39 courses with the subject COMM, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
COMM 101Introduction to Mass Communication3
(3 lecture) Course Description This course is an introduction to the development and operation of the mass media industries. From a historical perspective, it examines their ever-changing relationship to the social, cultural, and political realms of society. Text Baran, Stanley J. Introduction to Mass Communication : Media Literacy and Culture. 12th ed. McGraw-Hill, 2023. Objectives
(3 lecture) Course Description This course explores the elements and principles of design through hands-on studio projects. Students learn color theory, the psychology of color, composition, and visual communications while working with traditional art tools and basic computer graphics software. Emphasis is placed on creativity, craftsmanship, and skill development for future visual communications coursework. Note This course meets the General Education competency of Critical Thinking (CT). Objectives
(3 lecture) Course Description This course provides the skills necessary to produce stop motion photography film tracks. This type of photography is used in movie special effects. Prerequisite COMM 101, COMM 102, and COMM 114 or COMM 116. Text No text required. Objectives A. Layer multiple images (scanned or photographically generated) to produce a single, professional image. B. Utilize color-manipulating techniques on scanned or photographically generated images. C. Process captured images in professional digital files. D. Maintain organized images for future use. E. Create professional marketable imagery. Student Evaluation A. Digital imaging aesthetics B. Digital enhancement C. Digital editing D. Professional scanned images E. Manipulation of digital cameras and scanner imagery F. Creative treatments of professional images that sell G. Creative output: Making digital files into high quality products Bibliography Chapman, Nigel and Jenny Chapman. Digital Multimedia. 2nd ed . San Francisco: Wiley, 2004. Costanzo, William. The Writer’s Eye . New York: McGraw Hill, 2006. Finn, David. How to Look At Everything. New York: Abrams, 2000. International Museum of Photography from 1839 toToday : George Eastman. Photography at George Eastman House. Rochester: Taschen, 2000. Rush, Michael. Video Art . New York: Thames & Hudson, 2003. Stevenson, George. Graphics Arts Encyclopedia . New York: McGraw-Hill, 1991. Vaughan, Tay. Multimedia: Making It Work . New York: McGraw Hill, 2008. Wilde, Richard. Problems, Solutions: Visual Thinking for Graphic Communicators . New York: Van Nostrand Reinhold, 1986. Williams, Robin. The Non-Designer’s Design Book. 2nd ed . Berkeley: Peachpit, 2004. Wixel, Suzanne, Jennifer Fulton, et al. Multimedia Basics . Boston: Thomson, 2004.
(3 lecture) Course Description This course will enable students to develop their creative and critical thinking ability. Through creative activities students will learn to think analytically, identify relationships, spot faulty reasonings, develop creative solutions to problems, improve their memories and set goals. Text Von Oech, Rodger. Whack on the side of the head . 3rd ed. Hachette Book Group, 1998. Print. Objectives
Course Description This course explores the development of graphic design from the Industrial Revolution to contemporary digital and print media. Students study major movements, technologies, influential designers, political contexts, and cultural shifts shaping visual communication. Students will learn to evaluate design history, recognize stylistic evolution, and connect historical context to professional practice. Objectives The student will be able to A. Identify major historical periods, designers, and innovations in graphic design from the 19th century onward. B. Analyze how cultural, economic, political, and technological changes have influenced design styles and communication. C. Use appropriate terminology to discuss historical and contemporary works. D. Analyze design works through historical, aesthetic, and cultural lenses. E. Apply historical design principles and concepts to contemporary design projects. F. Apply historical references to their own design work. Content A. 19 th -century print production developments B. Rise of consumer culture and advertising C. Social and economic changes D. Influential artistic movements E. Major global events and social shifts F. Rise of modern technologies G. Expansion of mass media and communication Student Evaluation Evaluation will be based upon assigned creative projects, classroom participation, reading assignments, and tests.
