Pratt Institute

200 Willoughby Avenue Non-Profit Org.

Brooklyn, NY 11205-9975 U.S. Postage

p r at t i n s t i t u t e
Telephone 718-636-3453 PA I D
Pratt Institute
Pratt Manhattan
144 West 14th Street
New York, NY 10011-2700

center for continuing and

Telephone 212-647-7199

professional studies
Manhattan/Brooklyn

www.pratt.edu/prostudieS

classes begin AUG. 31, 2009

FALL 2009
AIA Professional Development
Architecture
Art and Design
Associate Degree Programs
Audio Engineering and Production
Career Development
Center for Real Estate Education
Certificate Programs
Computer Graphics
Construction Management
Corporate Training
Creativity and Artistic Expression
Design
Facilities and Environmental Compliance
Fine and Decorative Art Appraisal
Industrial Design
Interior Design
Marketing Workshops
Martial Arts
Media Arts/Photography
Merchandise and Product Development
Pre-College
Sustainable Building, Infrastructure Design, and Management
Study Abroad
continuing education programs
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 kmiletsk@pratt.edu.
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.
all photographs © 2008 bob handelman
Prat t Institute Office of Public Relations
and Communications 4283_6.09
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 in Fine and Decorative Art Appraisal. The
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.
how to register
Manhattan Brooklyn
Certificate Program in Fine
In Person In Person
and Decorative Art Appraisal
144 West 14 Street, Room 209 200 Willoughby Avenue
Growing popularity inspired by television Between 6th and 7th Avenues ISC Building, 2nd floor
programs has generated high interest in M–Th, 10 AM–6 PM; F, 10 AM–2 PM M–Th, 10 AM–4:30 PM; F, 10 AM–2 PM
personal property appraisal. Pratt Institute’s
By Mail By Mail
Center for Continuing and Professional
Fill out the registration form and mail with check or Fill out the registration form and mail with check or
Studies, in an exclusive collaboration with
money order to our office. money order to our office.
the American Society of Appraisers (ASA), is
pleased to announce its certificate program Pratt Manhattan Pratt Institute
Center for Continuing and Center for Continuing
Pratt Certificate Program will prepare you Professional Studies and Professional Studies
to become skilled appraisers, and/or develop 144 West 14 Street, Room 209 200 Willoughby Avenue, ISC 205
a thorough appreciation of collectable items. New York, NY 10011 Brooklyn, NY 11205
Through lecture, demonstration, and display, By Telephone By Telephone
you will learn the history, theory, and prac- Call 212-647-7199 with your credit card. Call 718-636-3453 with your credit card.
tice for skillfully appraising and/or collecting M–Th, 10 AM–6 PM; F, 10 AM–2 PM M-Th, 10 AM–4:30 PM; F, 10 AM–3:30 PM We ACCEPT
a wide variety of collectable items. For more By Facsimile By Facsimile
• American Express • Discover
information, visit http://prostudies.pratt.edu Send your fax to 212-367-2489. Send your fax to 718-399-4410.
• MasterCard • Visa
or contact Karen D’Angelo at 212-647-7298 Be sure to have your registration form filled out with Be sure to have your registration form filled out with
or 212-647-7199. your credit card number and expiration date. your credit card number and expiration date.
CORPORATE BILLING
Online/Instant Enrollment Online/Instant Enrollment
Certificate Program in Purchase orders accepted.
http://my.pratt.edu http://my.pratt.edu
Photography and Digital Media Please forward billing information with registration.
Photography as artistic medium and visual
communication crosses international divides,
mail application
and the advent of digital photography has Last Name first middle
Mail application with a check or money
made taking photos accessible to all of
social security # date of birth order payable to Pratt Institute/Center
us. This program is designed for serious for Continuing and Professional Studies.
amateurs, those who would like to take their street Pratt Manhattan
techniques, vision, and current knowledge to Center for Continuing and Professional Studies
144 West 14th Street, Room 209
another level, or those interested in changing city state zip
New York, NY 10011-2700
careers, preparing for a master’s degree, or 212-647-7199
pursuing personal growth. The coursework phone
or
for this program offers beginning, intermedi- Pratt Institute
email occupation
ate, and advanced classes in black-and-white Center for Continuing and Professional Studies
200 Willoughby Avenue
and digital photography. For more infor- course location pratt/manhattan certificate program ($100 fee) computer graphics
Brooklyn, NY 11205-9975
mation, visit http://prostudies.pratt.edu or pratt brooklyn photography
718-636-3453
contact us at 212-647-7199. 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 method of payment
Professional Development Sustainable bUIldINg, infrastructure Cash Check/money order
Amex Discover
Series
design, and management
Visa MasterCard
I hereby authorize use of my credit card.
Pratt CCPS has expanded the Professional course number section course title dates day & time tuition
Development Series offerings.
signature
They now include:
• Web-based AIA/CES courses at Pratt card number
Online Center for Continuing and
Professional Studies. See page 40. expiration date: month/year
• Web-based AIA/CES courses. security number
Courses can be provided on-site for corpo-
rate clients. For information, contact Karen Registration Fee*
for office use only
Adler Miletsky at kmiletsk@pratt.edu.
Additional Fees*
Log #
Visit http://prostudies.pratt.edu now, and I heard about your program through: If you are registering for a credit
Friend course, please contact the Center for
earn while you learn. New York magazine
Continuing and Professional Studies. total Date Received
The New York Times
* $10 registration fee per course is
Yellow Pages
applied to registrations over $95. Tuition
Internet
* Additional fees refer to Non-Credit
Other
Information section of this catalog. Fees Total
TA B L E O F C O N T E N T S
FA L L 2 0 0 9

