolution

electronic prepress. Work on publishing

projects that can result in electronic

documents, scans, color separations,

and color proofing types.

Topics include: Scanning; monitor calibra-

tion; file formats; color correction, sepa-

ration, and management; halftone and

stochastic screening technologies; trap-

ping and color output types for proofing.

Recommended audience: For those inter-

ested in moving into the production/

printing field (or designers who want

to be more knowledgeable about elec-

tronic prepress), who are comfortable

using the software programs listed and

able to create projects using them.

Prerequisite: QuarkXPress I and/or

InDesign, Imaging I (Photoshop), Mac

Graphic Illustration I (Illustrator).

• Section 1 (m): Tu 8:10–10:10 PM


Elaine Tannenbaum

PMCG 427 3.0 C.E.U.s $785

Graphic Illustration I:Adobe Illustrator CS4Adobe Illustrator is the premiere program

in the computer graphics industry for

Vector Drawing. With the advent of CS4

the program is more flexible and creative

than ever, and more complex. It is easily

the best program to learn how to create

smooth-lined, clean, scalable graphics for

both print and the web. This course is an

introduction to this friendly environment.

Topics include: The basics of drawing

with a strong emphasis on the drawing

tools and the new color tools; Path-

finder; Layers; Importing Photoshop,

or raster files. Type in all variations and

functionality. Weekly assignments will

be made leading to a portfolio piece at

the end of the course.

Prerequisite: Computer Comp. (Mac/PC).

• Section 1 (m): M 8:10–10:10 PM


Joe Miceli

• Section 2 (m): M 12–3 PM


John Pace

• Section 3 (w): Tu 3–6 PM


Joe Miceli

PMCG 202 3.0 C.E.U.s $785

Graphic Illustration II:Adobe Illustrator CS4This course is a continuation of the

study of the more complex variations

and advanced tools of Adobe Illustrator.

Topics include: More advanced tools for

drawing, including symbols, warp tools,

graphs, gradient mesh, the new web-

site creation, and animation. Weekly

assignments will be made leading to a

portfolio piece at the end of the course.

Prerequisite: Graphic Illustration I. or

permission of instructor.

• Section 1 (m): M 6:05–8:05 PM


John Pace

• Section 2 (m): F 3–6 PM


John Pace

PMCG 420 3.0 C.E.U.s $785

Illustrator CS4 forArtists and IllustratorsAdobe Illustrator CS4 is now so full of

information to learn, it is nearly impos-

sible to convey it all in depth in one 30

hour course. This course is divided into

two sections. In the first 7 weeks, new

features would be discussed, demon-

strated, and practiced. In the second

8 weeks, a semester project is done,

generating a piece of original art utilizing

the program so as to retain the stamp

of originality of the artist. In this way

the computer takes its proper place as

a tool only, and the talent of the artist

is emphasized and developed.

Topics include: new tools and features

such as the enhanced color tool and color

sets; symbols, styles, and attributes; how

to utilize traditional drawing when the

user is not comfortable with the mouse

as drawing instrument or has no stylus

available; transparency and blending modes;

rasterization and Photoshop filters.

Prerequisite: Imaging I, or instructor's

permission to determine their expertise.

No Beginners. Must have prior experience

with Photoshop.

• Tu 3–6 PM


John Pace

PMCG 478 3.0 C.E.U.s $785

Illustrator for Fashion DesignAdobe Illustrator is the Fashion Industry

standard for creating fashion flats. You

will gain an excellent understanding of

the tools needed to create fashion

design principles.

Topics Include: An in-depth understanding

of how the Pen Tool works in order to

obtain a high proficiency level to create

drawings. All aspects of drawing flats,

garment design and working with

images and color, multiple layers and

special effects. You will be able to

create fabric and trim libraries, stitch

effects, and/or repeat prints.

Prerequsite: Computer Competency

(Mac/PC)

• Section 1 (m): F 6:05–9:05 pm


Joe Miceli

PMCG 477 3.0 C.E.U.s $785

Imaging I: Photoshop CS4Learn the basics of Adobe Photoshop,

considered the premiere imaging pro-

gram. Used by professionals for

image/photo manipulation, color correc-

tion, retouching, and montages in all

aspects of digital print and web imaging

as well as original “paint” art. (Over 80

percent of all images on the web, inter-

nationally, touch Photoshop at someREGISTER ONLINE: my.pratt.edu

point.) Explore the various tools available

in this exciting, versatile program used by

graphic designers, illustrators, retouchers,

production/prepress, web designers, pho-

tographers, and animators.

Topics include: an introduction to all

the basic tools; layering; appropriate

file formats when saving for print and

for the web; scanning; using Photoshop’s

powerful filters and effects; channels

and masking.


(Mac/PC).

• Section 1 (m): Tu 6:05–8:05 PM


Stephen Blauweiss

• Section 2 (m): Tu 3–6 PM


Cheryl Stockton

• Section 3 (w): Th 3–6 PM


John Pace


6 sessions Sept 24–25, Oct 1–2, 8–9

Stephen Blauweiss

PMCG 422 3.0 C.E.U.s $785

Imaging IIThis course is designed for experienced

Photoshop users and focuses on

advanced and newly created additions

to Photoshop. For graphic designers,

illustrators, retouchers, production/

prepress, Web designers, photogra-

phers, and animators. Photoshop can

even slice an image for the Web and

write the HTML document.

One interesting aspect of the program,

which will be explored, is the use of

Photoshop as a rendering program, cre-

ating a painted illustration. Retouching is

covered, and Montage or Compositing

photos in such a way as to create a

seamless photo. Workflow options are

also discussed including actions, batch-

ing, and other automated tasks, such as

droplets and contact sheets.

Topics include: color correction and

retouching; utilizing masks; alpha

channels; color spaces and modes;

duotones; custom brushes; advanced

layering techniques; automated batch

techniques; digital photography;

saving files for multiple uses in print,

other media, and the Web.

Prerequisite: Imaging I: Photoshop

• Section 1 (w): W 3–6 PM


Tracy Toler



John Pace

PMCG 425 3.0 C.E.U.s $785

Making Masterpieceswith Corel PainterTransform your favorite photographs

into beautiful paintings using Corel

Painter software. This course is open

to photographers and artists who

want to learn the creative potential

of Corel Painter. Painter allows you

to create oil paintings, mosaics, pastel

sketches, and impressionistic master-

pieces from your photos.

Topics include: Techniques for making

a pastel portrait; how to turn a photo

into a Van Gogh masterpiece; tips for

using real bristle brushes to create your

own techniques both automatically

and manually. Offer your clients the

capability of the value added service

of turning their photo into a painted

masterpiece. We will create one

masterpiece per week.

Prerequisite: No previous Corel Painter

experience required. No painting or

drawing skills required. Basic photog-

raphy skills, a portable hard drive, with

your photos, a digital camera, and

knowledge of your camera.

Recommended audience: Students

should be a Digital Photographer or

serious student of photography, with

the equivalence of one year’s experience

with Photoshop, (should be fluent

with masks and layers).

• Section 1 (m): W 8:35–10:35 PM


Melody Reed

PMCG 480 3.0 C.E.U. $785

Photoshop for PhotographersThis course is designed for photogra-

phers who want to move into the field

of digital imaging. Working with

Adobe Photoshop, photographers will

gain an understanding of how to take

an image from film and digital camera,

scan if necessary, and use Photoshop

to make an image look its best using

image correction, production, studio,

and advertising techniques.

Topics include: optimizing tone and

color, retouching and repairing,

focus and exposure, blending images,

converting color images to grayscale,

advanced layering and masking

techniques, colorspace, resolution

issues, and Photoshop’s batch features

specially designed for photographers.


(Mac) and some Photoshop experience.

• Section 1 (m): Th 8:10–10:10 PM


Stephen Blauweiss

PMCG 442 3.0 C.E.U.s $785

Photoshop Montageand CollageThe difference between this course and

other Photoshop classes is that, here, we

will consider the creative process at the

same time we discuss specific techniques.

This class is geared to designers who

already understand the basic functionality

of Photoshop’s many tools. The challenge

is not how to use each of these tools

individually, but how to use them together

to transform simple images into creative

and unique works of art.

Topics include: selection strategies and

essentials; removing the background;

making complex selections (hair and

fine detail); the power of layer masking;

strengths and weaknesses of Paths;

enhancing image focus; mastering

curves; color correction techniques;

adjustment layers; understanding the

Blending modes; the Zen of Alpha

channels; image calculations; photog-

raphy for compositing; photorealistic

compositing; creative compositing.

You will also learn how to stitch photos

together for panoramas.

Prerequisite: Basic Photoshop tools and

a digital camera. Ideally, the camera

should have at least some ability to

manually override the automatic settings,

so you can change the settings creatively.

• Section 1 (m): M 8:10–10:10 PM


Melody Reed

PMCG 458 3.0 C.E.U.s $785

Photoshop™ RetouchingThis course provides an overview of the

problems retouchers must solve.

Recommended for anyone doing visual

manipulation, photography, computer

graphics, and illustration.

Topics include: shadows; hair; extensions;

photo-compositing; assessing and

manipulating color, light and texture with

subtlety and control; Photoshop features

such as gamma, curves, masking tech-

niques, and filters.

Prerequisite: Imaging I.

• Section 1 (m): Th 6:05–8:05 PM


Stephen Blauweiss


6 sessions Oct 15–16, 22–23, 29–30

Stephen Blauweiss

PMCG 426 3.0 C.E.U.s $785

ELECTRONICPUBLISHING ANDDIGITAL ART: SHORTCLASSES FOR PROS

Created for professionals with busy

schedules, the following twelve-hour

classes are available in order to provide

a good foundation and understanding

of the programs in the least amount of

time possible.

Express Your WayThrough Quark XPressThe class begins with simple methods

that build on each other. You’ll learn

how a professional analyzes and applies

keyboard shortcuts to increase speed

and proficiency. By the end of this

class you will be able to design and

complete a full-page 4-color ad.

Topics include: importing text, pictures

learning menus, linking tools, measure-

ment palette, document palette, color

and more.

Prerequisites: None.


4 sessions Nov 4–5, 11–12, 18–19

Joe Miceli

PMCS 300 1.2 C.E.U.s $305

Quick Draw Your WayThrough IllustratorFor course description, please visit our


Prerequisite: None


4 sessions Oct 14–15, 21–22, 28–29

Joe Miceli

PMCS 301 1.2 C.E.U.s $305

Snap Your Way Through PhotoshopFor course description, please visit our


Prerequisite: None


4 sessions Dec 2–3, 9–10, 16–17

Joe Miceli

PMCS 302 1.2 C.E.U.s $305

INTERACTIVE MEDIAAND THE INTERNET

Interactive media courses range from

design and organizational classes to

hands-on courses in which students

create educational, personal, gaming,

and other types of interactive media

for the web and CD-ROM.



INTERACTIVE MEDIAAND THE INTERNETcontinued

Character Animation with FlashIn this course you will learn how to

design and set-up various types of

characters for a Flash animation short

film, including story development, tips

to setup and organize production. Learn

traditional frame-by-frame animation

and flash animation techniques to help

speed-up the process. Refine your skills

with simple animations and an overview

of classic character animation principles.

Topics include: lip sync fundamentals,

squash and stretch, walk cycles, camera

techniques, and sound production with flash.

Prerequisite: Basic Drawing and Flash I.

• Section 1 (m): W 8:32–10:32PM


Lee Corey

PMCG 461 3.0 C.E.U.s $785

Adobe® InDesignSee page 25 for course description.

Creating Mobile Contentin Flash CS4 There are a lot of factors when

developing mobile content in flash.

This class gives you an overview of Flash

Lite and Device Central and explores

developing content for mobile devices.

Topics include: Flash Lite 3.0 new features

and action script 2.0 fundamentals for

mobile applications, types of mobile

content include wallpapers, animated

screensavers, interactive advertising,

stand alone applications, FLV video,

and 3GP mobile video. There’s no limit

to the all the different kinds of appli-

cations you can create using the flash

skills and tools you already have.

Prerequisites: Flash 1 and basic introduction

to action scripting knowledge preferred.

• Section 1 (m): W 6:30–8:30 PM


Lee Corey

PMCG 466 3.O C.E.U.s $775

Dreamweaver CS4 and Fireworks CS4: IMacromedia Dreamweaver and Fire-

works provides professional functional-

ity for every aspect of web develop-

ment. This hands-on course will fully

cover Dreamweaver and Fireworks.

With “round trip” editing, Dreamweaver

provides compatibility between text and

graphic programs, always keeping the

graphics “live” (editable). Even if you do

not know HTML, you are able to see

code as you create your page in design

view, providing you with an intuitive

grasp of what goes on behind the

scenes. With seamless integration and a

common intuitive user interface across

all tools, you will easily be able to

streamline web development, enhancing

productivity and ease-of-use. You will

create and upload a personal page by

the end of the semester.

Topics include: formatting text; intro-

duction to cascading style sheets;

creating, optimizing and inserting

graphics in Fireworks; slicing images

in Fireworks and importing the resultant

HTML into Dreamweaver; creating page

design grid with and without tables.

Audience: Artists, designers, marketing

and business people with limited time

or interest in heavy programming.

Prerequisite: Internet proficiency,

familiarity with Photoshop. Basic HTML

Helpful, but not required.

• Section 1 (m): Th 6:05–8:05 PM


Instructor to be announced.

• Section 2 (m): Th 3–6 PM



• Section 3 (m): Sa 1–4 PM


Russell Ferguson


6 sessions Nov 5–6, 12–13, 19–20

Mark Solomon

PMCG 324 3.0 C.E.U.s $785

Dreamweaver II:Web Standards –Content, Presentation,and BehaviorsThis course will focus on the next level

Dreamweaver usage for a web stan-

dards compliant Web site Development.

We cover topics such as text styling,

element positioning, as well as CSS

Sprites, floats, D.O.M. or Document

Object Model, clearing floats, Reset

Style sheets, S.E.O. or search engine

optimization, all while keeping a user

centered design.

Exploring both, the Adobe Spry Java-

Script Framework and jQuery JavaScript

Frameworks, we will add some interac-

tive elements to your static web pages

while maintaining accessibility with pro-

gressive enhancement strategies. You

will be surprised by the ease of use that

results from employing such as

JavaScript libraries in the WYSIWYG

environment of Dreamweaver.

Topics include: On day one, we will

have a fast-paced review of (X)HTML in

Dreamweaver. The main focus of this

course is on Clean Code, Advanced

CSS and JavaScript basics 101 using a

JavaScript Library. Also included is Best

Practice for web design, Web

Standards, Section 508 – accessibility

checklists, CSS Sprites, creating a style

guide, Creating Print only style sheet

and a Mobile only style sheet, Form

Styling, client-side form validation,

Creating page layouts without tables,

many uses of unordered lists as naviga-

tion bars, including pop out menus,

CSS pseudo class. Spry and jQuery

Dynamic animation effects, Spry and

jQuery widgets/components (i.e. tab

panels, menus, and accordion panel.)

cover a fast pace review of (X)HTML

with CSS.

Recommended audience: useful for

those who have taken Dreamweaver I

(or equivalent) and want to continue

learning by adding interactivity to your

static web documents and more

advanced design strategies.

• Section 1 (m): W 6:30–8:30 PM


Jerome Amos

PMCG 468 3.0 C.E.U.s $785

Dreamweaver II: ColdFusionwith Dreamweaver CS4For course description, please visit our


Prerequisites: Familiarity with

Dreamweaver, HTML, Microsoft Access,

or some other Database program helpful.

• Section 1 (w): F 6:05–9:05 PM


Russell Ferguson

PMCG 450 3.0 C.E.U.s $785

Flash™ CS4: IFlash is the standard for interactive vector

graphics and animation for the web.

Web designers use Flash to create

beautiful, resizable, and extremely

compact interfaces, technical illustrations,

long-form animations, and other dazzling

effects for your website. Flash’s vector

graphics capabilities ensure your graphics

are smooth, scalable, and compact.

Prerequisite: Mac Graphic Illustration I.

Experience with 2D animation, and

interactive designing helpful.

• Section 1 (m): M 9 AM–12 PM


Renee Levitt

• Section 2 (m): Su 9:30 AM–12:30 PM


David Tristman

• Section 3 (m): M 6:30–8:30 PM


Renee Levitt


6 sessions Dec 3–4, 10–11, 17–18

Renee Levitt

PMCG 438 3.0 C.E.U.s $785

Flash II: Action ScriptingThis course presumes a functional

knowledge of Flash and is intended

for users who wish to develop their skill.

Topics include: pop-up menus; scripted

interactivity variables, properties,

functions, and complex behaviors;

organizational strategies for flash movies;

and a variety of special techniques.

The scripting covered in this class does

not include making a Flash interface

with external applications and files.

Prerequisite: Flash I.

• Section 1 (m): Th 8:10–10:10 PM


Russell Ferguson

PMCG 444 3.0 C.E.U.s $785

Flash III: AdvancedAction ScriptingOne can’t honestly claim to know

Flash, without knowing how to program

in Flash. This class explores Flash Action

Scripting in detail. Exercises range

from real-world interface designs to

complicated games.

Topics include: the dynamic creation of

objects (bringing an object to the stage

with code vs. placing it on the timeline;

functions; arrays; managing dynamic

content; class objects; and more.

Prerequisites: This class presumes a

decent understanding of Flash-based

paths, properties, variables, and

ninth-grade algebra.

• Section 1 (m): F 6–9 PM


Russell Ferguson

PMCG 455 3.0 C.E.U.s $785

From Here to There: A Seven-Step Web Site Recovery ProgramCreating a new web site from an

existing one requires a transformative

workflow process. You will learn how

to improve and update poor design,

confusing navigation, and outdated

content, and leverage the power

inherent in web design standards.Turn

a nightmare site into a dream site that

can evolve as situations change.

Topics include: The seven steps to web

site recovery that will be explored are:

Taking Stock, Site Outlining, Wire

Framing, Templating, Re-building,

Test/Soft Launch, and Final Launch.

Recommended audience: Especially

valuable for designers and developers

of small to mid-sized sites.




1 session Sept 16


1 session Sept 25

Bud Kraus (all sections)

PMCS 318 .3 C.E.U.s $105

Great Web Design with CSS:Cascading Style SheetsIn this workshop we will thoroughly

examine all aspects of the cascade in

CSS and its most widely supported style

properties in today’s web browsers. You

will learn how to use CSS specifications

and then create style rules which best

leverage the elements of the cascade.

Topics include: Hands-on exercises that

demonstrate how to create effective

typography, layout without the use of

HTML tables, rollover links, floating

images and the use of CSS to print web

pages. For the class project you will create

and optimize one web page template.

Prerequisite: A good knowledge of

XHTML/HTML.

Recommended audience: For those with

a graphic design background and for

programmers, site owners, and devel-

opers who are interested in bringing

an efficient and sophisticated styling

sensibility to their sites.

• Section 1 (w): W 8:10–10:10 PM


Bud Kraus

PMCG 317 3.0 C.E.U.s $785

Going Mobile:Designing Web Sitesfor the Tiny ScreenWhat does your web site look like on

a handheld? Does your design hold up

or fall apart on a very tiny canvas? Are

users able to navigate and find what

they are looking for with ease?

Bring your cell phone or blackberry to

this presentation that explores the mobile

web landscape and how to design for

devices that are constantly changing.

Topics include: looking at The State of

the Mobile Web—where we’ve come

from and where we’re going; Methods

to the Madness—strategies for dealing

with unruly environments; Tips and

Techniques—suggestions for handheld

style sheets and mobile-specific sites.

Recommended audience: survey for

those designing web sites for them-

selves or their clients.


1 session Oct 16


1 session Dec 4


PMCS 322 .3 C.E.U.s $105

Podcasting 101Workshop: The BasicsThis workshop is designed to introduce

you to the new media broadcast for-

mat that allows individuals to disperse

content via iTunes and other podcast

aggregators. The workshop will take

you through the basic necessities for

podcasting, including information

about computing requirements and

audio production software. In this

workshop, we will be using arageband

(Mac). The workshop is divided into

three parts: 1) Equipment and technol-

ogy requirements 2) Audio Production

Basics and 3) Podcast services, usage

and maintenance, and promotion.

Topics include: Audio mixing, podcast

production, podcast promotion, rss

basics, iTunes, garageband.

Recommended audience: For individuals

and hobbyists who are interested in

using this web-based audio format to

get their message out to the world.

Prerequisite: Internet knowledge.

Requirements: Access to Mac computer

with Garageband installed, a micro-

phone, and an Internet connection.





Janhavi Pakrashi (all sections)

PMCS 320 .6 C.E.U.s $195

Introduction toXHTML and CSSDevelop fundamental Web design skills

with XHTML and CSS. We will use a

text editor to learn how to make web

pages “by hand,” an essential skill

when working with Web page editors

such as Dreamweaver. Learn how to

work with text markup, lists, links,

tables, forms, and get a introduced to

CSS, the system responsible for Web

page style, layout and typography.

Create a website of your choosing as

the final project.

Prerequisites: Imaging I, Internet

Proficiency.

• Section 1 (w): W 6:05–8:05 PM


• Section 2 (w): W 3–6 PM



PMCG 325 3.0 C.E.U.s $785

(X)HTML RefresherBoth HTML and XHTML have been

around for 10 years. Many people con-

tinue to use the tags that make up web

pages incorrectly. Many people don’t

know the tags very well or what they

know is incomplete. This refresher class

gives you the tune-up you need so you

can make web pages the right way. You

learn what the purpose of (X)HTML is

and we will cover all the most important

tags and how they are to be used in

hands-on exercises. At the end of the

day you will have error tested (validated)

one page. An error free and well-formed

document is the most important step in

preparing pages for CSS. This is just one

reason why this class is so important!!

Topics include: The Basics; Text Markup;

Lists; Tables; Links; Embedding An

Image; and Validation. By the end of

the class you should understand why it

is important to use tags correctly and

how to error check your documents.

This sets you up to learn CSS.

Prerequisite: HTML or XHTML.

Recommended audience: Anyone

responsible for the design, development,

and upkeep of a web site who needs a

refresher.



• Section 2 (w): M 3–6 PM



PMCS 321 .6 C.E.U.s $195

Web Development withAdobe DreamweaverAdobe Dreamweaver, now part of

Creative Suite, helps designers and

developers build and manage their

websites. Using standards-based

HTML, JavaScript, and CSS you learn

to take a Photoshop document and

move it over to the browser.

Topics include: understanding how to

optimize and slice images using Adobe

Fireworks; learn the differences

between image file formats; learn

HTML and CSS; work together to

layout a site that can be visible on all

modern browsers; learn how to use

advanced features in Dreamweaver like

templates, library items, and the CSS

panel to speed development.

Prerequisites: Imaging I/Photoshop I

and experience with web design and

construction/HTML Basics.

• Section 1 (m): Sa 9:30 AM–12:30 PM


Russell Ferguson

PMCG 439 3.0 C.E.U.s $775

PROGRAMMING

These courses are for the artist who

wishes to have greater technical con-

trol over his or her final piece, and for

design professionals who work with

programmers on a day-to-day basis.

Graphics Programming Iwith C++For course description, please visit our

website: www.pratt.edu/prostudies.

Prerequisite: Computer Comp. (PC).

• Section 1 (w): Sa 9:30 AM–12:30 PM


Rodney Dash

PMCG 270 3.0 C.E.U.s $775

Introduction to PHPProgramming for the WebPHP is a popular, open-source, server-

side programming language that can be

used for basic to complex websites for

free. This course will provide you with a

working knowledge of the fundamen-

tals of structured programming with

PHP. We will build real-world PHP pro-

grams from start to finish, with an

emphasis on back-end web program-

ming. Using an integrated approach, we

will utilize PHP with other web-centric

technologies such as HTML and MySQL.

Hands-on exercises will provide you

with the tools needed to build dynamic

web pages, to interact with users,

manipulate data, and integrate data-

base content. The course topics covered

are essential to developing a dynamic

website using PHP.

Topics include: Foundations of pro-

gramming using PHP; Understanding

the 6 PHP data types; Utilizing basic

flow control structures; Building

reusable user-defined functions;

Manipulating user input from Web

forms; and Developing database

enabled web pages utilizing MySQL.

Prerequisites: A basic knowledge of

HTML is required. Programming experi-

ence is a plus, but is not required.

Software: In class, we will be using

Adobe Dreamweaver CS4 to write PHP

scripts and the Mozilla Firefox browser

to test them.

Recommended Text: Ullman, Larry.

PHP for the World Wide Web: Visual

QuickStart Guide. 2nd ed. New York,

NY: Peachpit Press, 2004.

• Section 1 (w): Tu 6:05–8:05 pm


David Corbino

PMCG 467 3.0 C.E.U.s $785



Student Software, One-Year LicenseStudents who register for Discreet TrainingCenter and Autodesk Training Center coursesqualify to purchase a one-year license of discreet and Autodesk software. For furtherinformation, please visitwww.studica.com/dtc/pratt.

AUTODESK®

TRAINING CENTER

Pratt Manhattan is a designated

Premier Autodesk Authorized Training

Center (ATC®). Since 1986, our

Authorized Training Center has

provided comprehensive training for

beginning and advanced computer-

aided design (CAD) users. AutoCAD®

is a powerful desktop tool that vastly

increases productivity in design tasks.

AutoCAD® six-day coursesinclude:• 30 hours instruction; 6 hours/day

9 AM–4 PM

• 16 hours unsupervised lab;

W, Th 4–6 PM, F 3–4 PM

AutoCAD LT® four-day courses include:• 20 hours instruction; 5 hours/day

9 AM–3 PM

• 10 hours unsupervised lab;

W, Th 3–6 PM

AIAAutoCAD® 2010 OverviewThis one-day seminar, designed for

people who have little or no computer

or CAD experience, is an introduction

to AutoCAD®. It is meant to give the

student an idea of AutoCAD’s capabilities

and requirements.

Topics include: Overview of system

requirements, operating systems,

Windows, various CAD applications

and design environments; an overview

of installing and configuring AutoCAD;

drawing creation concepts; basic drawing

and editing commands; symbol creation;

adding text and dimensions to the

drawing; and plotting techniques.

Please note: Not accepted by NYS for

LU credit.


1 session Aug 31

Phil Gauntt

7 AIA/CES LU’s

PMA 380 .7 C.E.U.s $235

See pages 36 and 37 for the following

course descriptions.

AutoCAD 2010 UpdateAutoCAD Architecture 2010 Update

AIAAutoCAD® 2010 ProfessionalLevel IThis course is designed for new

AutoCAD® software users who require

comprehensive training. The objective of

this AutoCAD course is to enable you to

create a basic 2D drawing in AutoCAD.

Even at this fundamental level, AutoCAD

is one of the most sophisticated com-

puter applications that you are likely to

encounter. Therefore, learning to use it

is not a trivial undertaking.

The teaching strategy is to start with

a few basic tools that enable you to

create and edit a simple drawing. You

then continue to develop those tools,

as well as being introduced to more

advanced tools throughout the course.

Not every command or option is cov-

ered, because the intent is to show the

most essential tools and concepts. At

the end of this course, you will be able

to create a complete production draw-

ing from start to finished print.

Topics include: Understanding the

AutoCAD workspace and user inter-

face; using basic drawing, editing, and

viewing tools; organizing drawing

objects on layers; inserting reusable

symbols (blocks); preparing a layout to

be plotted; adding text, hatching, and

dimensions; using more advanced edit-

ing and construction techniques; creat-

ing local and global blocks; and setting

up layers, styles, and templates.

Recommended audience: Architects,

construction managers, engineers,

drafters, and design professionals.

Prerequisites: Working knowledge of

basic design/drafting procedures and ter-

minology and a working knowledge of

Windows 9x, ME, NT 4.0, 2000, or XP.


LU or PDH credit.

• Section 1 (w): Tu 6:05–8:05 PM


Gil Santiago

• Section 2 (w): Sa 9:30 AM–12:30 PM


Chris Ramirez


6 sessions Sept 2–4, 9–11

Gil Santiago


6 sessions Dec 2–4, 9–11

Chris Ramirez

30 AIA/CES LU’s, 30 PDH’s

PMA 401 3.0 C.E.U.s $845

AIAAutoCAD® 2010 ProfessionalLevel IIThis intermediate course is designed

for the experienced AutoCAD® user

who requires additional training. It

incorporates the features, commands,

and techniques for becoming more

productive when creating, annotating,

and printing drawings with AutoCAD.

This course continues to build on the

basic concepts of the AutoCAD

Professional Level I course.

Topics include: Incorporating the features,

commands, and techniques for becoming

more productive when creating, anno-

tating, and printing drawings with

AutoCAD. Hands-on exercises through-

out the course explore how to create

2D production drawings. The exercises

are provided in both a printed format

as well as an onscreen format that can

be viewed next to AutoCAD.

Prerequisite: PMA 389A, PMA 401, or

permission of instructor.

• Section 1 (w): Th 8:10–10:10 PM


Chris Ramirez

• Section 2 (w): Sa 1–4 PM


Chris Ramirez


6 sessions Sept 16–18, 23–25

Gil Santiago


PMA 402 3.0 C.E.U.s $845

AIAAutoCAD® 2010 ProfessionalLevel IIIUpon completion of this course, you

should be able to increase your produc-

tivity by customizing many facets of

the AutoCAD environment.

Topics include: Developing an under-

standing of customizing for productivity;

system performance issues; use of batch

files and system variables; developing

slide libraries and scripts; customizing

accelerator keys, screen menus, icons,

toolbars, and pull down menus; under-

standing the use of the ACAD.pgp file;

LISP in macros; and an introduction

to VBA.

Prerequisites: PMA 402, PMA 389A.

• Section 1 (w): Sa 9 AM–5:30 PM


John Takacs


PMA 403 3.0 C.E.U.s $845

Pratt Manhattan AuthorizedTraining CenterPratt Manhattan is proud to be an author-ized training center for several excellent,industry standard software packages. Thetraining centers include Autodesk andDiscreet software.

Autodesk and Autodesk Media andEntertainment Training Centers areeducational programs managed byAutodesk. Although each ATC is monitoredthrough evaluations from every participant,Autodesk is not responsible for the qualityof the training offered by the Autodesktraining centers or for any actions of theAutodesk Training Center. Autodesk, theAutodesk logo, AutoCAD, ATC, AutoCAD LT,AutoCAD Architecture, AutoCAD MEP,AutoLISP, Autodesk Inventor, Autodesk3ds Max Design, Autodesk VIZ, RevitArchitecture, Revit MEP, Revit Structure,and character studio are registered trade-marks, and combustion are trademarksof Autodesk, Inc. in the U.S. and/or otherforeign countries. © 2000 Autodesk, Inc.All rights reserved. Microsoft, Windows,and Windows NT are registered trademarksof Microsoft Corporation. All other brandnames, product names, or trademarksbelong to their respective holders.

Autodesk® Authorized Training Center(ATC®) and Autodesk® Authorized TrainingCenter Premier Media and Entertainmentare educational programs managed byAutodesk, Inc. Although each ATC ismonitored through evaluations from everyparticipant, Autodesk is not responsible forthe quality of the training offered by theATC or for any actions of the ATC.

AIA ProviderPratt is registered as aPremier provider withthe American Instituteof Architects, Continuing

Education System (AIA/CES). We arecommitted to offering quality educationin accordance with the AIA/CES criteria(provider #F163).

OneKey Account InformationOneKey user names and passwords arenecessary for all students and facultyof Pratt Institute. Please see page 71for detailed instructions.

30

AIA3D Modeling and Renderingwith AutoCAD® 2010Develop the skills necessary to use

AutoCAD effectively in the 3D

environment.

Topics include: 3D commands used to

complete wire-frame, solid and surface

models; creating and using drawing

planes; visualizing from orthogonal and

using multiple viewpoints; rapid visuali-

zation techniques such as hide and

shade to aid in resolving visually

ambiguous models; plotting techniques

to accurately represent 3D objects in

2D space; rendering surface and solid

models; applying materials, creating

lights, and developing full-color, realistic

images.

Prerequisite: PMA 389A, PMA 401, or

permission of instructor. PMA 402 is

recommended.

• Section 1 (w): Tu 8:10–10:10 PM


Gil Santiago



John Takacs


6 sessions Sept 30–Oct 2, 7–9

Gil Santiago


PMA 404 3.0 C.E.U.s $845

AIAAutoCAD® AutoLISP®

with Visual LISPFor course description, please visit our


Prerequisites: AutoCAD Level 1 or

equivalent. Recommended AutoCAD

Level II and basic programming

experience. A minimum of eighty

hours of experience with AutoCAD is

recommended.



John Takacs

28 AIA/CES LU’s

PMA 392 3.0 C.E.U.s $845

AIAAutoCAD® 2010Conceptual DesignThis course provides a basic under-

standing of how to create, modify,

and present conceptual designs using

AutoCAD®. Building three-dimensional

models to aid in the visualization of

designs from all drafting disciplines is

an important aspect of a project. Using

AutoCAD functionality, you can quickly

and easily create conceptual models to

study and explore designs. This course

introduces you to the steps necessary

to explore CAD projects through

conceptual design. Learn how to create

massing and sun studies, apply different

visual effects to their models, and

export/distribute their designs to an

extended team. Hands-on exercises

throughout the course are used to

demonstrate the conceptual design

process through the mainstream

drafting industries.

Topics include: Elements of conceptual

design; massing shapes with 3D solids;

integrating Raster images with solid

models; presenting the conceptual

design; visual styles; and exporting and

distributing your conceptual designs.

Prerequisites: A working knowledge of

Microsoft® Windows® 98, Microsoft

Windows NT 4.0/Microsoft Windows

2000, or Microsoft Windows XP; use

of the current or a previous release of

AutoCAD; the ability to create and edit

basic AutoCAD objects; knowledge of

fundamental geometric and three-

dimensional drafting terms.

• Section 1 (w): Tu 9 AM–5 PM

1 session Sept 29

Phil Gauntt


PMA 525 .7 C.E.U.s $235

AIAAutoCAD® 2010 Creating andPresenting 3D ModelsThis course provides a basic under-

standing of how to design and modify

3D models with AutoCAD®. Creating

3D models helps users better visualize

and present designs that are created

with CAD.

Topics include: The fundamental

concepts and workflows for creating

3D models with AutoCAD. Explore

how to create and modify both solid

and surface models. Learn how to

present your designs while they are still

being created, using visualization tools

such as visual styles, model walk and

fly throughs, materials, and lighting.

You will also learn how to output 3D

models from the CAD system to either

paper or to a distributable, electronic

version. The concepts and practices

taught will help you take your Auto-CAD

designs to the next dimension: 3D!

Hands-on exercises throughout the

course demonstrate the modeling

process using techniques that can be

applied to the mainstream drafting

industries. The exercises printed in the

book are also provided in an on-screen

format that can be viewed next to

AutoCAD.




2000, or Microsoft Windows XP; prior

usage of the current or a previous

release of AutoCAD, ability to create

and edit basic AutoCAD objects; ability

to create and work with layouts.

• Section 1 (w): M–Tu 9 AM–5 PM


Phil Gauntt


PMA 526 1.4 C.E.U.s $405

AIAAutoCAD® 2010Designing and ManagingDynamic BlocksThis course provides a basic under-

standing of how to design and manage

dynamic blocks in AutoCAD®. Using

the Dynamic Block functionality, you

can reduce the size of block libraries,

edit block instances with minimal

effort, and help to ensure standards

compliance. This course introduces you

to the steps necessary to take block

creation to the next level. You learn

how to apply parameters and actions

that will make blocks more powerful,

and you more productive. Also learn

how to work with fields and attributes

in Dynamic Blocks and discuss methods

for managing Dynamic Block libraries.


course are used to demonstrate the

Dynamic Block authoring process

through the use of a generic block

as well as through the creation of

standard blocks that are used in the

mainstream drafting industries.

Topics include: introduction to Dynamic

Blocks; parameters and actions;

beyond the basics-changing actions,

attributes and Dynamic Blocks.




2000, or Microsoft Windows XP;

familiarity with the current or a previous

release of AutoCAD; knowledge of

field text and static blocks; ability to

create and edit basic AutoCAD objects


1 session Sept 15

Phil Gauntt


PMA 524 .7 C.E.U.s $235

AIAAutoCAD® 2010 Essentials ofCustomizing AutoCAD This course is designed for the

AutoCAD® user who requires compre-

hensive training on customizing

AutoCAD tool palettes and the user

interface, and how to work with

Customize User Interface file types.

Customization of tool palettes can

quickly increase productivity by placing

the most commonly used commands

and objects in a single place.

Topics include: Tailoring the user inter-

face to contain the commands, menus,

and palettes that are commonly used

during daily drafting tasks as another

important key to improving productivity.


courseware demonstrate the techniques

that are taught. The exercises are printed

in the book and are also provided in

an onscreen format that can be viewed

next to AutoCAD.

Prerequisite: A strong working

knowledge of AutoCAD Essentials

or AutoCAD Pro I.


LU or PDH credit.


1 session Sept 14

Phil Gauntt


PMA 512 .7 C.E.U.s $235

AIAAutoCAD® Architecture 2010:EssentialsThis course provides new users with

comprehensive training in AutoCAD®

Architecture. The primary objective

of this course is to teach you the

basic commands for architectural

designing and drafting with AutoCAD

Architecture software. The hands-on

lessons cover features, commands, and

techniques for creating, editing, and

printing drawings with AutoCAD

Architecture.

Topics include: The tools that are neces-

sary so that you will be able to use

design resources and tools to increase

productivity in the architectural design

process; add ceiling grids, ceiling fix-

tures, column grids, and structural

members to a building model; add

floors, walls, and roofs to a building

model; add doors, windows, spaces,

and stairs to a building model; create

and distribute plotting sheets for a

building model design that includes

views, display themes, annotations,

schedules, and callouts.



AUTODESK®

TRAINING CENTERcontinued

Prerequisites: Previous AutoCAD

experience is necessary. Drafting,

design, or engineering experience

is a plus. It is recommended that you

have a working knowledge of

Microsoft® Windows® XP or Microsoft®

Windows® 2000.

Recommended audience: This course is

designed for new users of AutoCAD

Architecture.

Registration Deadline: Oct 7


6 sessions Oct 14–16, 21–23

Phil Gauntt


PMA 405 3.0 C.E.U.s $845

AIAAutoCAD® Architecture 2010:AdvancedThis course covers many of the advanced

features of AutoCAD® Architecture.

You will learn how to set up a project,

create tool catalogs and styles, and

export to different output formats.

You will also practice different installation

setups, create new styles, edit section/

elevation objects, use ACE dimensions,

display themes, and mask blocks.


sary so that you will be able to install

AutoCAD Architecture on a network

and configure projects; apply advanced

object display features using display

configurations, layer key styles, and

object profiles; customize design object

styles; customize documentation object

styles and block styles; use advanced

design tools such as the Stair Tower

Generator; and integrate AutoCAD

Architecture with other applications

and file types.

Prerequisites: AutoCAD Architecture

Essentials or you should be able to

add grids, fixtures, floors, walls, ceilings,

roofs, doors, walls, and stairs to a

building model. You should also have

created output that includes different

views, annotations, tables, and legends.

It is recommended that the student

have a working knowledge of


Windows® 2000.

Recommended audience: Experienced

users of AutoCAD Architecture.

Registration Deadline: Nov 10



Phil Gauntt


PMA 510 2.1 C.E.U.s $615

AIAAutoCAD® MEP 2010: ElectricalThis course provides comprehensive

AutoCAD® MEP training on how to

design, model, and make construction

documents of electrical distribution

systems used in commercial buildings.

The hands-on exercises cover how to

design and draw electrical lighting and

power systems and how to turn them

into quality construction documents

using AutoCAD MEP.

Topics include: The tools that are

necessary so that you will be able to

use Describe, the electrical system

design process, and create a schematic

diagram; add devices and panels to

an electrical system plan; set system

definitions, demand factors, and

preferences, and use the Circuit

Manager; add electrical equipment,

wiring, cable trays, and conduits to

electrical drawings; add labels and

annotation symbols and create schedules;

and publish electrical system layouts to

Design Web Format™ DWF™.