Course Description This course introduces students to the art, history, and function of typography as a core element of visual communications. Students will explore type anatomy, classification, hierarchy, legibility, and expressive form through digital projects. Emphasis is placed on understanding type as a visual language for clear communication and creative expression. Objectives
(3 lecture) Course Description This course introduces industry-standard software for creating vector-based graphics used in branding, illustration, and digital design. Students learn essential tools, typography, color, and layout techniques while building professional-quality artwork. Emphasis is placed on developing technical proficiency, design thinking, and file preparation standards for both print and digital production workflows. Note This course meets the General Education competency of Technological Competence (TC). Spring semester only. Prerequisite COMM 102 with a “C” grade or higher. Objectives The student will be able to A. Competently use the software workspace, tools, and panels for an efficient workflow. B. Demonstrate the application of basic software in the discipline. (TC) C. Employ the various procedures necessary to complete a piece of computer art.(TC) D. Create a logo for a fictitious client through research and development. (TC) E. Determine the best tools to use for advanced rendering situations. F. Apply advanced techniques to achieve high-end illustrations. (TC) G. Demonstrate use of electronic communication. (TC) H. Understand the fundamental differences and appropriate uses of vector vs. raster graphics. I. Utilize layers to organize and manage complex illustrations effectively. J. Apply color theory principles using the various color tools, swatches, and gradients. K. Bring initial design concepts from thumbnail sketches into fully realized vector-based compositions. Content A. Basic program application and tools use B. Advanced techniques for creative computer art C. Creating pictograms and infographics D. Developing technical illustrations E. Logo design for a client F. Vector graphics compared to raster images G. Effective use of layers to manage a layout H. Various color tools and panels I. Initial concepts of thumbnails developed into digital layouts. J. Sending emails and attachments Student Evaluation A. Projects and tests B. Projects C. Projects D. Projects and classroom participation E. Projects and classroom participation F. Projects and classroom participation G. Send email to instructor H. Projects and tests I. Projects J. Projects K. Projects and classroom participation
(3 lecture) Course Description This course uses industry-standard software for photo-manipulation, digital art, and layouts. Students develop technical proficiency in photo correction, compositing, colorization, collage, and the use of typography. Emphasis is placed on software skills, conceptual development, non-destructive workflows, visual storytelling, and producing polished, portfolio-ready digital artwork. Note Fall semester only. Prerequisite COMM 110 with a “C” grade or higher. Text No text required. Objectives The student will be able to A. Navigate the software workspace. B. Utilize different file formats for print and web. C. Demonstrate advanced, non-destructive editing techniques. D. Perform black and white photo restorations. E. Demonstrate color photo improvements. F. Incorporate type into raster-based compositions. G. Merge multiple images into cohesive visual narratives. H. Identify ethical concerns regarding the misuse of image software and the use of generative AI images. I. Develop layouts that reflect industry standards. Content A. Advanced techniques of scanning, importing, correcting, and enhancing photographs B. Software workspace and various tools C. Vector images versus raster images D. Appropriate image resolution for print and digital media. E. Sizing, resizing, and image size versus file size F. Destructive and non-destructive image editing G. File formats and color modes H. Use of layers for workflow, use of adjustment layers for various corrections, and use of layer blending modes I. Black and white versus color photograph workspace and enhancements J. Use of filters for image effects K. Use of AI-powered tools ethically and strategically L. Ethical concerns regarding the use of digital image editing and generative AI images Student Evaluation Evaluation will be based upon student presentations and creative projects.
(3 lecture) Course Description This course builds proficiency using professional layout software to produce eye-catching print and digital designs. Students apply design principles-typography, hierarchy, and color theory-while also learning proper image importing, file preparation, and workflow techniques. Emphasis is on creative problem-solving, effective composition, and preparing files for production. Note Spring semester only. Prerequisite COMM 102 and COMM 107 with a “C” grade or better or permission of instructor. Text Hagen, Rebecca and Golombisky, Kim. White Space Is Not Your Enemy: A Beginner ‘s Guide to Communicating Visually through Graphic, Web, and Multimedia Design . 3rd ed. Taylor and Francic-CRC Press, 2017. Objectives The student will be able to A. Demonstrate knowledge of a professional layout program’s tools, panels, and workspace. B. Apply design principles to create visually engaging layouts. C. Apply hierarchical principles to visual communication projects. D. Import graphics to professional standards. E. Demonstrate knowledge of appropriate file formats. F. Apply basic grid systems to organize text and imagery effectively. G. Participate in peer review, providing feedback to classmates. H. Develop layouts that reflect industry standards. Content A. Software tools, panels, and workspace B. Expressive typography: hierarchy, experimenting with contrast, exploring various type treatments C. Best practices for importing and effectively incorporating graphics and images with text D. Selecting and managing various image file formats for best results E. Design of various print and digital projects F. The peer review process G. File naming and organization for professional practices Student Evaluation Evaluation will be based upon tests, reading assignments, student presentations, and creative projects.
COMM 113The Art of Black and White Digital Photography3
(2 lecture, 2 lab) Course Description This course develops foundational skills of digital photography, explores the artful capture of black and white images, and provides a knowledges base for further treatments in photo refining software. Photo composition for black and white images, digital photo enhancements, and image evaluation will be presented through lecture, and hands-on assignments. Note Camera phones and other mobile devices with cameras are not permitted for use in this course. Recommended camera types are as follows: point and shoot, bridge, MILC (mirrorless) and DSLR. For best results, your camera should have a resolution of at least 8 megapixels. Text Davis, Harold. Creative Black and White: Digital Photography Tips and Techniques . Rocky Nook, 2019.