Non-Credit Continuing 20 Computer Graphics Courses General Information

Education: Brooklyn 20 Classes for Beginners 2 Administration: Brooklyn
CALENDAR
2 Art and Design 20 Animation 9 Administration: Manhattan
2 Decorative Arts 22 Animación Clases Nuevas en 69 Administration: AOS/AAS July
2 Fashion Design Español 70 Directions and Map 27 Open Registration Begins
2 Fine Arts 24 Digital Video and Audio 71 CCPS Policies and Procedures Continuing Ed
4 Illustration 25 Drafting and Modeling on the Mac 71 Alumni Audit
4 Industrial Design 25 Electronic Publishing and Digital Art 71 Changes to Policies, Procedures, August
5 Interior Design 27 Electronic Publishing and Digital Art: and Fees 31 First Day of Fall Classes
5 Jewelry Making Short Classes for Pros 71 Classroom Assignments
27 Interactive Media and the Internet
September
6 Media Arts /Photography 71 Continuing Education Units
6 Sculpture 29 Programming 71 Corporate Billing 7 Labor Day
6 Career Development 30 Training Centers 71 OneKey Instructions All Institute, School Closed
6 Creativity and Artistic Expression 30 Authorized Autodesk 71 Tuition and Fees 19-20 Rosh Hashanah
7 Sacred Singing Training Center: 72 Faculty: Non-Credit Continuing Ed Only, No classes
7 Vocal Improvisation 30 AutoCAD 72 Refunds 28 Yom Kippur
7 Voice and Movement Improvisation 35 AutoCAD LT 72 Withdrawal Policy Continuing Ed Only, No classes
7 Legal Topics for the Creative 36 New Classes in Spanish 72 Register Online
Professional 36 Clases Nuevas en Español 72 Semester Student Photo Id October
8 Marketing Workshops 37 Autodesk Training Center 72 Supply Lists 12 Columbus Day
8 Martial Arts Software Update Training 72 Transcripts All of Pratt Institute, Classes meet
8 Personal Enrichment 37 Autodesk Authorized Training 72 Weather Emergency Line
8 Special Programs Center Premier Media and November
8 Center for Real Estate Education Entertainment 73 Index 26-29 Thanksgiving
8 Study Abroad Programs 37 Autodesk Authorized Training 77 How to Register: Non-Credit All Institute, School Closed
8 Summer Pre-College Program Center Customer Testimonial
38 Computer Graphics Certificates Weather Emergency Line December
Non-Credit Continuing 38 Interactive Media Pratt Institute’s Weather Emergency 24-31 Winter Vacation
Education: Manhattan 38 Electronic Imaging and Illustration Line can be reached by dialing: All-Institute, School Closed
9 Art and Design 39 Electronic Publishing 718-636-3700.
January
9 Book Arts 39 Computer Animation and Video Callers will get information on any
9 Decorative Arts weather-related closings at either the 1 New Years Day
39 Computer-Aided Design and
10 Design Visualization Brooklyn or Manhattan campuses. All-Institute, School Closed
11 Fine Arts 40 Special Programs Visit our website: www.pratt.edu. 18 Martin Luther King Jr. Day
13 History of Art and Design 40 Professional Development for All-Institute, School Closed
13 Illustration Registration Deadlines
Architects, Professional Engineers,
14 Jewelry Making Registration deadlines for all courses Announcement:
and Land Surveyors
15 Media Arts /Photography are one week prior to course start Pratt Manhattan Chelsea
40 AIA /CES Registered Provider
15 Certificate Program dates, unless otherwise noted. Pratt Institute’s Manhattan campus
61 Certificate Program in Sustainable
Photography and Digital Exceptions will be allowed based on is located at 144 West 14th Street,
Building, Infrastructure Design and
Imaging space availability. We recommend that between Sixth and Seventh avenues.
Management
15 Photography and Digital Imaging you register early.
62 Certificate Program in Audio Catalog Information
19 Career Development Engineering and Production Cover Design Office of Publications
19 Creativity and Artistic 64 Certificate Program in Fine Printing Conceptual Litho
Expression and Decorative Art Appraisal
19 Construction Management 64 Fine and Decorative Art Appraisal
19 Facilities and Environmental 67 Pre-College Program: Fall
Compliance 67 Pre-College Program: Summer
19 Law
19 Marketing Workshops School of Art and Design
19 Publishing for the Real World Associate Degree Programs:
Manhattan
69 Two-Year Associate Degree
Programs
69 Associate of Occupation Studies
69 Associate of Applied Science
2