Prerequisites: A working knowledge

of a recent version of AutoCAD®

Architecture (previously know as ADT),

in addition to drafting, design, or

engineering experience. A working

knowledge of Microsoft® Windows® XP

or Microsoft® Windows® 2000.

Registration Deadline: Sept 21


1 session Sept 29

Tyrone McLean


PMA 541 .7 C.E.U.s $235

AIAAutoCAD® MEP 2010: MechanicalThis course is designed for the

AutoCAD® MEP user who wants to

learn how to implement a mechanical

HVAC system using AutoCAD MEP.

The course uses hands-on exercises to

teach you how to determine energy

requirements, add HVAC equipment,

ductwork, and fittings, and create

construction documents using AutoCAD.


sary so that you will be able to use and

determine energy requirements for

engineering spaces; create and annotate

schematic diagrams; create an HVAC

system with single line ducts, ductwork,

and fittings; size ductwork systems;

and create construction documents.

Prerequisites: Working knowledge

of recent version of AutoCAD®




knowledge of Microsoft® Windows®

XP or Microsoft® Windows® 2000.


• Section 1 (w): W 9 AM–5 PM

1 session Oct 28

Tyrone McLean


PMA 540 .7 C.E.U.s $235

AIAAutoCAD® MEP 2010: PlumbingThis course is designed for the new

AutoCAD® MEP user who requires

comprehensive training in the Plumbing

module. It incorporates the features,

tools, and techniques for creating and

editing plumbing designs with

AutoCAD MEP. Hands-on exercises

teach how to create 3D production

drawings while designing in 2D.


sary so that you will be able to create

a 2D plumbing design that includes

plumbing fixtures, plumbing lines, and

defining systems; create construction

documents that include the Plumbing

Systems, editing Plumbing Systems,

annotating drawings, scheduling

Plumbing Systems; and create a 3D

plumbing design.

Prerequisites: a working knowledge








• Section 1 (w): Th 9 AM–5 PM

1 session Oct 29

Tyrone McLean


PMA 542 .7 C.E.U.s $235

AIA

AutoCAD® MEP 2010:Projects and Tools This course is designed for the

AutoCAD® MEP user who wants to

learn how to implement projects,

styles, and scheduling with AutoCAD

MEP. This course uses hands-on exercises

to teach you how to use the Content

Builder, work with templates, configure

the display, and work productively

using AutoCAD MEP.


sary so that you will be able to create

and use templates, customize the

workspace, and set up and manage

projects; manage drawing layers and

control object display; create, modify,

and manage styles; configure drawing

tools, view and edit objects, and work

with connectors; set system definitions

and display properties; use the Content

Browser, Content Builder, and Catalog

Editor to create, customize, share, and

store parts; and label, schedule, and

distribute building systems plans.

Prerequisites: A working knowledge








LU or PDH credit.



1 session Oct 30

Tyrone McLean


PMA 543 .7 C.E.U.s $235

AIAAutodesk® Inventor Level IThis course covers the fundamental

principles of 3D parametric part design,

assembly design, and creating produc-

tion-ready part and assembly drawings

using Autodesk® Inventor™.

Topics include: Learn how to capture

design intent by using the proper tech-

niques and recommended workflows for

creating intelligent 3D parametric parts;

creating, placing, and constraining

custom and standard components in an

assembly; and simulating mechanisms,

animating assembly designs, and checking

for interferences. You also learn how

to document their designs using base,

projected, section, detail, and isometric

drawing views; document assemblies

using standard and exploded drawing

views; and follow drafting standards

while dimensioning and annotating

drawing views with automated balloons

and parts lists. Hands-on exercises

representing real-world, industry-specific

design scenarios are included.

Prerequisite: Computer competency.



4 sessions Nov 21–Dec 19

John Takacs


PMA 407 3.0 C.E.U.s $845



KEY(m) = Macintosh Platform

(w) = Windows Platform

(m/w) = Cross-Platform

(L)=Keynote Lecture

(LW)=Keynote and Workshop

(AIA)= AIA Professional

AIAAutodesk® Raster Design 2010For course description, please visit our


Prerequisites: AutoCAD Essentials or

know how to use AutoCAD software

to create basic geometry, manage

layers, enter commands, and manage

files. It is also recommended that

you have a working knowledge of


Windows® 2000.




Phil Gauntt


PMA 511 1.4 C.E.U.s $475

AIAMastering AutoCAD Sheet SetsAs technology advances the way we

create drawings, the drawings we create

get more complex. Managing all of the

drawings used in a project can be a

staggering task. AutoCAD new Sheet

Sets provide the tools to create and

manage all of the drawings related to

a project. In this workshop, students

will explore the tools and techniques

used to create and manage the drawings

required to prepare a complete set of

construction documents.

Topics include: Sheet Set overview and

terminology, using the Sheet Set

Manager, Sheet Set guidelines, adjusting

Sheet Set Properties, creating and

modifying Sheet Sets, adding views to

sheets, controlling named views and

viewports, understanding reference

drawings, inserting Sheet List Tables,

creating and archiving transmittal sets,

incorporating fields and tables,

managing tables across Sheet Sets.


AutoCAD 2000/2002/2004 drawing

creation and editing.


1 session Nov 23

Phil Gauntt


PMA 521 .7 C.E.U.s $235

AIAMastering AutoCAD®

Tables and SchedulesFor course description, please visit our


Prerequisites: Intermediate-level

AutoCAD experience is necessary. A

working knowledge of Microsoft®

Windows® XP, Microsoft® Windows®

2000, or Microsoft® Windows® NT 4.0.


1 session Nov 2

Phil Gauntt


PMA 522 .7 C.E.U.s $235


Architecture: Documentation,Annotation and SchedulesUsing AutoCAD Architecture to create

floor plans and elevation drawings only

scratches the surface of the power. You

will learn to exploit the power of intelli-

gent design in dynamically updating

dimensions, window, door and space

tags, and creating schedule tables for

each. Adding labels and dimensions has

always been an integral part of preparing

complete drawing sets, and the ability

to tabulate the drawing data into

schedule tables completes the process.

Topics include: dimension types and

terminology; understanding dimensions

and dimension styles; creating and

editing dimensions; dimension display

options and controls; plotting scale and

its relation to annotations; adding door,

window and space tags; modifying

tags and renumbering; incorporating

Property Sets; creating and editing

schedule tables; controlling schedule

styles; defining custom tags and

schedules; adding notations and

leaders; placing intelligent detail marks;

using schedule tables with projects

and sheet sets.


AutoCAD Architecture or Architectural

Desktop drawing creation and editing.


1 session Nov 10

Phil Gauntt


PMA 507 .7 C.E.U.s $235


Architecture 2010: Doors,Windows and OpeningsUsing the doors, windows, and open-

ings supplied with AutoCAD Architec-

ture to create simple floor plans is only

part of preparing impressive and accu-

rate construction documents. You will

explore the tools and techniques

required to define your own objects

for doors and windows. In addition,

creating window assemblies simplifies

the use of complex window and door

collections to treat them as a unit.

Topics include: creating and editing

doors, windows, and openings; rela-

tionships between walls and anchors;

understanding and controlling styles;

managing entity display; defining

custom items with multi-view blocks;

incorporating materials into objects;

creating window and door assemblies;

controlling window assembly styles;

working with Style Manager to man-

age styles.





1 session TBD

Phil Gauntt


PMA 503 .7 C.E.U.s $235


Architecture 2010: DrawingManagement with ProjectsFor course description, please visit our






1 session Nov 3

Phil Gauntt


PMA 508 .7 C.E.U.s $235


Architecture 2010: ElevationSections and PerspectivesAutoCAD Architecture makes it easy to

create the building model, now it’s time

to prepare drawings that symbolize

traditional views like elevations and

sections. These tools allow for the

model to change and the views to be

updated as required for accurate repre-

sentations. You will learn to create

dynamically updating elevation and

section drawings from building models

created. Simple orthogonal views may

not always show all aspects of a design,

so we will also explore the creation of

perspective views and animated movies.

Topics include: types of elevations and

sections; understanding display repre-

sentations; elevations vs. sections;

creating and editing elevation views;

controlling hidden line removal from

elevations; creating and editing section

views; updating elevations and sections

as the model changes; sections vs. live

sections; utilizing elevation and section

styles; exploring 3D viewing options

and techniques; shading options and

controls; creating and controlling per-

spective views; incorporating materials

into elevations and perspectives; creat-

ing and controlling cameras; preparing

animated movies from cameras.





1 session TBD

Phil Gauntt


PMA 506 .7 C.E.U.s $235


Student Software, One-Year LicenseStudents who register for AutodeskMedia and Entertainment Training

Center and Autodesk Training Center

courses qualify to purchase a one-year

license of Autodesk sofware. For

further information, please visit

www.studica.com/dtc/pratt.

Autodesk Users Group International (AUGI)Membership to AUGI is free. For

information, visit the AUGI website:

www.augi.com?source=ATC.US.10089


AUTODESK®



Architecture 2010: Roofs,Dormers, and SlabsThe ability to create floor plans is

only one of the amazing features

AutoCAD Architecture uses to prepare

true 3D models of structures. You will

explore the techniques used to create

roofs, floor slabs, and dormers. Learn

how to create complex roof scenarios,

control edge characteristics of roof

slabs, create and add dormers to the

roofs, and prepare floor slabs with

openings for vertical circulation.

Topics include: roof and slab types and

terminology; understanding roof and

slab properties; creating and editing

roof objects; controlling roof and slab

edges and edge styles; sharing styles

with other drawings; converting

objects into roofs and slabs; creating

and editing holes in roofs and slabs;

adjusting roof and floor lines of walls

to meet roofs and slabs; using Boolean

tools for modifying items; creating

dormers and cleanup options.





1 session TBD

Phil Gauntt


PMA 505 .7 C.E.U.s $235


Architecture 2010:Walls and Wall StylesCreating and editing simple walls in

AutoCAD Architecture is easy, but that

only scratches the surface of what the

program is capable of. Take an in

depth look at the creation and editing

of custom walls and wall styles in this

workshop course. Learn how to create

impressive and flexible wall styles and

to use wall modifiers to create complex

wall features, including controlling

wall endcaps.

Topics include: wall creation and editing

tools; converting existing geometry

into walls; understanding wall styles;

applying wall modifiers and creating

sweeps; controlling entity display; wall

cleanup tools and techniques; creating

custom wall end caps; incorporating

materials into wall styles; working with

the Style Manager to manage styles;

creating curtain walls and curtain wall

assemblies.





1 session TBD

Phil Gauntt


PMA 504 .7 C.E.U.s $235

AIAPrinting and Plotting withAutoCAD®

This course is designed for the

AutoCAD® user who requires compre-

hensive training in printing and plotting

drawings. Create viewports in layouts,

complete with trans-spatial dimensions,

and then use the plotter configuration

files and plot-style tables to control how

the information is plotted or published.

Topics include: creating layouts,

modifying layouts and using page

setups, creating layout viewports,

working with layout viewports,

controlling object visibility in layout

viewports, dimensioning in layouts,

plotter configuration files, plot style

tables, and publishing drawings.

Recommended audience: Course is

designed for the intermediate-level

user of AutoCAD 2009.

Prerequisites: Students should have

successfully completed an essentials-

level course on AutoCAD 2009 or

equivalent work experience. A working


XP, Microsoft® Windows® 2000, or

Microsoft Windows NT 4.0.



1 session Nov 24

Phil Gauntt


PMA 500 .7 C.E.U.s $235

AIARevit® Architecture 2010:Level IThis course introduces you to Revit

software, the AEC industry’s first

parametric building modeler. In Revit,

you don’t just draw 2D building plans,

elevations or sections; you create a

digital database of your building,

comprised of 3D graphical information

as well as non-graphical data, using

the Revit predefined, parametric building

components. Productivity is improved

through increased automation of con-

structions documentation. New tools,

templates, and constructions content

extend the benefits of the building

information modeling solution to the

construction community.

Topics include: General overview of

Revit Architecture—introduction to the

philosophy of creating projects; working

with walls and joints; Revit family

components; setting up views such

as sections, interior elevations,

perspectives, schedules, and project

phases; study methods and techniques

for defining and modifying roofs;

Revits rendering tools.

Prerequisites: Understanding of

Windows® 2000 and XP operating

systems, and some CAD experience.

• Section 1 (w): Su 9:30 AM–12:30 PM


• Section 2 (w): Su 1–4 PM


Tyrone McLean (all sections)


PMA 406 3.0 C.E.U.s $845

AIARevit® Architecture 2010:Basic CourseThis course covers the basics of Revit®

Architecture, from schematic design

through construction documentation.

Students are introduced to the concepts

of Building Information Modeling and

the tools for parametric building

design and documentation.


sary so that you will be able to describe

the benefits of Building Information

Modeling; use the fundamental

features of Revit Architecture; use the

parametric 3D design tools to design

projects; create detailing and drafting

view; create construction documenta-

tion; and use the presentation tools

for presenting models.

Prerequisites: No previous CAD

experience is necessary, however,

architectural design, drafting, or

engineering experience is highly

recommended. A working knowledge

of Microsoft® Windows® XP or

Microsoft® Windows® 2000.




Tyrone McLean


PMA 533 1.4 C.E.U.s $395

AIARevit® Architecture 2010:AdvancedThis course covers a wide range of

advanced topics in Revit® Architecture,

continuing to build on the concepts

introduced in the Revit Architecture

Core Concepts course. You will learn

about site design, advanced rendering

techniques, phasing and design

options, creating families of custom

components, and collaborating on a

design. This course offers imperial

hands-on exercises representing real-

world design scenarios.


sary so that you will be able to import

and export files; linking files; conceptual

design; creating advanced components;

design and analysis; Revit Architecture

Worksharing; working with professionals;

and advanced rendering.

Prerequisites: Revit Architecture basic

course or have equivalent experience

using Revit Architecture. Architectural

design, drafting, or engineering experi-

ence is highly recommended. A working



Recommended audience: Designed for

experienced users of Revit Architecture.


• Section 1 (w): M–Tu 9 AM-5 PM


Tyrone McLean


PMA 539 1.4 C.E.U.s $395

AIARevit® Architecture 2010:Creating ConstructionDocuments Have you wondered how to take a

3D model and turn it into construction

documents? This workshop explores

how to turn a model into CDs using

Revit tools like callouts, exterior

elevations, interior elevations,

sections and sheets.


• Section 1 (w): Th 3–6 PM

1 session Nov 5

Tyrone McLean


PMA 534 .3 C.E.U.s $105



AIA Revit® Architecture 2010:The Family You Always WantedHave you ever loaded a family and

gotten all the different types, but not

the one you wanted? This workshop

will explore how to create the family

you want and introduce you to the

tools needed for creating families.



1 session Nov 6

Tyrone McLean


PMA 535 .3 C.E.U.s $105

AIA Revit® Architecture 2010:Migrating to Revit ArchitectureThis course builds on the Revit®

Architecture basic course. It covers

a wide range of topics on how to

successfully migrate from AutoCAD®,

a CAD drawing-based solution, to

Revit Architecture, a 3D building

information modeling solution.

You learn how to work seamlessly

with AutoCAD DWG files, including

how to migrate site plans and details

and make those files smarter within

their Revit Architecture projects. You

also learn techniques for collaborating

in a multiplatform environment.


sary so that you will be able to set up

a project in the Revit Architecture

environment with AutoCAD data;

import AutoCAD data to Revit

Architecture; export Revit Architecture

information to AutoCAD; and share

project information across multiplatform

users and store project data for reuse.

Prerequisites: Experience using AutoCAD

and should have completed the Revit

Architecture Basics or Revit Structure

Essentials course. Architectural design,

drafting, or engineering experience is

highly recommended. A working knowl-

edge of Microsoft® Windows® XP or


Recommended audience: Designed for

those who have AutoCAD experience

and have completed the Revit

Architecture Essentials or Revit

Structure Essentials course (or have

similar experience), or who need to

know how to leverage existing

AutoCAD drawings.

Registration Deadline: Aug 20


1 session Aug 31

Tyrone McLean


PMA 544 .7 C.E.U.s $235

AIARevit® MEP 2010: Basics CourseIn this course you use Revit® MEP to

model MEP systems. Learn the recom-

mended workflows and basic skills

required to navigate Revit MEP and

use its tools to create and modify MEP

systems. Given a complete architectural

building model, you will be able to

produce a building information model

of a commercial design for mechanical

and electrical systems and extract 2D

drawings for construction documents.

Topics include: Designing Systems-

creating HVAC, electrical, piping,

plumbing, and fire protection designs;

Working in a Multiplatform, Multisystem

Environment-collaborating schedules,

and coordinating designs; and

Documenting Project Information-

creating schedules, views and

construction sheets.

Prerequisites: Revit Architecture Basics

or Revit Structure Essentials course or

have in-depth knowledge of Revit

features and functionality, and have

experience with MEP engineering

processes and terminology. A working



Recommended audience: Those with

Revit® Architecture or Revit® Structure

experience, and mechanical or

electrical engineers.

• Section 1 (w): F 6–9:30 PM



• Section 2 (w): Th–F 9 AM–2:30 PM





PMA 538 .9 C.E.U.s $295

AIARevit® Structure 2010: EssentialsThis course covers the basics of Revit®

Structure, from schematic design

through construction documentation.

You are introduced to the concepts of

Building Information Modeling and the

tools for parametric design, analysis,

and documentation.


sary so that you will be able to describe

the benefits of Building Information

Modeling; use the fundamental

features of Revit Structure; use the

parametric 3D design tools for creating

and analyzing projects; use the auto-

mated tools for documenting projects;

and develop a level of comfort and

confidence with Revit Structure

through hands-on experience.

Prerequisites: No previous CAD

experience is necessary. However,

structural engineering or architectural

design experience is highly recom-

mended. A working knowledge of

Microsoft® Windows® XP or



for LU’s and PDH credit.









PMA 545 1.4 C.E.U.s $395

AIARevit® Structure 2010: AdvancedThis course covers a wide range of

advanced topics in Revit® Structure,

continuing to build on the concepts

introduced in the Revit Structure

Essentials course. Learn about detailing

and detail components, rebar, families,

analytical analysis, and collaborating

on a design with other professionals.


sary so that you will be able to Work

with Detail Components and Managing

Details; work with Rebar; work with

Families-creating a Slab on Metal Deck,

a Precast Hollow Core Slab, a Tapered

Moment Frame, a 3D Steel Gusset

Plate, a Stepped Footing, and Using

Steel Stiffeners; Creating Trusses;

Exploring Analytical Tools; Working

with Clients and Consultants Using

DWG Files, using Revit Architecture;

Multi-User Worksharing; Sharing Your

Design Using DWF; and Importing and

Exporting Data with IFC Format.

Prerequisites: Revit Structure Essentials

course or equivalent experience using

Revit Structure. Structural engineering

or architectural design experience is

highly recommended. A working



Recommended audience: The experienced

users of Revit Structure.

• Section 1 (w): F 6–9:30 PM


4 sessions Nov 6–Dec 11





14 AIA/CES LUS’s, 14 PDH’s

PMA 546 1.4 C.E.U.s $385

AIASet Design forArchitects andDesigners usingAutoCAD® 2010This course is for professionals and

designers who wish to explore the

design of theatrical sets. You will be

assigned specific plays to read and will

develop your own concepts through

research material, sketches, and story-

boards which will develop into plans,

sections, and elevations.

Topics include: A quick overview of

set/theater design through the ages to

give you the context and historical

background. Part of the course study

will include one or two field trips to

local plays in production, which will

allow you to see firsthand how the

sets work and gain an understanding

of the mechanics of the stage. During

some class critiques and presentations,

visitors including directors, playwrights,

or other members of the theatrical

team will be available to give you

feedback on your projects and to dis-

cuss the collaborative process of the

design for a theatrical production. A

class goal is to come up with one or

two set design concepts that represent

each one’s style and vision and could

be included into your portfolio.

Prerequisite: AutoCAD and 3D

experience a plus.

• Su 1–4 PM

10 Sessions Oct 4–Dec 13

Merope Vachlioti

30 AIA/CES LU’s

PMA 408 3.0 C.E.U.s $835

AIAAutoCAD LT® IAutoCAD LT 2010 is perfect for

designers who do not require full-

blown AutoCAD capabilities, but who

want to create and share technical

drawings more efficiently and securely.

The new optimized DWG format saves

disk space and shortens file open and

transmission times. Drawing exchange

is made more secure with the enhanced

view-and-plot-only DWF™ (Design

Web Format) file format or by adding

digital signatures to your DWG files.

AutoCAD LT software gives the profes-

sional a cost-effective way to get the

advantages of CAD quickly and easily.



KEY(m) = Macintosh Platform

(w) = Windows Platform

(m/w) = Cross-Platform

(L)=Keynote Lecture

(LW)=Keynote and Workshop

(AIA)= AIA Professional

AUTODESK®


Topics include: overview of operating

system, drawing setup, filing/saving

commands, text features, graphic

modifiers, printing/plotting, drawing

command, editing commands, dimen-

sioning commands, display commands,

coordinate entry, and compatibility

with AutoCAD.

• Section 1 (w): M–Th 9 AM–3 PM


Gil Santiago


PMA 370 2.0 C.E.U.s $545

AIAAutoCAD LT IIThis course presents concepts and

commands for maximum productivity

using AutoCAD LT 2010. Learn advanced

editing methods and drawing techniques,

using the grips and calculator tools.

Explore layers, blocks, and attributes.

Learn to use external references and

paper space for more productivity.

Topics include: symbol libraries attributes,

dimensioning enhancements, editing

tips and enhancements, plotting tech-

niques, prototype drawing setup, system

management, paper space, model space,

and external references, intro to file

management.

Prerequisite: PMA 370.

• Section 1 (w): M–Th 9 AM–3 PM


Gill Santiago


PMA 371 2.0 C.E.U.s $545

AIAAutodesk® 3ds Max® Design2010 Intensive WorkshopThis intensive workshop uses Autodesk3ds Max Design to create high-quality

3D still and animated images for archi-

tects, as well as interior and industrial

designers.

Topics include: 3D space; model types;

hardware, software interfaces; 3D

scenes; variable entities; lighting,

cameras; creating objects; module

overview; 3D editor; icons; 2D shaper;

3D lofter; animation principles.

Prerequisite: Computer Comp. (PC).


• Section 1 (w): M–W 9 AM–5 PM


Phil Gauntt


PMAM 230 2.1 C.E.U.s $615

AIAArchitectural Design withAutodesk® 3ds Max® Design2010Autodesk 3ds Max Design is the 3D

modeling, rendering, and animation

software for creating photorealistic

design visualizations. Its straight-

forward modeling and unique interop-

erability simplify 3D creation. Layers,

materials, and Schematic View tools

increase efficiency of data management.

And state-of-the-art image creation tech-

nologies, including mental ray® rendering

technology, help to ensure accurate

sharing of design intent.

Topics include: 3D concepts, rendering,

animation, 3D modeling, color, creation

and editing tools, viewing in 3D,

transforming objects, modifying objects,

creating shapes, lofting objects and

materials editor, mapping, lights, cameras,

tracking, scenes, and walkthroughs.

Prerequisite: Familiarity with Windows

2000, 3D modeling concepts, and 2D

and 3D drawing or modeling programs.

• Section 1 (w): W 6:05–8:05 PM


Marcello Ferri


PMCG 252 3.0 C.E.U.s $845

AIAArchitectural Visualizationusing AutoCAD 2010, Revit2010 and Autodesk® 3ds Max®

Design 2010Architectural and interior designs have

become increasingly complex, and the

need for an expanded software toolset is

more important than ever. Primarily a

Autodesk 3ds Max Design course, we

will explore the ability of architects and

interior designers to develop a workflow

that also integrates Auto-desk’s flagship

software, AutoCAD as well as the up

and coming Building Information

Modeling (BIM) application called Revit.

Learning how to incorporate all three

pieces of software will give you a good

foundation for pre-visualizing your

designs. The class will culminate with

you presenting individual projects that

will explore the topics discussed

throughout the semester.

Topics include: Drawing clean-up and

organization within AutoCAD; creation of

basic architectural objects in Revit; import-

ing 2D drawings into Autodesk 3dsMax Design; importing Revit models into

Autodesk 3ds Max Design using

Autodesk’s FBX file format; Autodesk3ds Max Design user-interface; creating

3D objects in Autodesk 3ds MaxDesign from 2D, AutoCAD, and line-

work; creating objects from scratch within

Autodesk 3ds Max Design; camera

creation and scene composition; standard

and Mental Ray materials; basic and

advanced lighting; basic and advanced

Mental Ray rendering techniques.

Prerequisite: familiarity with Windows

and basic 2D AutoCAD.

• Section 1 (w): Th 6:05–8:05 PM

15 sessions Sept 3– Dec 17

Scott Rosenbloom

PMCG 255B 3.0 C.E.U.s $845

AIAArchitectural Modeling II withAutodesk® 3ds Max® DesignThe purpose of this course is to produce

more complicated scenes for architectural

renderings in a production environment.

This course will take the student already

familiar with the content covered in

Level 1 through the creation of more

complex scenes as well as tips and

tricks to model quickly. Materials will

be applied to the scenes and rendered.

Topics include: advanced modeling,

material application and preparing a

scene to render.

Prerequisite: Autodesk 3ds Max Model

and Rendering I or Architectural Visuali-

zation using AutoCAD and Autodesk3ds Max.

• Section 1 (w): W 8:10–10:10 PM


Marcello Ferri


PMCG 256 3.0 C.E.U.s $845

AIAArchitectural Rendering andLighting in Autodesk® 3ds Max®

This course builds upon the skills

acquired in the architectural modeling

series and takes you through the

process of creating materials using

bitmaps or procedurals and lighting

for both an interior and exterior

environment to bring your visualizations

to life. The scenes and materials in

the course will be more challenging,

requiring planning for the layers of

information.

Topics include: the different types of

lights, layers of light within a scene,

multi subobject materials, a discussion

of advanced lighting simulations and

rendering your scene out in layers.

Prerequisite: Autodesk 3ds MaxModel and Rendering I or Architectural

Visualization using AutoCAD and

Autodesk 3ds Max.



Marcello Ferri


PMCG 257 3.0 C.E.U.s $835

CLASES NUEVAS ENESPAÑOLNEW CLASSES INSPANISHVea la página 22 para la descripción

de los cursos.

See page 22 for the following course

descriptions.

Diseño Arquitectónico con Autodesk® 3ds Max® Design(Architectural Design withAutodesk® 3ds Max® Design)

Modelado Arquitectónico II con Autodesk® 3ds Max® Design(Architectural Modeling II withAutodesk® 3ds Max® Design)



AUTODESK TRAININGCENTER SOFTWAREUPDATE TRAINING

These classes are for the amateur

or professional digital artist currently

using a previous version of the

software listed below. Classes

highlight new features and enhanced

functionality of the programs.

Autodesk 3ds Max® Design2010 UpdateThis one-day workshop for the

experienced Autodesk 3ds MaxDesign user covers the new features

in Autodesk 3ds Max Design.

Prerequisite: Prior experience with

Autodesk 3ds Max.


• Section 1 (w): Sa 9 AM–5 PM

1 session Sept 12

Ruslan Kuchman

PMAM 236 .7 C.E.U.s $235

AIAAutoCAD® 2010 Update:Transitioning fromAutoCAD® 2009This course provides AutoCAD 2009

software users a thorough understanding

of the new and enhanced features

offered in the AutoCAD 2010 product.

Topics include: Learn how to significant-

ly improve 2D drafting productivity.


courseware explore the new features,

functionality, and enhancements to

AutoCAD 2010.

The exercises are printed in the book

and are also provided in an onscreen

format that can be viewed next to

AutoCAD on your monitor.

Prerequisite: AutoCAD 2009


LU credit.



1 session Sept 1

Chris Ramirez

7 AIA/CES LU’s

PMA 391 .7 C.E.U.s $235

AIAAutoCAD® Architecture2010 UpdateAutoCAD Architecture 2010 Update is

a hands-on intermediate course that

introduces the user to the most current

version and a significantly changed

and more powerful product.

Prerequisite: AutoCAD Architectural

2009.


for LU credit.



1 session Sept 1

Phil Gauntt

7 AIA/CES LU’s

PMA 395B .7 C.E.U.s $235

AUTODESK®

AUTHORIZEDTRAINING CENTERPREMIER MEDIA ANDENTERTAINMENT

Pratt Manhattan is authorized as an

Autodesk® Authorized TrainingCenter Premier Media andEntertainment (formerly known

as Discreet Training Center) for its

multimedia programs, which include

character studio, cleaner XL,combustion, reactor, and

Autodesk® 3ds Max®, Autodesk®

3ds Max® Design.

See pages 21–24, and 36 for the


Autodesk® 3ds Max® DesignAutodesk® 3ds Max® Modeling

and Rendering I and IIAutodesk® 3ds Max® Animation I, IIAutodesk® 3ds Max® Advanced

Character Design and AnimationAutodesk® 3ds Max® Design

Advanced LightingAutodesk® 3ds Max® Adv. ProjectsAutodesk® 3ds Max® Game Level

and Character DesignAutodesk® 3ds Max® Design UpdateArchitectural Modeling II with

Autodesk® 3ds Max® DesignArchitectural Rendering and Lighting

in Autodesk® 3ds Max® DesignArchitectural Visualization Using

AutoCAD, Revit and Autodesk®

3ds Max® DesignCamera Matching and Integration

of Live Footage in Autodesk®

3ds Max®

character studio and skin combustionFacial Animation with

Autodesk® 3ds Max®

Introduction to Special Effects with Autodesk® 3ds Max®

and combustionMaxScript SeminarMudbox®

Project Management SeminarSpecial Effects (FX) with


Texturing Seminar

CUSTOMERTESTIMONIALS

Three-dimensional craniofacial imaging isthe future for orthodontic diagnosis andtreatment planning. Temple University hasdeveloped this technique with hopes thatit will become commonplace in the futureoffice. Several types of software programsmust be utilized for development. TempleUniversity has teamed with Pratt’sAutodesk Authorized Training CenterPremier Media and Entertainment (formerlyknown as a discreet Training Center) toenhance the knowledge and usage of thesoftware. Pratt has provided a certifiedinstructor to teach within a private andcustom teaching environment. Continuingsupport has been an outstanding attributefrom Pratt. I believe the success of thisproject will be ensured due to the strongcommitment Pratt has given us.

Ched Smaha, DMDTemple UniversityDepartment of OrthodonticsPhiladelphia, PA

The nature of our business is very dead-line-driven. In order to get our designersproficient and up to speed on AutodeskVIZ, we feel it is best to routinely providethem with offsite training. That way, theycan fully concentrate on learning about thedesign tools without any daily distractions.Our ATC, Pratt Institute, has been a valuableresource in training our product teamsand keeping our workflow proceedingsmoothly and efficiently.”

Donald StrumSenior Director of Product DesignMichael Graves Design GroupPrinceton, NJ and New York, NY

Your institution should be proud to haveMr. Chris Ramirez as part of your groupof instructors/professors. I was veryimpressed with Mr. Ramirez’s pedagogi-cal skills when I participated in theAutoCad Level I course during Spring2008. The skills I refer to are:– clear way to express ideas– organized sequence of lessons– structured and logical daily agenda– concern for students’ difficulties– always available when needed

I will certainly recommend this courseto my colleagues and personally lookfoward to my next course in your depart-ment. As a former adjunct professor atcollege level institutions in NYC & NJand as a licensed educator in NY & NJ,I appreciate taking courses in which theinstructor, besides having the expertise inthe subject, is also a good pedagogue.

Sincerely,Arnaldo CardonaBEnv.Design, B.S.L.A., M.Art, M.S.Educ


Student SoftwareOne-Year LicenseStudents who register for AutodeskMedia and Entertainment Training

Center and Autodesk Training Center

courses qualify to purchase a one-year

license of Autodesk sofware. For

further information, please visit

www.studica.com/dtc/pratt.

Autodesk Users GroupInternational (AUGI)Membership to AUGI is free. For

information, visit the AUGI website:

www.augi.com?source=ATC.US.10089

Useful LinksVisit our website for useful links

relating to the Autodesk Training

Center (ATC) program:

www.pratt.edu/ccps-autodesk_training

or for the

Autodesk Training Center Media and

Entertainment (ATCME) program:

www.pratt.edu/ccps-autodesk_media

Customized TrainingCustomized training is available

to corporate clients. For further

information, please contact Karen

Adler Miletsky at [email protected]

concerning your training needs.










37

38


In order to receive Pratt’s Certificatein Computer Graphics, studentsmust complete foundation courses,core courses, and electives withinyour chosen career track: interactivemedia, electronic imaging and illustration, electronic publishing, computer animation and video, andcomputer-aided design and visuali-zation. Students will receive a letter-grade in each course and mustmaintain a “C” average. Eighty percent attendance must be main-tained in order to pass, as well.Please see Career Tracks, on pages38-39, for details and requirements.Students with particular applicationrequirements outside of thesecareer tracks can select coursesfrom different tracks as long as thefoundation and certificate require-ments are satisfied. Certain coursesmay be waived with permission ofthe coordinator of the program.Eighty percent attendance is alsorequired in these courses of study.Students must have an understand-ing of the basics of design beforepursuing their area of concentration.

Please note: Computer Competency

(Mac/PC) will be waived outright, if you

have PC or Mac competency.

Prerequisites: The acceptance of pre-

requisites mentioned in all catalogue

listings is subject to the approval of

the Associate Director, Center for

Continuing and Professional Studies,

or the Associate Director, Academic

Computing. Also, if you are competent

in any other software application, you

may waive that course, but you do

need to take another course in

its place in order to complete the

certificate program requirements.

Application Fee: $100, non-refundable

Course Descriptions

For computer graphics courses see

pages 18–37. For Autodesk Training

Center and Autodesk Media and

Entertainment Training Center courses,

see pages 29–37.

Computer Facilities FeesStudents registering for thirty-hour

computer courses are required to pay

a non-refundable facilities fee of $25

per course.

Lab TimeTwo hours of lab time is available per

week, per course. Students also receive

an additional six hours of floating

lab time for the semester. Daytime

seminars do not include lab time.

Career Tracks

Interactive MediaThis program deals with the construction

and delivery of information interactively.

Learn about the tools, design issues,

and burgeoning technology of various

forms of interactive media, such as the

World Wide Web and CD-ROM.

Integrate text, sound, animation, video,

and graphic elements to create content-

rich interactive pieces. This certificate

program is ideal for people from a

variety of backgrounds. The nature of

interactive media makes it a challenging

and interesting creative environment

for people with backgrounds in theater,

writing, education, film and video,

and publishing, as well as those in

the visual arts. Students lacking a

design background are required to

take PMGD 430 Elements of Design

or PMGD 429 Color Theory and PMFA

429 Basic Drawing.

Required Foundation Courses:

Choose three.

PMCG 100 Overview of Digital Creation

and Digital Media


PMCG 422 Imaging I

Core Courses: Choose six.

PMCG 202 Graphic Illustration I

PMCG 322 HTML and Web Design I

PMCG 323 Dreamweaver I

PMCG 324 Dreamweaver/Fireworks: I

PMCG 325 Intro to XHTML and CSS

PMCG 425 Imaging II

PMCG 437 Web Design and Graphics

w/Adobe Web Programs

PMCG 438 Flash I

PMCG 439 Web Devel w/ Adobe

Dreamweaver

PMCG 450 Dreamweaver II: ColdFusion

w/Dreamweaver

Electives: Choose at least two.

PMCG 223 Autodesk® 3ds Max®

Model and Rend I


Animation I

PMCG 270 Graphics Program I w/ C++

PMCG 317 Great Web Design w/ CSS

PMCG 444 Flash II: Action Scripting

PMCG 445 Flash II: Character Anim

PMCG 446 Motion Graphics w/Flash

and Video

PMCG 451 Flash Remoting U/ ColdFusion

PMCG 452 Dreamweaver II: Ext and CSS

PMCG 455 Flash III: Adv Action Script

PMCG 457 Cartooning w/Flash

PMCG 461 Character Anim w/Flash

PMCG 466 Creating Mobile Content

in Flash

PMCG 467 Intro to PHP Programming

for the web

PMCG 468 Dreamweaver II: Web

Standards – Content,

Presentation, and Behaviors

PMCG 481 Photoshop: Channels, Masks

and Layers: Essentials and

Advanced Techniques

PMCG 500 Digital Photography

Electronic Imaging andIllustrationThis program is designed for the art

director, designer, commercial and fine

artist, with the curriculum emphasis on

the image itself. Whether creating a fine

art piece or a commercial illustration, com-

puter graphics technology offers a wide

range of image-making tools, combin-

ing the conceptual tools of drawing and

painting with photography and typogra-

phy, and adding new digitally based

forms of image composition. Create

The certificate program in computer graphicsis designed to provide graphic and fineartists with the skills necessary to utilizethe computer as a graphics tool, enablingthem to incorporate computer graphicstechnology into their work. The curriculumincludes terminology, software instruction,conceptual development, and hands-onexperience. Students work on state-of-the-art equipment, using the latest software.The certificate provides a firm groundingin the basic elements of this fast-movingfield, and an opportunity to use, learn, andunderstand the various types of specializedequipment that exist in today’s electronicdesign offices. Through collaboration withleading hardware and software vendorsinvolved with computer graphics, the Centerfor Continuing and Professional Studiesoffers its students the latest in computergraphics education. Pratt’s commitment toprofessional education and commercialapplicability is stressed in course planning,faculty selection, and the latest equipment.Pratt’s approach consists of a foundationdesigned to teach computer literacy, thebasic terminology and operating conceptsof these machines, and finally, a personal-ized course of study tailored to the specificeducational goals and career needs ofdifferent types of students. This methodcombines theoretical and practical knowl-edge that is essential to effective educationin this field. Students may take these coursesindividually or as part of the certificateprogram.

CAREER TRACKSInteractive MediaElectronic Imaging and IllustrationElectronic PublishingComputer Animation and VideoComputer-Aided Design and Visualization










1-888-GI BILL1 (1-888-442-4551 ), or




C E R T I F I C AT E C O M P U T E RG R A P H I C S

images for publication design, fine arts,

presentation graphics, interactive sys-

tems, and broadcast and web design.

Students lacking a background in illustra-

tion are required to take PMGD 430

Elements of Design or PMGD 429 Color

Theory, PMFA 429 Basic Drawing and

PMFA 452 Intro to Illustration. PMPH 481

Intro to Photography is recommended.


Choose three.

PMCG 100 Overview of Digital

Creation and Digital Media


PMCG 422 Imaging I



PMCG 303 Adobe InDesign

PMCG 304 Desktop Pub/Quark XPress I

PMCG 420 Graphic Illustration II

PMCG 425 Imaging II


PMCG 427 Electronic Pre-Press Prod


Dreamweaver

PMCG 478 Illustrator CS4 for Artists

and Illustrators


PMCG 213 3D Modeling w/form•Z


Model and Rend I

PMCG 322 HTML and Web Design I


PMCG 352 Adv Adobe InDesign w/

Photoshop and Illustrator

PMCG 421 Desktop Pub I/QuarkXPress II

PMCG 434 Non-LinearVideo Editing

and Video Effects w/

Final Cut Pro



PMCG 438 Flash I



Collage


PMCG 462 Adv Tech in Final Cut Pro

PMCG 477 Illustrator for Fashion Design

PMCG 480 Making Masterpieces w/

Corel Painter

PMCG 481 Photoshop: Channels,

Masks and Layers: Essent.

and Adv Tech


PMCG 510 Create a Professional

Design Portfolio

Electronic PublishingThis program explores new tools of

desktop design, including imaging,

illustration, digital typography, and

page design. Gain knowledge of type-

setting, page layout, color separation,

comp production, with projects com-

pleted through the printed piece.

Students lacking a background in

graphic design are required to take

PMGD 463 Basic Layout and Design or

PMGD 468 Design 2000: Principles of

Graphic Design and Print Production.