COMM 114Introduction To Black & White Photography3
(2 lecture, 2 lab) Course Description This course is an introduction to basic photography techniques, providing the novice photographer with the skills necessary to take, develop, and print black and white photographs. Although the main focus will be on skill development, a portion of the course will introduce the student to the concept of photography as an art form. Note Access to a 35 mm camera with manual over ride is required. Text London, Barbara, and Jim Stone. A short course in photography: film and darkroom: an introduction to photographic technique. 10th ed . Upper Saddle River, NJ: Pearson, 2019. Objectives
(2 lecture, 2 lab) Course Description This course introduces the student to the visual creative medium of digital presentation. Reporting the news as a photojournalist stresses recognition, development and creation of news photographs, and the skills of the photo editor. The student experiences shooting, developing, printing, and editing in a digital format. A digital camera is required for this course. Note Spring semester only. Prerequisite COMM 111, COMM 212, and COMM 114 or COMM 116. Text Kobre, Keneth. Photojournalism: Professional Approach. 7th ed . Taylor and Francis, 2017. Objectives The student will be able to A. Prepare a photojournalist article for publication. B. Finalize digital footage for viewing. C. Prepare and present digital footage in a visual reporting format. D. Meet professional deadlines. Content A. Photojournalism principles, theories and fundamentals B. Article preparation and composition C. Production of various formats of electronic photographic media D. Translating ideas and newsworthy information into photographic form E. Avoiding digital problems F. Avoiding publication problems Student Evaluation Evaluation will be based on assignments, presentations, and the work presented by the student. Bibliography Bracegirdle, Brian. Photography as Illustration; The Use of the Camera for Books and Reports .South Brunswick: Barnes, 1970. Busselle, Michael. Master Photography: Take and Make Perfect Pictures . New York: Rand McNally, 1978. Costanzo, William. The Writer’s Eye . New York: McGraw Hill, 2008. Crouch, Stanley. One Shot Harris: The Photographs of Charles”Teenie” Harris . New York: Abrams, 2002. Eisman, Katrin and Sean Duggan. The Creative Digital Darkroom . Cambridge: O’Reilly, 2007. Finn, David. How to Look at Everything . New York: Abrams, 2000. Great Photographic Essays from Life . Boston: New York Graphic Society, 1978. Herko, Robert. Composing Photographs . Stamford: Longmeadow, 1990. —. Using Creative Techniques . Stamford: Longmeadow 1990. Kelby, Scott. The Digital Photography . Berkeley: Peachpit, 2007. Peterson, Bill. Understanding Digital Photography . NY: Amphoto, 2005. —. Understanding Exposure (revised ed.) . NY: Amphoto 2005. Rush, Michael. Video Art . New York: Thames & Hudson, 2003.
(3 lecture) Course Description This course introduces the student to the medium of digital photography. Although the main focus will be on skill development, a portion of the course will introduce the student to the concept of photography as an art form. Note A digital camera is required for this course. Cell phone digital cameras are not acceptable for this course. Text Long, Ben. Complete Digital Photography. 9th ed ., Cengage, 2018. Objectives The student will be able to A. Manipulate the digital camera. B. Interpret photographic composition. C. Apply specialized photographic techniques. D. Evaluate an image. E. Print quality digital photographs. Content A. Digital camera functions B. Photographic composition C. Image evaluation D. Specialized photographic techniques E. Methods of exposure F. Preparation of photographs for printing Student Evaluation Evaluation will be based on assignments, presentation, and the quality of work presented by the digital photography student. Bibliography Busch, D. Mastering Digital SLR Photography . Boston: 2005. Capa, R. Robert Capa: Photographs . New York: Knopf: Distributed by Random House, 1985. Ciaglia, J. Absolute Beginner’s Guide to Digital Photography . Indianapolis: Pearson, 2004. Crawford, T. Starting Your Career as a Freelance Photographer. New York: Allworth, 2003. Eismann, K. and Duggan, S. The Creative Digital Darkroom . Canada: O’Reilly Media, 2008. Finn, D. How to Look at Photographs: Reflections on the Art of Seeing . New York: H.N. Abrams, 1994. Finn, D. How to Look at Everything . New York: H.N. Abrams, 2000. Geddes, A. Down in the Garden. San Rafael: Cedco, 1996. Johnson, D. How to Do Everything with Your Digital Camera . New York: McGraw-Hill Professional, 2002. King, J. Shoot Like A Pro! Digital Photography Techniques . Emeryville: McGraw-Hill Professional, 2003. McCartney, S. Photographic Lighting Simplified . New York: Allworth, 2003. Milburn, K. Digital Photography: 99 Easy Tips To Make You Look Like A Pro! New York: McGraw-Hill Professional, 2002. Milburn, K. Digital Abstract and Macro Photography . Boston: McGraw-Hill, 2005. Salomon, A. Advertising Photography . New York: Amphoto, 1982. Uelsmann, J. Jerry Uelsmann: Photo Synthesis . Gainesville: U P of Florida, 1992. White, R. Click! The No-Nonsense Guide to Digital Cameras . London: McGraw-Hill Professional, 2003.