NON-CREDIT B R O O K LY N
COURSES
Pratt is committed to serving the
Brooklyn community. To this end, the
C O N T I N U I N G E D U C AT I O N
Institute offers a wide range of
courses on its campus in the historic
Clinton Hill section of Brooklyn.
Course topics range from art and
design to computer graphics and
technology classes. Please contact our A RT A N D D E S I G N Fashion Design Fine Arts
Brooklyn office at 718-636-3453 for
more information or to be placed on
COURSES Fashion Design: Construction Abstract Painting:
our mailing list. Techniques for Garments I Concepts and Techniques
Decorative Arts This hands-on course teaches the This course will examine the concepts
actual construction of garments, and techniques used in abstract painting
CENTER FOR Quilting and the Handmade using existing commercial patterns. from the turn of the twentieth century
CONTINUING AND This course is a non-traditional sewing Learn design room sewing techniques to the present. We will use a combina-
PROFESSIONAL STUDIES class for both beginners and those and terms, proper layout, transferring tion of in class demonstrations and
who would like to expand their skills and marking techniques. This course is assigned projects to examine notions
Director in quilting and sewn projects. While intended for beginners. The instructor of painterly abstraction, using a brush
Dr. Charles W. Münster focusing on quilting, you will also be will provide a supply list on the first and easel, as well as post-painterly
Assistant to the Director exposed to a range of possibilities and day of class. You will be responsible abstraction in techniques such as the
Joanne James will learn how to develop and make for bringing your own supplies. pour-and-spatter techniques of Jackson
your own projects during class. Rather Topics include: hand-sewing techniques, Pollock and Morris Louis. We will also
Associate Director
than adhering to pre-made patterns, a variety of zipper applications, and use explore the use of digital media, text
Karen Adler Miletsky
this class will emphasize an inventive of industry machines and equipment. in painting, and other topics relevant
Academic Director approach to making things. You will Facilities Fee: $5 payable directly to to the creation of contemporary
Joelle Danant learn basic building blocks that you instructor on first day of class. abstract painting.
Director Enrollment will use to create your own projects. • Tu 6–9 PM Topics include: Working from observa-
Management for Students are encouraged to use recy- 10 sessions Oct 6–Dec 8 tion or concepts, using a combination
Non-Credit Programs cled materials to make projects such Adrienne Jones of techniques to create a personal
Perry Han as quilts, quilt squares, throws, bags, XFD 107 3.0 C.E.U.s $375 painting language, and the relevance
custom pouches (i.e. for removable of historical awareness to a contempo-
Account/Customer Service disk drives, iFones), laptop covers, Pattern-Making Basics rary painting practice.
Specialist pillows, patches, toys, and more. for the Female Form • M 6–9 PM
Alana Smith Topics include: Learning the basics: This course introduces the beginning 6 sessions Oct 5–Nov 9
Pre-College Coordinator simple hand-stitches that you will use student to the basics of patternmaking Ethan Greenbaum
Elizabeth Kisseleff to make limitless projects; stitching for the female form. The goal of this XFA 483 1.8 C.E.U.s $165
as binding; stitching as drawing and course is to develop beginning pat-
Administrative Assistant
accent; inside/out technique for struc- ternmaking skills with the use of the Abstract Painting: Concepts
Brooklyn
tures; making shapes, quilting, sourcing, basic bodice and skirt slopers. You will and Techniques: The Workshop
Johndell Wilson
and using recycled materials; rolled learn how to make a variety of bodices This workshop will examine the concepts
edges, raveled edges, using a sewing and skirts. and techniques used in abstract painting
LIBERTY PARTNERSHIP
machine; color, pattern, and assemblage; Topics include: creating and fitting the from the turn of the twentieth century
Director patches; designing your own patterns; basic sloper, the 8 basic darts, and dart to the present. We will use a combina-
Brooklyn and more. Inspiring reference media manipulation. tion of in class demonstrations and
Frederick Watson will also be shared and discussed. • Th 6–9 PM assigned projects to examine notions
Administrative Assistant This class is for the adventurous! 10 sessions Oct 1–Dec 10 of painterly abstraction, using a brush
Brooklyn Note: Tools and other supplies must Adrienne Jones and easel, as well as post-painterly
Veronica Darby be purchased for the first day of class: XFD 113 3.0 C.E.U.s $375 abstraction in techniques such as the
A list will be provided. Range of pour-and-spatter techniques of Jackson
STEP expenses depends on your budget; Illustrator for Fashion Design Pollock and Morris Louis. We will also
recycled materials are encouraged and See page 25 for course description. explore the use of digital media, text in
Director will cut costs. Any questions that you painting, and other topics relevant to
Brooklyn have may be directed to the instructor the creation of contemporary abstract
Dr. Georgianna Glose at shavens88@yahoo.com. painting.
Telephone • M 6–9 PM Topics include: Working from observa-
718-636-3453 10 sessions Oct 5–Dec 7 tion or concepts, using a combination
Sue Havens of techniques to create a personal
Facsimile
XDA 101 3.0 C.E.U.s $375 painting language, and the relevance
718-399-4410
of historical awareness to a contempo-
Internet rary painting practice.
pratt.edu/prostudies