Choose three.




PMCG 304 Desktop Pub/QuarkXPress I

PMCG 475 Intro to Graphic Design



PMCG 224 Imaging for the Web

PMCG 303 Adobe InDesign

PMCG 305 Type and Design

w/QuarkXPress

PMCG 322 HTML and Web Design


PMCG 420 Graphic Illustration II

PMCG 421 Desktop Pub/QuarkXPress II

PMCG 422 Imaging I


PMCG 478 Illustrator CS4 for Artists

and Illustrators


PMCG 324 Dreamweaver/ Fireworks: I

PMCG 352 Adv Adobe InDesign w/

Photoshop and Illustrator

PMCG 425 Imaging II

PMCG 427 Electronic Pre-Press Prod




Dreamweaver



Collage

PMCG 468 Dreamweaver II: Web

Standards – Content,

Presentation, and Behaviors

PMCG 477 Illustrator for Fashion Design

PMCG 480 Making Masterpieces w/

Corel Painter

PMCG 481 Photoshop: Channels,

Masks and Layers: Essent.

and Adv Tech


PMCG 510 Create a Professional

Design Portfolio

Computer Animation and VideoThis program is for students who wish

to pursue careers in film, entertainment,

special effects, game design, and

broadcast design. Program focus is on

the creation and design of time-based

media. Choose an area of specialization

—2D and 3D animation, digital video,

and broadcast design. Study the

choreography and design of complex

animated sequences. Students lacking

a background in illustration or design

are required to take PMFA 429 Basic

Drawing, PMFA 476 Basic Drawing

for Animation, PMGD 430 Elements of

Design or PMGD 429 Color Theory

and PMFA 452 Intro to Illustration.


Choose five.



PMCG 210 3D Comp. Graphic Theory

PMCG 250 Continuity Storyboards

PMCG 251 Design 3D Computer Anim

PMFA 479 Traditional Animation I

Core Courses: Choose five.



Model and Rend I

PMCG 230 Maya I Fundamentals


Model and Rend II

PMCG 241 Maya II: Modeling,

Animation and Effects


Animation I


Animation II


Adv Char Design

PMCG 340 Maya Adv Character Design

PMCG 422 Imaging I

PMCG 435 Adobe Premiere Pro

PMCG 436 Adobe After Effects I

PMFA 480 Traditional Animation II


PMCG 213 form•Z Fundamentals:

Model and Render I


Game Level and Character

Design

PMCG 258 Mudbox®

PMCG 270 Graphics Pro I w/C++


Adv Char Anim

PMCG 333 Special Effects

w/Autodesk® 3ds Max®


Adv Projects

PMCG 341 Special Effects w/Maya

PMCG 360 Computer Animation and

Visual Effects: XSI

PMCG 425 Imaging II

PMCG 434 Non-Linear Video Editing

w/ Final Cut Pro

PMCG 438 Flash I

PMCG 440 Adobe After Effects II


PMCG 462 Adv Tech in Final Cut Pro

PMCG 463 Compositing w/ Shake

PMCG 601 Special Projects

Independent Study

Special Topics: (Four seven-hour

workshops count as one course.)

PMAM 224, PMAM 237, PMAM 238,

PMAM 245, PMAM 246, PMAM 247,

PMAM 248, PMAM 249

Computer-Aided Design and VisualizationThis program is designed for architects,

engineers, interior designers, and

industrial designers. Expert CAD

curriculum—from fundamental to

complete customization—combined

with special topics in 3D design,

visualization, and scripting are included.

Students lacking a drafting or technical

drawing background are required to

take PMFA 428 Perspective Drawing

and Rendering.


PMA 401 AutoCAD Prof Level I

PMA 402 AutoCAD Prof Level II

PMA 403 AutoCAD Prof Level III

PMA 404 3D Model and Rendering

AutoCAD

PMA 405 AutoCAD Architecture:

Essentials

PMA 406 Revit Architecture I

PMA 407 Autodesk Inventor I

PMA 408 Set Design for Architects

and Designers using

AutoCAD

PMA 392 AutoLISP w/Visual Lisp


Modeling and Rendering I


Modeling and Rendering

II

PMCG 252 Arch Design w/Autodesk®

3ds Max® DesignPMCG 254 Autodesk® 3ds Max®

Animation I

PMCG 255B Arch Visual ACAD

w/AutoCAD, Revit and


DesignPMCG 256 Arch Model II w/


DesignPMCG 257 Arch Rendering and

Lighting in Autodesk®

3ds Max® DesignSpecial Topics: (Four seven-hour work-

shops count as one course.)

PMA 500, PMA 501, PMA 502,

PMA 503, PMA 504, PMA 505,

PMA 506, PMA 507, PMA 508,

PMA 510, PMA 512, PMA 520,

PMA 521, PMA 522, PMA 524,

PMA 525, PMA 526, PMA 533,

PMA 534, PMA 535, PMA 538,

PMA 539, PMA 540, PMA 541,

PMA 542, PMA 543, PMA 544,

PMA 545, PMA 546, PMA 547,

PMAM 224



geet

Sticky Note

Cert prog: E-Imaging and IllustrationRequired: 1. PMGD 430 - Elements of Design/pmgd429 Color Theory2. PMFA 429 Basic Drawing3. PMFA 452 Intro to IllustrationFoundation: 1. PMCG 100 Overview of Digital Creation & Media2. Imaging ICore Courses: 1. Graphic Illustration I2. Graphic Illustration II3. Imaging II4. E-Pre press prod5. Illustrator CS46. Adobe InDesign Electives: 1. Digital Photography2. 3d Max Model n Rend

40

PROGRAMANNOUNCEMENTS

Program LocationPlease note that all sections are held

at our Manhattan Center, 144 West

14th Street, unless otherwise noted.

Pratt AIA Online PartnerPrograms ExpandedEngineered by CS Learning Solutions

Pratt Institute is pleased to offer a

select curriculum of web-based AIA/

CES courses at Pratt Online Center for

Continuing and Professional Studies.

See our expanded online course

offerings through our self-serve online

interactive courses produced by CS

Learning Solutions.

Visit ces.pratt.edu now, and earn

while you learn.

Pratt AIA Onsite OfferingsThese lectures can be delivered on-site

to corporate clients. For further infor-

mation, please contact Karen Adler

Miletsky at [email protected].






CUSTOMERTESTIMONIAL

I really enjoyed Roy Pachecano’s and DavidReck's class on “Green Design vs HistoricPreservation.” It was very informative andinspiring. With the economy the way thatit is, I am trying find ways to reinventmyself as an Architect. Your class gave memuch to consider.

My business partner and I are in contractto purchase a landmark house on StatenIsland. The case study of the Nix Housegave me a renewed appreciation of therestoration process.

I look forward to attending more of yourseminars in the future.

Thank you,Michael A. Biagioli, AIA, Architect

EARN WHILE YOU LEARNSheathing: A SustainableProduct for the 21st CenturyThis course, written by noted author

and lecturer Jeffrey M. Syken, is the

first in a new line of web-based cours-

es written by Pratt CCPS faculty. The

course takes a comprehensive look at

the five major types of sheathing,

examines manufacturing methods and

composition, and provides a broad

understanding of the best projects for

each type.

After completing this course you will

be able to:

• Discuss the importance of sustain-

ability to the wood-based sheath-

ing industry

• Describe environmental concerns

the wood-based sheathing sector

has addressed

• Name the five sheathing types and

the key features of each

• Identify the distinctions between

different manufacturing methods

for each sheathing type and their

performance benefits

Course Features

• Course qualifies for 1 AIA/HSW LU

credit

• Complete the course as your time

permits-break, the system auto-

matically bookmarks your place

• Your credit is automatically report-

ed to the American Institute of

Architects upon completion of the

course

• Print a Certificate of Completion

for your records

• System maintains a secure record

of all your completed course work

• Tuition: $85

Register for this course now at

ces.pratt.edu to bring new knowl-

edge and insight to your work, and

add value for your clients, partners

and projects.

Adaptive Reuse Re-ImaginedAn existing structure presents many

opportunities and many challenges.

Architects are sometimes reluctant to

use the existing infrastructure, hesitant

to assume responsibility for unforeseen

conditions or they do not recognize the

valuable resource they have. It is vitally

important to understand what is possible

given new technologies. Part of the

challenge is to discover hidden features

of a property to both preserve and

improve the facility by applying creativity

and taking the care necessary to envision

the end product. This course examines

the conceptual underpinnings as well

as the methods, materials, and process

of reconstructing and adding to an

older building.

Topics include: survey existing condi-

tions, code and zoning, planning for

preservation (old vs. new), building

charm and interest, the permitting

process, the construction process,

and case studies.

• Tu 9 AM–5 PM

1 session Sept 22

Steven Zalben, AIA, NCARB

7 AIA/HSW LU’s/SD’s, 7 PDH’s

PMPD 894 $295

Analysis of ContinuousSpanned Beams IA popular choice for the analysis of

continuous beams later to be used in

computer programs solutions has been

a classical method, known as the force

method in the structural engineering

community among engineers and

architects. This method had become

the engineer’s tool for designing con-

tinuous beams and was deservedly

recognized as the alternative method

to that of moment distribution estab-

lished by Hardy Cross.

The seminar gives a detailed

overview of designing long spanned

continuous beams providing the engi-

neer-architect with the geometric and

physical properties of the beam rendering

a more effective solution to the design

as well.

Special Programs• AIA/CES Registered Provider• Certificate Programs:

– Audio Engineering and Production– Fine and Decorative Art Appraisal– Sustainable Building, Infrastructure

Design and Management• Pre-College, Fall 2009 / Summer 2010

Professional DevelopmentSeries for ArchitectsProfessional Engineers, and Land SurveyorsAIA/CES Registered ProviderDrawingonPratt’shistorically strongarchitecture and engineering curricu-lum, we have expanded our programandregisteredwiththeAmerican Instituteof Architects, Continuing EducationSystem (AIA/CES). ForadditionalapprovedAIA/CEScourses, please seeAutodesk Training Center, pages30–37; VectorWorks and form•ZFundamentals: Modeling andRendering I, page 25.

Please Note

• For the Architect: New York StateLicensing Board law requires architectsto complete 36 professionally-relatedcontinuing education hours for everythree-year registration period. Of the36 hours, 24 must relate directly toHSW (general health and safety of thepublic) issues. • For the Professional Engineer and Land

Surveyor: Every New York Statelicensed and registered professionalengineerandlandsurveyormustcompletecontinuing education. Professionalengineerswillbe requiredtocomplete 36hours of continuing education duringeach three-year registration period. Landsurveyors will be required to complete24 hours of continuing education dur-ing each three-year registration period.* Please see courses with PDH’s notated.• Non-HSW designation: Pratt coursesthat do not have the HSW designation,and which have been approved throughthe AIA, have been formally submittedto NYS for review.

State Approval

It is your responsibility to check with

the state licensing boards as to whether

or not a course is acceptable to meet

its continuing education credit

requirements. Visit Pratt’s website at

www.pratt.edu/prostudies for courses

not acceptable to NYS or see courses

that state: Not accepted by NYS for LU

and PDH credit.

For more information, visit the website

for New York State Education

Department, Office of the Professions at

www.op.nysed.gov/.

P R O F E S S I O N A L D E V E L O P M E N TF O R A R C H I T E C T S & E N G I N E E R S

Topics include: Structural engineering

principles: virtual work, bending of a

beam segment, angle changes along

a beam, moment area method, recipro-

cal relations along a beam, moment

distribution. Layout and solution of the

n linear equations of the continuous

beam’s geometry to its nth degree of

indeterminate forces. From the solution,

a pictorial diagram will show the

beam’s structural response to the loads

acting upon it.

• Th 9 AM–1:30 PM

1 session Sept 24

Kenneth Wagner, PE

4 AIA/HSW LU’s, 4 PDH’s

PMPD 958 $196

Analysis of ContinuousSpanned Beams IIEstablished in long usage for the struc-

tural analysis of continuous beams,

later to be implemented in computer

program solutions, the classical method

known as the displacement method is

today’s selected mechanism for the

design of continuous beams, the alter-

native to both that of the force method

and moment distribution as well.

This seminar will give an in-depth

view of an easier and more effective

solution for continuous beams than

that of the force method.

Topics include: theory of angle changes

along a beam; moment area method;

stiffness factors for structural elements;

displacement method description;

linear equations for rotations; moment

distribution; and moment diagram for

the structural continuous beam.

• F 9 AM–1:30 PM

1 session Sept 25

Kenneth Wagner, PE


PMPD 959 $196

Registration Deadlines

Registration deadlines for all courses





Analysis of ContinuousSpanned BeamsFrom successful long term usage of

analyzing continuous beams the classical

methods known as the force method

and the displacement method had

become the selected tools of the

designer’s choice for these structural

elements mentioned above. The dis-

placement method has become today’s

more popular choice for the computer

solutions of these beams.

The seminar introduces the engineer/

architect to an inner depth view of

these classical methods mentioned

above as alternate solutions to the

method of moment distribution

implemented in preliminary designs

of continuous spanned beams.

Topics include: virtual work; bending of

a beam segment; angle changes along

a beam; moment area method; recipro-

cal relationships of deflections along a

beam; moment distribution; stiffness

factors; force method description;

displacement method description;

establishment of n linear equations for

the force method; establishment of n

linear equations for the displacement

method; moment distribution; shear

diagram-force method; moment

diagram-displacement method; force

method versus displacement method.

• Sa 9 AM–5 PM

1 session Oct 17

Kenneth Wagner, PE


PMPD 960 $295

An American Revolution: The Invention of BalloonFraming and The History ofWood Frame Architecturein AmericaWe survey the last 400 years of wood

framing in this country with a particular

emphasis on vernacular domestic archi-

tecture. Starting with the house building

methods the colonists brought with

them and their European roots, we

look at how Americans began to take

advantage of the sumptuous supplies

of timber here. The course identifies

particular styles of design that begin

to emerge such as Greek Revival and

Federal. We focus on the remarkable

and little known story of the invention

of balloon framing, which happened

in Chicago in 1833, and why it was

such a revolution. The idea caught

on rapidly and moved west over the

course of the next 25 years, abetting

the expansion of the Western Territories.

Balloon framing fed our avid interest

in a wide range of house styles, making

the variety of houses the most diverse

in the world. Carpenter Gothic, Stick

Style, Eastlake, Queen Anne, Second

Empire, and Shingle Style all emerged

via pattern books. We review the

particular importance of these and

their disseminators followed by a special

segment on mail-order architecture

and the explosion of kit homes in the

early part of the 20th century. We end

with a discussion about the future of

domestic construction methods.

Topic include: a review of Timber

Framing and its Origins in England;

Early House Styles; Chicago, Circa

1830; Balloon Framing; Westward

House!; Emerging American House

Styles; Platform Framing and other

Improvements; The Role of Architects

versus Pattern Books; The Mail Order

House; The future of Wood Framing.

• Th 9 AM–4 PM

1 session Sept 17

Warren Ashworth, RA


PMPD 940 $295

Architectural Acousticand Noise Control This seminar is intended for planners,

architects, engineers, interior designers,

facilities managers and construction

personnel who wish to raise their aware-

ness, sensitivity and technical knowledge

of architectural acoustics, noise control,

and the related regulations. Though

related regulations have existed and

been refined over four decades, serious

attention is finally being paid to acoustics

and noise pollution, as awareness

increases about the negative impact of

noise and poor acoustics to human

comfort, health, safety and welfare

contributes to irritability, reduced work-

place productivity, sleeplessness, anxiety,

exacerbation of learning and hearing

disabilities. It makes practical sense that

good acoustics and effective noise control

be incorporated as determinants in the

planning and the design considerations

for projects. As an important frontline

consideration for government funding

of projects, facilities acquisition and

construction, noise control and abatement

have become critical determinants for

proceeding with such project funding,

and the impact of noise pollution is also

a critical component of environmental

site assessment for facilities development.

However, the reality is that acoustic and

noise control are often overlooked.

Topics include: introduction and general

information; properties and character-

istics of sound wave and noise; standards

and regulations; occupational standards

for noise control; indoor acoustics

and noise control; and outdoor noise

and abatement.

• F–Sa 9 AM–5 PM


Alfred Yalaju, RA


PMPD 914 $595

Architectural Restoration:Motivators and Constraintsto the Preservation ofOlder StructuresThis course addresses generating and

controlling projects involving architec-

tural restoration, which accounts for a

significant portion of all construction.

The role of the architect in such proj-

ects is pivotal; a pro-active architect

with a comprehensive understanding

of restoration principals can be instru-

mental in its success, and can also play

a significant role in facilitating these

projects. Technical expertise must

cover an extremely broad range of

knowledge. The architect must be

thoroughly familiar, not only with cur-

rent codes and construction methods,

but those of the past as well. The role

of the architect in program develop-

ment, administrative issues and

approvals, the technical aspects of

restoration, and financial considera-

tions will be explored in depth.

Restoration often involves adaptive

reuse or historic preservation, as well as

broader planning issues. Beyond the

technical and administrative constraints,

understanding, identifying, and satisfying

funding sources can be determinant as

to whether a project is undertaken. The

architect’s role in funding process will

also be discussed in depth.

Topics include: motivators for restoration;

dealing with municipal authorities,

funding sources and contractors;

selecting and sourcing materials;

developing method of construction;

dealing with specific issues; construction

costs and budgeting: the Architect’s

role and responsibilities; the study of a

representative cross-section of projects

demonstrating various types (residential

single family, multi-family, commercial,

municipal); program requirements

(adaptive reuse, alteration/addition,

pure restoration, historic preservation),

and architectural styles.

• Th–F 9 AM–5 PM


Martin Kravitt, RA


PMPD 916 $595



PROFESSIONALDEVELOPMENTSERIES continued

Art Deco: The Architectureof Boom and BustIn 1925, the Exposition des Arts

Decoratifs (Exposition of Decorative

Arts) was held in Paris, France. Its

consequences would influence an

entire generation of artists and designers,

not the least of which was its influence

on architects in Europe and America.

Starting with the Zig-Zag era of the

1920s, Art Deco, as it came to be

known, had three distinct periods in

America. With the onset of the world-

wide depression in the 1930s, govern-

ment “make-work” projects would

define the second period known as

the WPA (Work Progress Administration)

era. The WPA sponsored public projects

on a grand scale and architectural

designs of the day reflected this heroic

age of great works. By the late 1930s

and early-1940s— before America’s

entry into WWII—the great depression

was receding and America was getting

back on her feet and back to work.

This optimistic spirit, celebrating the

marvels of modern machinery brought

about the last period of Art-Deco

architecture: the Streamline era.

From New York City to Miami to Tulsa,

Oklahoma, the capital of art-deco

architecture in the United States, the

Art-Deco style would be celebrated

then forgotten as passé in the post-

WWII years. Sadly, many of these great

buildings have been lost, but those

that remain are now cherished

reminders of that great era in which

they were created.

Topics include: Les Exposition des Arts

Decoratifs; the influence of Art-Deco;

zig-zags and lightning bolts; grand by

design: The WPA era; and colors and

rounded corners: The Streamline era.

• W 8 AM–1:30 PM

1 session Sept 2

Jeffrey Syken

5 AIA/CES LU’s

PMPD 917 $244

Between the Wars: the GoldenAge of Bridge BuildingThe 1920s and 1930s were the most

prolific decades of bridge building the

world has ever seen. More important,

more bridges were built than at any

time before or since—particularly in the

United States. The George Washington

Bridge (1931) would be the first long-

span and heaviest suspension bridge

ever built. The Bayonne Bridge (1931)

the longest steel arch bridge, while its

contemporary, the Sydney Harbor Bridge

(1932), would be the largest steel arch

bridge ever built. Triborough Bridge

(1936) would set the modern standard

for linking bridges with arterial highways,

while San Francisco’s Golden Gate

Bridge (1937), at the dramatic ocean

entrance to San Francisco Bay ,would

become the most recognized bridge in

the world. The Tacoma-Narrows Bridge

would end the era with a humbling

lesson on bridge aerodynamics for

bridge designers. This seminar will

include a historical overview of bridges

built between 1920 and 1940.

Topics include: suspension bridges,

cantilever bridges, steel arch bridges,

concrete arch bridges, and continuous

truss bridges.

• Th 9 AM–5 PM

1 session Sept 3

Jeffrey Syken


PMPD 886 $295

Bidding the Construction ProjectThis how-to course is for architects,

engineers, general constructors,

construction managers, sub-contractors

and all other construction personnel

interested in understanding the Who,

What, Where, When, Why and How

of bidding the construction project.

Topics include: the relationship of the

contracting parties; understanding the

project; overview of bid documents;

assembling the bid team; the role of the

subcontractors; the estimate process; bid

day preparation; and the bid day.

• Sa 9 AM–5 PM

1 session Nov 7

Arnie Weitzman, CPE


PMPD 861 $295

Big Apple to the CoreAbove all else, what makes New York

the greatest city in the world is its

architecture. Almost every type, size,

and style of building is represented on

Manhattan Island—from the sublime

to the grandiose. Upon entering the

metropolis, the visitor is first treated to

the splendor of Grand Central Station,

a complex maze culminating in a great

hall with the night sky adorning the

ceiling high above. Nearby, the Chrysler

Building, winner of the great skyscraper

race during the late 1920s, the height

of art-deco architecture in New York,

stands proud, the first man-made

structure to out-distance the Eiffel

Tower. A few blocks south and west

is the Empire State Building, one of

the greatest streets in the world, on

fashionable Fifth Avenue.

For New York, the Empire State

Building would be the culmination of

the art and science of building tall

buildings, for the rest of the world it

would become the very symbol of New

York City. To make way for the building,

the original Waldorf-Astoria Hotel was

demolished but reborn on Park Avenue,

where it reclaimed its title as one of the

greatest hotels in the world. Where 7th

Avenue and Broadway form a “bowtie”,

NYC and the world celebrate New Years

at Times Square.

Rich in history and at the heart of

the theatre district, the area has

undergone a renaissance starting in

the 1990s with the restoration of the

New Amsterdam Theatre. Aside from

these great structures, New York City

has some of the greatest residences in

the world in the form of townhouses,

duplex apartments and lofts.

Topics include: Grand Entry: Grand

Central Station; Deco Days: Chrysler

Building and the Empire State Building;

On the Avenue: Fifth Avenue; NYC’s

Palace: the Waldorf-Astoria Hotel;

Crossroads of the World: Times Square;

Art Nouveau Masterpiece: The New

Amsterdam Theatre; NYC living:

townhouses, apartments and lofts.

• W 8 AM–1:30 PM

1 session Sept 9

Jeffrey Syken


PMPD 929 $244

Brick EssentialsBrick masonry is used in many different

ways in the construction industry.

Through this seminar you will gain an

in depth understanding of brick masonry

and its various uses. You will learn

about the requirements governing clay

masonry as established by the American

Society for Testing and Materials

(ASTM). The discussion will include

standards for both brick masonry units

and the mortar used in conjunction

with those units.

Participants will develop a full under-

standing of brick by size, shape, exposure

limitations, and compressive strength.

The advantages of brick to sustainability

will also be described. In particular, it

will be demonstrated how brick may

contribute to as many as twenty-nine

LEED points toward certification.

Topics include: history of brick masonry;

review of ASTM standards: brick,

mortar; shapes, color, methodology:

extruded, molded, sand struck, water

struck, dyeing, and joints; wall types:

drainage walls-cavity, veneer, rain

screen wall; pavers: rigid underlayment,

flexible underlayment; and LEEDS.

• Tu 9 AM–5 PM

1 session Oct 13

Brian Trimble


PMPD 918 $295

Bridging AmericaNorth America is a continent diverse in

many ways: people, climate and, not

least of all, its geography. Many natural

obstacles blocked the way for railroads

and highways to traverse the landscape.

Bridges in their many forms— suspension,

cantilever, steel arch, viaduct, bascular,

swing, lift, etc.—and the forces acting

on them, both dynamic and static, as

well as the loads they must resist: live,

dead, wind, seismic, environmental,

literally tie the continent together.

The technology of bridge building has

come a long way from the days in the

19th century when one in four suspen-

sion bridges collapsed, exacting a terrible

toll in lives and property. In the 20th

century, bridge building went from a

quasi- to an exact-science based on

modern engineering principles learned,

very often, from bitter experience such

as the collapse in November 1940 of

the Tacoma-Narrows Bridge.

Advancements in materials, equipment,

methods of excavating substructures

(foundations), and erecting the super-

structure without impeding navigation

made possible the bridging of America.

Modern bridge design and construction



techniques have made bridges an art

form, not just a utilitarian linking of

two points. Because of its geography,

North America has some of the most

significant bridges spanning many of

the continent’s most imposing water

barriers. The Mackinaw Straits, which

separates the upper and lower peninsulas

of the state of Michigan, and the

Carquinez Strait, which separates

San Pablo from Suisun Bay in Northern

California can claim the newest

suspension bridge, while the longest

bridge in the world spans Lake

Pontchartrain in southern Louisiana.

Topics include: Pittsburgh: City of

Bridges; David Steinman’s Masterwork:

The Mackinac Bridge; End of Isolation:

The Lake Pontchartrain Causeway;

Highway at Sea: The Chesapeake Bay

Bridge and Tunnel; and Bridging the

Carqinez Strait: The Al Zampa

Memorial Bridge.

• W 8 AM–1:30 PM

1 session Sept 16

Jeffrey Syken


PMPD 927 $244

Bridging Gotham:NYC ArchipelagoUpon his arrival in 1609, Henry Hudson

declared the natural harbor a place

where “A thousand ships could rest at

anchor.” He then set about charting

the labyrinth of waterways that sepa-

rated the land. Of the five boroughs

incorporated to form the City of

New York in 1898, only the Bronx is

connected to the North American

continent-the rest are surrounded by

water. The challenge of linking these

disparate land masses by bridge and

consolidating the great metropolis

began with the colonists of the late-

17th century and continued into the

1960s. The story of New York City’s

bridges is the story of New York City

itself-they are one and the same.

Topics include: Bridge building: science

as art; predecessors: the colonial period;

industrial age: the Harlem River

bridges; two cities as one: Brooklyn

Bridge; the ugly duckling: Williamsburg

Bridge; cantilever classic: Queensboro

Bridge; deflection theory tested:

Manhattan bridge; Grand Arch: Hell

Gate Railroad Bridge; end of isolation:

Outerbridge, Goethals, and Bayonne

bridges; form follows function:

George Washington Bridge; hat trick:

Tri-Borough Bridge; upper East River:

Bronx/Whitestone and Throgs Neck

bridges; grand finale: Verrazano

Narrows Bridge.

• Sa 9 AM–5 PM

1 session Sept 26

Jeffrey Syken


PMPD 871 $295

Bridging the WorldThe Romans were the first great

bridge-building civilization. Their stone-

arch bridges—many still in use today—

literally tied their empire together.

Centuries would pass until a new

material, cast-iron, would be introduced

in the 18th century as a lightweight

substitute for masonry. With the intro-

duction of railroads in the 19th century,

cast-iron bridges were tested to their

limits and failed. The introduction of

wrought-iron and steel for all types

of bridges—steel arch, cantilever,

suspension, bascule, etc.—would allow

bridge-building to evolve into a science

rather than an art in the 20th and

21st centuries.

In the 1890’s, the much-needed

Tower Bridge joined the two halves of

London together while allowing the

busiest port in the world to remain

open to trade. In post-WWII Japan, a

national program to stitch the island-

nation together culminated with the

opening of the longest bridge in the

world: Akashi-Kaikyo. To link Paris

with the Mediterranean, the French

constructed the tallest bridge in the

world: Millau Viaduct, and to relieve

the burden on the original 1938 Blue

Water Bridge, linking Ontario with

Michigan, a new tied-arch bridge was

constructed. The proposed Bering-

Strait Bridge would literally “Bridge the

World” linking North America, Asia

and Europe.

Topics include: Bridge History/Develop-

ment; Tower Bridge, London; Akashi

Kaikyo: The Longest Bridge in the

World; Millau Viaduct: The Tallest

Bridge in the World; The New Blue

Water Bridge; and Bridging the

Bering Strait.

• W 8 AM–1:30 PM

1 session Oct 28

Jeffrey Syken


PMPD 930 $244







Building Green: An OverviewYou are likely to get a variety of

definitions for the term “building

green” depending upon whom you

ask. For governmental agencies,

recycled content is typically most

relevant but for health conscious

organizations, indoor environmental/air

quality matters most. Paramount for

environmental organization is the level

of eco-disruption. In general, interested

parties agree that it’s all about the built

environment being “earth friendly,”

but “building healthy” focuses on the

built environment being “people

friendly,” as both “building green” and

“building healthy” are two sides of

the same coin. The US Green Building

Council’s LEED (Leadership in Energy &

Environmental Design) certification

program has provided the parameters

by which environmentally sustainable/

responsible design and construction

has become a practical reality in the

21st century. Through graphic and

visual presentations, this seminar

provides a broad overview of the topic.

Topics include: why build green; the

origins of the green building movement;

what is sustainability; understanding

the USGBC’s LEED program; additionally

Industry initiatives; health impacts from

the built environment; and design

principles.

• Tu 9 AM–5 PM

1 session Sept 1

Jeffrey Syken


PMPD 890 $295

Building Green‘Round the WorldThe green building movement—begun

in earnest in the early 1990s—has

made its impact felt around the world.

From New York to Beijing, from Maine

to Mexico, the environmental impacts

of the built environment can no longer

be ignored in the wake of the industrial

revolution and the exponential growth

of the human population on planet

earth. The release/control of greenhouse

gases, electricity usage, water resources,

solar energy, groundwater pollution,

eco-disruption, deforestation, landfill

use/capacity, indoor air quality/pollution,

the urban heat island effect, storm

water runoff, light pollution, and sustain-

able materials, are all key aspects of

building green. Long ignored in favor

of the natural environment, the built

environment has, by the 21st century,

become the priority of governments,

agencies, environmentalists, corpora-

tions, and the public-at-large. An integral

part of our lives, the places we live, work,

and play in control of ours-and-space-

ship-Earth’s destiny more than we realize.

Topics include: Freiberg, Germany:

A Solar Village; Toronto, Canada:

A Natural House; Vermont, USA:

Greening the Green State; Tijuana,

Mexico: Creating an Ecological Park;

Los Angeles, California: A Downtown

State Agency’s Headquarters Goes

Green; British Columbia, Canada:

Practicing Sustainable Forestry; Iowa,

USA: Designing and Constructing a

Green Highway Bridge; Pennsylvania,

USA: Recycling Goes Mainstream;

New York City, USA: Vertically

Integrating Sustainability; Western

Mexico: Sustainable Design for the

Developing World; Chicago, Illinois:

Greenest City in America; Boston,

Massachusetts: Big Dig Reincarnations;

China: Building Green on an Epic Scale;

Around the World: the Visionaries of

Sustainable Design and Construction.

• Su 9 AM–5 PM

1 session Oct 4

Jeffrey Syken


PMPD 941 $295

Building HealthyDid you know that pollutants inside

your home can be 5 to 10 times

greater than outside—and at levels of

concentration up to 100 times higher?

Two recent trends in homebuilding—

tighter building envelopes and the use

of synthetic building products—have

contributed significantly to the prob-

lem of indoor air pollution. Indoor

pollutants come in many forms:

biological, gaseous, metallic, mineral,

radiation, and vapor. Unlike “Building

Green” – which takes an “earth-first”

approach, “Building Healthy” is all

about people and putting their health

first by creating and maintaining

healthier environments to live and

work in. In reality, both building green

and building healthy are two sides of

the same coin.

This seminar examines the topic of

building healthy. As part of the course,

students will view a videotape series

concerning the construction of a

healthy house and discuss the various

aspects of building healthy.

Topics include: indoor pollutants, design

principles, foundation types, exterior

finishes and interior finishes, insulation,

doors and windows, airtight construc-

tion, framing options, electric, plumb-

ing and hvac, flooring, cabinetry, and

electromagnetic fields.




• Su 9 AM–5 PM

1 session Nov 1

Jeffrey Syken


PMPD 872 $295

Building NaturallyTouch the Earth Lightly —

the mantra of the Natural Building

Movement, expresses with just a few

words a philosophy whereby the built

environment is in harmony with the

natural world rather than at odds

against it. Emphasizing the use of ìnatu-

ralî building materials such as adobe,

straw bale, clay, earth, cordwood, etc.,

and taking advantage of passive solar

design, earth sheltering, etc., natural

building proponents have distinguished

themselves from the more mainstream

Green Building movement, which

focuses on ìearth friendlyî initiatives

such as recycled content, minimizing

eco-disruption, and indoor air quality.

Topics include: Understanding the

significant differences between the

Natural Building and Green Building

movements as well as their common

ground; appreciating the historical

background and influences of natural

building materials and techniques in

the development of human society

and the built environment; exploring

both the cost-to-benefit and benefit-

to-burden ratios of natural building;

defining the geographical influences

on natural building material/techniques;

recognizing the overlap of natural

building with conventional building

methods; and a review of hybrid designs

that use natural building materials.

• W 8 AM–1:30 PM

1 session Dec 9

Jeffrey Syken


PMPD 988 $244

Building the Brooklyn Bridge:An Epic for the AgeTechnological innovation and scientific

advancement, political corruption,

scandal, human tragedy and triumph,

the use of steel rather than iron—the

building of the Brooklyn Bridge (a.k.a.

East River Bridge) had it all. The span-

ning of the East River between Lower

Manhattan and the city of Brooklyn

was perhaps the most significant

achievement of the post-civil war era.

In this seminar you will gain an under-

standing of the materials, methods,

and systems used to design and build

the world’s first modern steel and wire

cable suspension bridge: the Brooklyn

Bridge (1883). Just as the Woolworth

Building (1913) was to be the forerunner

of the modern skyscraper, the Brooklyn

Bridge established the method and

means by which suspension bridges

could be successfully and safely built.

Topics include: the history of long-span

bridges; John Roebling, design engineer

—man of genius; creating the founda-

tions for the two towers; the anchorages;

running the cables; the approaches;

suspending the roadbed; the terminals;

Washington Roebling, chief engineer;

New York and Brooklyn in the 19th

century—two cities, one bridge;

building the bridge—the epic drama;

The bridge in use—ever changing, ever

the same; the bridge as a cultural icon.

• M 9 AM–5 PM

1 session Oct 12

Jeffrey Syken


PMPD 867 $295

Build It and They Will Come:The Architecture of SportsPerhaps no other building type generates

more raw human emotion than does

the sports stadium. From the days of

“Bread & Circuses” in ancient Rome,

where gladiators fought to the death in

the Coliseum, to the most modern domed

stadium, sports arenas reflect its civiliza-

tion’s cultural values and technical prowess.

No other type of structure in the built

environment creates such a strong

emotional bond with the community it

serves. When a stadium has reached the

end of its useful life, it is very often a

traumatic experience for the home team’s

loyal fans to witness its demise.

Today, the two great American pas-

times: football and baseball, dominate

the architectural and structural designs

of stadiums, providing tremendous

capacity and technological innovations

such as retractable roofs, movable

seating and even movable fields.

Very often stadiums serve multi-func-

tional purposes and/or serve as venues

for concerts, conventions, etc.

In emergencies, stadiums also provide

temporary shelter for great numbers

of displaced persons. Sports stadiums

have come a long way from the days

of wooden grandstands in the outfield.

Modern stadiums represent the latest

advances in architectural design and

structural engineering on a grand scale.

Topics include: The Coliseum, Rome;

baseball parks; Notre Dame (football)

Stadium; the domed Stadium; and

Memorial Stadium, Philadelphia.

• W 8 AM–1:30 PM

1 session Oct 7

Jeffrey Syken


PMPD 934 $244

Capital City: The Architectureof the District of ColumbiaSelected for its location, vistas and

proximity to namesake George

Washington’s home in Mount Vernon,

Washington, D.C. serves as the nation’s

capital and depository for its rich history

and cultural values. Having been

planned, the architecture of the city

reflects best the growth, struggles and

triumphs of the city and the nation it

serves. Destroyed by the British in the

war of 1812, the original capitol building

and presidential mansion were re-built

larger and grander than before. During

the Civil War, the capitol building itself

served as a barracks and field hospital

for union forces while the enlargement

of the capitol dome continued in the

midst and strife of war as a symbol

and promise to the nation that the

union would not fail.

Directly across the Potomac, the

Pentagon building serves as the head-

quarters of America’s military might

and nearby Fort Meade honors its

fallen sons and daughters at Arlington

National Cemetery. Presidential and

war memorials abound and historic

structures representing architectural

styles ranging from Neo-Classical to

Post-Modern line its wide boulevards.

Topics include: selecting the site of the

Federal City; construction history of

the Capitol Building; the presidential

mansion: The White House; presidential

memorials; war memorials; The Pentagon

and Arlington National Cemetery; and

miscellaneous historic structures.

• Tu 8 AM–1:30 PM

1 session Oct 6

Jeffrey Syken

5 AIA/CES LU’s

PMPD 919 $244

Chronicles of SecurityTechnology: In the Age ofTerrorism and Natural DisastersThis course was specifically designed

for architects and consulting engineers

interested in the design of complex

security systems for large urban facilities.

The program offers an historic and

antidotal overview of basic concepts

in physical security technology from

standard locking hardware to state-of-

the-art digital computerized surveillance

and monitoring systems. Two nationally

recognized experts with experience in

all areas of physical security will describe

the effects of IP networks on digital

CCTV Surveillance Systems, access

control systems, and biometric devices.

The course emphasizes new design

criteria to incorporate wide-band

Internet networks for all security systems.

Case histories of security system successes

and failures experienced by the presenters

will be discussed. They were directly

involved in the introduction of many

unique and controversial security projects

for public facilities (museums, hospitals,

airports) and private complexes such

as the World Trade Center, CoOP City,

Educational Institutions, Healthcare

Institutions and other complex structures.

Can a security system protect against

manmade and natural disasters in this

age of potential terrorist attacks or

against the tragic event that took

place on the Virginia Tech campus?

This timely course will explain how

to upgrade security without creating a

fortress like environment that may

alienate the very public that the building

was constructed to serve. Every building

complex has unique area(s) of vulnera-

bility, and the special risk factors in the

following structures will be analyzed:

Museums; Schools and Colleges;

Banks; Hospitals; Hotels; Residential

and Commercial High Rise.

Topics include: Door locking systems

[conventional hardware to wireless

smart keys]; Card Access Systems—

various card formats—Biometric Devices;

Addressable IP CCTV Surveillance

Systems and IT managed networks;

Upgrading Analog to Digital recording

formats; Analyzing Risk Assessment vs.

Basic Security Solutions; Separating

“Competent” Security Consultants

from Opportunists; and Developing

Specifications and Bid Package.

• Th 9 AM–5 PM

1 session Oct 29

Charles Schnabolk, PE

Ben Scaglione,CPP


PMPD 952 $ 295



State ApprovalIt is your responsibility to checkwith the state licensing boardsas to whether or not a course isacceptable to meet its continuingeducation credit requirements.Visit Pratt’s website:www.pratt.edu/prostudies forcourses not acceptable to NYS orsee courses that state: Not accept-ed by NYS for LU and PDH credit.

For more information, visit thewebsite for New York StateEducation Department, Office of the Professions atwww.op.nysed.gov/.

Climate Change Fundamentalsfor Design ProfessionalsThis seminar is an overview of climate

change basics and their relation to the

design world. The seminar is designed to

give design professionals the basic tools

needed to begin to design buildings,

interiors, products, transportation and

cities for a carbon neutral world. Designers

will learn how to measure and mitigate

the carbon footprint, analyze and adapt

to climate change risk, and learn carbon

neutral design standards.

Topics include: Introduction; effects;

what is carbon neutral and how do

we measure it; Standards – The 2010

and 2030 Imperatives, College and

University Presidents Climate Change

Commitment, NYC Stds, U.S. Mayors

Climate Change Commitment, The

Kyoto Protocol, USGBC LEED; mitiga-

tion and tools available; the carbon

footprint—Greenhouse gas protocol,

The World Resources Institute; risks

and adaptation—business, regulatory,

physical, investment, social risk

avoidance and mitigation strategies;

Adaptation—seawalls to power towers;

and opportunities available: Design,

design, design, Carbon neutral-buildings,

products, systems, cities.