(3 lecture) Course Description This course explores the history of photography by examining its origins in the early 1800s down to our day. The advancement of the technology will be explored, as well as the development of photography as an artform and as a method of visual communications. There will be an exploration of various photographic genres that developed as well as how photography impacted society through the years. Additionally, students will learn about noted photographers that shaped the field of photography, as well as pivotal photos that etched historic moments into the public consciousness. Prerequisite or
(3 lecture) Course Description This course introduces the student to the hybrid darkroom. Students will learn to edit and perfect digital photographs while creating saleable digital images and meeting client requirements in a deadline-based environment. Note Spring semester only. Prerequisite COMM 114 or COMM 116.
(3 lecture) Course Description This course is an overview of common theories relevant to the study of the communication processes and a basic introduction to the various divisions and research methods within the discipline. This course meets the General Education competency of Values, Ethics, and Diverse Perspectives (VE). Note Fall semester only. Text Floyd, Kory. Interpersonal Communication . 4th ed. New York: McGraw-Hill, 2021. Objectives
(3 lecture) Course Description The course is an introduction to the various methods used by print and broadcast journalists to gather and report news and information. The focus will be on the theoretical and practical application of the skills used in all aspects of writing for media. Students will gain hands-on experience by participating in the various phases of the publication of the student newspaper. Note Fall semester only. Prerequisite Eligibility for enrollment in ENGL 101. Text The Associated Press Stylebook: 2024-2026. (2024). . Basic Books. Objectives
(3 lecture) Course Description The course builds on the various methods of writing covered in Media Writing I. The emphasis is upon writing media stories after in-depth research, one-on-one interviewing and covering meetings, speeches, and other public forums. There will be a continuing emphasis on grammar, spelling and journalistic style. Students will continue the study of media law and ethics and gain hands-on experience by participating in the various phases of the publication of the student newspaper. Prerequisite C grade or better in COMM 135 or permission of the instructor.
(3 lecture) Course Description This course examines the functions and methods in contemporary public speaking through preparation of effectively organized ideas and dynamic verbal interpretation. The student is given opportunities to develop proper speaking habits, effective listening techniques, standards of criticism, and awareness of the ethical responsibilities of a speaker. This course meets the General Education Competency of Oral Communication. (OC) Text Gregory, H. (2025). Public speaking for college and career. McGraw Hill. Objectives
(3 lecture) Course Description This course focuses on acquiring advanced design skills, while using the various professional programs covered to date. Multiple idea generation techniques will be explored, professional case studies will be considered, and developing and designing a multi-stage design project will be accomplished. Prerequisite COMM 102, COMM 110, and COMM 112, all with a C or higher. Text Caldwell, Cath. Graphic Design for Everyone: Understand the Building Blocks so You Can Do It Yourself, 1st ed. DK. Illustrated ed. 2019. Objectives
(3 lecture) Course Description This course introduces students to foundational skills in audio capture and editing. Recording, microphone operations, and audio scriptwriting will be explored via lecture and hands-on assignments. Prerequisite COMM 103, Electronic Generated Imaging. Corequisite COMM 205, Video Media. Text Shenk, Sonja and Long, Ben. The Digital Filmmaking Handbook. 7th ed. Los Angeles: Foreing Films Publishing, 2021. Objectives
(3 lecture) Course Description This course is a continuation of Interactive Electronic Media. It enables the student to develop more advanced and sophisticated techniques in the development and production of communication media. Student team projects will include working with actual clients, require deadlines, deliverables, and presentation to the clients. Prerequisite COMM 203. Text Schenk, Sonja. Digital Filmmaking Handbook . 7th ed. Amazon, 2021. Objectives The student will be able to A. Create effective interactive projects. B. Analyze design problems. C. Explain the principles of human-centered design. D. Develop visual elements of communication. E. Operate in a team environment. F. Produce deliverables to the client in a deadline based environment. Content A. Digital imaging B. Interactive projects C. Teamwork skills D. Design problems Student Evaluation Evaluation will be based on assignments, presentations, and the work presented by the student. Bibliography Barratt, Krome. Logic and Design in Art, Science, and Mathematics . New York: Design Books, 1980. Bowman, William J. Graphic Communication . New York: Wiley, 1968. Chapman, Nigel, and Jenny Chapman. Digital Multimedia. 2nd ed . San Francisco: Wiley, 2004. Costanzo, William. The Writer’s Eye . New York: McGraw Hill, 2006. Finn, David. How To Look at Everything . New York: Abrams, 2000. Herko, Robert. Composing Photographs . Stamford: Longmeadow, 1990. —. Using Creative techniques . Stamford: Longmeadow, 1990. Rockport Designs. Layout-Working with Layout for Great Designs . Cincinnati: North Light, 1998. Rush, Michael. Video Art . New York: Thames & Hudson, 2003. Vaughan, Tay. Multimedia: Making It Work . New York: McGraw Hill, 2008. Williams, Robin. The Non-Designer’s Design Book. 2nd ed . Berkeley: Peachpit, 2004. Weixel, Suzanne, Jennifer Fulton, et al. Multimedia Basics . Boston: Thomson, 2004.