Email
prostudy@pratt.edu

• 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 and
Painting
This 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
10 sessions Oct 3–Dec 12
Victoria Chang
XFA 479 3.0 C.E.U.s $375
Expressive Forms
You 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 Media
Explore 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
10 sessions Oct 6–Dec 8
Errin Heilman
XFA 461 3.0 C.E.U.s $375
Fundamentals of
Acrylic Painting
In 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
6 sessions Oct 6–Nov 10
Ethan Greenbaum
XFA 481 1.8 C.E.U.s $165
Fundamentals of Acrylic
Painting: The Workshop
In 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 Painting
This 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
6 sessions Oct 6–Nov 10
Beth Bailis
XFA 469 1.8 C.E.U.s $165
BROOKLYN CE FALL 2009 3
Introduction to
Curatorship
During 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
10 sessions Oct 5–Dec 7
Zulema Mejias
XFA 478 3.0 C.E.U.s $375
Making Art in New York City
As 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
10 sessions Oct 6–Dec 8
Abraham McNally
XFA 477 1.8 C.E.U.s $455
REGISTER ONLINE: my.pratt.edu
4 FALL 2009 BROOKLYN CE
Fine Arts continued
New Materials in Sculpture:
Using Material from the
World Around Us
The 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
6 sessions Oct 5–Nov 9
Abraham McNally
XFA 471 1.8 C.E.U.s $215
Painting and Drawing
Workshop
This 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
10 sessions Oct 3–Dec 12
John Mandile
XFA 457 3.0 C.E.U.s $375
REGISTER ONLINE: my.pratt.edu
Painting with Watercolors
There 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
6 sessions Oct 3–Nov 7
Michael Poast
XFA 459 1.8 C.E.U.s $215
Illustration
Introduction to
Botanical Illustration
Botanical 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
10 sessions Oct 5–Dec 12
Nancy Glover
XFA 467 3.0 C.E.U.s $375
Industrial Design
The Programs
The 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 Preparation
or 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 I
This 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.
• S U 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 I
This 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
12 sessions Oct 5–Dec 21
Bethany Martin
XIND 107 3.6 C.E.U.s $505
Program II (Graduate
Preparation 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: jwenner@pratt.edu
(instructor), or Rick Goodwin:
rgoodwin@pratt.edu (administration).
Once approved, please contact Johndell
Wilson at CCPS, at jwilson@pratt.edu,
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
graduate program, are not credited
classes, nor do they guarantee accept-
ance 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.