• Section 1: Sa 9 AM–5 PM

1 session Oct 3

Tony Gelber, LEED® AP

• Section 2: Su 9 AM–5 PM

1 session Nov 15



PMPD 600 $295

Connecting Us: The ArterialHighway System of theNew York-New Jersey RegionIn combination with the region’s transit

systems and intercity rail systems, the

region’s expressways and parkways

provide the essential network for

mobility of people and goods in the

New York-New Jersey Metropolitan

Area. This arterial highway system

directly moves people in buses, taxis,

HOVs, and automobiles, and gives

access to the other “people modes”,

such as bicycle, rapid transit (bus or

rail), ferry, etc. Along with freight rail

lines, the expressways also move the

vast quantities of goods that support

the region’s economy. Unlike many

other areas, the New York-New Jersey

region’s arterial highway system, including

its key bridge and tunnel links, is provided

by a multiplicity of governments and

authorities, in both states.

The roles of the agencies and organi-

zations involved have undergone many

changes over the past 100 years, the

period within which the present network

developed. This course will review that

development, focusing particularly on

the period from the 1930s through the

present. It will examine key influences

and “influencers”, system milestones,

points of controversy, current system

status, and the outlook for the future.

The course will also present and analyze

past, current, and emerging concepts for

policy, planning, design and operations

of the arterial highway system.

Topics include: The region’s roadways

at the turn of the 20th century; emergence

of the automobile (1920s, 1930s);

influences, inside and outside of the

U.S.(1930s, early 1940s); bridges and

tunnels (1880s to 1930s); programs of

NYC, NYS, NJ (1920s-early 1940s);

Post-World War II (1950s, 1960s);

new twists (1960s, 1970s); the maturing

of the highway system (1980s, 1990s);

recent developments (early 2000s);

and retrospective/ prospective.

• Tu 9 AM–5 PM

1 session Nov 24

Leon Goodman, PE, PTOE


PMPD 924 $295

Construction Cost EstimatingThis course for project managers, archi-

tects, engineers and other construction

personnel goes beyond the unit pricing

and cost book approach and examines

how the various trades arrive at their

bids. The course will be taught by a

team of professional estimators whose

in-depth knowledge of New York City

construction practices will give an added

dimension and relevance to each topic.

Topics include: basic estimating

procedures for CSI Divisions 2

through 9; how to determine the cost

of general conditions; an overview of

bid day procedures.

Prerequisite: Blueprint Reading,

Construction Methods & Materials or

equivalent experience.

• M 6–9 PM


Abraham Kovner, CPE

George Lawrence, CPE

William Manfredonia, CPE


PMCM 104 3.0 C.E.U.s $685

Construction Cost Estimating:“The Bridge”Estimating provides the critical link or

“bridge” between the worlds of design

and construction. With “fast-track”

construction schedules becoming

standard, the estimator plays a new and

important role in the design/construction

process. This seminar examines in-depth

the underlying principles, processes, and

theories inherent in the complex process

of construction cost estimating.

Topics include: estimating; types of

estimates/estimators; role and attributes

of an estimator; rules of the game: do’s

and dont’s; industry hierarchy; the bid-

ding process; cost elements and cost

categories (direct/indirect); overhead

and profit determinants; the bid package:

review/recording of the bid documents;

dealing with revisions and addenda;

contract documents/requirements; unit,

alternate, breakout, breakdown pricing

and allowances; long-lead considera-

tions; familiarization and the use of

schematics; sketching techniques; the

quantity survey: strategies, rough/finish

QS; formatting etc.; cost analysis and

computer applications.

• Su 9 AM–5 PM


Jeffrey Syken


PMPD 862 $595

Construction SpecificationsWritingLearn specification writing, techniques

that give you a level of confidence

required to research, evaluate, write,

and edit construction specifications.

Learn correct specifications writing

language, use master electronic specifi-

cations systems, as well as use the

Internet to research, evaluate, and specify

products and systems for construction.

Topics include: The Construction

Specifications Institute Manual of

Practices; specifications writing; history

of development to present; organization

of a project manual; general conditions;

general requirements and specifications;

coordination of specifications and

drawings; specification writing

techniques; structure and language;

three-part format; the “dos and don’ts”

of specifications-writing language;

specifications writing from the view-

point of the contractor; current

research and production techniques;

use of master specifications systems;

how the contractor views specification;

using guides and product evaluations;

researching and producing specifica-

tions using the Internet; setting up

your browser for research, evaluation,

and specifications writing; online

specifications systems and online

manufacturers systems. There will also

be a discussion of The Contractor’s

Guide to Change Orders, written by

Andrew Civitello.



Steven Danielpour, AIA, CCS, LEED® AP


PMPD 836 $595



CUSTOMERTESTIMONIAL

I enjoyed Jeffrey Syken’s, ‘Bridging Gotham’lecture very much. It was exactly the kind ofinformation and presentation I find interesting.I am a member of the “Friends of the New Jersey Transportation Heritage Center”which is working toward constructing a transport museum in New Jersey. They publish an excellent semi-monthlynewsletter and are looking for articles.

I plan to write a brief piece on what I learnedabout bridges between NJ and NY andcredit your seminar for the information and even recommend your lectures.

Thanks again for the great day of interestand learning.

Gene Graber


Continental Divide: Bridgingthe Mighty MississippiWith the famous Hurd vs. Rock Island

RR Co. case setting the legal precedent

in 1856, the stage was set for bridges

of all types and sizes to be built up

and down the Mississippi River—from

Minnesota to Louisiana—thus opening

the nation to westward expansion and

linking east with west via railroads.

The bridges of the Mississippi provide

the people and industries of the region

a vital link for interstate travel and

commerce. The river itself very often

provides the border between states

and serves as a nautical highway to

the sea for the agricultural bounty

of the Mid-West. From the first use

of pneumatic caissons and steel in

bridge construction to the economy

of cable-stayed suspension bridges,

spanning the Mississippi has proven

to be an on-going challenge and

proving ground for bridge designs

and building techniques.

Topics include: Mississippi River

history and geography; Captain

James Buchanan Eads & the Bridge

at St. Louis; James J. Hill’s Stone Arch

Bridge at Minneapolis; bridge and

symbol: Gateway Arch – St. Louis;

Super Bridge: Clark Bridge at Alton

Illinois; and New Greenville Bridge.

• Sa 9 AM–5 PM

1 session Oct 10

Jeffrey Syken


PMPD 931 $295

Designing and RenovatingCarbon Neutral BuildingsThis seminar will show architects,

engineers, and interior designers how

to design and renovate carbon neutral

buildings. Architects, designers and

engineers will learn how to measure

and estimate energy use and green-

house gas emissions, design to reduce

energy and greenhouse gasses in both

embedded and operational aspects,

adapt structures to the effects of

climate change, and learn which

software tools are needed.

Topics include: Review of the causes

and effects of climate change, proce-

dures for measuring and mitigating

greenhouse gas emissions, green

design standards; basic overview of

energy and greenhouse gas calculations

in reference to designing for carbon

neutral buildings; Overview of USGBC

LEED green building standards; LEED

certified, silver, gold, platinum, New

construction, renovations, existing

buildings; Overview of software tools

available to measure and predict

greenhouse gas emissions; DOE 2,

Equest; Carbon and energy footprints

in structural as well as operational

building systems; Embedded energy

and carbon, Operational energy and

carbon; Case studies of leading carbon

neutral buildings; So London, NYC;

Design charette for a carbon neutral

building (in class); New Construction;

Green your design team, Brainstorm

problems and solutions; Set criteria for

design decision making, Design carbon

neutral building systems; Design

charette for a carbon neutral building

(in class); Major Renovations – Analyze

footprint of existing building, Set

design criteria for the renovation,and

Design a carbon neutral renovation.

• Su 9 AM–5 PM

1 session Oct 11



PMPD 601 $295

Designing for Broadcastand Media Facilities Legislation and advances in digital

broadcast technology have created an

immense opportunity for architects in

the broadcast and media sector. This

seminar introduces architects to the

principles of programming, designing,

and executing projects in the broadcast

and media sector and provide informa-

tion on developing programmatic

requirements, determining S/MEP

criteria, and establishing acoustic

ratings (NRC and STC).

Topics include: transition from analog

to digital technology, processes and

products of the media machine,

new trends in broadcast technology;

programmatic issues, structural issues,

mechanical/electrical/plumbing/fire

protection, acoustics, lighting,

ergonomics, and ADA issues.

• Tu 9 AM–4 PM

1 session Sept 29

Kent Hikida, AIA, LEED® AP


PMPD 800 $295

Designing for Museums andOther Cultural InstitutionsThis course introduces design profes-

sionals to the process and fundamental

issues involved with creating museum

master plans and exhibition projects that

are visitor centered. Achieving the mis-

sion and goals of the exhibition at every

stage of development is articulated.

Topics include: Experiential exhibitions

that incorporate curatorial, interpretive,

architectural, engineering, managerial,

lighting, new media technologies, and

fabrication considerations. The exhibi-

tion team process and phased design

documentation are covered in detail.



Brenda Cowan

Larry Langham


PMPD 978 $595

Designing Research andDevelopment FacilitiesThis seminar has been developed to

provide insight into organizing the

formulation and design of a research

and development facility project.

The intention is to raise students’

level of understanding of design

and technical issues.

Topics include: developing a basic

understanding of the facility type;

developing an understanding of the

Rand D design process as it is applied

to a project.

• F 9 AM–4 PM

1 session Oct 2

Stanley Stark, FAIA


PMPD 803 $295







Earth in the BalanceHas the human race reached the

“tipping point”? Are the earth’s energy

resources finite? Is the end of the sub-

urban lifestyle a foregone conclusion?

Will the developing world's thirst for

energy be the straw that broke the

camel’s back?

These questions and many others are

on the minds of all of us who call planet

earth home; from national leaders to

peasant farmers, the need for energy

affects us all—always and in all ways.

Though the global warming phe-

nomenon caused by emitting green-

house gases such as carbon dioxide

into the atmosphere is now considered

by many a reality rather than just a

theory, there is hope on the horizon

that through the use of “clean energy,”

mankind can reduce its “carbon foot-

print” on the planet, which has been

expanding exponentially since the

advent of the industrial revolution in

the late 19th century.

Clean, renewable energy sources

such as wind, solar, geothermal,

nuclear, bio-fuels, hydrogen, etc. are

all ways by which the energy horizon

for planet earth is looking more like an

opportunity for positive change rather

than the doomsday scenario some are

predicting. Perhaps the 21st century

can/will be mankind's finest hour

rather than the beginning of our end.

Topics include: The End of Suburbia?,

The Golden State: Follow the Leader,

Third World Transformation: Opportunity

or Apocalypse?, Designing the Future,

Wind Farming: Bumper Harvest, Fields of

Dreams: Growing Energy, Coal: From

Dirty to Clean?, Nuclear: Reducing the

Risks and the Costs.

• W 8 AM–1:30 PM

1 Session Oct 14

Jeffrey Syken


PMPD 975 $244

EIFS and Plaster inModern ConstructionExterior Insulating & Finish Systems

(EIFS) has revitalized the plaster industry

—long dormant except for high-end

and/or restoration projects, as a result

of the rise to prominence of drywall

construction systems in the 1960’s.

Developed in war-ravaged Europe

after WWII as a quick, efficient, and

inexpensive alternative to traditional

masonry construction, it combines both

finish and insulating value to a building

envelope. With a consistency compara-

ble to a combination of Elmer’s glue

and latex paint, it can withstand the



State ApprovalIt is your responsibility to checkwith the state licensing boardsas to whether or not a course isacceptable to meet its continuingeducation credit requirements.Visit Pratt’s website:www.pratt.edu/prostudies forcourses not acceptable to NYS orsee courses that state: Not acceptedby NYS for LU and PDH credit.


radical thermal expansion inherent in

cold climates and provides a desirable

monolithic finish. Ideal for retrofits,

interiors and/or new construction, EIFS

was introduced to the United States

in the 1980’s and has found wide

acceptance and use, despite problems

such as moisture penetration. This seminar

also discusses the many aspects of

plaster systems presently in use. Topics Include: EIFS—methods, materials, and systems; lath andplaster systems; veneer plaster systems, ornamental plaster, the GypsumAssociation—purpose and publications.• Su 9 AM–5 PM

1 session Oct 25Jeffrey Syken7 AIA/HSW LU’s, 7 PDH’sPMPD 863 $295

Empire State Building:Monarch of the SkyThe public had an instant love affairand an enduring fascination with theEmpire State Building, which rosephoenix-like at the height of the GreatDepression, giving hope to millions.A product of the “Dream Team,” legendarybuilder Starrett Bros. & Eken and thevery capable architectural firm of Shreve,Lamb & Harmon, the Empire State Buildingrepresented—as Col. Starrett said ofbuilding skyscrapers—“the nearestpeace-time equivalent to war.” TheEmpire State would be the culminationof his career and fifty years of skyscraperevolution. The prefabrication of majorbuilding components, just-in-timedelivery of materials, fast-track scheduling,assembly line-like organization of thework force. etc., were all aspects of theEmpire State’s design and construction.Perhaps New York Times architecturalcritic Paul Goldberger summed it upbest at the 50th anniversary of theEmpire State Building in 1981. “It isabout height, it is about commerce,it is about entertainment, it is aboutviews,” he said. “It is about the verymeaning of the skyline itself.”Topics include: the evolution of the skyscraper: 1883-1929; the site: historicalcontext; end of an era: Waldorf-Astoriamakes way for the world’s tallest building;NYC in the 1920s: the building boomand the race for the sky; the designer:Shreve, Lamb & Harmon, Architects;the constructor: Starrett Bros. & Eken,Builders; thirteen months: constructingthe Empire State; and the building’s legacy.

• Sa 9 AM–5 PM

1 session Oct 17

Jeffrey Syken


PMPD 891 $295

Energy, GreenhouseGas, WeatherizationAudits, and Capital PlanningThis seminar will teach architects, engi-

neers, interior designers and facility

and construction managers to perform

audits (energy, greenhouse gas, and

weatherization) and then develop capital

plans to reduce energy and greenhouse

gasses while improving occupant

comfort and improving productivity.

Topics include: Energy audits for resi-

dences, commercial and industrial

buildings, using standard and investment

grade practices, monitoring and verifi-

cation standards and financial analysis

such as simple paybacks and return on

investment (ROI); greenhouse gas audits

including inventories of buildings, fleets

and transport systems using software

and the development of capital plans

to comply with voluntary and mandatory

climate change standards; weatheriza-

tion audits for housing and commercial

buildings to improve occupant comfort

and work performance, while reducing

energy and greenhouse gasses.

Techniques include: R-value analysis,

blower door performance testing,

and infrared surveys; capital plan

development to identify goals, set

standards to achieve the goals, and

utilize savings in energy and greenhouse

gasses to finance projects.

• Sa 9 AM–5 PM

1 session Nov 7



PMPD 604 $295

Estimating Cooling Loadon Excel (HVAC 1 and 2):Refrigeration Principles The power of Microsoft Excel has made

it possible to present a comprehensive,

simplified, editable and quick way to

perform the cooling load estimates,

using a self-contained CD package.

This cooling-load estimating program is

aimed at the designers, design reviewers

and project managers who want the

simplicity of hand estimation with the

speed and flexibility of computer. The

seminar starts with an examination

of the “Terms and Definitions“,

“Refrigeration Cycle“, “Application of

Psychrometric Chart“ and, finally, the

cooling load estimation. The first three

sections will the memory of mechanical

engineers and brief them on other disci-

plines. Participants can generate simple,

formatted and detailed reports to submit

to their clients or for their personal use.

You will also learn how to use the

program as a control tool to compare

with estimates, using more complex

programs. Participants receive two

months of free technical support

through [email protected].

Topics include: The applied terms and

definitions; the principles of refrigeration

cycles, including the system’s compo-

nents, their tasks and demonstrating

the graphical solution to a cooling system;

the principles of Psychrometric Chart for

identifying the moist air properties and

changes in cooling systems; the Cooling

Load Estimation (CLE); the Information

Sheet of CLE’s Work Book, the Master

Sheet, Work Book Sheets and Summary

Sheets. The Work Book contains the

project design criteria, room-by-room

estimation sheets, reference sheets

and summary sheet, including the

characteristics of selected A/C units.

• M 9 AM–5 PM

1 session Oct 5

Ali Badakhshan, PE


PMPD 909 $295

Estimating Structural Steel ErectionThis course deals with the on-site

erection of fabricated structural steel

bar joists, and metal deck. It will also

cover what the estimate must include

in the way of equipment; man-hours

of labor, and overhead.

Topics include: Contract compliance,

relations with other on-site contractors,

and profit considerations.

• Sa 9 AM–5 PM

1 session Oct 24

Abraham Kovner, CPE

7 AIA/CES LU’s,7 PDH’s

PMCM 105 $295

Estimating Structural Steel FabricationThis course deals with reading of

structural contract plans and specifica-

tions making a meaningful take-off

of materials, evaluating man hours

of labor and equipment required to

fabricate, finish and deliver each piece

of erection at the site.

Topics include: contract compliance,

overhead, and profit considerations.

• Sa 9 AM–5 PM

1 session Oct 3

Abraham Kovner, CPE


PMCM 106 $295

Ever Higher: The Quest toTouch the Sky“Ah, but a man’s reach should exceed

his grasp of what’s a heaven for.”

With those poetic words, Robert

Browning summed up humankind’s

eternal quest to reach high into the

sky, literally to touch the face of God—

starting with the biblical Tower of

Babel and culminating in the towering

skyscrapers of the Asian building-boom

of the late 1990s and early 21st centu-

ry. The Great Pyramid at Giza was the

tallest structure in the world for 4,500

years until 1889, when the Eiffel Tower

surpassed it at 300 meters (986 feet). It

would only be 51 years later, in 1930,

that the Chrysler Building would top

Mr. Eiffel’s tower in the famous Race

for the Sky—the great skyscraper races

of the 1920s, which the Empire State

Building would ultimately win in 1931.

Not until 1972, when Tower One of

the World Trade Center was completed,

would the title of “World’s Tallest

Building” be passed. Rather than serving

as tombs or as a defense against a

besieging enemy, nowadays, tall struc-

tures help to promote corporate entities

and define a city and/or nation’s place

in the world. Thus, the quest to touch

the sky remains an integral component

of mankind’s eternal ambition.

Topics include: history of tall structures;

The Great Pyramid; the great cathedrals;

towers; and skyscrapers.

• W 8 AM–1:30 PM

1 session Oct 21

Jeffrey Syken

5 AIA/CES LU’s

PMPD 920 $244








Far Horizon: The Architectureof the World’s FairIf it’s true that the future is where we

spend the rest of our lives, then the

World’s Fair—begun in the mid-19th

Century with London’s Crystal Palace—

has provided humanity with a sneak-

preview of our probable future, as well

as past and present times. With themes

such as A World on Display, Monument

to Man, Century of Progress and Peace

through Understanding, the fairs serve

as a venue for the free exchange of

thoughts and ideas for all the people

of the world.

The architecture housing the exhibits

and/or serving as the centerpiece of

the fairs, with names like The Tower

of the Sun, Unisphere, Trylon &

Perisphere, The Palace of Machines

etc., reflect the spirit of the fairs and

the bold future they promise. Though

the majority of structures built are

temporary and dismantled at their

conclusion, there are several notable

exceptions still standing such as: The

Eiffel Tower (Paris, 1889), The Palace

of Fine Arts (San Francisco, 1915),

The Space Needle (Seattle, 1962) as

well as Moshe Safdie’s Habitat and

Buckminster Fuller’s Biosphere from

Montreal’s Expo, ‘67.

Topics include: London, 1851: The

Great Exhibition of the Works of

Industry of all Nations; Paris, 1889:

Exhibition Universelle de 1889;

Chicago, 1893: World’s Columbian

Exhibition; St. Louis, 1904: The

Louisiana Purchase Exhibition; San

Francisco, 1915: Panama-Pacific

International Exposition; Paris, 1925:

Exposition des Arts Decoratifs;

San Francisco, 1939-40: Golden Gate

International Exposition; New York,

1939-40: New York World’s Fair;

Seattle, 1962: Century 21 Exposition;

New York, 1964-65: New York World’s

Fair; and Montreal, 1967: Expo ‘67.

• Sa 9 AM–5 PM

1 session Nov 14

Jeffrey Syken

7 AIA/CES LU’s

PMPD 921 $295

Fire Protection TechnologyThe role and function of fire protection

engineering systems are sometimes

overlooked during the initial stages of

a project. Instead of identifying fire

protection as a separate discipline, the

systems are often treated as sub-systems

bundled into the mechanical and elec-

trical engineering scope of services.

As a result, key fire protection needs

may be neglected at the critical plan-

ning stages of a construction project.

Working the systems in at a later date

may lead to a lack of properly sized

shafts for fire protection risers, or a

water supply that is inadequate to

meet the plumbing and fire protection

needs of the building.

Objective: To provide an overview of

fire protection system technologies and

their implications on building design

and to help participants take full

advantage of current fire protection

technology. Its focus will be on the

state-of-the-art for fire suppression and

fire alarm systems. Participants will

leave understanding the concepts,

strategies, and architectural requirements

for the system types and have a hands-

on experience with various sprinklers

and fire alarm systems.

Topics include: fire suppression-water

based and gaseous system methodolo-

gies and architectural requirements; fire

alarms-device technology, networked

systems, graphical stations, and future

capabilities.


• Tu 9 AM–12 PM

1 session Oct 27

Mario Antonetti, PE

Eric Babcock, PE

Richard Thonnings, PE


PMPD 876 $145

Forest Hills Gardens: A Modern ArcadiaConceived by the Russell Sage

Foundation in 1909 as an alternative

to crowded city life, Forest Hills Gardens

was intended to be both an experiment

and an example of the new “science”

of city planning applied to a suburban

setting. The 142-acre development in

Central Queens has long been recog-

nized as the most influential planned

community in the U.S. landscape archi-

tect Frederick Law Olmsted, Jr. and

architect Grosvenor Atterbury’s master-

piece still retains its beauty, charm, and

uniqueness. This seminar examines the

influences, conditions and circumstances

that led to the development of FHG and

the successes and failures recognized

nearly a century after its inception.

Topics include: city planning in the U.S.

and European influences; the Garden

City Movement; historical contexts;

the community: then and now;

landscaping and architecture of the

Gardens; its influences and its legacy.

• Sa 9 AM–5 PM

1 session Oct 31

Jeffrey Syken

7 AIA/HSW LU’s

PMPD 865 $295

Freshwater WetlandsFreshwater wetlands are

regulated by Article 24 of the New

York State Environmental Conservation

Law. This course will cover the law and

how it affects freshwater wetlands in

New York State. The definition of

freshwater wetlands is defined by

statute according to vegetation and

vegetation types. The NYS DEC pusb-

lishes official maps of the mapped

freshwater wetlands. These wetlands

are classified according to size and

their ecological functioning. Permits are

required for certain activities, including

construction, on freshwater wetlands

and within a l00 foot buffer zone.

Issuance of permits is also subject to

SEQRA. In New York City, substantial

freshwater wetland areas are located

on Staten Island. In Suffolk County,

freshwater wetlands contain Black

Tupelo trees up to about 700 years old.

Topics include: Definition of Freshwater

Wetlands; Mapping of Freshwater

Wetlands and adjacent areas;

Wetlands Classification; Wetland

Permits; and Interaction with SEQRA.

• M 9 AM–12 PM

1 session Sept 14

Daniel Karpen


PMPD 981 $145

Fuel Properties, Combustion,Heating Load Estimation on Excel (HVAC)This seminar continues the HVAC series

and expands participants practical

knowledge in the subject field. Proper

fuel and efficient combustion are

the two major parameters impacting

the economy and pollution of heating

plants. The seminar starts with describing

the “Fuel Properties,” “Combustion”

and finally ends with the “Heating load

calculation.” In the third section, par-

ticipants can use the, “EXCEL CD

Package” program to estimate and

generate a “Heating Load Estimation”

report. Participants receive two months

of free technical support through

[email protected].

Topics include: classification, grades of

liquid fuel and types of gaseous fuel;

fuel analysis and calculation of fuel

heating value; fuel-equivalent quantity

and cost estimation; determining seasonal

fuel consumption and calculating the

actual fuel storage tank; natural gas,

LPG and LNG; heating cost comparison,

various types of fuel; principles of

combustionócomplete and incomplete;

reducing combustion pollutions; calcu-

lating the air required for combustion

and excess air requirements; combustion

efficiency; flue gas analysis; boiler and

steady-state efficiency; increasing

Seasonal Efficiency in boilers; installing

gas or oil boilers; ventilation require-

ments for boiler rooms; the EXCEL CD

Package; the heating load; the cooling

load estimation.

• M 1–5 PM

1 session Oct 26

Ali Badakhshan, PE

4 AIA/CES LU’s, 4 PDHs

PMPD 906 $195

Full-Spectrum PolarizedLighting SystemsFull-spectrum polarized lighting dupli-

cates the spectral energy distribution

and polarization characteristics of natural

daylight. This seminar will show you

how to design a lighting system that

will solve the problems of glare, flicker,

and poor color rendition typical of

conventional lighting systems. Full-spec-

trum polarized lighting systems are

more energy efficient than any other

artificial lighting system, and will slash

electrical usage for lighting by 60 to

85 percent. These lighting systems can

be used for virtually all interior lighting

applications, including offices, retail,

commercial space, educational and

institutional, and industrial facilities.

Topics include: lamps, ballasts, fixtures,

glare control, full-spectrum polarized

lighting, lighting for the electronic

office, national energy savings potential,

and more.

• Tu 9 AM–4 PM

1 session Sept 15

Daniel Karpen, PE


PMPD 993 $295

Fundamentals Technologies andSafeguards of Nuclear EnergyThere are 436 nuclear power plants

worldwide generating approximately

one sixth of the electrical power

consumed. Approximately one quarter

of all the nuclear power plants is located

in the United States with one quarter

of all U.S. plants located in the

Northeast. The existing plants are

aging and will require renovation.

The rates of fossil fuel consumption

and carbon dioxide emission rise every

year, seriously affecting the Earth’s climate.

The current difficulties with fossil fuel

supply and its rising price along with

nuclear powers half century of com-

mercial operation have engendered

renewed interest in nuclear power as

a potential source of “clean energy.”

See for example The New York Times

“News of the Week in Review” of

January 28, 2007.

With any industrial construction

or renovation a large portion of the

design effort is accomplished by pro-

fessionals familiar with the industry

but not expert in the design of the

process equipment.

The intention and objectives of this

course are to familiarize professionals

with fundamentals, radiation, tech-

nologies, infrastructure, safety issues,

advantages and disadvantages, and

the safeguard of the industry.

Topics include: Atom and Radiation:

the structure of the atom; the fission

reaction and its products; fissionable

materials; uranium from exploration to

conversion: sources of uranium and the

basics of refinement of the raw material.

Enrichment and Fuel Fabrication:

processing of the raw material into a

product suitable for use in a reactor;

Nuclear Reactors; Fission and the

Production of Electricity: the different

types of reactor plants, how they are

used for power generation and the

supporting infrastructure. Storing,

reprocessing and disposing of the

spent fuel and other waste products:

the waste products and spent fuel are

physically hot and emit radiation. The

problems with handling the materials

and the requirements for the structures

and infrastructure will be addressed.

Economy and Cost. Chernobyl and

3 Mile Island accidents: what went

wrong, what infrastructure improve-

ments are needed to prevent future

occurrences.Future of Nuclear Energy.

International Atomic Energy Agency

(IAEA) and Non-proliferation Treaty to

Safeguard the Nuclear Power and

Processing plants.

Please note: In NYS this course is only

approved for Engineers for PDH credit.

It is not approved for architect’s in NYS

for HSW LU credits.

• M 9 AM–5 PM

1 session Sept 21

Ali Badakhshan, PE


PMPD 968 $295

Geotechnical EngineeringThis course is for architects and civil

engineers who want to obtain a basic

understanding of geotechnical engi-

neering or who need a refresher. You

will also learn when you should seek the

advice of a geotechnical engineer, what

a geotechnical engineer will need from

you, and how to interpret the informa-

tion included in a geotechnical report.

Case histories will be used to provide

examples of the geotechnical process

and building code requirements.

Topics include: defining geotechnical

engineering—when do you need a

geotechnical engineer; what to expect

from one; soil and rock classification—

various types of soils and rock; the NYC

Building Code classification system;

subsurface explorations—what methods

are used and how many borings should

be done; foundation design—how the

need for a shallow versus a deep foun-

dation system is determined and how

a geotechnical engineer selects a pile

foundation type; retaining walls—the

types of walls available; construction—

the effect construction will have on

adjacent structures and types of

inspection should be performed.

• F 9 AM–5 PM

1 session Nov 20

Thomas G. Thomann, PhD, PE


PMPD 851 $295

Gimme ShelterAside from food, mankind’s most basic

need is shelter. Nature provides the

former, but for the latter, shelter,

not since caveman-days has nature

provided us with protection from the

elements. In this regard, the human

race has been at its most innovative in

creating shelter from the storm and a

place to call “home.”

Our dwellings provide us with more

than just a place to stay dry, warm

and safe; they also reflect our culture,

values, technological achievements,

and make a statement about who we

are as individuals and as a society.

Housing remains a touchstone issue,

in particular concerning the expected

exponential growth of the human

population in the 21st century. Post-

WWII America saw the rise of suburbia

or, what some have termed: The

Geography of Nowhere. The lost sense

of community endemic of suburban

sprawl in the post-war years has been

recognized by urban planners, archi-

tects, and developers and is being

addressed. Places like Seaside and

Celebration Florida are representative

of the New Urbanism; they are trying

to make right what went wrong.

Topics include: the evolution of the

private residence; the evolution of

multiple dwelling housing; the prairie

style of FLW and its influences; suburban

Sprawl and the New Urbanism; a man’s

home is his castle (literally); modern

architecture & housing; and trends in

neo-traditional housing.

• Th 8 AM–1:30 PM

1 session Sept 10

Jeffrey Syken

5 AIA/CES LU’s

PMPD 962 $244

Go Green RetrofitsThis course is designed to help design

professionals incorporate sustainability

principles into the manufacturing and

building renovation process of their

facilities and go green. We will look at

various businesses that have integrated

green initiatives into their corporate

structure to obtain environmental and

employee health benefits while at the

same time realizing the economic ben-

efits of improving their bottom line by

reducing costs and increasing profit.

Topics include: For the Manufacturing

Process: Establishing a baseline—

Assessing existing processes and con-

ducting an audit to obtain the metrics

to implement profitable green practices

in the areas of: Energy usage; Water

usage; Waste water generated; and

Materials usage and waste minimiza-

tion. Methods to be implemented to

reduce resources consumed and waste

generated and increasing efficiencies

in the areas of: Energy consumption;

Water consumption; Waste water

generated; and Waste generation.

For the Facility Renovation: Green

Building Renovation—Facilities utilizing

a USGBC Leadership in Energy and

Environmental Design (LEED) certified

retrofit using either the LEED-Existing

Buildings or LEED: Commercial

Interiors rating standard as a basis in

performing an overhaul of existing

facilities, even if certification is not the

goal. Explore the competitive advantage,

potential profit, and return on investment

that can be realized from implementing

the green initiatives.

• Th 9 AM–5 PM

1 session Oct 1

Terese Kinsley


PMPD 809 $295

Gray Water Heat RecoveryHot water going down the drain is a largely untapped energy resource.Until the invention of the falling filmheat exchanger, it has been impossibleto achieve high rates of heat recovery.The gravity falling film heat exchangerconsists of a coil of copper tubingwrapped around a vertical copperdrain pipe. The coil of copper tubingpipes the cold water from the streetaround the drain pipe prior to feedingit, warmed up, to the hot water heater.Recovery rates of 85 percent are possible.Topics include: How much energy isused for domestic hot water; Properpiping for the installation; Residentialcase studies; and Commercial case studies.• M 1–4 PM

1 session Sept 14Daniel Karpen, PE3 AIA/HSW LU’s/SD’s, 3 PDH’sPMPD 953 $145




Green by DesignWhat does a highway bridge over the Iowa River have in common with ahybrid, passive solar house in the NewMexico desert? Answer: they are bothgreen, by design. Contemporarydesign and construction practices thatprevent environmental disruption(a.k.a. eco-disruption) preserve andprotect natural resources, encouragerecycling and/or use recycled-content/alternative building materials, createhealthier indoor environments and/orfollow the U.S. Green Building Council’s(USGBC) LEED (Leadership in Energy & Environmental Design) protocols areno longer the domain of a minority of“fringe” designers, developers andbuilders. This has created a profoundchange in the way we design and con-struct the built environment. The rise ofthe green building movement, startingin the early 1990s, has made designingand building along “green” guidelinesmainstream in the 21st century. Withthis heightened awareness, sustainabledesign and construction practices areno longer looked upon as an odditybut, rather, as an expectation.Topics include: ecological design practices;preserving the Iowa Greenbelt: construc-tion of the Iowa River Bridge; alternativebuilding designs, techniques and materials;Feng Shui: an ancient art in moderndesign; and heightened awareness: con-structing a passive solar hybrid home.• Sa 9 AM–5 PM

1 session Oct 24Jeffrey Syken7 AIA/HSW LU’s/SD’s, 7 PDH’s PMPD 922 $295

Green Design VersusHistoric PreservationWith global warming no longer a scien-

tific guess and renewed attention to it

drawing increased development in our

inner city communities, an emerging

conflict between preservation purists

and new-age environmentalists has set

the stage for potential battles to be

played out at the local historic commis-

sion, city hall, and the local community

board. This seminar addresses the

emerging challenges and conflicts

of joining historic preservation with

sustainable guidelines and offers

ways to resolve these two major forces

affecting inner-city development.

Class participants will learn what areas

in the LEED for Homes sustainable

guidelines and the U.S. Secretary of the

Interior historic preservation standards

are incompatible. The seminar goes

further to demonstrate how these

inconsistent guidelines can be resolved.

Finally, this course shows how building

performance can be enhanced in older

historic structures and uses an actual

historic landmark, a 19th century single-

family residence, as a case study.

Topics include: identify sustainable

design principles that are in conflict

with historic preservation guidelines;

analyze conflicting areas between

sustainability and historic preservation

and be able to compile a list of design

alternatives; appraise an actual

case study which demonstrates the

integration of sustainable and historic

preservation guidelines.


• Th 9 AM–5 PM

1 session Oct 22

Roy Pachecano, AIA

David B. Reck, RA


PMPD 963 $295

Greening Your Facilities: A Holistic ApproachSave the environment and money as you

green your facilities. This course shows

you how to “green“ your people,

processes, the bricks and mortar as

well as how to save money in facility

operations and design and construction.

Topics include: green design fundamen-

tals such as solar, wind, and ground

water energy, and water conservation;

LEED basics; solid and hazardous waste

management.

Recommended audience: Architects,

engineers, facilities managers, school

administrators and superintendents.

• Su 9 AM–1 PM

1 session Nov 22



PMPD 829 $195

Hazardous Waste ManagementThe management of hazardous waste in

the past has been extremely harmful to

the environment, and we are paying the

price for improper management. The

course will discuss the legal aspects of

proper hazardous waste management.

Topics include: Love Canal; Case Studies;

Industrial Hazardous Waste Management;

Industrial Siting of Hazardous Waste

Facilities; Inactive Hazardous Waste

Disposal Sites; and Identification and

Listing of Hazardous Waste.

• M 9 AM–12 PM

1 session Nov 2

Daniel Karpen, PE


PMPD 954 $145

High Steel: The Legacy ofSteel-Frame ConstructionWhen Architect William LeBaron

Jenney’s wife moved a heavy book

from her husband’s favorite chair and

placed it atop a wire birdcage so he

could sit down, the world would be

changed forever. Jenney, struggling

with the structural design for the

Chicago-based Home Insurance

Company’s new building, had inadver-

tently discovered “cage design,”

which he incorporated into the world’s

first skyscraper in 1883. Along with

Mr. Otis’ safety elevator the sky was,

quite literally, now the limit. Modern

high-rise construction still depends on

these earlier developments, adapted

to the needs of modern design and

construction. Today, high-strength bolts

have replaced rivets and sophisticated

space-age technologies make buildings

safer, easier to build, and more efficient

to operate. Still, the courage, skill and

resourcefulness of the people that

design and build these modern edifices

are as important today as they were in

Mr. Jenney’s day.

Topics include: Ironworkers: Cowboys

of the Sky; constructing a 13-Story,

750K SF office building in downtown

Los Angeles; and history of tall buildings

and the technology that makes them

possible.

• W 8 AM–1:30 PM

1 session Nov 4

Jeffrey Syken


PMPD 923 $244

Historic Preservation:Techniques and MethodsThis course provides you with the

technical and theoretical information

required for the examination, docu-

mentation, and analysis of historic

structures and their materials. It will

establish a background for the diagnosis

and treatment of building pathology.

Also, provided is the increased historical

and technical knowledge needed by

architects for the successful solution of

design problems involving historic

structures. The course also enhances

aesthetic sensitivity through exposure

to the problems of restoration, adaptive

use, and infill design of differing scales.

Topics include: reviewing the various

tools for preserving historic and existing

buildings as established by the Secretary

of the Interiors Standards for the

Treatment of Historic Properties, such as

preservation, restoration, rehabilitation,

conservation; discussion of the most

commonly used historic materials such

as masonry (limestone, marble, sand-

stone, brick, terra cotta), metals, and

wood; identifying materials and their

conditions; developing a methodology

for determining repair recommendations;

case-studies of current projects analyzing

the technical details.



Lisa Easton, AIA

Kate Lemos McHale, AIA


PMPD 844 $595

Improving Public Health byGreening your SpecificationsThis course will discuss the history of

green design including the research,

studies and experiments that lead to

the adoption of the LEED Rating

System. Participants will learn how to

correlate studies to green design,

understand the LEED rating system,

and learn how to implement LEED

principles in specifications. The course

will teach participants how to create

and edit Division One General Require-

ments Sections to cover the procedural

and administrative requirements neces-

sary to make sustainable architectural

practices a reality. Participants will then

learn what has to be done to individual

specifications sections to make them

green and sustainable. This course will

prepare the general practitioner with

the tools necessary to implement

green design principles in contract

documents, will cover the technical

difficulties encountered with docu-

menting compliance, and help the

general practitioner to achieve LEED

certification by creating enforceable

specifications.

Topics include: Correlation between

Sustainable Design Practices and

the Public Health (History of Green/

Sustainable Design; Reports and

Analyses; Productivity, Health and

Well-Being); LEED Credit Point System;

Procedural and Administrative require-

ments for LEED projects (Division 1

General Requirements for LEED

Projects: Section 01352, Section

01524, Section 01810); What makes

Materials Sustainable or Green; and

Greening Technical Sections of the

Specifications.



• Section 1: F 9 AM–5 PM

1 session Oct 23


• Section 2: Th 9 AM–5 PM

1 session Nov 19



PMPD 955 $295

Improving the EnergyEfficiency of Steam SystemsEnergy costs continue to go up. This

course will focus on improving the

efficiency of one pipe and two pipe

low pressure steam heating systems,

typically found in thousands of New

York City buildings. Whether a boiler is

fired by fuel oil or natural gas, this

course will show how to dramatically

improve the efficiency of steam heat-

ing systems.

Topics include: Pipe Insulation; Proper

Water Treatment and Water Hammer;

Sizing and Configuration of Steam

Piping; and Venting of Low Pressure

Steam Systems.

• M 9 AM–12 PM

1 session Nov 23

Daniel Karpen, PE


PMPD 956 $145

Indoor Air QualityIndoor air quality continues to be an

important issue in the management of

buildings. This course focuses on the

prevention, identification, and remedia-

tion of indoor air quality problems in

buildings. The emphasis is on proper

engineering and architectural design.