(3 lecture) Course Description This course introduces students to advanced video production concepts and skills. Multi-camera operations, chroma key, and basic visual effects are explored via lecture and hands-on assignments. Prerequisite COMM 103, Electronic Generated Imaging Corequisite COMM 203, Interactive Electronic Media. Text Schenk, S. and Long, B. (2021 ). The Digital Filmmaking Handbook , 7th edition. Los Angeles: Foreing Films Publishing. Objectives
(3 lecture) Course Description This course is an examination of the small group as a dynamic system. Using exercises and role playing, it analyzes the roles and interactions of group members, providing a basic under-standing of what makes an effective group. Note Spring semester only. Text Hoelscher, C. (2025). Communicating in groups. McGraw Hill. Objectives
(3 lecture) Course Description This is an advanced course focusing on creating various types of layouts demonstrating expressive typography, communication, hierarchy, and integration of imagery. Students create complex multi-page and multi-piece projects demonstrating sophisticated typographic skills, image management, and visual storytelling. Focus is placed on conceptual development, technical precision, and portfolio-ready pieces. Note Fall semester only. Prerequisite COMM 112 with a “C” grade or higher. Text No text required. Objectives The student will be able to A. Apply advanced typographic hierarchy, pairing, and expressive type systems. B. Integrate photography, illustration, vector graphics, and text cohesively and for visual impact. C. Create templates and layout systems. D. Apply hierarchical principles to complex visual communication projects. E. Demonstrate advanced layout skills while producing multi-page documents and multi-piece projects. F. Produce layouts that meet industry standards for print and digital deliverables. G. Analyze layout solutions regarding readability, tone, context, and visual communication effectiveness during peer review. H. Produce design solutions that reflect industry standards. Content A. Expressive typography: developing complex hierarchy, experimenting with scale, exploring various type treatments B. Advanced grids, hierarchy, and modular layout systems C. Organization and management of various project files for professional practice D. Incorporating graphics and images with text to create visually engaging layouts E. Template and style system development F. Preflight, packaging, and print production G. Branding systems across sequential projects H. Present and defend conceptual and visual decisions in peer review I. Preparing projects for portfolio Student Evaluation Evaluation will be based upon student presentations and creative projects.
(3 lecture) Course Description In this course, students will apply their knowledge of layout and design to professional production practices, including printing processes, binding techniques, and best practices within a commercial environment. This course will advance their knowledge of visual hierarchy, layout design, and user experience. Prerequisite COMM 110 and COMM 112. Text Ambrose, Gavin. Production Manual. 2nd ed . Mac Higher Ed, 2016. Objectives
(3 lecture) Course Description This course introduces the students to the communication patterns within various cultural groups and the breakdowns which occur as members of one cultural group interact with those of another cultural group. It focuses on the skills and knowledge necessary for effective intercultural communication. This course meets the General Education competency of Values, Ethics, and Diverse Perspectives (VE). Text Lustig, Myron W. and Jolene Koester, Intercultural Competence: Interpersonal Communication Across Cultures . 8th ed. Pearson, 2018. Digital access only (Revel). Objectives
(3 lecture) Course Description This course introduces visual communications students to the legal requirements for today’s visual communications for their own protection and that of their clients. The course will include copyright law for legally protecting the original visual work of the designer, contracts, releases, and emerging legalities. Text Belmas, Genelle Irene, and Wayne Overbeck. Major Principles of Media Law. Boston, MA: Wadsworth, 2023. Objectives The student will be able to A. Explain laws regarding releases and explain copyright laws. B. Write or use a formal release. C. Explain fair use of copyrighted material. D. Explain the statutory rights of copyright owners. E. Apply for a legal copyright. F. Name the contract specifications between artist and client. G. Write a client-artist contract. Content A. Legal release laws B. Copyright laws C. Client-artist contract requirements D. Rights to privacy E. Damages to reputation Student Evaluation Evaluation will be based on assignments, presentations, written contracts and the work presented by the student. Bibliography Brennan, Linda, and Victoria Johnson. Social, Ethical and Policy Implications of Information Technology. Hershey: Idea Group, 2004. Crawford, Tay, and Kay Murray. The Writer’s Legal Guide: An Author’s Guild Desk Reference. New York: Allworth, 2002. Ebay And Napster: Change Agents. (videorecording). Princeton: Films for the Humanities and Sciences, 2001. Harris, Lesley Ellen. Licensing Digital Content: A Practical Guide for Librarians. Chicago ALA Editions of the American Library Association, 2002. Hoffmann, Gretchen. Copyright in Cyberspace: Questions and Answers for Librarians. New York: Neal-Schuman Publishers, 2001. Jones, Hugh, and Chris Benson. Publishing Law. London: Routledge, 2002. Lipinski, Tomas A. The Complete Copyright Liability Handbook for Librarians and Educators. New York: Neal-Schuman Publishers, 2006. Passman, Donald. All You Need To Know About The Music Business. New York: Free Press 2006. Stamatoudi, Irini. Copyright and Multimedia Products: A Comparative Analysis. Cambridge: Cambridge U P, 2002. Stim, Richard. Copyright Law. Albany: Delmar Health Care, 2000. Vaidhyanathan, Sira. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York: New York U P, 2001.