• Th 6–9:15 PM
12 sessions Sept 3–Nov 19
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: jwenner@pratt.edu
(instructor), or Rick Goodwin: rgood-
win@pratt.edu (administration). Once
approved, please contact Johndell
Wilson at CCPS, at jwilson@pratt.edu,
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
graduate program, are not credited
classes, nor do they guarantee accept-
ance 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.
• Tu 6–9:30 PM
12 sessions Sept 1–Nov 17
Joel Wennerstrom
XIND 103 3.6 C.E.U.s $775
Other Industrial Design Courses
From Product to Profit: How to
Make 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.
• Section 1: W 6–9 PM
10 sessions Sept 16–Nov 18
Flann Lippincott
XIND 111 3.0 C.E.U.s $495
Interior Design
Preparatory Course
The 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 INT-adm@pratt.edu.
To register, contact Pratt Institute,
Center for Continuing and Professional
Studies at 718-636-3453 or email
prostudy@pratt.edu.
Registration deadline: May 1, 2010.
Drawing Foundation for
Interior 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
Earrings
This 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 Components
This 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.
Please note: A $20 fee payable to the
instructor will be collected to cover
supply costs for the session. You
should provide a basic tool set of a
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
BROOKLYN CE FALL 2009 5
Leather Jewelry
This 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.
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.
• 1 session Offered Spring 2010
Melanie Schmidt
XJM 110 .3 C.E.U.s $40
Organic Wire Wrapping
This 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.
Please note: A $20 fee payable to the
instructor will be collected to cover
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.
• 1 session Offered Spring 2010
Melanie Schmidt
XJM 115 .3 C.E.U.s $40
Pearl Knotting
This 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.
Please note: A $20 fee payable to the
instructor will be collected to cover
supply costs for the session. Students
should provide a sharp scissor.
• W 6–9 PM
1 session Oct 14
Melanie Schmidt
XJM 107 .3 C.E.U.s $40
REGISTER ONLINE: my.pratt.edu
6 FALL 2009 BROOKLYN CE
Jewelry Making continued
Stringing
This 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.
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.
• Th 6–9 PM
1 session Oct 15
Melanie Schmidt
XJM 109 .3 C.E.U.s $40
Wire Wrapping
This 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.
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.
• 1 session Offered Spring 2010
Melanie Schmidt
XJM 111 .3 C.E.U.s $40
Wire Wrapping with Chain
This 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.
REGISTER ONLINE: my.pratt.edu
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.
• 1 session Offered Spring 2010
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 Culture
and 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
10 sessions Sept 30–Dec 2
Mareena Waheeda Daredia
XCS 101 3.0 C.E.U.s $375
The Artist’s Diary: Digital
Photography and Bookmaking
In 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
6 sessions Oct 6–Nov 10
Abraham McNally
XFA 473 1.8 C.E.U.s $215
Sculpture
Metalworking I
This 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
• Section 1: W 6–9 PM
10 sessions Sept 30–Dec 2
Kirsten Campbell
• Section 2: F 6–9 PM
10 sessions Oct 2–Dec 11