Since identification of indoor air quality

problems usually starts with complaints

from building occupants, students learn

to implement the surveys needed to

identify the source of problems. In many

cases, problems may stem from multiple

sources because of system neglect and

poor design. Remediation, including

cost estimating, is also covered.

Topics include: prevention, identification,

and remediation.

• M 1–4 PM

1 session Nov 23

Daniel Karpen, PE


PMPD 951 $145

Inland Sea: The Bridging ofSan Francisco BayFor the people of California’s Bay Area,

bridges provide the vital transportation

link across the broad expanse of their

vast Inland Sea. The topography of the

land has presented many challenges for

engineers to overcome. Built simultane-

ously and within sight of one another,

the two “Great Bridges“ of the Bay:

San Francisco—Oakland Bay (1936)

and Golden Gate (1937), opened within

six months of one another and were

then, and now, considered engineering

marvels for their complexity, speed of

construction, length of span, techno-

logical innovations, deep-water foun-

dations and innovative safety measures.

Straddling two major geological fault

lines, the Bay Bridge’s western tandem

suspension span required a seismic

retrofitting while the eastern cantilever

span will be replaced entirely. The other

bridges of the Bay—the Antioch,

Carquinez Strait, Dumbarton and

Richmond-Rafael-employ a variety of

bridge types. Schemes to turn the

Bay into a fresh-water lake by creating

salt-water barriers, and bridges proposed

but never built are fascinating for their

boldness and engineering prowess.

Topics include: long-span suspension

bridges, tandem suspension bridges,

cable-stay bridges, cantilever bridges,

truss bridges, vertical lift bridges, and

deep-bore tunnels.

• Sa 9 AM–5 PM

1 session Nov 21

Jeffrey Syken


PMPD 905 $295

Integrating AccessibilityAccessibility for the disabled is not just

the law, it is also good practice. It

provides an opportunity to mainstream

facilities components in a way that

both the able and the not so able will

find accessible. This is not always easily

accomplished in new buildings, as

existing spaces are usually more of a

challenge to retrofit. This course exam-

ines ways in which the ADA and its

variants can be creatively interpreted

and used as guides to accomplishing

universal accessibility. You will learn to

meet the spirit of the law and not just

see it a bothersome restriction

imposed by the law.

Topics include: the law-existing, proposed

and exceptions; methods and technology;

new and retrofitted facilities; and case

studies. Particular attention is given to

the new 2004 ADAAG and to the new

2008 New York City Building Code.

• Tu 9 AM–5 PM

1 session Nov 10

Steven Zalben, AIA, NCARB

7 AIA/HSW, 7 PDH’s

PMPD 895 $295

Integrating Landscape intoUrban ArchitectureThis seminar is for design professionals

looking to integrate landscape into urban

architectural situations. Its emphasis is on

planting on slabs and in containers;

exposures; and state of the art concepts

dealing with wind, drainage, irrigation

and environmental conditions. Architec-

tural integration of play areas, sitting

areas, special features (fountains, sculp-

ture, etc.) and streetscapes are explored.

Topics include: products for waterproof

membranes, soils, filler materials,

drainage and irrigation; design concepts

for paving, site furnishing, lighting,

play areas, etc.; plant materials, with

an emphasis on the environmental

conditions, exposures, winds, and

seasonal aspects; a maintenance

schedule for project follow-up.

• F 9 AM–5 PM

1 session Nov 20

Charles Turofsky, RLA

7 AIA/HSW LU’s/SD’s

PMPD 866 $295

Land Use EngineeringThis land use-engineering course will

follow the development of a site plan

design for a commercial or industrial

project. Three major areas will be

explored: the site selection process,

preliminary technical and survey work,

and site design. In the site selection

process the following factors are con-

sidered: the proposed use vs. the zoning

of the property, the zoning analysis,

environmental and government restric-

tions to development, available utilities,

local support or opposition, and a cost

analysis. Topics under preliminary survey

and technical work include property and

topographic surveys, phase 1 environ-

mental investigations, field assessments

of environmental restrictions, and the

development of concept plans. Finally,

a step-by-step design procedure will

be followed consisting of site layout,

grading, drainage, utilities, lighting,

and related design considerations.

Topics include: the Project Team; Site

Selection, which includes Zoning Analysis,

Environmental restrictions, Utilities,

Government restrictions, and Local

support or opposition; Preliminary Technical

Work that includes the property survey,

Topographic survey, Phase 1 Environmental

Assessment, Environmental surveys

and delineations, and Concept Plans;

Technical Design including Existing

Conditions/Demolition, Site Layout, Grading,

Stormwater and Drainage, Utilities,

Lighting, Structural Engineering,

Construction Details, and Soils Conservation.

• Sa 9 AM–5 PM

1 session Oct 31

Dave Egarian


PMPD 823 $295

Light Gauge Metal Framing(LGMF): Let’s Get More FamiliarLong used for framing commercial

interiors and curtain-walls, light gauge

metal framing (LGMF) is fast becoming

the framing method of choice for

residential construction. It is non-com-

bustible, dimensionally stable, inorganic

(insect/mold resistant), lightweight,

recycled or wholly recyclable, stable

prices, etc. For these and other reasons,

LGMF is widely recognized as the logical

alternative to traditional wood frame

construction. This seminar provides an

in-depth overview of the prescriptive

method for the design and construction

of LGMF structures.

Topics include: safety precautions,

fasteners, design and standardization,

foundations, floor joists, load-bearing

walls and non-load-bearing walls,

specialty framing, utilities, thermal

factors, exterior finishes, roofs, and

design of example house.

• Su 9 AM–5 PM

1 session Nov 8

Jeffrey Syken


PMPD 877 $295










Masters of Architecture I:Pei, Gehry & KahnThrough documentary presentations,

this first in a series, Masters of

Architecture I, helps students to

understand the life, work, and impact

of three of the most prominent 20th

century architects: I.M. Pei, Frank

Gehry, and Louis Kahn.

Known for his innovative use of

space and light, I.M. Pei designed such

public buildings as the JFK Library in

Boston; the East Wing of the National

Gallery of Art in Washington, DC; The

Miho Museum in Japan; the Pyramide

du Louvre in Paris; and The Rock & Roll

Hall of Fame in Cleveland, Ohio.

Canadian Frank Gehry, perhaps the

best-known architect in the world today,

creates structures that generate an emo-

tional response, such as the Guggenheim

Museum in Bilbao, Spain, and Disney

Hall in downtown Los Angeles.

Louis Kahn, the child of Estonian

immigrants,found his place in architec-

ture late in life, yet designed the Kimbell

Art Museum in Dallas, Texas, and the

Capital Complex at Dhaka, Bangladesh.

Interviews with the architects illuminate

how their personal backgrounds

influenced their careers, which helps

students to understand the philosophy

behind their designs and how these

principles have influenced other architects.

A seminar booklet further documenting

the lives and work of these great

architects is distributed and discussed.


LU or PDH credit.

• W 8 AM–1:30 PM

1 session Nov 11

Jeffrey Syken

5 AIA/CES LU’s

PMPD 942 $244

Matrix Analysis for ContinuousSpanned Beams and MultilevelBuilding FramesThe use of matrix analysis for the

solution of a set of linear equations

comprised of a number of unknown

forces or displacements for continuous

beams and multilevel building frames

aids the architect/engineer with a

direct approach and skillful way of

solving these linear equations avoiding

the repetitive manipulations of alge-

braic time consuming methods for

determining the required unknowns

mentioned above.

The applied mathematics of matrixes,

iterative methods for the solution of

linear equations and the determinants

of matrices will be discussed along

with some theories of matrix mechanics

that will simplify the solutions for linear

algebraic equations.

Topics include: Matrix applications and

theories for the solutions of linear

equations; the use of determinants

of matrices employing the Cramer’s

rule for the solution of n simultaneous

linear equations with unknowns; the

Gauss-Seidel method, an iterative

process that converges to the correct

values even if arithmetic errors occur

in the process; the employment of the

inverse of a matrix to determine the

solution for a set of linear algebraic

equations; the use of the pivotal con-

densation method for the solution of

a set of linear algebraic equations; and

actual sets of linear equations from

the analysis of a continuous spanned

beam as well as a multilevel building

frame will be used for the lecture.

• Th 9 AM–1:30 PM

1 session Oct 15

Kenneth Wagner

4 AIA/HSW LU’s 4 PDH’s

PMPD 976 $196

Modern Architecture World TourAround the world, modern architecture

makes a statement about the civiliza-

tion and culture that created it, no less

so than the Pyramids at Giza or the

Parthenon in Athens did for the

ancient Egyptians and Greeks. How

does a nation tell the world it has

arrived on the world stage? Answer:

Construct the world’s tallest buildings,

as did Malaysia with the Petronas

Towers in their capitol, Kuala Lumpur.

When an event is to be commemorated

for posterity, what should be done?

Answer: Design and build a museum

whose architecture alone epitomizes

the event, such as The Jewish Museum

in Berlin does for the Holocaust. In

Missouri, an arch of gargantuan pro-

portions, symbolizing St. Louis as the

“Gateway to the West,” was built to

dominate that city’s skyline. Modern

architecture, at its best, provides not

only places to live, work, play, and

contemplate, but also three-dimensional

spaces that make us aware of and part

of the wider world around us.

Topics include: Malaysia: Cesar Pelli’s

Petronas Towers; Japan: Toyo Ito’s

Multimedia Library; France: Jean Nouvel’s

Housing Project; Spain: Frank Gehry’s

Guggenheim Museum; Portugal: Alviro

Siza’s School of Architecture; Sweden:

Santiago Calatrava’s “Turning Torso:”

Finland: Alvar Aalto’s Municipal Center;

Germany: Daniel Libeskind’s Jewish

Museum; Switzerland: Peter Zumthor’s

Thermal Baths; America: Eero Saarinen’s

Gateway Arch.

• W 8 AM–1:30 PM

1 session Nov 18

Jeffrey Syken


PMPD 943 $244

Modern DrywallConstruction SystemsSince the 1960’s, gypsum drywall

construction systems have replaced

plaster as the material of choice for

interior construction. The most widely-

used building material, gypsum board

panel product’s manufacture and sales

levels are often used by industry observers

and economists as a barometer by which

the relative health of the construction

industry is determined. Used as interior

finishes for walls and ceilings, exterior

enclosures, fire-resistance and sound

control, drywall construction is a major

component of new construction, reno-

vations, restoration, rehabilitation and

retrofit projects. With the use of recycling

of waste gypsum board, synthetic

gypsum (a by-product of power plant

chimney flue emissions) and light gauge

metal framing made from 100% post-

consumer recycled steel, drywall construc-

tion is one of the “greenest“ construction

systems presently in use. This seminar

includes an in-depth examination of this

important—and often misunderstood,

element of design & construction.

Topics include: its history and manufac-

turing process, “green“ aspects of

drywall construction, advantages,

products and accessories, assemblies,

fire resistance and sound control,

finish level, The Gypsum Association

—its purpose and publications.

• Su 9 AM–5 PM

1 session Nov 15

Jeffrey Syken


PMPD 864 $295

Mold Remediation: How toDetect Mold and Clean MoldMold is a growing concern. National

media attention has alerted the public

to the destructive and possibly toxic

dangers of hidden mold spores that

could affect their family’s health and their

homes, schools, and work places. Many

people spend as much as 90% of their

time indoors and are not aware of the

health hazards created by this pollutant.

Topics include: How to detect mold,

understanding the different types of

mold spores, how to test for mold,

interpretations of the guide lines,

mold cleanup, how to find hidden

mold, mold remediation in our homes,

mold remediation in our schools and

commercial buildings.






Joseph P. Majewski, FCPE, PE

Alex MacKenzie, CPE


PMERM 502 $575

Monumental Architecture: A Gift to the AgesMore than any other type of architecture,

monumental architecture conveys both

a statement about the civilization that

created it and why it created it for

posterity. Whether it is a tomb for

a nation’s leader, such as the Great

Pyramid; the Eiffel Tower, a tower with

no useful purpose initially other than

to demonstrate technical prowess; or

a statue on a pedestal at the entry to

New York Harbor commemorating liberty

and the friendship of two sister republics,

monumental architecture is meant to

transcend time and space with its very

form. Mount Rushmore and the

Presidential Memorials commemorate

America’s greatest leaders while the

Gateway Arch in St. Louis memorializes

America’s westward expansion. As was

the case for the Eiffel Tower, the

Unisphere served as the centerpiece of

a world’s fair and remains a permanent

symbol of man’s achievement long

after the fair has ended. Monumental

architecture can be functional as well

as serving, for example, as a high-speed

TGV train station in Lyons, France.

Monumental architecture is often

at its best when commemorating great

events in human history. Good monu-

mental architecture always generates

a strong emotional response from

the multiple generations served.

Most often, they are a source of pride

in the community and the nation and

evidence of the human will to achieve.

Topics include: The Great Pyramid,

The Eiffel Tower, presidential memorials,

The Statue of Liberty, Mount Rushmore,

The Gateway Arch, Unisphere, TGV

Station, and WWII Memorial.

• Su 9 AM–5 PM

1 sessions Nov 22

Jeffrey Syken


PMPD 932 $295

Museums: The Architectureof ArtArchitecture is the “Mother of the

Arts.” Perhaps no other aspect of archi-

tectural design expresses this maxim as

much as museums do. Meant to house

great collections of art—paintings,

sculpture, furniture, and antiquities—

these structures very often take on the

mantle of works of art themselves, as

do the spiral ramps and cubist facades

of the Guggenheim Museums in New

York City and Bilbao, Spain, respectively.

Modern architecture is well represented

in museum design—from the novel

structural system of the Pompidou

Center, which utilizes posts, fulcrums,

and trusses, to the controversial glass

space-frame pyramid addition, to the

most famous museum in the world,

The Louvre, both in Paris. I.M. Pei’s

“Museum on the Mountain” at the

Miho Museum, situated on a remote

mountainside near Kyoto, Japan, is

a study in harmoniously blending a

structure to its surroundings. Similarly,

Richard Meier’s Getty Center, atop a

hillside overlooking Los Angeles, is a

triumph of mastering not only a

difficult site, a complex plan (including

multiple structures), and a demanding

construction schedule, but also, of

satisfying the demands of a determined

client. The best and the worst of

modern architecture are most often

found in the designs of these most

public of public buildings.

Topics include: The George Pompidou

Center, The Musee D’Orsay, and The

Louvre, Paris; The National Gallery of Art,

Washington, DC; The Rock & Roll Hall of

Fame, Cleveland, Ohio; Miho Museum,

Japan; The Jewish Museum and The

Vitra Furniture Museum in Germany;

and The Guggenheim Museums in

New York City and Bilbao, Spain.

• Tu 8 AM–1:30 PM

1 session Nov 10

Jeffrey Syken


PMPD 944 $244

New Accessibility Requirementsfor Commercial Occupancies United Spinal Association provides

technical assistance on the latest state

and federal accessibility requirements

throughout the country. The focus of

this course is the accessibility require-

ments of the New York City

Construction Code and the Revised

ADA/ABA Accessibility Guidelines and

their impact on commercial occupancies.

The class curriculum was developed

with the Mayor’s Office for People with

Disabilities (MOPD) and the New York

City Department of Buildings.

Topics include: applicable federal acces-

sibility requirements and when they are

applicable; review of new requirements

impacting access to commercial buildings,

effective and phase in dates and how

NYC’s access requirements differ from

federal guidelines; comparing these new

requirements to NYC’s original accessi-

bility requirements— Local Law 58;

accessibility requirements pertaining to

parking, exterior routes, entrances, vertical

accessibility, plumbing fixtures, and

Accessible Means of Egress; accessibility

requirements impacting changes of

occupancy, additions and alterations to

primary function areas within a building.

Participants will be encouraged to bring

design sketches and questions to discuss

with the presenter and share with the

class during the discussion of each topic.

Handouts will include applicable

scoping and reference standard materials

to support class topics.

• Th 9 AM–5 PM

1 session Nov 12

Dominic Marinelli

United Spinal Association


PMPD 964 $295

New Accessibility Requirementsfor Residential OccupanciesUnited Spinal Association contributes

to the development of city, state and

national accessibility requirements

(including the International Codes

Council’s national accessibility standard

ANSI A117.1). The focus of this course

is the accessibility requirements of the

New York City Construction Code and

the Fair Housing Amendments Act’s

Accessibility Guidelines and their

impact on residential occupancies.

The class curriculum was developed

with the Mayor’s Office for People

with Disabilities (MOPD) and the

New York City Department of Buildings.

Topics include: review of new require-

ments impacting access to multi-family

residential buildings, effective and

phase in dates and how NYC’s access

requirements differ from federal guide-

lines; additional requirements impacting

federal fund recipients; definitions and

differences between Accessible,

Adaptable, Type A and Type B dwelling

units; differences between city and

federal accessibility requirements and

how they each apply to site design,

exterior routes, building entrances,

public and common use areas; options

for bathroom and kitchen design;

impact of these requirements on

Transient and Institutional occupancies.

Participants will be encouraged to

bring design sketches and questions to

discuss with the presenter and share

with the class during the discussion

of each topic. Handouts will include

applicable scoping and reference standard

materials to support class topics.

• F 9 AM–5 PM

1 session Nov 13

Dominic Marinelli

United Spinal Association


PMPD 965 $295












New York City Building Code: Using an ExampleThis course is intended to take attendees

through the main design provisions of

the current Building Code of NYC

using a typical mid-rise mixed-use

building as an example. The agenda will

cover mixed occupancies, incidental

use, and accessory occupancies as well

as building height and area as they

pertain to a real example. Then passive

and active fire protection requirements

will be covered, followed by means-of-

egress provisions, elevator requirements,

and handicap accessibility. The course

will also cover fire apparatus and building

access requirements from the Fire Code

of NYC. Using the example will help

attendees apply the code provisions and

see how they relate to real project issues.

Topics include: Review of any code

updates, status, general overview;

basic design provisions such as building

height and area along with construction

type, mixed occupancy provisions,

special uses, and fire distance separa-

tion; fire protection, fire resistant rated

construction, fire protection systems;

means of egress and elevators; and

handicap accessibility.


• F 9 AM–5 PM

1 session Oct 30

Laura Cooney


PMPD 984 $295

New York Construction LawThe law influences all aspects of theconstruction process. Its reach extendsfar and wide; and its impact can be feltfrom the very beginning of a project,through completion, closeout, andbeyond. Attendees are sensitized tothe problems, issues, and concerns thatcan arise during major phases of a projectand leave with a better understandingof how the law affects them.Topics include: bidding; contractorclaims, owner defenses, and relatedcontract clauses; subcontractor claims;owner’s rights and affirmative claims;bonds; New York Lien Law; Public andPrivate Improvement Mechanics Lien.



2 sessions Dec 11–12Robert J. Miletsky, Esq.12 AIA/HSW LU’s, 12 PDH’sPMPD 802 $575

New York State BuildingCodes, Rules, and RegulationsThis course consists of a series of lecturesfocusing on recent changes in the industrythat affect the practice of architectureand engineering in the state of New York.Starting with the New York State adapta-tion of the International Building Code—i.e., the Building Code of New York State,the Energy Conservation ConstructionCode, the Fire Code, the Fuel Gas Code,the Mechanical Code, the PlumbingCode, the Property Maintenance Code,the Residential Code—and their interpre-tations and applications locally. In aseminar environment, you will achieve anunderstanding of the existing New YorkCity Building Code while recognizing theneed for change.Topics include: the New York StateBuilding Code and the Federal OSHALabor Law Safety and Health Regulationsfor Construction, as well as the New YorkCity Building Code; how building codesaffect the cost of construction by dictatingthe type of materials developers can use;detailing the kind of buildings or structureswhich can be built; and establishing thereview process that must be followed toensure code compliance. Special emphasisis placed on the role of the BuildingsDepartment and its authority.• Tu 9 AM–5 PM

1 session Oct 27Edward D. Re, Jr., AIA7 AIA/HSW LU’s, 7 PDH’sPMPD 816 $295

New York State Building Code:Using an ExampleThis course is intended to take attendees


the current Building Code of NYS

using a typical mixed use multi-story

building example. The agenda will

cover mixed occupancies, incidental

use and accessory occupancies as well

as building height and area as they

pertain to a real example. Then passive

and active fire protection requirements

will be covered, followed by means of

egress provisions, elevator require-

ments and handicap accessibility. The

course will also cover fire apparatus

and fire hydrant requirements from the

Fire Code of NYS. Using the example

will help attendees apply the code pro-

visions and see how they relate to real

project issues.

Topics include: review of any code

updates, status, general overview;

Basic Design Provisions which include

mixed occupancy provisions and special

uses, building height and area along

with construction type, Fire distance

separation; Fire protection which

includes fire resistant rated construc-

tion and fire protection systems;

Means of Egress & Elevators; and

Handicap Accessibility.


• M 9 AM–5 PM

1 session Nov 9

Laura Cooney


PMPD 985 $295

New York State Existing BuildingCode: Using an ExampleThis course is intended to take attendees


the current Existing Building Code of

NYS using a change of occupancy to

a multi-story building as an example.

The course will go through the typical

process and evaluation of the existing

building and the proposed changes

and how to apply the Existing Building

Code of NYS provisions to it. The agenda

covers additions briefly, change of

occupancy, alterations, and also the

compliance alternative available in

the Existing Building Code. Using the

example will help attendees apply the

code provisions and see how they

relate to real project issues.

Topics include: Review of any code

updates, status, general overview of

the Existing Building Code; Additions;

Change of Occupancy which includes

partial vs. full change of occupancy,

change to higher or lesser/equal relative

hazard and relative code triggers, such

as handicap accessibility and other

building system upgrade requirements,

and compliance with previous chapters

of the code; Alterations – triggers for

compliance and review of provisions

to Level III, II, I; and Compliance

Alternative – Chapter 12 review.


• M 9 AM–5 PM

1 session Nov 16

Laura Cooney


PMPD 986 $295

9/11 and BeyondTo this generation of Americans, the

events of September 11, 2001, are

what Pearl Harbor was to the WWII

generation. For New York City, that

day of infamy marked a turning point

in the lives of New Yorkers, as did the

Triangle Shirt Waist Factory fire of

1911. In the wake of that calamitous

event 90 years earlier, social welfare,

child labor laws, and—most relevant

to the built environment—the creation

and implementation of comprehensive

building codes, fire safety, and the

protection of life, rather than property,

became paramount. The terrorist acts

caused the catastrophic collapse of the

twin towers, but the heroic clean-up

and recovery efforts immediately there-

after made a triumph out of tragedy.

Out of the ashes of 9/11, New York

City would realize its finest hour.

As controversial as the World Trade

Center was to design and build, so

too are the plans to build anew and

memorialize the victims in a dignified

way. Moreover, beyond the 16 acres

that the Trade Center itself occupied,

the future of all of Lower Manhattan is

at stake. Will it prove to be an opportunity

realized or an opportunity missed?

Topics include: 9/11/01: Day of Infamy;

Cleanup and Recovery; Memorializing

the Victims; Commercial Redevelopment;

and The Future of Lower Manhattan.

• Tu 8 AM–1:30 PM

1 session Nov 17

Jeffrey Syken


PMPD 939 $244

Offsite Fabrication for HousingNo one really knows when humans

started to prefabricate buildings.

Certainly nomadic herdsmen have

engaged in a form of prefabrication for

thousands of years, in that their tents

have been made in a single place while

being assembled repeatedly at different

locations. Prefab started to enter the

architect’s and engineer’s consciousness

right along with the dawn of the

Industrial Revolution and reached an

early highpoint in Sir Joseph Paxton’s

design for the Crystal Palace in

London’s Hyde Park. This 1,850’ long

iron, glass and wood structure with

over 900,000 sq. ft. of glazing, was

made in a factory and then erected on

site in merely 17 weeks. But offsite

fabrication in architecture in the 20th

century had mostly a troublesome

past, punctuated by some spectacular

failures both financial and structural.

And while buildings remain for the


most part site-built adventures, where

ungainly raw supplies are cut down to

size in all kinds of weather, other

industries such as airplane and auto

manufacturing have leaped forward

with modern procurement, contractual

and fabrication methods and dry and

predictable indoor conditions.

Nevertheless, things look very bright

for the future of offsite fabrication for

housing and similar applications.

Prefab dovetails nicely with the recent

surge of concern for securing a green

and sustainable future. This course will

examine the various aspects of offsite

fabrication with respect to how archi-

tects and developers can get involved.

Topics include: images of offsite fabrica-

tion from around the world; definition

of terms and a short history of offsite

fabrication. What is the nature of offsite

fabrication in the UK vs. the USA? Why

do prefabrication and why not? What

are the components of a pre-fabricated

building? What is the process of pre-

fabricated construction? What makes

offsite fabrication really sing? How is

offsite fabrication a green way forward?

Technical Constraints particular to offsite;

the nature of innovation; and case studies.

The afternoon will be devoted to a

hands-on workshop where students will be

asked to respond to a particular request

from the public sector to solve a problem

using offsite fabrication techniques.


• Sa 9 AM–5 PM

1 sessions Nov 14

Michael Hardiman, AIA


PMPD 966 $295

Peace through Understanding:The 1964-65 New YorkWorld’s FairLike World’s Fairs before it, the 1964-65

New York World’s Fair was to be a

showcase of the past, present, and future

of mankind. Dating back to the first

World’s Fair-London’s Crystal Palace of

1851, which coincided with the advent

of the industrial revolution, every fair

sought to outdo the previous World’s

Fair in grandeur and in size. New York

in 1964 would be no exception. Without

official approval by the European-based

organization that authorizes World’s

Fairs, Robert Moses, New York City’s

master builder, moved ahead, recruiting

the federal government, corporate

America, as well as representatives from

the 50 states, nations from around the

globe, and even the Vatican as partici-

pants. It would not be an easy task to

surpass the World’s Fair held just a

generation earlier in the very same

location: Flushing Meadow in Queens.

The World of Tomorrow, the New York

World’s Fair of 1939-40, is still remem-

bered and recognized as one of the

greatest of all time. The 1964-65

World’s Fair would be measured and

judged in comparison to it and would

garner mixed reviews, but for many, its

architecture, exhibits, technology, and

innovations, made a lasting impression.

Topics include: Origins of World’s Fairs;

Planning, Designing and Construction

of the Fair; Unisphere: The Centerpiece

of the Fair; The Architecture of the Fair;

Exhibits at the Fair; Touring the Fair-

grounds; Flushing Meadow after the Fair.

• W 8 AM–1:30 PM

1 session Nov 3

Jeffrey Syken


PMPD 945 $244

Performance Modeling forCarbon Neutral BuildingsThis will show architects, engineers,

interior, and landscape designers how

to design and renovate carbon neutral

buildings using building performance

modeling techniques. Carbon neutral

buildings require low or net zero energy

usage and designs need to be tailored

to maximize energy gains from solar,

wind, and geothermal and to minimize

losses from building components such

as wall, windows, and appliances. This

course will show architects and engineers

the software tools available to help in

designing these low carbon buildings.

Topics include: Review of the following:

causes and effects of climate change;

procedures for measuring and mitigating

greenhouse gas emissions; green design

standards; energy and greenhouse gas

calculations in reference to designing

for carbon neutral buildings; LEED

certified, silver, gold, platinum; and

new construction, renovations, existing

buildings. Building Performance

Modeling Basics: Energy load estimating

—lighting, heating, cooling, ventilation,

plug; and Solar, wind, geothermal

estimating. Software tools available to

measure and predict: Solar gain; PV

production; Green roof performance—

solar and water; Geothermal perform-

ance—energy; and Whole building

energy use. Performance Modeling

Case studies of leading carbon neutral

buildings: South London, NYC.

Performance Modeling Design charette

for a carbon neutral building (in class)—

New Construction: Modeling of base

design for building energy loads and

Modeling of base design for solar, wind,

geothermal. Performance Modeling


building (in class)—Major Renovations:

Modeling of base design for building

energy loads and Modeling of base

design for solar, wind, geothermal.

• Sa 9 AM–5 PM

1 session Nov 14



PMPD 602 $295

Performance Rating ofNew Buildings: The ProcessGlobal warming is resulting from an

increase in greenhouse gases in the

atmosphere. It is caused by CO2 and

other heat-trapping emissions. A new

report by the Union of Concerned

Scientists (UCS) illustrates the effects

on health, natural resources and the

economy caused by average tempera-

tures. If the current trend continues,

New York City will have 25 days above

100˚F, by the year 2070. Nationally,

residential and commercial buildings

account for 38% of greenhouse gas

emissions. In New York City, building-

related emissions are almost double

the national rate. Evaluating the envi-

ronmental impact, saving energy and

indoor air quality of new buildings are

the focus of this course’s attention.

There are a variety of standards for

benchmarking how environmentally

responsible (green) a building’s design

is, how the energy saving may be

accomplished and how the indoor air

quality may be improved. Meeting or

exceeding benchmark levels rewards

the builders and gives homeowners’

confidence that their home is durable,

healthy, and environmentally friendly.

Topics Include: introduction to the over-

all concepts of sustainable buildings,

the procedures for earning the specified

pre-requisite and credit points for

obtaining the certificate, as outlined by

Leadership in Energy and Environment

Design; sustainable site, water efficiency,

energy and atmosphere, materials and

resources, indoor environmental quality

and innovation in design. A majority of

required calculations are performed in

an EXCEL Workbook.

• Th 9 AM–5 PM

1 session Sept 17

Ali Badakhshan, PE


PMPD 982 $295

Renewable/Green EnergyGlobally, wind power already generates

electricity equal to that used by 19 million

European households. In 2003, an

estimated $20.3 billion, about 16%

of total global investment in power

generation equipment, were invested

in “new renewables,“ except large

scale hydropower and traditional biomass.

Wind and solar power are the world’s

fastest-growing energy sources, with

capacity expanding at double-digit every

year over the past decade. The effects

of this rapid growth include: impressive

technology, dramatic cost reduction and

an increase in political support for

renewable energy around the world.

The course describes the history and

technological development of new

renewable resources: including the solar

(heat and photovoltaic), wind, geother-

mal, biomass/bio-diesel and hydrogen.

Topics include: intro to new renewable

energies; terms and definitions used

in the industry, the history of major

resources and development of technology

throughout the world, how the systems

work and how the Research and

Developments opened the door to

industry’s future, what are the present

status of different renewable energy

systems, and how extensive R&D and

governments policy towards the estab-

lishment of setting the standards shall

assist the industries, lower the world

pollution and decrease the independency

from the fossil fuels.

• Th 9 AM–5 PM

1 session Oct 8

Ali Badakhshan, PE

7AIA/HSW LU’s, 7 PDH’s

PMPD 915 $295

Residential LandscapeArchitectureThis seminar explores the design and

construction of walkways, driveways,

lighting, fencing, walls, patios, decks,

swimming pools, tennis courts, sports

courts, porticos, trellises, fire pits, out-

door kitchens, and other site features,

with an eye toward climactic conditions

and plant zones in the New York metro-

politan area. Privacy screens, perennial

gardens, foundation plantings, seashore

planting, deer proofing, and planting

on slopes will also be discussed.

Topics include: client interviews, site

analysis, presentations, zoning and

planting considerations, filings, planning

boards, architectural review boards,

building departments, supervision,

inspections, selection of contractors,

punch lists, certificates of completion,

sketch problems.


• Th 9 AM–5 PM

1 session Nov 19

Charles Turofsky, RLA

7 AIA/HSW LU’s

PMPD 946 $295

Rivers of SteelJust as canals made transporting

goods to the continent’s interior

practical and the invention of the

elevator preceded the development of

the skyscraper in the 19th century, so

too have “Subway” (or “Underground”)

transportation systems made the

modern city possible. Moving millions

of people each day quickly and efficiently

to points far and wide, such movement

of the masses with relative ease was

not possible until the first “tubes”

were built in the mid-to-late 19th

and early 20th centuries.

Urban centers such as Lower

Manhattan were a maze of crowded,

narrow streets with pedestrians, omni-

buses, carriages, trolleys, and horses

competing to move a few feet to get to

their destination. It could take as long to

travel a few blocks up Broadway as it did

to get to Philadelphia. Not only was it dif-

ficult and time-consuming to get where

you wanted to go, it was also dangerous

and dirty; something had to be done.

Elevated trains were just too slow

and noisy, so the answer lay beneath

the city’s streets. With tunneling tech-

nology advancing in the 19th century

and the invention of the electrically

driven subway car, the stage was set

for subway systems to become the

dominant means by which a city could

move people from their homes in out-

lying areas to the city center, thereby

growing their economies and their

influence.

London became the first with its

“Underground” in the 1860s and,

starting in 1900 (and completed in

1940), New York City’s subway system

became the model other cities would

follow when the time came for them

to build their own subway system.

Today, subways remain the best way to

move people in an urban environment

and their construction around the

world continues into and beyond the

21st century.

Topics include: Tunnels: Making Subways

Possible; London’s Underground; NYC’s

Subway: Innovation and Destination;

End of the Line: Rochester, NY’s Subway

System; and Athens, Greece: A Subway

through the Cradle of Civilization.

• Tu 8 AM–1:30 PM

1 session Dec 1

Jeffrey Syken


PMPD 977 $244

Sacred ArchitectureFor millennia, humankind has estab-

lished houses of worship to pay

homage to their gods and to form a

nucleus for the social order. In 1638,

when the Puritans first established a

town plan for the city of New Haven,

Connecticut, they placed their church

at the very center of their community

to reflect the fact that their religious

faith was, like their church, at the

center of their lives. It is no coincidence,

then, that the best-preserved buildings

of the ancient world were constructed

as temples to the ancient gods. The

Pantheon was constructed as a pagan

temple to worship the “pantheon”

of Roman gods. With the adaptation

of Christianity, it became a Catholic

church as did many other pagan

temples. Perhaps nothing in the

built environment stirs the same kind

of emotional response from human

beings as do houses of worship:

They are an integral part of our lives

from cradle to grave. In their architec-

ture, they reflect the “better angels of

our nature,” seeking to capture the spiri-

tuality of man while, at the same time,

providing a sanctuary and refuge from

the outside world. The architecture of

temples, churches, mosques, and syna-

gogues takes many forms, but the form

is always subservient to their higher

purpose: to touch the face of God.

Topics include: Egyptian Temples;

The Acropolis, Athens; The Pantheon,

Rome; Gothic Cathedrals; Romanesque

Churches; The Vatican; Le Corbusier’s

Convent of La Tourette; America’s

Houses of Worship.

• Th 8 AM–1:30 PM

1 session Dec 10

Jeffrey Syken


PMPD 947 $244

Security Design through CPTEDTerrorism, crime, and workplace violence

are issues of everyday life for millions

of Americans. CPTED (Crime Prevention

through Environmental Design) is a

design strategy that can enable archi-

tects to use their skills to create safer

facilities. Many city and county govern-

ments are adopting CPTED ordinances

requiring site plan reviews. The proper

implementation of CPTED provides a

security design that reduces crime and

violence. It addresses site selection and

balances the use of natural barriers

with security technology to increase

personal security.

Topics include: Natural surveillance—

the placement of physical features,

activities, and people in order to maxi-

mize visibility; this includes the effective

lighting of public spaces, alignment of

walkways and raised entrances, and

the placement of windows, doors and

lobby areas. Natural access control—

the physical guidance of people coming

and going from a space by the judicial

placement of entrances, exits, gates,

barriers, landscaping, and mechanical

measures, such as doors, gates, locks.

Territorial reinforcement—the use of

physical attributes that express owner-

ship, such as fences, pavement treat-

ment, art, signage, and landscaping.


• Tu 9 AM–12 PM

1 session Oct 6

Robert Summers, CPP


PMPD 857 $145

Small-Scale Real EstateDevelopment Economy has you feeling down?

Now is the best time to examine your

career. This seminar offers design pro-

fessional insight into the lucrative yet

high risk challenges of real estate

development. Discover why this class is

valuable in up/down real estate market

cycles—discover when is the optimal

buying environment. We cover five

major components in development:

market overview, finance, law, design,

and construction. This course is targeted

to seasoned professionals who seek to

go beyond offering traditional design

services and leverage their talent for

greater profit.

Topics include: review of basic financial

concepts: debt and equity structuring,

net operating income, internal rate of

return, net present value, cash flow, and

how taxes impact financial proforma.

Attendees will also learn about basic

legal frameworks in addition to other

legal forces impacting development

such as zoning, building codes, and

preservation law. This course offers

real examples of several small scale

(under $10 million) properties developed

from scratch.

Join us and learn how to uncover

the possibilities by leveraging your

creativity.


for LU credit.


• F 9 AM–5 PM

1 session Oct 23

Roy R. Pachecano, AIA

7 AIA/HSW LU’s

PMPD 881 $295

Specifications Writing,Principles, and PracticeThis seminar discusses materials and

products used in building construction;

methods to research, evaluate,and select

products; and specifications writing.

Learn to establish requirements, identify

attributes and products, and write

biddable and binding specifications.

Topics include: The Construction

Specifications Institutes Manual of

Practice; organizational tools used by the

industry to catalog; organization of a

project manual; and specifications writing

techniques, structure, and language.

• F 9 AM–5 PM

1 session Nov 6



PMPD 801 $295

Sustainability Approach toEngineering DesignDesigners, engineers, and architectsare in the unique position in society ofbringing ideas into form. This coursechallenges designers to reprioritize,rethink, and approach design opportu-nities from a sustainability perspective,so that nothing created adds to theenvironmental or health burden wecurrently face. By taking a whole systemdesign approach and integrating everyaspect of the lifecycle of the product orsystem into the design criteria, we canminimize environmental and healthimpacts and move forward to achievingsustainability without compromisingthe objective of design.

Topics include: overview of sustainability,

EPA’s Design for the Environment, and

green engineering; innovators in the

field; whole system design vs. traditional

engineering design process; whole

systems approach to product and

process design where environmental

elements are included in the initial



design objectives, rather than dealt

with as constraints; introduction to

sustainable engineering concepts:

whole systems approaches, interdisci-

plinary teams, pollution prevention,

waste minimization, life-cycle analysis,

industrial ecology; and case studies.

• Tu 9 AM–5 PM

1 session Nov 17

Terese M. Kinsley, PE


PMPD 897 $295

Sustainable Habitats Even in ancient times, builders knew

instinctively how to orient their buildings

to the south in order to provide maximum

sunlight and radiant solar heat in the

winter. In other words: They practiced

passive solar design. In modern times,

master architect Frank Lloyd Wright is

credited with having designed the first

model passive solar house featuring—

as he termed it—a solar hemicycle.

Putting sustainability at the forefront,

Buckminster Fuller’s Dymaxion House

of 1947 sought to set the example of

how the built environment could be

self-sustaining in so far as energy use

and material selection/resources were

concerned yet inexpensive and efficient

to reproduce on a mass scale.

Nowadays, passive and active solar

design, adaptive reuse, natural and

sustainable materials, sensible land use,

incorporating thermal mass walls and

floors, modular and pre-fabricated

elements, radiant heat flooring, etc.

are all part of the effort to create

sustainable habitats.

Topics include: Buckminster Fuller’s

Dymaxion House; Frank Lloyd Wright’s

Jacobs House; Jean Prouve’s House:

Modular and Pre-Fabricated Design;

The Brookhaven House: forerunner

of things to come; The Wilson Natural

House; Residential Solar Design

Competition; Creating Affordable

Green Housing; Adaptive Reuse in

the Netherlands; BO 01: The Swedish

Example of Town Planning; The New

Urbanism; and Cordwood Masonry

Design and Techniques.

• W 8 AM–1:30 PM

1 session Sept 23

Jeffrey Syken


PMPD 817 $244

Sustainable RemodelingIt’s estimated that the residential

remodeling business in the U.S. is

worth about $160 Billion. Thus, it

represents a significant portion of the

design/construction industry and the

overall GDP. It is in this sector of the

industry, more so than in new con-

struction, that old meets new and,

very often, the old ways of thinking

collide head-on with the new “sustain-

able” methods, materials, and prac-

tices. As such, it’s critical that all con-

cerned parties in residential remodel-

ing including owners, contractors,

architects, engineers, realtors, insurers,

etc., know the dos and don'ts of resi-

dential remodeling. Such knowing can,

quite literally, save lives.