(3 lecture) Course Description This is a multi-media course intended to expose the student to as many different drawing tools and materials as are available to the graphic designer. It is also designed to introduce the student to the discipline of design art and illustration, in which he/she will learn perspective, responsive drawing and principles of design composition including the use of line, texture, color, and space. Text No Text Required. Objectives
(3 lecture) Course Description Computer Animation is extensively used in the world of visual communications. From an animated advertisement to the boardroom, computer animation occurs frequently throughout the visual day. Computer animation is the favored medium of a number of highly trained electronic artists. This course is designed to introduce the Graphic Design student to the principles of computer animation, as well as to aid in the integration of the principles of graphic design with those of the electronic art medium. Note Spring semester only. Prerequisite COMP 210, COMM 110. Text Blair, Preston. Cartooning . New York: Hachette, 2019. Objectives
(2 lecture, 2 lab) Course Description This course is designed to increase photographic capabilities, darkroom skills, and working knowledge of the different media available to the photographer. Students will have the opportunity to work in a minimum of three different films and three different papers on a minimum of three projects. Note Access to a 35 mm SLR manual over-ride camera is required. Prerequisite COMM 114. Text No Text Required. Objectives The student will be able to A. Use a minimum of three different types of Black & White film (beyond the T-Max film used in COMM 114). B. Use a minimum of three different types of Black & White paper (beyond the RC paper used in COMM 114). C. Plan and create a major project using specific materials, composition and manipulation strategies. D. Apply fine control to negative processing and photographic printing. E. Identify classic photographic styles that influence photography. Content A. Developing several types of films B. Requirements for printing on different papers C. Photographic manipulation D. Printing and processing techniques E. Analysis of the work of famous photographers Student Evaluation Student evaluation will be based on quizzes, writing assignments, and photography portfolio. Bibliography Busselle, Michael. Master Photography: Take and Make Perfect Pictures. Cambridge: Cambridge UP, 1978. Capa, Robert. Robert Capa: Photographs. New York: Knopf, 1985. Cartier-Bresson, Henri. World of Henri Cartier Bresson. New York: Viking, 1968. Crouch, Stanley. One Shot Harris: The Photographs of Charles “Teenie” Harris. New York: Abrams, 2002. Finn, David. How to Look at Everything. New York: Abrams, 2000. Geddes, Anne. Down in the Garden. San Rafael: Cedco, 1996. Schwarz, Ted. McGraw-Hill’s Handbook for Professional Photographers. New York: McGraw, 1984. Smith, W. Eugene. W. Eugene Smith, His Photographs and Notes. New York: Aperture, 1969. Uelsmann, Jerry. Jerry Uelsmann: Photo Synthesis. Gainsville: UP of Florida, 1992.
(3 lecture) Course Description This course is designed to discuss the principles and applications utilized in the field of public relations. The theory, history and utilization of public relations, especially in the late 19th and 20th Century America, are explored. Students learn the complexities involved in public relations, enhancing their ability to function in practical roles associated with the field. Prerequisite ENG 101 or permission of the instructor. Text Smith, Ronald D. Strategic Planning for Public Relations . 6th ed. Routledge, 2021. Objectives
(3 lecture) Course Description This course introduces the photography student to the classical and contemporary methods of subject lighting. Film photography, digital photography, the black & white and hybrid darkroom will be used in this course to edit and perfect photographs. Students will learn techniques for creating portrait images. Studio and outdoor lighting techniques and model posing will be a few of the subjects studied for photographing people of all ages, families, and pet portraits. Professional retouch, color correction, and on-site lighting will be experienced through actual and theoretical situations. Note A 35 mm film camera and a 35 mm digital camera with interchangeable lenses are required for this course. Fall semester only. Prerequisite COMM 110, COMM 120, and COMM 219. Text No text required. Objectives The student will be able to A. Use a variety of lighting setups to capture the desired portrait. B. Pose the subjects in expressive positions. C. Capture the elements of portrait photographs with a film camera and a digital camera. D. Perfect student-manipulated photographic images in the darkroom and on the computer. E. Prepare commercial quality images. Content A. Subjects in the studio and on location