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The course is a combination of theory and practice. It evaluates the two primary varieties: single-channel and installation that characterize video art, i.e., single-channel works, where a video is screened, projected, or shown as a single series of images, and installations which comprise either an environment made up of several distinct pieces of video screened simultaneously, or a combination of video with assemblage, or performance art and the multimedia fashion for combining architecture, design, sculpture, electronic and digital art. The course also considers using the Internet and computer art to manipulate photographic and film imagery. The course also engages installation art and its unique configuration of large-scale, mixed-media constructions, which are often site-specific and temporary while exploring the conceptual use of space and its flexible tri-dimensionality. Its contemporary history within the multimedia frame is also brought into context. Two term papers that come in the format of a review paper are encouraged. Assignments consider the potentials and explorative potentials of the video in multimedia manipulations. Assignments are self-directed but approved for exploration and execution. All assignments digitized form part of a student’s portfolio.

This course seeks to develop advanced ability in conceptual thinking for solving graphic design problems. The course also seeks to harmonize the skills learnt in concept development, critical thinking for graphic design projects and channel it through a coordinated design system. Projects are designed to aid students in demonstrating the ability to build their imagination, aesthetic sensitivity, and powers of critical thought required to succeed as visual communicators. A unique sequentially-based approach will stress image development, typography, print, screen-based graphics, and interactive design applications. Students are offered the latitude to learn current best practices and conventions in UI/UX design and apply them to create compelling screen-based experiences for websites or apps to expose them to various careers, from marketing to web design human-computer interaction.

Preparing a clay body for throwing, starting with cones, cylinders, and open bowls. Various shapes and designs are explored on the wheel. General handling of wares on the wheel-head such as centring, pulling, trimming, cutting, or removing ware from the wheel-head and turning the leather-hard ware to create the foot, reducing weight and creating the rings.

The course provides an opportunity for a programme of self-directed work in the studio discipline of each graduating student. Students engage in a quasi-project of their choice defined in a formal proposal to be appraised by a constituted body and approved. Display of work-in-progress by weekly shall be critiqued by peers and the lecturers in the studio discipline. A work of promise will be passed for further improvement preparatory to a public display. Assessment of students will be based on individual input to his/her work. Where the lecturers are not satisfied with the degree and quality of the student’s work, the student shall be assigned another project of reasonable scope upon which his/her ability can be further judged. FAA 452 Studio Project Report/Exhibition Learning Outcomes At the end of the course, students should be able to: A project work of art for display on a chosen site in any of the Fine Art and Design specialist areas under the guidance of a supervisor. The student is expected to submit an essay on such work of between 1,500-3,000 words, including bibliographic references or works cited. Pertinent to the documentation include stating a particular problem the design addresses, the design concept and mode of execution, choice of form, and antecedents in history. 300 LEVEL SCULPTURE

The fabric and woven structures constitute core aspects of the course. Weaved patterns through time, identification, and application of looms to tapestry, macramé, knitting, and rug production will constitute studio assignments, some of which shall emanate from computer application to pattern drafting to use software packages develop patterns arising from freehand sketches. Also, students are expected to identify non-woven (man-made) fabrics, production processes, and their application for personal, commercial, and industrial uses.