Topics include: Energy Conservation;

the Building Envelope; Hot-Water

Heating; Lighting; HVAC; Renewable

Energy; Resource Conservation;

Landscaping; Water Conservation;

Construction Methods and Materials;

Indoor Air Quality (IAQ); Finishes;

HVAC and Appliances; IAQ During

Construction; and Mold and Moisture.

• Su 9 AM–5 PM

1 session Sept 13

Jeffrey Syken


PMPD 980 $295

SustainabilityPioneers: Heroesof the Planet“There are no great men—only great

tasks ordinary men are called upon

to perform.”

That may very well be the case for

those men—and women—who have

taken it upon themselves to be the

founders and pioneers of the green

building movement. Without such

visionaries, the growing consciousness

in recent years of the environmental

impacts the built environment has on

the planet as a whole may never have

occurred. These “voices in the wilder-

ness” have now become clarion calls

to action by their having “lead from

the front” and the earth is a better

place because of them.

Topics include: Such pioneers as R.

Buckminster Fuller, William McDonough,

Michael Baumgarten, Paolo Soleri,

Thomas Mayne, Ed Mazria, Muhammed

Yunis, and Werner Sobek. Also in this

course, we will discuss the evolution of

the green building movement; under-

stand the connections and overlaps

between the environmental and green

building movements; consider the

personalities involved in creating the

green building movement and their

motivations for doing so; and under-

stand the past, present, and future of

the green building movement by way of

those visionaries who created it.

• W 8 AM–1:30 PM

1 session Dec 16

Jeffrey Syken

5 AIA/CES LU’s

PMPD 987 $244

Tale of Two Towers: The EiffelTower and the Chrysler BuildingSeparated by 50 years and two centuries,the Eiffel Tower would hold the title of“tallest man-made structure in theworld“ for more than half a century; theChrysler Building would hold the sametitle for only a year. Bridge-builder GustavEiffel’s masterwork, erected as a center-piece for the 1889 Paris Exposition,demonstrated the potential of a light-weight iron frame and Elijah Otis’ safetyelevator to “scrape the sky“ at 1,000feet above terra-firma, thus making verytall structures possible. With the structuralsteel frame perfected and high-speedelevator technology well established bythe late 1920s, the stage was set for thetitle of tallest man-made structure topass to Architect William Van Alen andhis client-automobile mogul Walter P.Chrysler. Built at the height of the“Golden Age of Skyscrapers,“ theChrysler Building remains an icon ofthe art deco era and the quintessentialNew York City skyscraper. Topics include: Gustav Eiffel, Man ofGenius; Paris Exposition of 1889 andthe design competition for its center-piece; technology involved in thedesign and construction of the EiffelTower; evolution of the skyscraper;the building boom, 1920s New York;irreconcilable differences: Van Alen vs.Severance; Walter Chrysler: Captain ofIndustry; Race for the Sky: Chrysler v.Bank of Manhattan; Legacy of the EiffelTower and the Chrysler Building.

• Su 9 AM–5 PM

1 session Dec 6

Jeffrey Syken


PMPD 903 $295



That’s Entertainment! TheArchitecture of Theaters:“An Acre of Seats in aGarden of Dreams”Prior to 1900, not a single structurehad been built specifically for use as amovie theater in the United States. Inthe period from 1915 to 1945, theheight of Hollywood’s “Golden Age,”over 4,000 movie palaces wereconstructed, many still in use today as theaters or adapted for other uses.Perhaps the most public of publicbuildings, theaters provide an escapefrom everyday life. In addition, theyhighlight the very best of the architec-tural and structural design of the era in which they were built. The blood-lust spectacles of the Coliseum inancient Rome are long gone, but the2000-year-old architecture of thisamphitheater—using the simplest ofbuilding materials such as brick, con-crete and circular arches—still has thepower to awe and amaze. The 19thcentury saw the construction of grandil-oquent structures, such as the ParisOpera House, with the same skill andcare as the great medieval cathedrals.The art deco era saw some of thegreatest deco theaters ever built,including the Wiltern in Los Angelesand others in places like Napier, NewZealand, and Bombay, India. In moderntimes, the Sydney Opera House is con-sidered one of the greatest achieve-ments of modern architecture for itsdesign, setting, and structural innova-tions. Frank Gehry’s Disney Hall in LosAngeles has the power to stir a varietyof reactions, but, like all theater expe-riences, it leaves an everlasting impres-sion on the collective imagination.Topics include: Roman Amphitheater: TheColiseum, Rome; Charles Garnier’s ParisOpera House; Form Follows Function:Louis Sullivan’s Auditorium Building,Chicago; 42nd Street Revival: The NewAmsterdam Theater; The Great MoviePalaces: 1900 to 1945; Art Deco TheatersAround the World; Triumph of Design:The Sydney Opera House; MickeyMagic: Frank Gehry’s Disney Hall, LosAngeles.• W 8 AM–1:30 PM

1 session Dec 2Jeffrey Syken5 AIA/CES LU’s, 5 PDH’sPMPD 949 $244


The Architect’s Role inDevelopment: Preservingthe Public’s WelfareThe seminar examines how the architect,through implementation of land planning,building design, codes, and life-safetysystems facilitates the preservation ofthe public’s welfare in order to minimizeadverse affects of uncontrolled devel-opment. We discuss how the design ofbuildings based on a developer’s idealmodel is, at times, in opposition to thepublic’s interests. Using the history ofadverse development in the housingsector as a backdrop, we will examinethe parallels between social upheavalsand design breakthroughs led by archi-tects whose solutions helped protectthe public’s welfare. This course is idealfor professionals seeking a broaderunderstanding of the architect’s role indevelopment. We examine the architect’sfiduciary duties and discuss the tensionexerted upon the architect during theplanning process as seen through the lensof various stakeholders: the developer,the owner, the investor, the contractor/vendor, and the public. Topics include: Fire and hygiene: Legalunderpinnings of change; The architectat the center of community planningcontrols; Land use, zoning: How archi-tecture responds to both; The architect’sfiduciary duties; Private/Public Controlsand Planning Regulations—How archi-tecture contributes to both; Expansionof environmental laws forces architectsto think on macro-scale: site, water, air,materials; and The “Green” movement.

Registration Deadline: Oct 12• W 9 AM–5 PM

1 session Oct 21Roy Pachecano, AIADavid B. Reck, RA7 AIA/HSW LU’sPMPD 997 $295

The Architecture of EmpireDown through the ages, civilizationshave used architecture as an expressionof the power and glory of the empiresthey have created. Most often, all thatremains of most of the great civilizationsof the past are the ruins of their pyramids,temples, amphitheaters, palaces, bridges,roads, and government buildings. Manyof the structures these empires createdremain intact and are still used in moderntimes. Some find use for purposes otherthan those for which they were created,while many still serve their original intent.The medieval cathedrals remain the seatof Catholic bishops, while Roman temples—the Pantheon, for example, built toexalt all the Roman Gods—saw use aschurches under Christendom.

With the rise and fall of empires, thearchitectural, engineering, and buildingskills, traditions, knowledge, and tools,were carried forward and advanced.Modern masons can thank the buildersof the ancient pyramids for establishingmasonry construction, while the craneand wheelbarrow made their firstappearance in the Middle Ages duringthe construction of the great cathedrals.Even the Nazis under Hitler, an aspiringarchitect himself, considered architecturethe crowning achievement and symbolof their “Thousand-Year Reich.” Hitlerand his architects sought to emulatethe classical architecture of the Romanand Greek empires, even mandatingthat their buildings look good whenin ruins, much like the Roman Forumitself. Even the communists sought a“Stalinist” architectural style of theirown, to the detriment of their statetreasuries but to the glory of the cultof personality their leaders endorsed.Topics include: The Master Builders ofEgypt; The Acropolis & the Golden Ageof Greece; World Empire: Rome andthe Seven Hills; Medieval Cathedrals:Christendom’s Crowning Glory; Berlin,Germany: Capitol of the Nazi WorldEmpire; Bucharest, Romania:Cosmopolitan to Communism.• Tu 8 AM–1:30 PM

1 session Dec 8Jeffrey Syken5 AIA/CES LU’s, 5 PDH’sPMPD 950 $244

The Environment, SEQRA andthe Engineered ProjectThe State Environmental Quality

Review Act (SEQRA), regulates local

and state agency approval of engineered

projects. This course will cover Article

8 of the New York State Environmental

Conservation Law, detailing the opera-

tional aspects of the law, particularly

as it effects major civil construction and

the construction of residential and

non-residential structures. The course

will also go into the details of 6 NYCRR

6l7, the regulatory regulations promul-

gated by the New York State Department

of Environmental Conservation. The class

will also cover the interaction of the

Freshwater Wetlands Act, the Tidal

Wetlands Act, and other major environ-

mental laws as they interact with SEQRA.

Topics include: Article 8 Text, 6 NYCRR

6l7, selection and role of lead agency,

positive and negative declarations,

The Environmental Assessment Form,

the Environmental Impact Statement,

and major case law decisions.

• Tu 9 AM–4 PM

1 session Dec 1

Daniel Karpen, PE


PMPD 995 $295

The Path to GreaterArchitectural Freedom withToday’s Structural SteelThis is a comprehensive program

developed by the American Institute of

Steel Construction (AISC), exploring the

use of structural steel in the safest and

most cost-effective manner, while achieving

new freedom in architectural expression.

Topics include: the flexibility and

enhanced properties of today’s new

structural steel; the latest information

on fabrication and forming techniques

for structural steel; structural engineering

concepts such as load flow, lateral

load-resisting framing systems,

bracing concepts, joints, vibrations,

selecting preliminary member sizes,

and communication with the structural

engineer; product suppliers and material

availability; enclosure details and tolerances

involving pre-cast elements—masonry,

metal deck, and steel; the effects of

fire and weather on steel as well as fire

protection systems; painting and surface

preparation. Highlights of the revised

Code of Standard Practice will be

presented, and will cover architectural-

exposed structural steel (AESS).

Also included: Workshop participants

receive AISC’s Designing with Structural

Steel: A Guide for Architects, a complete

300-page working desk reference on

structural steel, written by architects

and engineers expressly for architects.

• W 1–5 PM

1 session Oct 14

Erleen Hatfield, PE


PMPD 835 $195

This Hazardous HouseConsidering the fact that Americans

spend 90% of their time indoors

rather than outdoors, it should come

as no surprise to anyone that the

indoor environment is, quite literally,

making us sick. Typically, the indoor

environment is 3x more polluted than

the outdoor environment — but

can be up to 10x more polluted, at

concentrations of up to 100x greater.

One government study found that fully

50% of all diseases are directly related

to pollutants and toxins in the built

environment.

The advent of tighter building

envelopes has exacerbated the problem

by trapping these pollutants and toxins

within the interior spaces of a home.

Other dangers lurk in the form of

respirable fibers, combustion particulates,

invisible/deadly gases, asthmatic triggers,

electro-magnetic hot spots, heavy metals

etc. Knowing what these dangers are,

where and why they occur and how to

effectively deal with them is a critical

factor in understanding and solving

the problem of the hazardous home

for you and your family.

Topics include: Sick Building Syndrome

(SBS); Building Related Illness (BRI);

Multiple Chemical Sensitivity (MCI);

asbestos dangers/abatement; lead

dangers; radon dangers; PolyVinylChloride

(PVC) dangers; asthmatic Triggers; and

infestation dangers.

• Sa 9 AM–5 PM

1 session Dec 5

Jeffrey Syken


PMPD 967 $295



“Visionary” Designingwith Glass Block and HighPerformance Glass BlockSystems covering LEED, Safety and Security An interactive course on glass block

products includes the manufacturing

process, vision control, product per-

formance, fire ratings, codes, and

show inspiring application and designs

as well as technical/installation infor-

mation. This course will also cover safety

and security. You will learn about gov-

ernment and military requirements for

blast and hurricane resistance, and

how recent advances in glass block

panels and windows that have enabled

high levels of safety and security.

Ballistic resistant windows and other

system panels will also be discussed.

Topics include: Manufacturing of Glass

Block (5 minute video); Introduce

product samples and discuss physical

design data; Installation and Technical

Data, including Fire rated blocks and

installation criteria; LEED and

Sustainability; Designing commercial

projects using High Performance Glass

Block products; Introduction to

Government and Military requirements

for Blast and Hurricane Resistance; and

Ballistic System Panels.


• Sa 9–11 AM

1 session Sept 12

Rena McDonnell


PMPD 819 $85

Wind EnergySystemsModern wind turbines, especially

machines in the megawatt class, can

generate electricity as a competitive

cost compared with power from oil

fired, gas fired, coal fired, or nuclear

power without the resultant pollution

problems. This seminar will look at

currently available wind machine and

their capabilities. Calculations will be

provided to enable engineers to size

wind turbines with the electric load.

Topics include: History of Wind Energy

Systems; Modern Wind Machines;

Case Studies of Installations; and

Economics of Wind Energy Systems.

• M 1–4 PM

1 session Nov 2

Daniel Karpen


PMPD 983 $145

Wooden ScaffoldsWooden scaffolds, often referred to as

temporary structures, have been in long

term usage for the construction phases

of many buildings through our architec-

tural history. Still today these structural

mechanisms are successfully aiding the

implementations of improvements to

the older buildings as well as extending

themselves in construction stages of

our brand new, modern day structures.

The seminar provides the engineer-

architect with a basic overview of

designing and field inspecting wooden

scaffolds along with the required safety

provisions set by OSHA for the design

criteria of loads applied to these structural

mechanisms as well as safety require-

ments for those who work with them

in various construction phases.

Topics include: engineering properties

of wood, beams, columns, plywood

decks, planks, construction criteria

standards for design and safety set by

OSHA; design examples of 2 types of

wooden scaffolds: the design of an

outrigger scaffold; the design of a

one-,two-, and three-story wooden

scaffold. A wooden model will be used

to show that of the second case name B.

• F 9 AM–1:30 PM

1 session Oct 16

Kenneth Wagner, PE


PMPD 961 $195

World of Tomorrow: The1939-40 New York World’s FairThe year was 1939: Gone With the

Wind and The Wizard of Oz were in

the movie theaters; FDR was in the

White House; America was at peace

and coming out of the Great Depression;

and at Flushing Meadows—a former

ash-dump in Queens—New York City

was hosting the World’s Fair.

The fair would be remembered by

those in attendance as one of the

most significant events in their lives.

Where else could you see the future:

The World of Tomorrow in life-like

scale at General Motor’s Futurama and

appliances for the modern woman on

display at the Westinghouse exhibit.

By the second year of the fair, 1940,

world events were catching up with

the fair and the festive spirit of 1939

was waning. Still, New Yorkers past

and present hold a special place in

their collective memory for the fair

that showed them a potential future

that promised to be better, even if

only in their imaginations.

Topics Include: Planning and Creatingthe World’s Fair; The Architecture ofthe World’s Fair; Exhibits and Pavilions;The Products of Tomorrow; andEntertainment and Food at the Fair.• Tu 8 AM–1:30 PM

1 session Dec 15Jeffrey Syken5 AIA/LU’sPMPD 818 $244

World Trade Center:Magnificent AmbitionThe World Trade Center had two maingoals: use the power and resources ofthe Port of New York Authority—aquasi-governmental agency, to revitalizeLower Manhattan and make NYC thecenter of international trade in thepost-war era. First conceived by DavidRockefeller in the 1940s, it would notbe until the early ‘60s that the idea foran international trade center took rootand became a reality by the early ‘70s.From almost every aspect, the designand construction of the WTC was soinnovative and revolutionary that the“Twin Towers“ were often referred to,at the time, as “the first buildings ofthe 21st Century.“

The prefabrication of major buildingcomponents; the slurry walls to create“The Bathtub,“ the unique foundationof the WTC whose massive excavation“spoil“ provided the landfill used to create Battery Park City and wouldalso keep the Hudson River out; thefirst use of “Kangaroo Cranes“—Australian tower cranes with 50+ tonslifting capacity; and the first applicationof a gypsum-drywall Shaftwall systemto enclose the elevator shafts all servedto make the WTC the standard-setterfor the way high-rise buildings wouldbe designed and built thereafter.Offering 50% more rentable spacethan a conventional skyscraper usingsteel “cage“ design, the unique struc-tural system of the Twin Towers madeuse of the exterior wall for structuralsupport freeing the interior spaces ofsupport columns. Sadly, this innovativestructural system would play a key rolein the collapse of the towers onSeptember 11, 2001. Topics include:skyscraper evolution; the site; WTCconception; key players; Port of NYAuthority background (now the PortAuthority of NY & NJ); logistics &infrastructure; foundation excavation;creation of Battery Park City; “TheBathtub“—WTC foundation; prefabri-cation; steel erection; tallest buildingsin the world; and The Day of Infamy.

• Su 9 AM–5 PM

1 session Dec 13Jeffrey Syken 7 AIA/CES LU’s, 7 PDH’s PMPD 928 $295

Wright by Design: The Lifeand Architecture of America’sMaster ArchitectFrank Lloyd Wright’s personal life was

as dramatic as his architecture, starting

before his birth with his mother literally

willing that she would have a son and

that he would grow-up to be a great

architect. Spanning seven decades,

his career had three distinct periods.

Elements of his “Prairie School” of

architecture, his first period in which

he emphasized the horizontal, was

exemplified by the private homes he

built in the American Mid-West, and

would be adopted by the Modernist

architects of the 20th century.

Counted out by the 1920s as a has

been—“the greatest architect of the

19th century”—according to a young

Philip Johnson—two of his greatest

buildings Fallingwater, a private house

in the Pennsylvania woods and the

Johnson Wax Building, a corporate

headquarters in Racine, Wisconsin,

would define the second period of

his life—the comeback.

The post-WWII era, Wright’s most

prolific, would see his Taliesin

Fellowship carry on his legacy and,

after years of delays, the realization of

the Guggenheim Museum in New

York City, though he would not live to

see it completed. Although his life was

mired in tragedy and controversy and

his character was oftencompared to

that of a con-man, his buildings were

the most honest expression of the

mother of the arts—Architecture—that

will probably ever be achieved by an

individual architect.

Topics include: Born to Build; Prairie

School: The Oak Park Years; Between

the Wars: The Fall and Rise of Frank

Lloyd Wright; Post-War: The Best Is Yet

to Come; and Lasting Legacy.

• W 8 AM–1:30 PM

1 session Sept 30

Jeffrey Syken

5 AIA/CES LU’s

PMPD 925 $244





Zoning and Its Impactson Architecture andthe Community (Part I)All architecture projects impact

communities. Some build communities,

some harm them. You will analyze

the various aspects of zoning and its

impact on architecture and the

community, and learn how zoning laws

are created in order to minimize any

negative effect to the public health on

architectural developments.

Topics include: bulk and use zoning

concepts; the technical aspects of

zoning that are a part of all new

developments and construction (e.g.,

sky exposure plane ratios, set-back

requirements, and yard requirements

help maintain ventilation and light/air

for communities); the various infra-

structure and light/air needs of residential

and commercial developments and

how the zoning resolutions deal with

these; shadow analysis scenarios and

the impact of community review on

the construction process; variances and

zoning changes; and how the community

is able to respond to an architectural

project and comment in public hearings

and reviews.


• M 9 AM–5 PM

1 session Oct 19

Roy Pachecano, AIA

David B. Reck, RA

7 AIA/HSW LU’s

PMPD 900 $295

Zoning and Its Impactson Architecture and theCommunity (Part II)All architecture forcibly impacts com-

munities on every scale. Some build

communities, some harm them. This

seminar takes an in-depth look at the

various aspects of zoning and its impact

on architecture and the community.

This course studies how zoning laws

are created in order to minimize any

negative aspect to the public health

and examines scalar impacts on both

small and large architectural plans.

Areas of discussion include a detailed

discussion on bulk, use, sky exposure

plane, floor area ratios, and set-back

requirements for rear and side yards

that impact ventilation and light/ air for

communities. We will also analyze how

the public interest is balanced with

private interest to safe-guard infra-

structure needs of residential and

commercial projects; show how the

governmental review process is an

important factor in maintaining/pre-

serving public safety; and review the

variance and process and how the

community is able to respond to an

architectural project and comment in

public hearings and reviews. This class

is intended as a sequel to the introduc-

tory course, but can stand alone for

attendees already familiar with the

basic zoning concepts.

Topics include: brief overview of the

history and evolution of zoning; technical

aspects of zoning; zoning districts; use

groups; bulk rules; floor area ratio; sky

exposure plane; set backs; yard

requirements; zoning requirements

that preserve light and air; special zoning

districts and their relationship to the

needs of specific communities; City

Planning Commission authorizations

and special permits; how the zoning

is amended, map and text changes;

Board of Standards and appeals variances

and special permits; Uniform Land Use

Review procedure, the governmental

and community review process; City

Environmental Quality Review procedure;

and identifying and assessing the

potential impacts of discretionary

zoning actions.


• Tu 9 AM–5 PM

1 session Oct 20

Roy Pachecano, AIA

David B. Reck, RA

7 AIA/HSW LU’s

PMPD 926 $295


For additional AIA/CES-approvedcourses see:Autodesk Training Center on

pages 30–37.form•Z Fundementals: Modeling

and Rendering I on page 25.VectorWorks Professional I

on page 25.VectorWorks Professional:

3D Modeling and Renderingon page 25.



OneKey Account InformationOneKey user names and passwordsare necessary for all students andfaculty of Pratt Institute. Please seepage 71 for detailed instructions.

Registration DeadlinesRegistration deadlines for allcourses are one week prior tocourse start dates, unless otherwisenoted. Exceptions will be allowedbased on space availability. Werecommend that you register early.


Application fee: $100, non-refundable

Certificate Requirements

The certificate program requires the

successful completion of all 7 courses,

which totals 49 hours of study.

Required Courses: Seven

PMPD 600 Climate Change

Fundamentals for Design

and Management

Professionals

PMPD 601 Designing and Renovating

Carbon Neutral Buildings

PMPD 602 Performance Modeling for

Carbon Neutral Buildings

PMPD 603 Sustainable Standards for

Buildings and

Infrastructure – LEED,

BREAM, Energy Star

PMPD 604 Energy, Greenhouse Gas,

Weatherization Audits,

and Capital Planning

PMPD 605 New Technologies – Smart

Grid and Smart Buildings

PMPD 606 Innovative and

Entrepreneurial Planning

Design and Management

Practices

Recommended audience: architects;

engineers; interior designers; urban

planners; facilities and construction

management professionals; contractors;

and government agency professionals.






you register early.

Climate Change Fundamentalsfor Design and ManagementProfessionalsThis seminar is an overview of climate

change basics and their relation to the

design world. The seminar is designed to

give design professionals the basic tools

needed to begin to design buildings,

interiors, products, transportation and

cities for a carbon neutral world. Designers

will learn how to measure and mitigate

the carbon footprint, analyze and adapt

to climate change risk, and learn carbon

neutral design standards.

Topics include: Introduction; effects;

what is carbon neutral and how do

we measure it; Standards – The 2010

and 2030 Imperatives, College and

University Presidents Climate Change

Commitment, NYC Stds, U.S. Mayors

Climate Change Commitment, The

Kyoto Protocol, USGBC LEED; mitiga-

tion and tools available; the carbon

footprint—Greenhouse gas protocol,

The World Resources Institute; risks

and adaptation—business, regulatory,

physical, investment, social risk

avoidance and mitigation strategies;

Adaptation—seawalls to power towers;

and opportunities available: Design,

design, design, Carbon neutral-buildings,

products, systems, cities.


1 session Oct 3


• Section 2: Su 9 AM–5 PM

1 session Nov 15



PMPD 600 $295

Designing, Renovating, andOperating Carbon NeutralBuildingsThis seminar will show architects, engi-

neers, and interior designers how to

design and renovate carbon neutral

buildings. Architects, designers and engi-

neers will learn how to measure and

estimate energy use and greenhouse gas

emissions, design to reduce energy and

greenhouse gasses in both embedded

and operational aspects, adapt structures

to the effects of climate change, and

learn which software tools are needed.

Topics include: Review of the causes

and effects of climate change, proce-

dures for measuring and mitigating

greenhouse gas emissions, green

design standards; basic overview of

energy and greenhouse gas calculations

in reference to designing for carbon

neutral buildings; Overview of USGBC

LEED green building standards; LEED

certified, silver, gold, platinum, New

construction, renovations, existing

buildings; Overview of software tools

available to measure and predict

greenhouse gas emissions; DOE 2,

Equest; Carbon and energy footprints

in structural as well as operational

building systems; Embedded energy

and carbon, Operational energy and

carbon; Case studies of leading carbon

neutral buildings; So London, NYC;


building (in class); New Construction;

Green your design team, Brainstorm

problems and solutions; Set criteria for

design decision making, Design carbon

neutral building systems; Design

charette for a carbon neutral building

(in class); Major Renovations – Analyze

footprint of existing building, Set

design criteria for the renovation,and

Design a carbon neutral renovation.

• Su 9 AM–5 PM

1 session Oct 11



PMPD 601 $295

Energy, GreenhouseGas, WeatherizationAudits, and Capital PlanningSee page 47 for course description.

PMPD 604 $295

Performance Modeling forCarbon Neutral BuildingsSee page 55 for course description.

PMPD 602 $295

Certificate Program inSustainable Building,Infrastructure Designand ManagementDesigners have long been able to meet

the needs of their clients and businesses

by using their creativity to blend form

and function. Today’s world of limited

resources and changing economic and

environmental values requires a new

set of tools to design a sustainable world.

This Certificate program, Sustainable

Building, Infrastructure Design and

Management, brings designers into 21st

century design by building on their

existing design skills and enhancing them

with cutting-edge skills and knowledge,

enabling them to meet the new goals

and challenges of sustainability.

Why Choose Pratt Institute?• For over a century, Pratt Institute has

combined the practice of art and

practicality by educating artists and

designers in its traditional art, design,

and architecture classes at the graduate,

undergraduate, and professional levels.

• This program brings Pratt and you to

a new level and a new world of art

and design, again in a practical way.

• You will learn about the driving

forces that are changing your client’s

needs and about the tools needed

to meet those challenges and design

a sustainable world. In short, you

will become part of the solution and

be able to assist your clients and

businesses in succeeding in a carbon-

constrained world.





1-888-GI BILL1 (1-888-442-4551 ), or




C E R T I F I C AT E P R O G R A MS U S TA I N A B L E B U I L D I N G,I N F R A S T R U C T U R E D E S I G NA N D M A N A G E M E N T

61




MANHATTAN CE FALL 2009 62MANHATTAN CE FALL 2009 62MANHATTAN CE FALL 2009 6262 MANHATTAN CE FALL 2009 62


In order to receive Pratt’s Certificatefor Audio Engineering andProduction you must successfullycomplete all five of the courses inthe program. Upon completion youwill have the proficiency to handlean entry-level position in anyProTools studio!Application fee: $100, non-refundable

Required Core Courses: Five

PMAE 101 Audio Engineering I

PMAE 201 Audio Engineering II

PMAE 301 Audio Engineering III

PMAEPT 101 Pro Tools I

PMAEPT 201 Pro Tools II

Recommended audience: Following a

major shift in the music industry towards

independent artists and home recording

studios, any student with an interest in

music production and recording will ben-

efit from participating. There is currently

no other program like this in New York

City, and this entire part-time program

can be taken for under $6,000.

Course location:

Midtown Sound

146 West 29th Street

Ste. 11RW

New York, NY 10001

www.midtownsoundny.com






you register early.





Audio Engineering IAs the complexity of recording studio

technology increases, an understanding

of fundamental audio theory is essential,

both for mastering the technology and

for staying abreast of changes in the

field. Through lectures, demonstrations,

and hands on application, you examine

practical audio. We will discuss harmonic

structure and equalization, dynamics

and dynamics processing, signal flow,

and console design/operation.

You will start to learn about equalizer

and compressor design and techniques.

You will then have the opportunity to

start using these new tools as you

learn about the strategies of mixing.

Topics include: The concept and process

of recording; Sound and hearing;

Waveform and timbre; Equalizer

design; Equalizer techniques; Dynamic

Range; Analog vs. Digital; Dynamic

processor design; Dynamics processing

techniques; Console design/operation;

Signal flow in the analog and the digital

worlds; and general concepts of mixing.

Prerequisites: None

Course location: Midtown Sound,

146 W. 29th St., Suite 11RW

• Section 1: M 6–10 PM


• Section 2: M 6–10 PM

8 sessions Nov 23–Jan 11

Scott Noll (all sections)

PMAE 101 3.2 C.E.U.s $995





1-888-GI BILL1 (1-888-442-4551 ), or




Audio Engineering IIA true hands-on course for aspiring

audio engineers or anyone who wants

or needs a working knowledge of the

recording studio. This class focuses on

the actual process of recording and

mixing, utilizing a fully equipped,

commercial recording studio, we cover

acoustics, microphone design, selection

and placement, the mixing console,

and the use of effects and automation.

You have an opportunity to operate

the board and set up microphones

as we gain first hand knowledge of

the recording process. Digital and

analog formats are fully discussed and

demonstrated. To the career musician,

producer, arranger, songwriter, A&R

person, the recording studio is central

to every aspect of contemporary music.

This course provides the means to func-

tion effectively and communicate clearly

in the recording studio environment.

Topics include: Reverb and delay;

microphone design and directionality;

microphone technique; proper micro-

phone handling; cables, impedance,

and grounding; recording projects;

reverb and delay; and mixing.

Prerequisites: Audio Engineering 101



• Section 1: Tu 6–10 PM


• Section 2: Tu 6–10 PM



PMAE 201 3.2 C.E.U.s $1,195

Certificate Program in AudioEngineering and ProductionMaster Class SeriesThe Platinum award-winning producers

from Midtown Sound have teamed up

with Pratt to offer an amazing new

training program in ProTools and Audio

Engineering titled: “Principles of Sound

Design and Production.’ Learn every-

thing from the basics of signal flow

to recording, editing, mixing and

mastering your project. Take control

of your music and take it to the

next level!

These classes will be taught by leading

industry producers and certified Pro

Tools engineers who have worked

with artists such as Norah Jones, ‘lil

Kim, Blues Traveler, The Roots, Steve

Vai, Carol King, Chick Corea, Ron

Carter, James Moody, Mos Def, DJ

Logic, Bob Belden, Richard Gere,

Shawn Pelton, Rob Balducci, Dr. John,

Whoopi Goldberg, Cyndi Lauper and

Kool & The Gang among other nota-

bles. The studio classes will be held in

one of New York's best studios with

hands-on lessons and demonstrations.

Through lectures, demonstrations

and hands on application, students

examine practical audio: harmonic

structure and equalization, dynamics

and dynamics processing, signal flow

and console design/operation as well

as all of the skills needed to operate a

Pro Tools system in a professional audio

environment. Students learn the basics

of audio production, through recording

and producing a live band.

This is the only program in New York

where you will receive training in Pro

Tools taught by Digidesign certified

instructors as well as learn how to

record and produce music from

Platinum award winning instructors:

The Master Class comprises training on

the following:

• DigiDesign’s award winning ProTools

application

• A host of plug-in and effects

applications

• The concept and process of recording

• Sound and hearing

• Waveform and timbre

• Equalizer design

• Equalizer techniques

• Dynamic Range

• Analog vs. Digital

• Dynamic processor design

• Dynamics processing techniques

• Console design/operation

• Signal flow in the analog and the

digital worlds

• General concepts of mixing


A U D I O E N G I N E E R I N G A N D

P R O D U C T I O N



Audio Engineering IIIEmphasis is on hands-on practice.

You will record and mix a project;

starting with the recording of a band

then proceeding to editing, overdub-

bing, mixing, and mastering. You will

set up and break down for sessions

and be responsible for all of the studio

operations. More attention will be paid

to microphone technique and place-

ment including: drum, instrument and

vocal microphone techniques, isolation

and leakage. We will learn more about

the process of mixing as we mix and

then master the songs we have recorded.

Topics include: Microphone placement

and technique; Drum microphone

technique; Isolation and leakage;

Set ups and breakdowns; Editing;

Advanced mixing techniques;

Mastering; and Studio practices/

working efficiently.

Prerequisites: Audio Engineering 201








PMAE 301 3.2 C.E.U.s $1,195

ProTools I ProTools has become the pre-eminent

digital recording software in professional

and home recording environments.

This course focuses on the foundational

skills needed to learn and function

within the ProTools environment at a

basic level. The aim of this course is to

help individuals start working on their

own projects in ProTools. You will learn

how to configure your system, record

and edit audio and MIDI, use sends,

returns, plug-ins, and automation. We

will also discuss the different methods

of controlling ProTools as well as ways

of managing your sessions and tracks.

Topics include: Getting started: config-

uring your studio and session (Record,

Edit, Mix, Process, and Deliver Audio).

Controlling ProTools: what is an external

controller? Managing sessions and

tracks; Recording MIDI and audio;

Virtual instruments; Plug-ins; Editing

MIDI; Editing audio; Understanding

automation; and Mixing: Use of sends,

returns, and plug-ins.

Prerequisites: None







John White (all sections)

PMAEPT 101 3.2 C.E.U.s $995

ProTools IIThis class offers a more advanced

look at the ProTools system. We will

prepare sessions, record, overdub,

and mix. Topics discussed will be more

advanced editing techniques, signal

routing, session management, use of

sends and aux inputs, final mix down

and layback, automation, synchroniza-

tion, DSP usage, MIDI composition,

and virtual instruments. You will have

the opportunity to explore on their

own in smaller groups.

Topics include: Preparing a session;

tracking and overdubbing; virtual

instruments; professional editing

techniques; sampling in ProTools:

using software samplers; mixing

and automation in music production;

mixing and DSP usage; using sends,

inserts, mix buses, and groups; syn-

chronization basics for music applications

and using an external work-surface in

music production.

Prerequisites: ProTools 101




8 Sessions Sept 26–Nov 14

• Section 2: Sa 3-7 PM


John White (all sections)

PMAEPT 201 3.2 C.E.U.s $1,195





1-888-GI BILL1 (1-888-442-4551 ), or









you register early.





64 MANHATTAN CE FALL 2009 6464 MANHATTAN CE FALL 2009 64MANHATTAN CE FALL 2009 64

Registration Deadlines: Registrations received after deadline

are subject to availability.

Please note: Registration schedules for courses

listed for upcoming semesters:

Fall 2009Registration begins: July 27, 2009

Spring 2010Registration begins: December 1, 2009

Summer 2010Registration begins: April 23, 2010

MANHATTAN CE FALL 2009 64MANHATTAN CE FALL 2009 64


In order to receive Pratt’s Certificatein Fine and Decorative ArtAppraisal Studies you must successfully complete all five of theAppraisal Studies core courses plustwo elective courses. The courseswith 3.0 C.E.U.s last for three-and-a-half days, and the courses with1.5 C.E.U.s last for two days. Application fee: $100, non-refundable

Required Core Courses: Five

Please note: The first four courses

below must be taken in sequence

PMSE 100PP may be taken at anytime.

PMPPGJ 201 Intro to Personal Property

Valuation

PMPPGJ 202 Personal Property

Valuation Methodology-

Research and Analysis


Valuation-Report Writing


Valuation-The Legal and

Commercial Environment

PMSE 100PP Uniform Standards of

Professional Appraisal

Practice

Elective courses: Choose at least two.

Please note: Choosing from two of

the following course electives listed

below will qualify you to receive a

special endorsement in connoisseurship:

PMPP 308 Intro to Appraising Antiques

and Decorative Arts

PMPP 445 Strategies for Handling and

Managing Difficult Appraisals

PMPP 446 The Art of Curating

PMPP 430 Forensics of Antique

Jewelry... What to Look For

PMPP 450 The Business of

Contemporary Art and

Professional Practice

PMPP 455 The Logic of the Argument:

Improving the Narrative

PMPH 511 Photographing Artwork

and Small Objects

Program Prerequisites: No previous

experience required. You are expected

to have an educational background,

such as a Bachelor’s degree, or some

professional market experience relevant

to the objects typically examined in

current appraisal practice or expected

to be examined in future appraisal

practice. PMPPGJ 201 through 204

must be taken in sequential order.

PMSE 100PP may be taken at anytime.

Textbooks and Reading Materials: Textbooks are required for core courses

(201, 202, 203, 204, USPAP) and

can be purchased directly from ASA

prior to class. After registration is

completed, please contact ASA at

800-272-8258, ext. 114 or ext. 129

to order. Please identify yourself as a

Pratt student and allow one week for

shipping (the price includes UPS

ground delivery). Some pre-course

reading is required so please order

early. Books can also be purchased at

www.appraisers.org/pubs.

Core Courses

Introduction to PersonalProperty Valuation This course covers general valuation

theory and principles that influence

valuation; historical antecedents of

modern appraisal practice; appraisal

terminology; functions of appraisals

and identification in the appraisal

process; and factors affecting the

valuation process.

Please note: The course meets for

three-and-a-half consecutive days and

is taught by a senior ASA member and

experienced instructor.


• Th–Sa 9 AM–5 PM, Oct 15–17

Su 9 AM–1 PM, Oct 18

4 sessions

Edith Yeomans, ASA

PMPPGJ 201 3.0 C.E.U.s $795

Personal Property ValuationMethodology—Research andAnalysisThis course addresses the relationship

between valuation theory, market

economics and statistics, and covers

matching appraisal methods to appraisal

uses and objectives, researching primary

and secondary sources, how to use

statistics in valuation, the work plan

and its components, research design

and organization, and interpretation

of catalog information and prices.

Please note: This course meets for





• Th–Sa 9 AM–5 PM, Dec 3–5

Su 9 AM–1 PM, Dec 6

4 sessions

Judith Vance, ASA

PMPPGJ 202 3.0 C.E.U.s $795

Certificate Program in Fine and Decorative Art Appraisal Growing popularity fueled by television

programs has generated high interest

in personal property appraisal. Pratt

Institute, in an exclusive New York City

collaboration with the American

Society of Appraisers (ASA), is pleased

to offer its new certificate program in

Fine and Decorative Art Appraisal. The

Pratt Certificate Program will prepare

you to become skilled appraisers,

and/or to develop a thorough apprecia-

tion of collectable items, through

studies in valuation and appreciation

of fine and decorative art objects—

which encompass a broad spectrum of

personal property, including fine art

objects, jewelry, china, antiques, rugs,

musical instruments, silver, etc.

Personal property is defined as tangible,

movable property that is utilitarian,

collectible, decorative or a combination

of the three. Completion of the certifi-

cate’s five core courses plus two elec-

tive courses, is a major step in meeting

the American Society of Appraisers

requirements for accreditation. For

more information on ASA accreditation

and membership, visit www.apprais-

ers.org. For more information, please

contact [email protected] or

[email protected].

Why Choose Pratt Institute?• Pratt Institute is privileged to enjoy an

exclusive New York City collaboration

with the American Society of

Appraisers (ASA), the prestigious

institution that accredits appraisers.

• Pratt’s instructors are highly creden-

tialed and have relevant professional

experience.

• Pratt Institute has a reputation for

academic excellence in art and

design. Convenient courses

encompass weekends.

• Convenient Manhattan campus

location, in the heart of the city of

art and design.





1-888-GI BILL1 (1-888-442-4551 ), or





F I N E A N D D E C O R AT I V E A R T

A P P R A I S A L



Personal Property ValuationReport WritingThis course covers the components of

a written appraisal report, the develop-

ment of the appraisal narrative and

supporting the argument for value,

strengthening writing skills when valuing

property for insurance scheduling, and

applying market research and analysis

of market data to complete an individual

appraisal using the course materials

introduced in PPGJ202.