B. Dynamic compositions C. Traditional, contemporary and classic lighting setups D. Specific lighting setups E. Control lighting F. Dynamic lighting setups Student Evaluation Evaluation will be based on assignments, presentation, and the quality of work presented by the photography student. Bibliography The Art of Photography. New York: Time-Life, 1971. Print. Begleiter, Steven H. 50 Lighting Setups for Portrait Photographers: Easy-to-follow Lighting Designs and Diagrams. Buffalo, NY: Amherst Media, 2008. Print. Busselle, Michael. Master Photography: Take and Make Perfect Pictures. New York: Rand McNally, 1978. Print. Crouch, Stanley. One Shot Harris: the Photographs of Charles “Teenie” Harris. New York, NY: Harry N. Abrams, 2002. Print. Feininger, Andreas. Light and Lighting in Photography. Garden City, NY: Amphoto, 1976. Print. Feininger, Andreas. The Complete Photographer. Englewood Cliffs, NJ: Prentice-Hall, 1978. Print. Feininger, Andreas. Total Picture Control. New York: Amphoto, 1970. Print. Finn, David. How to Look at Everything. New York: Harry N. Abrams, 2000. Print. Hedgecoe, John. The Photographer’s Handbook. London: Ebury, 1977. Print. Herko, Robert. Composing Photographs. Stamford, CT: Longmeadow, 1990. Print. Peterson, Bryan. Understanding Exposure. Revised ed. New York: Amphoto, 1990. Print. Reynolds, Clyde. The Photoguide to Filters. London: Focal, 1976. Print. Rice, Mark, William Johnson, and Carla Williams. Photography from 1839 to Today: George Eastman House, Rochester, NY. Köln: Taschen, 2000. Print. Rush, Michael. Video Art. London: Thames & Hudson, 2003. Print. Schwarz, Ted. McGraw-Hill’s Handbook for Professional Photographers. New York: McGraw-Hill, 1984. Print.
(3 lecture) Course Description This course introduces photographic techniques utilized by outdoor and wildlife photographers. Equipment, photographic exposure, composition and safety are among the subjects covered in this course. Students will use both a regular black & white darkroom and a hybrid darkroom. They will be combining both film and digital photography with the use of advanced computer techniques to edit and perfect their photographs. Composing wildlife images, capturing animal behavior, and working with on-site lighting will be experienced through theoretical and actual situations. Note A film SLR camera and digital SLR camera, both with the capability to change lenses, are required for this course. Fall semester only. Prerequisite COMM 110, COMM 120, and COMM 219. Text Illg, Cathy, and Gordon Illg. Dynamic Wildlife Photography: Techniques for Creating Captivating Images. Buffalo, NY: Amherst Media, 2004. Print. Objectives The student will be able to A. Compose wildlife images. B. Capture well-composed photographs in the field with a film and a digital camera. C. Perfect manipulated-photographic images. D. Use a variety of lenses to capture the desired images. E. Prepare images for professional printing. Content A. Basic and essential field equipments B. Wildlife photographic composition C. The art of pictorial storytelling D. Photographic exposure and compensation E. Professional grade camera lenses and their uses F. The specialized requirements of field work Student Evaluation Evaluation will be based on assignments, presentation, and the quality of work presented by the photography student. Bibliography The Art of Photography. New York: Time-Life, 1971. Print. Blaker, Alfred A. Field Photography: Beginning and Advanced Techniques. San Francisco: W.H. Freeman, 1976. Print. Busselle, Michael. Master Photography: Take and Make Perfect Pictures. New York: Rand McNally, 1978. Print. Cahn, Robert, and Robert Glenn. Ketchum. American Photographers and the National Parks. New York: Viking, 1981. Print. Feininger, Andreas. Light and Lighting in Photography. Garden City, NY: Amphoto, 1976. Print. Feininger, Andreas. The Anatomy of Nature. New York: Dover Publications, 1979. Print. Feininger, Andreas. Total Picture Control. New York: Amphoto, 1970. Print. Finn, David. How to Look at Everything. New York: Harry N. Abrams, 2000. Print. Gaunt, Leonard. Commonsense Photography. London: Focal P., 1969. Print. Havelin, Michael. Practical Manual of Captive Animal Photography. Buffalo, NY: Amherst Media, 2000. Print. Herko, Robert. Composing Photographs. S tamford, CT: Longmeadow, 1990. Print. Herko, Robert. Using Creative Techniques. Stamford, CT: Longmeadow, 1990. Print. Images of the World: Photography at the National Geographic. Washington, D.C.: National Geographic Society, 1988. Print. Peterson, Bryan. Understanding Exposure. Revised ed. New York: Amphoto, 1990. Print. Peterson, Bryan. Understanding Exposure. Revised ed. New York: Amphoto, 2005. Print. Photography as a Tool. New York: Time-Life, 1973. Print. Schwarz, Ted. McGraw-Hill’s Handbook for Professional Photographers. New York: McGraw-Hill, 1984. Print. Special Problems. New York: Time-Life, 1971. Print.