Please note: This course meets for




Registration Deadline: Feb 18, 2010

• Offered Spring 2010

Th–Sa 9 AM–5 PM, Mar 4–6, 2010

Su 9 AM–1 PM, Mar 7, 2010

4 sessions

Fran Zeman, FASA

PMPPGJ 203 3.0 C.E.U.s $795

Personal Property Valuation—The Legal and CommercialEnvironment This course explores the operation of

an appraisal practice, including ethical

and professional standards. It examines

tax and court vocabulary in precedent-

settings cases and discusses the expert

witness as well as courtroom and pretrial

activities. In addition, it covers the use

of the concept of Fair Market Value.

Please note: The course meets for




Registration Deadline: May 6, 2010


Th–Sa 9 AM–5 PM, May 20–22, 2010

Su 9 AM–1 PM, May 23, 2010

4 sessions

Charles Rosoff, ASA

PMPPGJ 204 3.0 C.E.U.s $795

Uniform Standards ofProfessional Appraisal PracticeThis 15-hour course is designed for

appraisers of personal property seeking

or needing to demonstrate tested

knowledge of the Uniform Standards

of Professional Appraisal Practice

(USPAP) document promulgated by

the Appraisal Standards Board of the

Appraisal Foundation.

Topics include: All ten Uniform

Standards are addressed, as well as

competency, ethics, and the scope of

work provisions. The course includes

discussion of case studies and

concludes with a one-hour exam.

Please note: This course is approved

for Personal Property appraisers by

the Appraisal Qualifications Board of

the Appraisal Foundation.

Level: Basic

Registration Deadline: May 31, 2010

• Offered Summer 2010

M–Tu 9 AM–5:30 PM

2 sessions, Jun 14–15, 2010

Sandra J. Tropper, ASA

PMSE 100PP 1.5 C.E.U.s $425

Elective Courses

Forensics of Antique Jewelry...What to Look For!This unique course, taught by Gary L.

Smith, founder of this countries' only

forensic laboratory dedicated to the

jewelry profession, starts by examining

the various processes used in the man-

ufacturing of jewelry, then the hand

tools used in the creation of hand

wrought, antique and period jewelry

and the distinct (and traceable) marks

they leave behind. Whether you are a

novice wanting to understand how

jewelry is made, or the professional

wanting the latest “cutting edge”

information on period jewelry – this

course is for you!

Topics include: Learning how to “forensi-

cally” examine jewelry to determine

“how and when” they were made and

how to separate the authentic from the

reproductions. You will view many

antique jewelry repairs and learn how

to distinguish them. The course will

conclude with a hands-on session exam-

ining actual period and antique jewelry.

Please note: Due to this aspect and the

one-on-one nature of the instruction

given – class size is limited.

Registration Deadline: TBD


Th–F 9 AM–5:30 PM

2 sessions, TBD

Gary L. Smith, Master Gemologist

Appraiser, ASA

PMPP 430 1.5 C.E.U.s $425

Introduction to AppraisingAntiques and Decorative ArtsA general introduction to the connois-

seurship and appraisal of furniture,

ceramics, silver, and glass, this course

includes an overview of the evolution

of form and style, including relevant

visual images and appropriate termi-

nology, as well as criteria for making

value judgments.

Topics include: A self-guided museum

tour with the instructor to focus on

furniture and decorative arts related

to the course. You will apply the 14

“Points of Connoisseurship“ as devel-

oped by the Winterthur Museum and

will be expected to be familiar with

the Getty ID system of identification

and documentation of art objects.

You will review basic examination

techniques and be expected to apply

critical appraisal skills such as qualitative

ranking, classification, and writing

object descriptions.

Prerequisites: You are expected to be

familiar with fundamental appraisal theo-

ry and techniques and be prepared to

apply them. This course meets for

three-and-a-half consecutive days.

Museum Tour Fee: $5 payable to the

instructor.


• Th–Sa 9 AM–5 PM, Oct 8–10

SU 9 AM–1 PM, Oct 11

4 sessions

Louise T. Hall, ASA

PMPP 308 3.0 C.E.U.s $795*

Strategies for Handling andManaging Difficult AppraisalsThis course is geared toward advanced

as well as novice appraisers, art lovers,

curators, and business minded people.

From time to time appraisers will be

retained to work on unusual or difficult

appraisal assignments, which will

require a unique and creative approach

to determine value. Various scenarios

that an appraiser may encounter will

be discussed.

Topics include: Valuing items that have

been destroyed, lost, or stolen; valuing

items when there are no comparables;

the art of extrapolation; associative

value; working with conservators;

determining loss in value; organizing

and managing large assignments; and

innovative interview techniques. There

will be a guest speaker and the oppor-

tunity for you to work on difficult

sample appraisal assignments.

Prerequisites: None

Registration Deadline: Feb 22, 2010


M–Tu 9 AM–5 PM

2 sessions Mar 8–9

Chana Benjamin

PMPP 445 1.5 C.E.U.s $425

The Art of CuratingThis course will guide you through all

the different phases of curating an art

exhibition. You will work on a chosen

project, curating either your own work

or the work of other artists.

Topics include: Ideas for shows, choosing

artwork, finding spaces, finding artists,

budgeting, pricing artwork, and instal-

lation. The class will visit Chelsea galleries

to meet gallery directors and curators.


• M–Tu 9 AM–5 PM


Chana Benjamin

PMPP 446 1.5 C.E.U.s $425

The Business of ContemporaryArt and Professional PracticeArtists and business managers seeking

to operate their own organization will

appreciate the history and nature of

the growth of the gallery system,

study its various permutations in

America from the post-war period (as

New York replaced Europe as the cen-

ter of the art world) to regional art

markets in the United States, and

understand the continuing globaliza-

tion of the art market, particularly

through the art fair phenomenon. The

changing nature of the auction house

business and its impact on the con-

temporary art market will also be high-

lighted.

Topics include: Gallery business strate-

gies in difficult economic times; the

continuing process of creating a “pro-

file” and an aesthetic; the complex

nature of the artist-dealer relationship

(i.e. what each should expect from the

other and the essence of that partner-

ship); what contemporary art dealers

actually do—the vast array of tasks

from actually selecting and mounting

exhibitions to cultivating collectors,

critics, museums, corporate and inde-

pendent curators, art advisors and art

consultants; getting solo and group

exhibitions for gallery artists in other

appropriate venues (domestic and for-

eign); successfully getting the art press

to write about artists; determining the

pricing of an artist’s work; negotiating

commissioned pieces, licensing

images, and preparing appraisals.


Sa–Su 9 AM–5:30 PM

2 sessions TBD

Stephen Rosenberg

PMPP 450 1.5 C.E.U.s $425

CERTIFICATE PROGRAMFINE AND DECORATIVEART APPRAISAL continued

Photographing Artwork andSmall ObjectsThis course is designed for those who

wish to photograph their artwork accu-

rately and professionally. The emphasis

will be on lighting and color accuracy.

All types of two- and three-dimensional

works will be covered.

Topics include: Methods of photographing

two dimensional art such as drawings,

paintings prints, and photographs; three

dimensional objects such as sculpture

and ceramics; indoor spaces such

as gallery installations; choosing back-

grounds for the artwork; equipment

basics—cameras and lighting equipment;

choosing a format—35mm, 2 1/4, 4x5,

or digital; types of film; tungsten vs.

daylight; filtration and color correcting;

difficult subjects such as glossy surfaces,

metallic objects, jewelry, and dark

objects; and masking slides.

Prerequisite: Intro to Photography

• Sa 9:30 AM–12:30 PM

4 sessions Aug 22–Sept 12

Paul Lachenauer

PMPH 511 1.2 C.E.U.s $155

The Logic of theArgument: Improvingthe NarrativeEvery appraisal is an argument for

value. The ability to communicate

your research, data collection, and its

analysis concisely and effectively in an

appraisal report is key to professional

development and being a successful

appraiser. This two-day elective course

is designed for individuals who have

successfully completed POV 201-204

and wish to advance their skills in this

area. You will be required to work on

a pre-selected object both independ-

ently and in class and to submit a

narrative based on the skills you have

developed.

Registration deadline: May 6, 2010


M-Tu 9 AM–5:30 PM

2 sessions May 24–25

Fran Zeman, FASA

PMPP 455 1.5 C.E.U.s $425

*Prices subject to change.


are two weeks prior to course start




you register early.




FA L L P R E - C O L L E G E

P R O G R A M S

FALL 2009PROGRAMS

Saturday and Sunday

Pratt introduces high school sophomores,

juniors, and seniors to the professional

world of architecture, and art and

design, with our weekend Pre-College

Program, located at our Pratt Manhattan

campus. Students have the unique

opportunity to explore these disciplines

while developing their skills and building

portfolios for college admission.

Pre-College courses that are offered

for credit are offered at a substantial

discount over regular Pratt tuition.

For further information and a detailed

brochure, contact us at 718-636-3453

or 212-647-7199.

SUMMER 2010PROGRAMS

Jul 5–30, 2010

High school students will have an

invaluable opportunity to sharpen their

portfolios and get a taste of college life,

while earning four college credits.

Scholarships are available. The program

is offered on both the Brooklyn and

Manhattan campuses.

Program includes: architecture, creative

writing, fashion design, foundation art,

graphic design (including computer

design), traditional illustration, painting,

and drawing, photography, art history,

and portfolio development.Tuition $2445, plus fees.** Tuition and fees are subject to change.


Manhattan212-647-7199

Brooklyn718-636-3453

[email protected]

Internetwww.pratt.edu/ccps-precollege

FALL 2009

Introduction to ArchitectureWhat is architecture? What is its

purpose? What is it like to be an

architect? How can we use architecture

in our own lives? Useful for students

considering architecture as a profession,

this course is designed to answer these

questions through design projects,

fieldtrips, presentations, and class

discussions. Students develop solutions

to a series of architectural problems

through hands-on work; producing

sketches, drafting plans and building

models. Students will strengthen their

ability to discuss architecture through

critiques. The course is an introduction

to the study of the discipline.

Materials fee: $20 paid to instructor

at first class.

• Sa 9:30 AM–1 PM


Kathleen Sowle-Shanley

ARCH 100S 2 credits $595+

$20 registration fee

Pratt Manhattan

Architectural Design StudioDesign studios are the core of every college

architectural program. Students will be

assigned design problems and then work

in close contact with the instructor to

develop solutions. Students will take into

account basic notions defining space, form,

and how architecture communicates, while

developing solutions through drawings

and models. The work may be used to

help build a portfolio. This course must

be taken in conjunction with or after

Introduction to Architecture.

Materials fee: $20 paid to instructor

at first class.

• Sa 1:30–4:30 PM Pratt Manhattan


Brent Porter

PMPC 107 2.7 C.E.U.s $335+

$20 registration fee Non-credit

Pratt Manhattan

Portfolio Developmentfor ArchitectureCreating a successful design portfolio

is valuable at any stage of development.

This course is specific for architecture

students; learn how to best present

your skills, document projects, and

your academic career. Students will

explore two methods of presentation

for college admissions: print and elec-

tronic portfolios. Instruction includes

introduction to terminology, layout,

reproduction, and color selection.

Come to the first class with projects

(sketches, models, renderings, working

drawings) that are camera or scanner

ready. The course will begin with class-

room critiques then progress into the

computer lab; programs utilized include

Photoshop, Powerpoint, and Illustrator.

• Su 1:30–4:30 PM


Aurora Robinson

PMPC 115 3.0 C.E.U.s $355 +


Pratt Manhattan

Foundation Art This is an intensive studio course

providing students with a solid base

for beginning a career in design and

fine art. The program features interdis-

ciplinary classes in color, drawing, and

three-dimensional design, supplemented

by fieldtrips to professional design

studios, museums, and galleries.

Observational drawing is the studio

core, and the drawings become the

source for works exploring color

phenomena in 2D and 3D.

Please note: Nude figure drawing

is included.

• Sa 9:30 AM–1 PM


Thomas Eberharter

FDN 100S 2 credits $595+


Pratt Manhattan

Fine Arts: Painting and Drawing This studio course enhances perceptual

and aesthetic awareness through the

creation of fine art. Instruction in drawing

and painting incorporates a variety of

techniques, media and subject matter.

On-location work is an essential element

of this studio, as are visits to galleries,

museums, and artists’ studios.


is included.

• Sa 1:30–5 PM


Young Hah

FAU 100S 2 credits $595+


Pratt Manhattan

Media Arts/PhotographyThe photograph as a fine print is the

focus of this studio course. A broad-

based knowledge of black and white

photography is achieved by studying

35mm camera operations, lighting

techniques, and darkroom procedures.

Exposing and developing film, making

contact prints, enlarging and finishing

photographs as well as specific shooting

techniques are explored. You must

have access to a 35mm camera for

this course. Extensive fieldwork is an

integral part of this studio course.

• Su 9:30 AM–1 PM


Frederico Savini

PHOT 103S 2 credits $595+


Pratt Manhattan

67






you register early.





68 FALL 2009 PRE-COLLEGE


Portfolio DevelopmentYour portfolio is the key to success

in being admitted to a top art school.

The goal of this studio course is to

provide you with how-to advice on

portfolio development to assure your

entry into the college of your choice.

Instruction focuses on areas in the

portfolio that need improvement, and

include life drawing, 2D and 3D design

projects. Please bring examples of work

(your portfolio), an 18" x 24" drawing

pad and charcoal to the first class.


is included.



Heidi Metcalf




PMPC 114 3.0 C.E.U.s $355+


Pratt Manhattan

Sequential Art andthe Comic BookExplore the popular art of visual story-

telling; combine images and text to

create visual narratives for single panel

illustrations, comic strips, comic books,

and graphic novels. Students investi-

gate all aspects of this art form: draw-

ing techniques, lettering, inking, com-

position, perspective/camera angles,

panel sequences, while developing

their own original storyline. The skills

acquired can provide a foundation for

related fields, such as: children’s book

illustration, film and television produc-

tion, video gaming and animation.

• Su 1–4:30 PM


George O’Connor

COMD104Sp 2 credits $595+


Pratt Manhattan

Introduction to Interior DesignOptimize the space in which we live.

This course focuses on designing

interior space through studying classic

elements of form, space, light and

color. Emphasis will be on the impact

of the interior space on the individual,

as well as various groups. Course

content includes hands-on studio proj-

ects, class discussions and field trips.

Projects consist of drafting, rendering

and model making. Students will

engage in discussions on the notion of

good design, the role of design and

the responsibility of the designer to

meet the demands of an ever-chang-

ing society.

• Su 9:30 AM–-1 PM


Anthony Titus

INT 101S 2 credits $595+


Pratt Manhattan

9PRECOLLEGEFALL/SPRINGWEEKEND PROGRAM:

Open House andArt Reception

WhenSaturday, January 23, 2– 4 PM

WhereCCPS GalleryPratt Manhattan Center144 West 14th Street, 2nd Floor

New York, NY 10011

On Display:PreCollege student artwork from

Fall 2009.

• Join us at the Open House/Art Reception

• Find out about PreCollege program offerings

• Register for Spring/Summer 2010

The exhibit will be on display

January 18–February 1, 2010

69

A S S O C I AT E D E G R E E

P R O G R A M S : S C H O O L

O F A R T A N D D E S I G NTWO-YEARASSOCIATEDEGREE PROGRAMS

The Associate Degree program is

concise, comprehensive, and demanding,

offering students the choice of an

intensive two-year career (AOS) or

transfer (AAS) track education.

Located in Manhattan at 144 West 14th

St., 3rd floor, these programs integrate

the best of new technologies with a

strong commitment to the traditional

art and design curriculum.

Associate of OccupationalStudies (AOS)With degrees in Graphic Design,

Illustration, and Digital Design &

Interactive Media, the AOS Degree

program grants a professional degree

designed for high school graduates

and adults with or without previous

college experience. This is an intensive,

two year, art and design based curricu-

lum, offering students a strong founda-

tion in design along with capstone

courses, internship opportunities, and

a professional portfolio upon graduation.

The program attracts highly motivated

students who, upon completion,

move quickly into the fields of advertising,

illustration, Web and CD-ROM design,

digital video, package design, and

publishing.

Associate of AppliedScience (AAS) With degrees in Graphic Design/

Illustration and Painting/Drawing.

The AAS degree is a pre-professional

program providing the student with the

first two years of a four-year BFA course

of study. Upon completion students

graduate with an AAS degree and have

the option of entering an art profession,

or applying for transfer into a four-year

BFA program at Pratt, or another school

of choice. The program offers a strong

foundation, advanced-level art and

design courses, as well as a liberal studies

component, all combined to create a

comprehensive transfer degree.

These programs feature:Small classes, personal instruction,

and critiques, designed to maximize

the student’s creative potential. Its

faculty consists of New York’s leading

professionals, who bring to the class-

room the highest standards in their

fields. Internships that provide invalu-

able professional experience and

affiliations while students complete

the program. Financial aid is available

to qualified part-time students who

take between six and eleven credits

per semester. Part-time students

may participate fully in Pratt programs

and activities.

The primary requirement for entrance

is a portfolio review, which is an

opportunity to discuss your work, your

career aspirations, and the many pro-

fessional opportunities that are avail-

able. If you do not have a portfolio,

you may submit a home examination.

Please call the department for details

at 212-647-7375.

Dean, School of Artand DesignDr. Concetta Stewart

ChairpersonMark O’Grady

Assistant to the ChairpersonChandra Singh

3D TechnicianCharlie Leese



Internetwww.pratt.edu/AOS

[email protected]

For more information, visit ourwebsite at www.pratt.edu/aos, orcall the Office of Admissions at 718-636-3669 or 3514 for a catalogand application. You may alsoapply online. For specific programinformation, or to make an appointment to tour the facilities,call 212-647-7375, or [email protected].

Associate ofOccupational Studies (AOS)Degrees Offered

• Digital Design and InteractiveMedia

• Graphic Design

• Illustration

Associate ofApplied Science (AAS)Degrees Offered

• Graphic Design/Illustration

• Painting/Drawing

INDEX FALL 2009 70INDEX FALL 2009 7070

FROM WEST SIDE OF MANHATTAN,VIA MANHATTAN BRIDGE

Travel east on Canal Street to Manhattan

Bridge. Exit bridge to Flatbush Avenue.

Follow the directions above to campus.

FROM EAST SIDE OF MANHATTAN, VIA BROOKLYN BRIDGE

Travel south on the FDR Drive (also called

East River Drive) to Brooklyn Bridge exit.

Exit bridge to Tillary Street. Turn left on

Tillary Street to Flatbush Avenue. Turn right

onto Flatbush Avenue. Follow the direc-

tions above to campus.

Manhattan Campus144 WEST 14TH STREET

NEW YORK, NY 10011

By Car

FROM QUEENS

Via 59th Street Bridge

Go south on the FDR Drive. Take 23rd

Street exit. Make a right turn onto 23rd

Street. Make a left turn on Second

Avenue. Take Second Avenue to 14th

Street. Make a right turn. Pratt is located

between Sixth and Seventh Avenues

on the south side of the block, closest

to Seventh Avenue.

FROM BROOKLYN

Via Brooklyn Bridge, north on FDR Drive

Drive to Houston Street exit. Take left

on Houston to Third Avenue. Make a

right. Take Third Avenue to 14th Street,

and make a left turn. Pratt is located



to Seventh Avenue.

FROM NEW JERSEY

Take the Holland Tunnel to Manhattan.

From tunnel, bear right to Eighth

Avenue. Travel east to Sixth Avenue.

Go south and make a left turn onto

14th Street. Pratt is located between

Sixth and Seventh Avenues on the

south side of the block, closest to

Seventh Avenue.

FROM WESTCHESTER

Take the West Side Highway South.

Make a left turn onto 14th Street.

Pratt is located between Sixth and

Seventh Avenues on the south side of

the block, closest to Seventh Avenue.

Parking in ManhattanLimited street parking is available on

weekdays and weekends. Parking is

available for a fee in nearby garages.

By SubwayTake the A, C, or E train to 14th

Street/Eighth Avenue, the F or V train

to 14th Street/Sixth Avenue, the 1, 2,

or 3 train to 14th Street/Seventh

Avenue, or the 4, 5, 6, N, R, Q or W

train to 14th Street/Union Square. Take

crosstown buses or the L train to travel

east or west on 14th Street. Pratt is

located between Sixth and Seventh

Avenues on the south side of the

block, closest to Seventh Avenue.

By BusIf uptown, take the M20, to 14th

Street/Eighth Avenue. You may also

take the M6 to 14th Street/Avenue of

the Americas. If downtown, take the

M20 to 14th Street/Seventh Avenue.

You may also take the M6 to 14th

Street/Union Square. Take crosstown

buses or the L train to travel east or

west on 14th Street. Pratt is located



to Seventh Avenue.

By Path Train from New JerseyTake the Path train to 14th Street in

Manhattan. Exit at 6th Avenue and 14th

Street. Pratt is located between Sixth and



Going from Pratt Brooklynto Pratt Manhattan

By SubwayTake the G train from the Clinton-

Washington station. Go one stop to the

Hoyt-Schermerhorn. Change for the A

or C train, and take it to 14th Street/

Eighth Avenue. Walk east, or take the

crosstown buses or L train for eastbound

travel. Pratt is located betweenSixth and



By Bus and SubwayTake the #38 bus to Flatbush Avenue.

Exit at Dekalb Avenue Station. Take the

N, R, Q or W train to 14th Street/Union

Square. Walk west or take crosstown

buses or the L train west for west-

bound travel. Pratt is located between

Sixth and Seventh Avenues on the

south side of the block, closest to

Seventh Avenue.

DIRECTIONS

Brooklyn Campus200 WILLOUGHBY AVENUE

By Public Transportation

FROM GRAND CENTRAL STATION

Take the downtown 4 or 5 train to

the Fulton Street station. Take the

Brooklyn-bound A or C train to the

Hoyt-Schermerhorn station. Cross

platform and take the G train (front

car) to the Clinton-Washington station.

Use Washington Avenue exit. On

Washington, walk one block to DeKalb

Avenue. Turn right onto DeKalb and

proceed one block to Hall Street/Saint

James to the corner gate of the Pratt

campus.

FROM PENN STATION AND PORT

AUTHORITY BUS TERMINALS

Take the Brooklyn-bound A or C train

to the Hoyt-Schermerhorn station.

Cross platform and take G (front car)

train to the Clinton-Washington sta-

tion. Use Washington Avenue exit and

the follow directions above to campus.

FROM DOWNTOWN MANHATTAN

Take the B51 bus from City Hall to

Fulton and Smith Streets in downtown

Brooklyn. Change to B38 bus and take

it up Lafayette Avenue to the corner

of Saint James Place, which turns into

Hall Street. Entrance to the campus is

one block north on Hall Street.

By Car

FROM BQE, HEADING

WEST/SOUTH, EXIT 31-WYTHE

AVENUE/KENT AVENUE

Stay straight to go onto Williamsburg

Street W, which becomes Williamsburg

Place, and then Park Avenue. Turn

left onto Hall Street. Take Hall to

Willoughby Avenue. Make a left on

Willoughby. Campus is on right.

FROM BQE, HEADING

EAST/NORTH, EXIT 30–

FLUSHING AVENUE

Bear left onto Classon Avenue,

then turn left onto Flushing Avenue.

Turn left on to Washington Avenue.

Proceed two blocks to Willoughby

Avenue. Make a left on Willoughby.

Campus is on right.

Pratt

Fulton St. Lafayette Ave.Brooklyn

Manhattan

East River

Tillary St.

Cad

man

Plaza

Flatbush Ave.

Brooklyn-Queens Expressway (BQE)

DeKalb Ave.

Clin

ton

Ave.

Hall St.

Willoughby Ave.

Clin

ton

-

Wash

ing

ton

Station

St. James Place

Broo

klyn

-Que

ens

Expr

essw

ay (B

QE)

FDR East River Drive

Manhattan

BridgeBrooklyn

Bridge

Williamsburg Bridge

G E N E R A L I N F O R M AT I O N

CCPS POLICIES AND PROCEDURES

Alumni AuditPratt Institute alumni are entitled toaudit any regular credit class at theInstitute for $200 plus a $10 fee.Registration may be done by phonewith VISA, MasterCard, AmericanExpress, or Discover; by mail with acheck; or in person at the Center forContinuing and Professional Studies,Brooklyn campus, ISC Building, Room205. Please make sure there is suffi-cient space in the class by calling thedepartment office.Please note: Before you are allowedto audit any credit class, you must purchase a Pratt Alumni Access Card.To purchase this card, go to the AlumniOffice, North Hall, Room 219. The costfor an alumni card is $25, payable by cashor check. The card is valid for one year.


Brooklyn Campus Office200 Willoughby Avenue, ISC 205Telephone: 718-636-3453Facsimile: 718-399-4410

Manhattan Campus Office144 West 14th Street, Room 209Telephone: 212-647-7199Facsimile: 212-367-2489

Email: [email protected]: www.pratt.edu/prostudies orhttp://prostudies.pratt.edu

Changes to Policies,Procedures, and FeesPratt Institute reserves the right tochange tuition, fees, the calendar,course offerings, graduation require-ments, rules, policies, and proceduresas necessary. Students are providedwith written notice of these changes,whenever possible, through suchmeans as posted notices, letters, or through the student handbook. No exceptions may be made to any of the academic or academic-related policies or procedures without writtenauthorization by the provost of theInstitute. No representation by any college employee to the contrary maybe considered authorized or binding.CCPS reserves the right to deny enroll-ment to, or to expel any student whosebehavior, attitude, or level of developmentis inconsistent, in the sole discretion ofCCPS, with the creative environment,student growth, and harmony in theeducational process.

Classroom Assignments• Please contact the Brooklyn office at

718-636-3453, or the Manhattanoffice at 212-647-7199 or visit ourwebsite: www.pratt.edu/prostudies

Continuing Education UnitsAll students receive continuing educa-tion units (C.E.U.s) upon successfulcompletion of the program. C.E.U.sare nationally recognized units earnedby participants in qualified continuingeducation programs, making it possibleto document non-credit work completed.C.E.U.s are not equivalent to collegecredits. One C.E.U. is awarded for eachten hours of participation. Continuingeducation courses in the Center forContinuing and Professional Studiesare not automatically attributed toPratt Institute’s degree programs.

Corporate BillingPurchase Orders as well as Letter ofIntent to pay must be submitted attime of registration. All Letters ofIntent must be verified prior to firstday of class.

Course CancellationAll continuing education courses aresubject to minimum enrollment. Whencourses are withdrawn or cancelled byPratt for any reason, students maytransfer to another course or receive afull refund. Pratt Institute reserves theright to cancel any class for whichthere is insufficient enrollment and towithdraw or modify course offerings.Course locations, fees, and instructorsmay also be changed when necessary.Please note: Allow sixty days forrefunds to be processed.

Credit Courses for Non-CreditMany of our credit courses may alsobe taken on a non-credit basis. For information, contact the Center forContinuing and Professional Studies at718-636-3453.

Tuition Schedule for CreditCourses for Non-CreditSchool of Information

and Library Science $600Architecture and

Urban Design $565 All other credit courses

taken for non-credit $395Alumni audit of credit classes

only* $200*Please note: Alumni audits do notapply to non-credit courses. For non-credit courses, alumni should refer toPratt’s Alumni Discount policy.

DiscountsDiscounts listed below apply to allcontinuing education courses, unlessotherwise noted in the course description.The discount is computed on the actualtuition, minus the registration fee. Onlyone discount can apply, per semester. Please note: mulitiple types of discountsdo not apply.

Senior Citizen DiscountSenior citizens sixty-five and older whopresent evidence of age at the time ofregistration will receive a ten percentdiscount.

Pratt Alumni DiscountAlumni of Pratt degree programsreceive 10% discount, only if stated atthe time of registration.

Pratt Full-Time Facultyand Staff DiscountPratt full-time faculty and staff may beeligible for tuition remission, excludinglab fees and the $10 registration feeper course, subject to the guidelinespublished by Human Resources, andare permitted to register only afterregistration has been closed for payingstudents.

Pratt Part-Time Faculty DiscountPratt part-time faculty receives a partialcredit for tuition, exclusive of fees,based on established guidelines availablein the Human Resources office.

Corporate DiscountsCorporate discounts apply to three ormore registrations from a company inthe same section of a course or seminar.For further information about discounts,call 212-647-7199 or 718-636-3453 oremail [email protected].

FeesPayment in full must be mailed withthe registration form, or paid at thetime of registration in person, for bothnon-credit and credit courses. Anystudent placed on a Bursar hold, willnot be able to register for any coursesuntil balance is paid in full. For ques-tions about a Bursar hold, pleasecontact Alana Smith at 212-647-7657or email [email protected].

Registration FeeThere is a $10 registration fee chargedfor each non-credit course over $95for which you enroll. The fee is non-

refundable, unless classes are cancelleddue to lack of enrollment.• $10 per course (over $95)

Certificate Program Application Fee• $100 non-refundable

Facilities Fees Students registering for thirty-hourcomputer courses are required to pay a non-refundable facilities fee of:• $25 per coursePlease note: All facilities fees are non-refundable.

Uncollectible ChecksA $20 surcharge will be imposed for processing.

OneKey Account InformationOneKey user names and passwords arenecessary for all students and faculty ofPratt Institute.

Register Online:To Get your OneKey user name andpassword:• Visit www.pratt.edu• Click on my.pratt.edu and click the

my.pratt.edu link again on thewhite fly-out box

• Click on the link – Instant Enrollment,CCPS

• Enter the course code in the CourseCode field (PMPP 455 for example)

• You will be taken to the PaymentScreens

• A receipt will be emailed to youupon successful registration.

• Your login and password is mailed toyour street address. Allow 24 hoursfor processing, so register early toguarantee yourself a seat and startusing your benefits.

Login: Your username will be yourfirst initial, followed by your last name,for no more than 8 characters total.

Password: Your initial password willbe your student ID. Once in, you canchange your password if desired.

Please Note: If you can't get in usingthe simple rules above, send an emailto the helpdesk at [email protected],and give them your student ID number.They will send you back a way to get in.

How to use my.pratt.edu with yourOneKey password: For further infor-mation and instructions, please visitwww.pratt.edu/ccps/resources/onekey_instructions.

PrivacyPratt Institute is a private educationalinstitution and does not share emailaddresses or any personal data withexternal resources. Instant Enrollmentis a secure server – use this withconfidence to pay for classes.

INFORMATION FALL 2009 71

Semester Student Photo IDSemester Photo ID will be required forstudents registered in semester-longcourses at Pratt’s Manhattan campus,144 West 14 Street.

In order to facilitate this process,please make arrangements to haveyour photo taken for your ID at leastthirty minutes before your first class,or on a day prior to the start of yourcourse.

IDs will be issued at the security desklocated in the lobby. For additionalinformation on hours for receiving IDs,please call Sharon Boddie at 212-647-7776 or email at [email protected].

Visitors’ PassesA visitor’s pass will be issued for students registered in short term 1-6 day workshops/lectures. Photo IDs will not be issued.

On the WebClass schedule and catalogs can bedownloaded from our website atwww.pratt.edu/prostudies

Guarantee yourself a seat!Don’t wait for the last moment toregister. Please register early to avoid acourse cancellation and to guaranteeyourself a seat in classes that fill quickly.Registration deadlines are one weekprior to course start dates, unless other-wise noted.

Faculty BiographiesFaculty biographies can be found onour website. To download a pdf, visitwww.pratt.edu/prostudies

RefundsStudents who, for any reason, find itimpossible to complete the course for which they are registered shouldinform the Center for Continuing andProfessional Studies, CCPS, in writingthat they wish to withdraw. Failureto complete the course does not con-stitute official withdrawal, nor doesnotification to the instructor. Lack ofattendance alone does not entitle astudent to a refund. Pratt cannot beresponsible for providing make-ups orissuing refunds for programs missed asa result of illness, emergencies, orother events beyond our control.Withdrawals do not necessarily entitlethe student to a refund of tuition andfees paid, or the cancellation of tuitionstill due. See withdrawal policy.Please note: Allow sixty days forrefunds to be processed.

Withdrawal PolicyWithdrawal or refund requests cannotbe made by telephone or through theinstructor. Withdrawals and refundsare computed from the date and timewritten or electronic notice of with-drawal is received. Requests can befaxed, emailed, or mailed.• 2 business days before 1st

meeting 100% tuition refund• 2 business days before 2nd meeting

80% tuition refund• 2 business days before 3rd meeting

60% tuition refund• 2 business days before 4th meeting

40% tuition refund• Please note: There will be no refunds

for any reason after the fourth classmeeting.

Seminars and 4–6-day courses• Withdrawals 6 business days before

start date 100% tuition.• No refunds after this date.• Please note: All requests must be

made in writing. Allow sixty days forrefunds to be processed.

Withdrawal by Email• Email: [email protected]

Withdrawal by Fax• Brooklyn classes:

718-399-4410• Manhattan classes:

212-367-2489

Withdrawal by US Mail• See address for Brooklyn or

Manhattan CCPS office.

Financial AidCCPS does not except Financial Aid at

this time, which includes the Continuing

Education Loan Program (CEL).

Scholarship Information For a directory of scholarships web-sites, please visit: www.freescholar-shipguide.comor write to: Free Scholarship Guide Inc. 132 E. 43rd Street, Suite 535 New York, NY 10017

Registration DeadlinesRegistration deadlines for all coursesare one week prior to course start dates,unless otherwise noted. Exceptions willbe allowed based on space availability.We recommend that you register early.

Register OnlineNon-credit online registration:my.pratt.eduPlease note: Online registrationsreceived through my.pratt.edu willreceive a confirmation via email.

Pre-college online registration:www.anton.net/pratt/html/reg_step1.html

Special Summer Credit Intensivecourses online registration:www.anton.net/pratt/html/reg_step1.html

Supply ListsSupply lists for several courses areavailable in PDF format on the websiteat www.pratt.edu/prostudies. Somecourses require supplies or textbooks(with pre-course reading) to bepurchased and brought to the firstclass. Please make sure to look for asupply list PDF on the CCPS homepage, under Resources, as you beginyour registration. Or call the CCPSoffice in Manhattan or Brooklyn forhelp finding your supply list PDF.

TranscriptsTo check your grades online andrequest transcripts visit my.pratt.eduand log in with your OneKey.• click on Student, choose Academic

Tools; then• click on Current Term Grades; or• you may view an Unofficial

Transcript on your computer byselecting that option.

Students enrolled in the certificateprograms in computer graphics orphotography and digital art automati-cally receive one transcript free ofcharge each semester. A fee of $5 ischarged for additional transcripts.Students in all other courses must paya $5 fee for each transcript, letter ofcompletion, or any additional certificaterequested. Requests for transcripts,certificates of completion, certifications,and other statements relating to therecord should be addressed to eitherPratt Manhattan, Center for Continuingand Professional Studies, or the BrooklynCampus, Center for Continuing andProfessional Studies, Attention:Continuing Education Transcripts—along with the correct remittance.Requests must state name while inattendance, dates of attendance, and course(s) of study, list the nameand address to which information is to be mailed, and bear the signature of the student.

Weather Emergency LinePratt Institute’s Weather EmergencyLine can be reached by dialing 718-636-3700.

Callers will get information on anyweather-related closings at either theBrooklyn or Manhattan campuses.

Visit our website at www.pratt.edu.

72 FALL 2009 INFORMATION

INDEX FALL 2009 73

FALL 2009SUBJECT INDEX

AAbstract Painting: Concepts and Techniques:

The Workshop, 2Abstract Painting: Concepts and Techniques, 2Acrylic Painting Mastery, 12Adaptive Reuse Re-Imagined, 40Adobe Acrobat CS4, 25Adobe After Effects CS3: I, II, 24Adobe InDesign CS4, 25Adobe Lightroom for Photographers, 25Adobe Premiere Pro CS4, 24Advanced Adobe InDesign CS4 with

Photoshop and Illustrator, 25Advanced Black and White Photography, 16Advanced Portrait Master Class, 16Advanced Techniques in Final Cut Pro, 24Advanced Techniques in Photoshop:

Channels, Masks, Layers, Actions and Plug-ins, 26

AIA/CES Registered Provider, 40–60Adaptive Reuse Re-Imagined, 40Analysis of Continuous Spanned Beams I, 40Analysis of Continuous Spanned Beams II, 41Analysis of Continuous Spanned Beams, 41An American Revolution: The Invention of

Balloon Framing, 41Architectural Acoustic and Noise Control, 41Architectural Restoration: Motivators and

Constraints to the Preservation of Older Structures, 41

Art Deco: The Architecture of Boom and Bust, 42

Between the Wars: the Golden Age of Bridge Building, 42

Bidding the Construction Project, 42Big Apple to the Core, 42Brick Essentials, 42Bridging America, 42Bridging Gotham: NYC Archipelago, 43Bridging the World, 43Building Green: An Overview, 43Building Green ‘Round the World, 43Building Healthy, 43Building Naturally, 44Building the Brooklyn Bridge:

An Epic for the Age, 44Build It and They Will Come:

The Architecture of Sports, 44Capital City: The Architecture of the District

of Columbia, 44Chronicles of Security Technology: In the Age

of Terrorism and Natural Disasters, 44Climate Change Fundamentals for Design

Professionals, 45Connecting Us: The Arterial Highway System

of the New York – New Jersey Region, 45Construction Cost Estimating, 45Construction Cost Estimating: “The Bridge”, 45Construction Specifi cations Writing, 45Continental Divide: Bridging the Mighty

Mississippi, 46Designing and Renovating Carbon Neutral

Buildings, 46Designing for Broadcast and Media Facilities, 46Designing for Museums and Other Cultural

Institutions, 46Designing Research and Development

Facilities, 46Earth in the Balance, 46EIFS and Plaster in Modern Construction, 46Empire State Building: Monarch of the Sky, 47Energy, Greenhouse Gas, Weatherization

Audits, and Capital Planning, 47Estimating Cooling Load on Excel (HVAC 1

and 2): Refrigeration Principles, 47Estimating Structural Steel Erection, 47Estimating Structural Steel Fabrication, 47Ever Higher: The Quest to Touch the Sky, 47Far Horizon: The Architecture of the World’s

Fair, 48Fire Protection Technology, 48Forest Hills Gardens: A Modern Arcadia, 48Freshwater Wetlands, 48Fuel Properties, Combustion, Heating Load

Estimation on Excel (HVAC), 48Full-Spectrum Polarized Lighting Systems, 48

Fundamentals, Technologies and Safeguards of Nuclear Energy, 49

Geotechnical Engineering, 49Gimme Shelter, 49Go Green Retrofi ts, 49Gray Water Heat Recovery, 49Green by Design, 50Green Design Versus Historic Preservation, 50Greening Your Facilities:

A Holistic Approach, 50Hazardous Waste Management, 50High Steel: The Legacy of Steel-Frame

Construction, 50Historic Preservation: Techniques and

Methods, 50Improving Public Health by Greening your

Specifi cations, 50Improving the Energy Effi ciency of Steam

Systems, 51Indoor Air Quality, 51Inland Sea:

The Bridging of San Francisco Bay, 51Integrating Accessibility, 51Integrating Landscape into Urban Architecture,

51Land Use Engineering, 51Light Gauge Metal Framing (LGMF): Let’s Get

More Familiar, 51Masters of Architecture I: Pei, Gehry & Kahn, 52Matrix Analysis for Continuous Spanned

Beams and Multilevel Building Frames, 52Modern Architecture World Tour, 52Modern Drywall Construction Systems, 52Mold Remediation: How to Detect Mold and

Clean Mold, 52Monumental Architecture: A Gift to the

Ages, 53Museums: The Architecture of Art, 53New Accessibility Requirements for

Commercial Occupancies, 53New Accessibility Requirements for

Residential Occupancies, 53New York City Building Code:

Using an Example, 54New York Construction Law, 54New York State Existing Building Code:

Using an Example, 54New York State Building Code:

Using an Example, 54New York State Building Codes, Rules, and

Regulations, 549/11 and Beyond, 54Offsite Fabrication for Housing, 54Peace through Understanding: The 1964-65

New York World’s Fair, 55Performance Modeling for Carbon Neutral

Buildings, 55Performance Rating of New Buildings: The

Process, 55Renewable/Green Energy, 55Residential Landscape Architecture, 55Rivers of Steel, 56Sacred Architecture, 56Security Design through CPTED, 56Small-Scale Real Estate Development, 56Specifi cations Writing, Principles, and Practice,

56Sustainability Approach to Engineering Design,

56Sustainability Pioneers: Heroes of the Planet, 57Sustainable Habitats, 57Sustainable Remodeling, 57Tale of Two Towers: The Eifel Tower and the

Chrysler Building, 57That’s Entertainment! The Architecture of

Theaters: “An Acre of Seats in a Garden of Dreams”, 57

The Architect’s Role in Development Preserving the Public’s Welfare, 58

The Architecture of Empire, 58The Environment, SEQRA and the

Engineered Project, 58The Path to Greater Architectural Freedom

with Today’s Structural Steel, 58This Hazardous House, 58Visionary Designing with Glass Block and

High Performance Glass Block Systems covering LEED, Safety and Security, 59

Wind Energy Systems, 59Wooden Scaffolds, 59World of Tomorrow: The 1939-40 New York

World’s Fair, 59World Trade Center: Magnifi cent Ambition, 59

Wright by Design: The Life and Architecture of America’s Master Architect, 59

Zoning and Its Impacts on Architecture and the Community (Part I, II), 60

Alternative Approaches: Exploring Mixed Media, 11

Alternative Photographic Process, 16Alternative Photographic Process Weekend

Workshop, 16An American Revolution: The Invention

of Balloon Framing and The History of Wood Frame Architecture in America, 41

Analysis of Continuous Spanned Beams, 41Analysis of Continuous Spanned Beams I, II,

40-41Animation (see Computer Graphics), 20Architectural Acoustic and Noise Control, 41Architectural Design Studio, 67Architectural Design with Autodesk 3ds Max

Design 2010, 36Architectural Modeling II with Autodesk 3ds

Max Design, 36Architectural Rendering and Lighting in

Autodesk 3ds Max, 36Architectural Restoration: Motivators and


Architectural Visualization using AutoCAD 2010, Revit 2010 and Autodesk 3ds Max Design 2010, 36

Art and Design Courses, 2, 4-6, 9-15, 26, 69Associate Degree, 69Book Arts, 9Decorative Arts, 2, 9Design, 9-12, 19, 26Fashion Design, 2, 26Fine Arts, 2, 11-12History of Art and Design, 13Illustration, 4, 13Industrial Design, 4Interior Design, 5Jewelry Making, 5, 14Media Arts/Photography, 6, 15-17Sculpture, 6

Art Deco: The Architecture of Boom and Bust, 42

Art Law, 7Art of Living Course, 8Associate Degree Program, 69

Associate of Applied Science, 69Associate of Occupational Studies, 69

Audio Engineering and Production, Certifi cate Program, 62-63Audio Engineering I, II, 62Audio Engineering III, 63ProTools I, II, 63

AutoCAD 2010 Overview, 30AutoCAD 2010 Professional Level I, II, III, 30AutoCAD LT I, II, 35-36AutoCAD 2010 Conceptual Design, 31AutoCAD 2010 Creating and Presenting 3D

Models, 31AutoCAD 2010 Designing and Managing

Dynamic Blocks, 31AutoCAD 2010 Essentials of Customizing

AutoCAD, 31AutoCAD 2010 Update: Transitioning from

AutoCAD 2009, 37AutoCAD Architecture 2010 Update, 37AutoCAD Architecture 2010: Advanced, 32AutoCAD Architecture 2010: Essentials, 31AutoCAD AutoLISP with Visual LISP, 31AutoCAD MEP 2010: Electrical, 32AutoCAD MEP 2010: Mechanical, 32AutoCAD MEP 2010: Plumbing, 32AutoCAD MEP 2010: Projects and Tools, 32Autodesk 3ds Max Design 2010 Update, 37Autodesk Training Center courses, 30-37

Architectural Design with Autodesk 3ds Max Design 2010, 36

Architectural Modeling II with Autodesk 3ds Max Design, 36

Architectural Rendering and Lighting in Autodesk 3ds Max, 36


AutoCAD Architecture 2010 Update, 37AutoCAD Architecture 2010: Advanced, 32AutoCAD Architecture 2010: Essentials, 31AutoCAD AutoLISP with Visual LISP, 31AutoCAD LT I, II, 35-36AutoCAD MEP 2010: Electrical, 32

AutoCAD MEP 2010: Mechanical, 32AutoCAD MEP 2010: Plumbing, 32AutoCAD MEP 2010: Projects and Tools, 32AutoCAD 2010 Conceptual Design, 31AutoCAD 2010 Creating and Presenting 3D

Models, 31AutoCAD 2010 Designing and Managing

Dynamic Blocks, 31AutoCAD 2010 Essentials of Customizing

AutoCAD, 31AutoCAD 2010 Overview, 30AutoCAD 2010 Professional Level I, II, III, 30AutoCAD 2010 Update: Transitioning from

AutoCAD 2009, 37Autodesk Inventor Level I, 32Autodesk Raster Design 2010, 33Autodesk 3ds Max 2010 Advanced Character

Animation, 22Autodesk 3ds Max 2010 Advanced Character

Design (Modeling), 22Autodesk 3ds Max 2010 Advanced Projects, 22Autodesk 3ds Max 2010 Animation I, II, 22Autodesk 3ds Max 2010 Design Advanced

Lighting, 23Autodesk 3ds Max 2010 Fundamentals:

Modeling and Rendering I, 21Autodesk 3ds Max 2010 Game Level and

Character Design, 23Autodesk 3ds Max 2010 Modeling, Materials,

and Rendering II, 21Autodesk 3ds Max Design 2010 Intensive

Workshop, 36Autodesk 3ds Max Design 2010 Update, 37Camera Matching and Integration of Live

Footage in Autodesk 3ds Max, 23character studio and skin for Autodesk 3ds

Max 2010, 23Diseño Arquitectónico con Autodesk 2010

3ds Max Design, 22Facial Animation with Autodesk 3ds Max

2010, 23Mastering AutoCAD Architecture 2010:

Doors, Windows and Openings, 33Mastering AutoCAD Architecture 2010:

Drawing Management with Projects, 33Mastering AutoCAD Architecture 2010:

Elevation Sections and Perspectives, 33Mastering AutoCAD Architecture 2010:

Roofs, Dormers, and Slabs, 34Mastering AutoCAD Architecture 2010:

Walls and Wall Styles, 34Mastering AutoCAD Architecture:

Documentation, Annotation and Schedules, 33

Mastering AutoCAD Sheet Sets, 33Mastering AutoCAD Tables and Schedules, 33Modelado Arquitectónico II con Autodesk

3ds Max Design 2010, 22Printing and Plotting with AutoCAD, 34Revit Architecture 2010: Advanced, 34Revit Architecture 2010: Basic Course, 34Revit Architecture 2010:

Creating Construction Documents, 34Revit Architecture 2010: Level I, 34Revit Architecture 2010: Migrating to Revit

Architecture, 35Revit Architecture 2010: The Family You

Always Wanted, 35Revit MEP 2010: Basics Course, 35Revit Structure 2010: Advanced, 35Revit Structure 2010: Essentials, 35Set Design for Architects and Designers using

AutoCAD 2010, 35Special Effects (FX) with Autodesk 3ds Max

2010 and combustion, Introduction to, 23Special Effects (FX) with Autodesk 3ds Max

2010, 233D Modeling and Rendering with AutoCAD

2010, 31Autodesk 3ds Max Design 2010 Intensive

Workshop, 36Autodesk 3ds Max 2010 Advanced Character

Animation, 22Autodesk 3ds Max 2010 Advanced Character

Design (Modeling), 22Autodesk 3ds Max 2010 Advanced Projects, 22Autodesk 3ds Max 2010 Animation I, II, 22Autodesk 3ds Max 2010 Fundamentals:

Modeling and Rendering I, 21Autodesk 3ds Max 2010 Modeling, Materials,

and Rendering II, 21Autodesk 3ds Max 2010 Design Advanced

Lighting, 23

74 FALL 2009 INDEX

Autodesk 3ds Max 2010 Game Level and Character Design, 23

Autodesk Inventor Level I, 32Autodesk Raster Design 2010, 33

BBasic Drawing, 11Basic Drawing for Animation, 12Basic Layout and Typography, 10Between the Wars: the Golden Age of

Bridge Building, 42Bidding the Construction Project, 42Big Apple to the Core, 42Block Printing and Stenciled Patternmaking

Workshop, 9Blueprint Reading, 19Book Arts, 9Book Arts Workshop, 9Brick Essentials, 42Bridging America, 42Bridging Gotham: NYC Archipelago, 43Bridging the World, 43Build It and They Will Come:

The Architecture of Sports, 44Building Green ‘Round the World, 43Building Green: An Overview, 43Building Healthy, 43Building Naturally, 44Building the Brooklyn Bridge: An Epic for

the Age, 44

CCamera Matching and Integration of Live

Footage in Autodesk 3ds Max, 23Capital City: The Architecture of the District

of Columbia, 44Career Development courses, 5, 6, 10, 11,

19, 26Create a Professional Design Portfolio, 26Creatively Speaking: Innovative Promotions

that Work, 11Expressive Design: Creating Distinction

through Innovative Production Techniques, 11

From Product to Profi t: How to Make Money from Your Ideas, 5

Getting Out There: How to Present, Promote, Exhibit, and Sell Your Artwork, 6

Greeting Card Design, 10Selling Your Art in New York City, 19

Center for Real Estate Education, 8CCPS Policies and Procedures, 70-72

Alumni Audit, 71Changes to Policies, Procedures, and Fees, 71Classroom Assignments, 71Corporate Billing, 71Directions, 70Discounts, 71Faculty Biographies, 72Fees, 71Financial Aid, 72Refunds, 72Register Online, 72Registration Deadline, 72Supply Lists, 72Transcripts, 72Weather Emergency Line, 72Withdrawal Policy, 72

Certifi cate Programs, 15, 38, 61, 62, 64Audio Engineering and Production, 62Computer Graphics, 38Fine and Decorative Art Appraisal, 64Photography and Digital imaging, 15Sustainable Building, Infrastructure Design

and Management, 61Character Animation with Flash, 28character studio and skin for Autodesk 3ds

Max, 23Chinese Drawing and Painting, 3Chronicles of Security Technology: In the Age

of Terrorism and Natural Disasters, 44Clases Nuevas en Español, 22

Diseño Arquitectónico con Autodesk 2010 3ds Max Design, 22

Modelado Arquitectónico II con Autodesk 3ds Max Design 2010, 22

Classes for Beginners (see Computer Graphics), 20

Climate Change Fundamentals for Design and Management Professionals, 61

Climate Change Fundamentals for Design Professionals, 45

Color Theory, 10Comic Book Illustration, 13Compositing with Shake, 24Computer Competency (Mac), 20Computer Graphics and Technology course

descriptionsAnimation Courses, 11, 13, 20-24, 37

Architectural Design with Autodesk 3ds Max Design 2010, 36

Architectural Modeling II with Autodesk 3ds Max Design, 36

Architectural Rendering and Lighting in Autodesk 3ds Max, 36


Autodesk 3ds Max 2010 Advanced Character Animation, 22

Autodesk 3ds Max 2010 Advanced Character Design (Modeling), 22

Autodesk 3ds Max 2010 Advanced Projects, 22

Autodesk 3ds Max 2010 Animation I, II, 22Autodesk 3ds Max 2010 Design Advanced

Lighting, 23Autodesk 3ds Max 2010 Fundamentals:

Modeling and Rendering I, 21Autodesk 3ds Max 2010 Game Level and

Character Design, 23Autodesk 3ds Max 2010 Modeling, Materials,

and Rendering II, 21Autodesk 3ds Max Design 2010 Intensive

Workshop, 36Autodesk 3ds Max Design 2010 Update, 37Basic Drawing for Animation, 12Camera Matching and Integration of Live

Footage in Autodesk 3ds Max 2010, 23character studio and skin for Autodesk 3ds

Max 2010, 23Continuity Storyboards: The Filmmaker’s Best

Friend, 21Design for Computer Animation, 21Diseño Arquitectónico con Autodesk 2010

3ds Max Design, 22Facial Animation with Autodesk 3ds Max

2010, 23History of Animation, 13Introduction to Special Effects with Autodesk

3ds Max 2010 and combustion, 23MAXScript Seminar, 23Maya Advanced Character Design, 21Maya I Fundamentals: 3D Modeling,

Animation, and Rendering, 21Maya II: Modeling, Animation and Effects, 21Modelado Arquitectónico II con Autodesk

3ds Max Design 2010, 22Mudbox, 23Project Management Seminar, 24Special Effects (FX) with Autodesk 3ds Max

2010, 23Special Effects with Maya, 21Texturing Seminar, 243D Computer Graphics Theory, 21Traditional Animation I, II, 20

Autodesk Training Center courses (see Autodesk Training Center courses), 30-37

Autodesk Training Center Media and Entertainment courses (see Autodesk Training Center Media courses), 37

Clases Nuevas en Español, 22Diseño Arquitectónico con Autodesk 3ds Max

Design, 22Modelado Arquitectónico II con Autodesk

3ds Max Design, 22Classes for Beginners, 20

Computer Competency (Mac), 20Computing (MAC), Intro to, 20Overview of Digital Creation and Digital

Media, 20PowerPoint: The Presentation Tool, 20

Digital Video and Audio courses, 24Adobe After Effects CS4 I, II, 24Adobe Premiere Pro CS4, 24Advanced Techniques in Final Cut Pro, 24Compositing with Shake, 24Non-Linear Editing and Video Effects with

Final Cut Pro, 24Drafting and Modeling on the Mac courses,

21, 25form•Z Fundamentals: Modeling and

Rendering I, 25

Maya I Fundamentals: 3D Modeling, Animation, and Rendering On the Mac, 21

VectorWorks Professional I, 25VectorWorks Professional II: 3D Modeling and

Rendering, 25Electronic Publishing and Digital Art courses,

11, 25–27Adobe Acrobat CS4, 25Adobe InDesign CS4, 25Adobe Lightroom for Photographers, 26Advanced Adobe InDesign CS4 with

Photoshop and Illustrator, 25Advanced Techniques in Photoshop:

Channels, Masks, Layers, Actions and Plug-ins, 26

Create a Professional Portfolio, 26Desktop Publishing with QuarkXPress I, II, 26Electronic Prepress Production, 26Graphic Illustration I, II: Adobe Illustrator

CS4, 26Illustrator CS4 for Artists and Illustrators, 26Illustrator for Fashion Design, 26Imaging I: Photoshop CS4, 26Imaging II, 27Introduction to Graphic Design, 11Making Masterpieces with Corel Painter, 27Photoshop for Photographers, 27Photoshop Montage and Collage, 27Photoshop Retouching, 27

Electronic Publishing and Digital Art:Short Classes for Pros, 27Express Your Way Through Quark XPress, 27Quick Draw Your Way Through Illustrator, 27Snap Your Way Through Photoshop, 27

Interactive Media and the Internet, 25, 28–30Adobe InDesign CS3, 25Character Animation with Flash, 28Creating Mobile Content in Flash CS4, 28Dreamweaver CS4 and Fireworks CS4: I, 28Dreamweaver II: ColdFusion with Dreamweaver

CS4, 28Dreamweaver II: Web Standards – Content,

Presentation, and Behaviors, 28Flash CS4: I, 28Flash II: Action Scripting, 28Flash III: Advanced Action Scripting, 28From Here to There: A Seven-Step Web Site

Recovery Program, 28Going Mobile: Designing Web Sites for the

Tiny Screen, 29Great Web Design with CSS: Cascading Style

Sheets, 29XHTML and CSS, Introduction to, 29Podcasting 101 Workshop: The Basics, 29Web Development with Adobe Dreamweaver,

29(X)HTML Refresher, 29

Programming courses, 29, 31AutoCAD AutoLISP with Visual LISP, 31Graphics Programming I with C++, 29PHP Programming for the Web, Introduction

to, 29XHTML and CSS, Introduction to, 29(X)HTML Refresher, 29

Software Update Training, Autodesk, 37AutoCAD Architecture 2010 Update, 37AutoCAD 2010 Update: Transitioning from

AutoCAD 2009, 37Autodesk 3ds Max Design 2010 Update, 37

Connecting Us: The Arterial Highway System of the New York-New Jersey Region, 45

Construction Cost Estimating, 45Construction Cost Estimating: “The Bridge”, 45Construction Management, 19, 45-56

Bidding the Construction Project, 44Blueprint Reading, 19Building Green: An Overview, 45Construction Cost Estimating, 45Construction Specifi cations Writing, 45Estimating Cooling Load on Excel (HVAC 1

and 2): Refrigeration Principles, 47Estimating Structural Steel Erection, 47Estimating Structural Steel Fabrication, 47Fuel Properties, Combustion, Heating Load

Estimation on Excel (HVAC), 48Improving Public Health by Greening Your

Specifi cations, 50Specifi cations Writing, Principles, and

Practice, 56Construction Specifi cations Writing, 45Continental Divide: Bridging the Mighty

Mississippi, 46

Continuity Storyboards: The Filmmaker’s Best Friend, 21

Create a Professional Design Portfolio, 26Creating Mobile Content in Flash CS3, 28Creative Entrée to the Photography

Marketplace, 16Creative Writing, 7Creatively Speaking: Innovative Promotions

that Work, 11Creativity and Artistic Expression, 6, 7, 11, 19

Creative Expression from the Inside-Out: An Interdisciplinary Sampler Course, Introduction to, 7

Creative Writing, 7Creatively Speaking: Innovative Promotions

that Work, 11Sacred Singing, 7Sacred Singing: The Workshop, 7Secrets of Altered States of Consciousness for

Artists, Writers, and Creative Thinkers, 19Vocal Improvisation, 7Vocal Improvisation: The Workshop, 7Voice and Movement Improvisation from the

Inside Out, 7Voice and Movement Improvisation from the

Inside Out: The Workshop, 7

DDecorative Arts courses, 2, 9-10, 12

Block Printing and Stenciled Patternmaking Workshop, 9

Embroidered Art Journal: Embroidery as Narration and Illustration, The, 10

Entering the Handcrafted Gift Market, 9Gilding, 9Hand-Painted Fabric Workshop Wearables

and Furnishings, 12Handmade Toys, 10Quilting and the Handmade, 2, 10Quilting and the Handmade: Advanced

Workshop, 10Design courses, 9-11, 19, 20, 26

Basic Layout and Typography, 10Color Theory, 10Continuity Storyboards: The Filmmaker’s

Best Friend, 21Create a Professional Portfolio, 26Creatively Speaking: Innovative Promotions

that Work, 11Design for Computer Animation, 21Expressive Design: Creating Distinction


Graphic Design, Introduction to, 11Graphic Design and Print Production, 11Greeting Card Design, 11Package Design and Brand Identity, 11Visual Iconography-Art as Language:

Elements of Design, 10Design for Computer Animation, 21Designing and Renovating Carbon Neutral

Buildings, 46Designing for Broadcast and Media Facilities,

46Designing for Museums and Other Cultural

Institutions, 46Designing Research and Development

Facilities, 46Designing, Renovating, and Operating

Carbon Neutral Buildings, 61Desktop Publishing with QuarkXPress I, II, 26Digital Photography I, II, 16Digital Video and Audio, 24Directions, 70Diseño Arquitectónico con Autodesk 3ds

Max Design, 22Drafting and Modeling on the Mac, 25Drawing for Product Design (GP), 4Drawing for Product Design I, 4Drawing Foundation for Interior Design, 5Drawing on Location, 12Drawing on Location: Advanced, 12Dreamweaver CS4 and Fireworks CS4: I, 28Dreamweaver II: ColdFusion with

Dreamweaver CS4, 28Dreamweaver II: Web Standards – Content,

Presentation, and Behaviors, 28

INDEX FALL 2009 75

EEarn While You Learn Sheathing: A

Sustainable Product for the 21st Century, 40

Earrings, 5, 14Earth in the Balance, 46Editorial Illustration, 13EIFS and Plaster in Modern Construction, 46Electronic Prepress Production, 26Electronic Publishing and Digital Art, 25Electronic Publishing and Digital Art:

Short Classes for Pros, 27Empire State Building: Monarch of the Sky, 47Energy, Greenhouse Gas, Weatherization

Audits, and Capital Planning, 47Entering the Handcrafted Gift Market, 9Estimating Cooling Load on Excel (HVAC 1

and 2): Refrigeration Principles, 47Estimating Structural Steel Erection, 47Estimating Structural Steel Fabrication, 47Ever Higher: The Quest to Touch the Sky, 47Experimenting with Papers and Toners in the

Darkroom, 17Express Your Way Through Quark XPress, 27Expressive Design: Creating Distinction


Expressive Forms, 3

FFacial Animation with Autodesk 3ds Max

2010, 23Facilities and Environmental Compliance

courses, 19, 41-60Architectural Restoration: Motivators and


Building Green: An Overview, 43Building Green ‘Round the World, 43Building Naturally, 44Climate Change Fundamentals for Design

Professionals, 45Designing and Renovating Carbon Neutral

Buildings, 46Earth in the Balance, 46Energy, Greenhouse Gas, Weatherization

Audits, and Capital Planning, 47Freshwater Wetlands, 48Go Green Retrofi ts, 49Gray Water Heat Recovery, 49Green By Design, 50Green Design Versus Historic Preservation, 50Greening Your Facilities: A Holistic Approach,

50Improving Public Health by Greening Your

Specifi cations, 50Indoor Air Quality, 51Land Use Engineering, 51Performance Modeling for Carbon Neutral

Buildings, 55Performance Rating of New Buildings:

The Process, 55Renewable/Green Energy, 55Sustainability Approach to Engineering

Design, 56Sustainability Pioneers: Heroes of the Planet, 57Sustainable Habitats, 57Sustainable Remodeling, 57The Environment, SEQRA and the Engineered

Project, 58This Hazardous House, 58Visionary Designing with Glass Block and

High Performance Glass Block Systems Covering LEED, Safety and Security, 59

Wind Energy Systems, 59Far Horizon: The Architecture of the World’s

Fair, 48Fashion Design courses, 2, 26

Fashion Design: Construction Techniques for Garments I, 2

Illustrator for Fashion Design, 26Pattern-Making Basics for the Female Form, 2

Figure Drawing Workshop, 12Fine and Decorative Art Appraisal courses,

64-65Appraising Antiques and Decorative Arts,

Introduction to, 65Art of Curating, The, 65Business of Contemporary Art and

Professional Practice, The, 65

Forensics of Antique Jewelry...What to Look For!, 65

Logic of the Argument: Improving the Narrative, The, 66

Personal Property Valuation, Introduction to, 64Personal Property Valuation Methodology—

Research and Analysis, 64Personal Property Valuation Report Writing, 65Personal Property Valuation—The Legal and

Commercial Environment, 65Photographing Artwork and Small Objects,

18, 66Strategies for Handling and Managing

Diffi cult Appraisals, 65Uniform Standards of Professional Appraisal

Practice, 65Fine Art Photography, 17Fine Arts courses, 2-3, 11-12, 66

Abstract Painting: Concepts and Techniques, 2Abstract Painting: Concepts and Techniques:

The Workshop, 2Acrylic Painting Mastery, 12Alternative Approaches: Exploring Mixed

Media, 11Basic Drawing, 11Basic Drawing for Animation, 12Chinese Drawing and Painting, 3Drawing on Location, 12Drawing on Location: Advanced, 12Expressive Forms, 3Figure Drawing Workshop, 12Fine Arts/Mixed Media, 3Fine Arts: Painting and Drawing, 67Fundamentals of Acrylic Painting, 3Fundamentals of Acrylic Painting:

The Workshop, 3Fundamentals of Oil Painting, 12FusionArts Workshop: Philosophy and

Methodology, 12Fusion Painting, 3Hand-Painted Fabric Workshop Wearables

and Furnishings, 12Intermediate Drawing, 12Intermediate Drawing II, 12Introduction to Curatorship, 3Making Art in New York City, 3Media Arts/Photography, 6, 67New Materials in Sculpture: Using Material

from the World Around Us, 4Painting and Drawing Workshop, 4Painting with Watercolors, 4Pastel Intensive Workshop:

The Versatile Medium, 12Perspective Drawing and Rendering, 13Pictorial Perspective, 13Watercolor Realism Workshop, 13

Fine Arts/Mixed Media, 3Fine Arts: Painting and Drawing, 67Fire Protection Technology, 48Flash II: Action Scripting, 28Flash III: Advanced Action Scripting, 28Flash CS4: I, 28Forensics of Antique Jewelry...

What to Look For!, 65Forest Hills Gardens: A Modern Arcadia, 48Forged Metal Components, 5, 14form•Z Fundamentals: Modeling and

Rendering I, 25Foundation Art, 67Freshwater Wetlands, 48From Here to There: A Seven-Step Web Site

Recovery Program, 28From Product to Profi t: How to Make Money

from Your Ideas, 5Fuel Properties, Combustion, Heating Load

Estimation on Excel (HVAC), 48Full-Spectrum Polarized Lighting Systems, 48Fundamentals of Acrylic Painting, 3Fundamentals of Acrylic Painting: The

Workshop, 3Fundamentals of Oil Painting, 12Fundamentals Technologies and Safeguards

of Nuclear Energy, 49FusionArts Workshop: Philosophy and

Methodology, 12Fusion Painting, 3

GGeneral information, 70-72

CCPS Policies and Procedures, 71-72Directions, 70

Geotechnical Engineering, 49


Ghostwriting and Self-Publishing to Rocket Your Career, 19

Gilding, 9Gimme Shelter, 49Go Green Retrofi ts, 49Going Mobile: Designing Web Sites for

the Tiny Screen, 29Graphic Design and Print Production, 11Graphic Illustration I: Adobe Illustrator CS3, 26Graphic Illustration II: Adobe Illustrator CS3, 26Graphics Programming I with C++, 29Gray Water Heat Recovery, 49Great Web Design with CSS:

Cascading Style Sheets, 29Green by Design, 50Green Design Versus Historic Preservation, 50Greening Your Facilities: A Holistic Approach,

50Greeting Card Design, 11

HHand-Painted Fabric Workshop Wearables

and Furnishings, 12Handmade Toys, 10Hazardous Waste Management, 50High Steel: The Legacy of Steel-Frame

Construction, 50Historic Preservation: Techniques and

Methods, 50History of Animation, 13History of Art and Design, 13, 15

History of Animation, 13History of Comics, 13History of Photography, 15

History of Comics, 13History of Photography, 15How to Sell Your Photographs to Fine Art

Markets, 17

IIllustration courses, 4, 12-13, 20, 27

Basic Drawing for Animation, 12Botanical Illustration, Introduction to, 4Comic Book Illustration, 13Editorial Illustration, 13Illustration Portfolio, Introduction to The, 13Illustrator CS4 for Artists and Illustrators, 26Illustrator for Fashion Design, 26Manga Comics, 13Pastel Intensive Workshop: The Versatile Medium, 12Traditional Animation I, II, 20Watercolor Realism Workshop, 13

Illustrator CS3 for Artists and Illustrators, 26Illustrator for Fashion Design, 26Imaging I: Photoshop CS3, 26Imaging II, 27Improving Public Health by Greening your

Specifi cations, 50Improving the Energy Effi ciency of Steam

Systems, 51Indoor Air Quality, 51Industrial Design courses, 4-5

Drawing for Product Design (GP), 4Drawing for Product Design I, 4From Product to Profi t: How to Make Money from Your Ideas, 5Product Design (GP), 5Product Design I, 4

Inland Sea: The Bridging of San FranciscoBay, 51

Integrating Accessibility, 51Integrating Landscape into

Urban Architecture, 51Interior Design courses, 5

Drawing Foundation for Interior Design, 5Interior Design Preparatory Course, 5

Intermediate Black and White Photography, 15

Intermediate Drawing, 12Intermediate Drawing II, 12Intro to Bollywood Cinema: An Exploration

of Indian Culture and History through Films, 6

Intro to Computing (MAC), 20Intro to Fashion Photography, 17Introduction to Curatorship, 3Introduction to Interior Design, 68

Introduction to Appraising Antiques and Decorative Arts, 65

Introduction to Architecture, 67Introduction to Botanical Illustration, 4Introduction to Creative Expression from the

Inside-Out: An Interdisciplinary Sampler Course, 7

Introduction to Graphic Design, 11Introduction to Illustration The Illustration

Portfolio, 13Introduction to Personal Property Valuation,

64Introduction to Photography, 15Introduction to PHP Programming for the

Web, 29Introduction to Special Effects with Autodesk

3ds Max 2010 and combustion, 23Introduction to the Camera, 15Introduction to XHTML and CSS, 29

JJewelry Design Intensive I, 14Jewelry Making courses, 5-6, 14

Earrings, 5, 14Forged Metal Components, 5, 14Jewelry Design Intensive I, 14Leather Jewelry, 5, 14Organic Wire Wrapping, 5, 14Pearl Knotting, 5, 14Polyform Clay Workshop I, 14Stringing, 6, 14Wire Wrapping, 6, 14Wire Wrapping with Chain, 6, 14

LLand Use Engineering, 51Law courses, 7, 54

Art Law, 7Legal Topics for the Creative Professional, 7New York Construction Law, 54

Leather Jewelry, 5, 14Legal Topics for the Creative Professional, 7Light Gauge Metal Framing (LGMF):

Let’s Get More Familiar, 51Location Photography, 17

MMaking Art in New York City, 3Making Masterpieces with Corel Painter, 27Manga Comics, 13Marketing Workshops, 6, 11, 19

Creatively Speaking, Innovative Promotions that Work, 11


Professional Practice for Photographers: Getting from Here to There—Photographic Thinking and Strategies, 18

Martial Arts, 8Mastering AutoCAD Sheet Sets, 33Mastering AutoCAD Tables and Schedules, 33Mastering AutoCAD Architecture:

Documentation, Annotation and Schedules, 33

Mastering AutoCAD Architecture 2010: Doors, Windows and Openings, 33

Mastering AutoCAD Architecture 2010: Drawing Management with Projects, 33

Mastering AutoCAD Architecture 2010: Elevation Sections and Perspectives, 33

Mastering AutoCAD Architecture 2010: Roofs, Dormers, and Slabs, 34

Mastering AutoCAD Architecture 2010: Walls and Wall Styles, 34

Masters of Architecture I: Pei, Gehry & Kahn, 52

Matrix Analysis for Continuous Spanned Beams and Multilevel Building Frames, 52

MAXScript Seminar, 23Maya Advanced Character Design, 21Maya II: Modeling, Animation and Effects, 21Maya I Fundamentals: 3D Modeling,

Animation, and Rendering, 21Media Arts/Photography courses, 6, 15-18,

27, 66Advanced Black and White Photography, 16Advanced Portrait Master Class, 16Alternative Photographic Process, 16Alternative Photographic Process Weekend

Workshop, 16

76 FALL 2009 INDEX

Artist’s Diary: Digital Photography and Bookmaking, The, 6

Art of Photographic Portraiture, The, 18Bollywood Cinema: An Exploration of Indian

Culture and History through Films, Intro to, 6, 18

Camera, Introduction to the, 15Creative Entrée to the Photography

Marketplace, 16Digital Photography I, II, 16Experimenting with Papers and Toners in the

Darkroom, 17Fine Art Photography, 17History of Photography, 15How to Sell Your Photographs to Fine Art

Markets, 17Intermediate Black and White Photography,

15Intro to Fashion Photography, 17Introduction to Photography, 15Location Photography, 17Media Arts/Photography, 67Panoramic Photography and the Gigapan, 17Photographic Illustration, 18Photographic Lighting I, 18Photographic Lighting II: Photographing

Commercial Products, 18Photographing Artwork and Small Objects,

18, 66Photography, Introduction to, 15Photoshop for Photographers, 27Professional Practice for Photographers:

Getting from Here to There— Photographic Thinking and Strategies, 18

Wide Format Printing, 18Metalworking I, II, 6Modelado Arquitectónico II con Autodesk

3ds Max Design 2010, 22Modern Architecture World Tour, 52Modern Drywall Construction Systems, 52Mold Remediation: How to Detect Mold &

Clean Mold, 52Monumental Architecture: A Gift to the

Ages, 53Mudbox, 23Museums: The Architecture of Art, 53

NNew Accessibility Requirements for

Commercial Occupancies, 53New Accessibility Requirements for

Residential Occupancies, 53New Classes in Spanish, 22

Diseño Arquitectónico con Autodesk 2010 3ds Max Design, 22

Modelado Arquitectónico II con Autodesk 3ds Max Design 2010, 22

New Materials in Sculpture: Using Material from the World Around Us, 4

New York City Building Code: Using an Example, 54

New York Construction Law, 54New York State Existing Building Code:

Using an Example, 54New York State Building Code:

Using an Example, 54New York State Building Codes, Rules, and

Regulations, 549/11 and Beyond, 54Non-Linear Editing and Video Effects with

Final Cut Pro, 24

OOffsite Fabrication for Housing, 54Organic Wire Wrapping, 5, 14Overview of Digital Creation and Digital

Media, 20

PPackage Design and Brand Identity, 11Painting and Drawing Workshop, 4Painting with Watercolors, 4Panoramic Photography and the Gigapan, 17Pastel: The Versatile Medium, 12Pattern-Making Basics for the Female Form, 2Peace through Understanding: The 1964-65

New York World’s Fair, 55Pearl Knotting, 5, 14Performance Modeling for Carbon Neutral

Buildings, 55

Performance Rating of New Buildings: The Process, 55

Personal Enrichment, 8Personal Property Valuation Methodology—

Research and Analysis, 64Personal Property Valuation Report Writing,

65Personal Property Valuation—The Legal and

Commercial Environment, 65Perspective Drawing and Rendering, 13Photographic Illustration, 18Photographic Lighting I, 18Photographic Lighting II: Photographing

Commercial Products, 18Photographing Artwork and Small Objects,

18, 66Photography and Digital Art courses, 6,

15-17, 28, 67Advanced Black and White Photography, 16Advanced Portrait Master Class, 16Alternative Photographic Process, 16Alternative Photographic Process Weekend

Workshop, 16Artist’s Diary: Digital Photography and

Bookmaking, The, 6Art of Photographic Portraiture, The, 18Camera, Introduction to the, 15Creative Entrée to the Photography

Marketplace, 16Digital Photography I, II, 16Experimenting with Papers and Toners in the

Darkroom, 17Fine Art Photography, 17History of Photography, 15How to Sell Your Photographs to Fine Art

Markets, 17Intermediate Black and White Photography, 15Intro to Fashion Photography, 17Location Photography, 17Media Arts/Photography, 67Panoramic Photography and the Gigapan, 17Photographic Illustration, 18Photographic Lighting I, 18Photographic Lighting II: Photographing

Commercial Products, 18Photographing Artwork and Small Objects, 18Photoshop for Photographers, 27Photography, Introduction to, 15Professional Practice for Photographers:

Getting from Here to There—Photographic Thinking and Strategies, 18

Wide Format Printing, 18Photoshop for Photographers, 27Photoshop Montage and Collage, 27Photoshop Retouching, 27Pictorial Perspective, 13Podcasting 101 Workshop: The Basics, 29Polyform Clay Workshop I, 14Portfolio Development, 68Portfolio Development for Architecture, 67PowerPoint: The Presentation Tool, 20Pre-College Programs, 67-68Fall 2009, 67

Architectural Design Studio, 67Fine Arts: Painting and Drawing, 67Foundation Art, 67Introduction to Architecture, 67Media Arts/Photography, 67Portfolio Development, 68Portfolio Development for Architecture, 67Sequential Art and the Comic Book, 68

Summer 2010, 67Printing and Plotting with AutoCAD, 34Product Design (GP), 5Product Design I, 4Professional Development for Architects &

Engineers, 40Professional Practice for Photographers:

Getting from Here to There—Photographic Thinking and Strategies, 18

Programming, 29Project Management Seminar, 24ProTools I, II, 63Publishing for the Real World, 7, 19, 25

Creative Writing, 7Electronic Publishing and Digital Art(see Computer Graphics), 25Ghostwriting and Self-Publishing to Rocket

Your Career, 19

QQuick Draw Your Way Through Illustrator, 27Quilting and the Handmade, 2, 10Quilting and the Handmade: Advanced

Workshop, 10

RRenewable/Green Energy, 55Residential Landscape Architecture, 55Revit Architecture 2010: Advanced, 34Revit Architecture 2010: Basic Course, 34Revit Architecture 2010: Creating Construction

Documents, 34Revit Architecture 2010: Level I, 34Revit Architecture 2010: Migrating to Revit

Architecture, 35Revit Architecture 2010: The Family You

Always Wanted, 35Revit MEP: Basics Course, 35Revit Structure: Advanced, 35Revit Structure: Essentials, 35Rivers of Steel, 56

SSacred Architecture, 56Sacred Singing, 7Sacred Singing: The Workshop, 7Sculpture courses, 4, 6

Metalworking I, II, 6New Materials in Sculpture, 4

Secrets of Altered States of Consciousness for Artists, Writers, and Creative Thinkers, 19

Security Design through CPTED, 56Selling Your Art in New York City, 19Sequential Art and the Comic Book, 68Set Design for Architects and Designers using

AutoCAD 2010, 35Small-Scale Real Estate Development, 56Snap Your Way Through Photoshop, 27Special Effects (FX) with Autodesk 3ds Max

2010, 23Special Effects with Maya, 21Special Programs, 8Special Projects Independent Study, 24Specifi cations Writing, Principles, and

Practice, 56Strategies for Handling and Managing

Diffi cult Appraisals, 65Stringing, 6, 14Study Abroad Programs, 8Summer Pre-College Programs, 8, 67Sustainability Approach to Engineering

Design, 56Sustainability Pioneers: Heroes of the Planet, 57Sustainable Habitats, 57Sustainable Remodeling, 57

TTai Chi, 8Tale of Two Towers: The Eiffel Tower and the

Chrysler Building, 57Texturing Seminar, 24That’s Entertainment! The Architecture of

Theaters: “An Acre of Seats in a Garden of Dreams”, 57

The Architect’s Role in Development: Preserving the Public’s Welfare, 58

The Architecture of Empire, 58The Art of Curating, 65The Art of Photographic Portraiture, 18The Artist’s Diary: Digital Photography and

Bookmaking, 6The Business of Contemporary Art and

Professional Practice, 65The Embroidered Art Journal: Embroidery as

Narration and Illustration, 10The Environment, SEQRA and the

Engineered Project, 58The Hollywood Film Institute’s Two-Day

Film School: A Crash Course for Writers, Producers, and Directors, 18

The Logic of the Argument: Improving the Narrative, 66

The Path to Greater Architectural Freedom with Today’s Structural Steel, 58

This Hazardous House, 583D Computer Graphics Theory, 213D Modeling and Rendering with AutoCAD

2010, 31

Traditional Animation I, II, 20

UUniform Standards of Professional Appraisal

Practice, 65

VVectorWorks Professional I, 25VectorWorks Professional II: 3D Modeling

and Rendering, 25Visionary Designing with Glass Block and

High Performance Glass Block Systems covering LEED, Safety and Security, 59

Visual Iconography-Art as Language: Elements of Design, 10

Vocal Improvisation, 7Vocal Improvisation: The Workshop, 7Voice and Movement Improvisation from the

Inside Out, 7Voice and Movement Improvisation from the

Inside Out: The Workshop, 7

WWatercolor Realism Workshop, 13Web Development with Adobe Dreamweaver,

29Wide Format Printing, 18Wind Energy Systems, 59Wire Wrapping, 6, 14Wire Wrapping with Chain, 6, 14Wooden Scaffolds, 59World of Tomorrow: The 1939-40 New York

World’s Fair, 59World Trade Center: Magnifi cent Ambition,

59Wright by Design: The Life and Architecture

of America’s Master Architect, 59

X(X)HTML Refresher, 29

ZZoning and Its Impacts on Architecture and

the Community (Part I), 60Zoning and Its Impacts on Architecture and

the Community (Part II), 60