(3 lecture) Course Description This course introduces the student to the discipline of advertising photography. Students will learn and practice techniques for creating successful advertising images that meet the requirements of the client in a deadline-based environment. Some of the information to be addressed will be designing and capturing advertising images, manipulating and perfecting photographic images and learning techniques to manage an advertising photography business. A manual and a digital SLR (single lens reflex) camera with interchangeable lenses are required for this course. Note A manual and a digital SLR (single lens reflex) camera with interchangeable lenses are required for this course. Prerequisite COMM 111, COMM 120, COMM 219, COMM 212, and COMM 233. Text Earnest, Allison. The New Lighting for Product Photography: The Digital Photographer ‘s Step-by-Step Guide to Sculpting with Light . 1st ed. Amherst, 2019. Harrington, John. Best Business Practices for Photographers. 3rd ed. Santa Barbara: Rocky Nook, 2017. Objectives The student will be able to A. Design advertising pictures in the field with a film and a digital camera. B. Perfect student-manipulated photographic images in the darkroom and on the computer. C. Negotiate a bid. D. Write an estimate and a bid. E. Invoice clients Content A. Designing product photography B. Product photography including people C. The structure and psychology of bid vs estimate D. Preproduction, post production, and delivery E. Good business practices Student Evaluation Evaluation will be based on assignments, presentation, and the quality of work presented by the photography student. Bibliography The Art of Photography. New York: Time-Life, 1971. Print. Bracegirdle, Brian. Photography as Illustration: the Use of the Camera for Books and Reports. South Brunswick: Barnes, 1970. Print. Busselle, Michael. Master Photography: Take and Make Perfect Pictures. New York: Rand McNally, 1978. Print. Documentary Photography. New York: Time-Life, 1972. Print. Feininger, Andreas. Light and Lighting in Photography. Garden City, NY: Amphoto, 1976. Print. Feininger, Andreas. The Complete Photographer. Englewood Cliffs, NJ: Prentice-Hall, 1978. Print. Feininger, Andreas. Total Picture Control. New York: Amphoto, 1970. Print. Finn, David. How to Look at Everything. New York: Harry N. Abrams, 2000. Print. Gerace, Philip G., and Stephen S. Mangione. Communication–photography. Englewood Cliffs, NJ: Prentice-Hall, 1976. Print. Geraci, Philip C. Photojournalism, Making Pictures for Publication. Dubuque, IA: Kendall/Hunt, 1978. Print. Herko, Robert. Composing Photographs. Stamford, CT: Longmeadow, 1990. Print. Herko, Robert. Using Creative Techniques. Stamford, CT: Longmeadow, 1990. Print. Jacobs, Lou. Professional Commercial Photography: Techniques and Images from Master Digital Photographers. Buffalo, NY: Amherst Media, 2010. Print. Johnston, Patricia A. Real Fantasies: Edward Steichen’s Advertising Photography. Berkeley, CA: University of California, 1997. Print. Peterson, Bryan. Understanding Exposure. Revised ed. New York: Amphoto, 2005. Print. Schwarz, Ted. McGraw-Hill’s Handbook for Professional Photographers. New York: McGraw-Hill, 1984. Print. Special Problems. New York: Time-Life, 1971. Print.
(3 lecture) Course Description In this advanced electronic skills class, the student will build on skills learned in their previous classes to create and design a web page with Graphic Design sophistication and flair. Prerequisite COMM 112 and COMM 110. Text To be announced. Objectives
(3 lecture) Course Description Designed for the advanced graphic design student, this course will build on what the student already knows in photography, electronic art and design, and electronic layout and design. The focus will be on incorporating the available professional grade technology as a means of producing presentation materials. Prerequisite COMM 202, COMM 111, and COMM 212. Text No Text Required. Objectives
(12 work hours per week) Course Description This practicum will provide the student with a practical and disciplined work experience in a field setting. The student will spend a minimum of 12 hours a week (180 hours for the semester) working in a professional setting under the guidance of experienced graphic designers or photographers. Prerequisite Completion of 48 program credit hours, COMM 111 and COMM 212 with a “C” grade or higher; Photography students are also required to complete COMM 233 and COMM 234 with a “C” grade or higher and have approval of program director. Text Not applicable Objectives The student will be able to A. Apply various discipline theories and skills while working within the confines of a professional establishment. B. Work under the direction of supervisory personnel. C. Participate effectively in client relationships. D. Work effectively with all personnel involved in the production of professional products. E. Use a variety of electronic and manual tools to produce projects for professional clients. F. Meet assigned production deadlines. G. Apply cost analysis as applied to various professional products. Content A. The production of graphic design or photographic layouts B. The production of camera ready work C. Participation in designer/client relationships D. Participation in printer relationships E. Cost analysis, job bidding, and billing of services Student Evaluation Evaluation will be based upon a portfolio, journal, critiques from a faculty supervisor, and evaluation of the professional supervisor.
(3 lecture) Course Description In this course, students demonstrate their advanced skills by creating a comprehensive, multi-piece project. The semester is devoted to the production of a capstone project and the preparation of physical and digital portfolios. The approved topic is to be researched, verified, and visually represented through the students’ layouts. Prerequisite COMM 111 and COMM 212, each with a minimum of a C grade. Objectives