Adam Apostoulos
XFA 106 3.0 C.E.U.s $385
Metalworking II
This 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
10 sessions Oct 2–Dec 11
Adam Apostoulos
XFA 107 3.0 C.E.U.s $385
New Materials in Sculpture:
Using Material from the World
Around Us
See page 4 for course description.
CAREER
DEVELOPMENT
From Product to Profit: How to
Make Money from Your Ideas
See page 5 for course description.
Getting Out There: How to
Present, Promote, Exhibit,
and Sell Your Artwork
This 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
10 sessions Oct 4–Dec 13
Rodger Stevens
XCD 114 3.0 C.E.U.s $375
Introduction to Curatorship
See page 3 for course description.
CREATIVITY AND
ARTISTIC 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 Creative
Expression from the Inside-Out:
An Interdisciplinary
Sampler 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 Writing
In 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
6 sessions Sept 30–Nov 4
Ivy Angelina Lofberg
XCD 117 1.5 C.E.U.s $165
Sacred Singing
Invoke 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
6 sessions Oct 5–Nov 9
Joelle Danant
XCD 112 1.5 C.E.U.s $165
Sacred Singing: The Workshop
Invoke 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 Improvisation
This 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
6 sessions Sept 30–Nov 4
Joelle Danant
XCD 111 1.5 C.E.U.s $165
Vocal Improvisation:
The Workshop
This 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.
Prerequisite: No experience required.
Note: Wear comfortable clothes.
• Section 1: Sa 1–4 PM
1 session Sept 26
Joelle Danant
• Section 2: Sa 1–4 PM
1 session Nov 7
Joelle Danant
XCD 121 .3 C.E.U.s $25
Voice and Movement
Improvisation from the
Inside Out
Let 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.
Prerequisite: No experience required.
Note: Wear comfortable clothes.
• Tu 6:30–9 PM
6 sessions Oct 6–Nov 10
Joelle Danant
XCD 129 1.5 C.E.U.s $165
BROOKLYN CE FALL 2009 7
Voice and Movement
Improvisation from the
Inside Out: The Workshop
Let 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.
Prerequisite: No experience required.
Note: Wear comfortable clothes.
• 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
L E G A L TO P I C S F O R
T H E C R E AT I V E
PROFESSIONAL
Art Law
Art 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.
REGISTER ONLINE: my.pratt.edu
8 FALL 2009 BROOKLYN CE
L E G A L TO P I C S F O R
T H E C R E AT I V E
PROFESSIONAL
continued
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
10 sessions Sept 14–Nov 23
Flann Lippincott
XAL 102 3.0 C.E.U.s $395
MARKETING
WO R K S H O P S
Getting Out There:
How to Present, Promote,
Exhibit, and Sell Your Artwork
See page 6 for course description.
M A RT I A L A RT S
Tai Chi
The 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
10 sessions Oct 5–Dec 7
Madalina Stefan
XTC 101 1.5 C.E.U.s $160
OneKey Account Information
OneKey usernames and passwords
are necessary for all students of Pratt
Institute. Please see page 71 for
detailed instructions.
REGISTER ONLINE: my.pratt.edu
PERSONAL SPECIAL PROGRAMS SUMMER
ENRICHMENT PRE-COLLEGE
Center for Real Estate
Art of Living Course PROGRAMS
The course provides you with the
Education
Jul 5–30, 2010
means to achieve your ideal life. This Please visit our website for course High school students will have an
program empowers participants with descriptions and schedules. invaluable opportunity to sharpen their
effective tools that eliminate stress, www.pratt.edu/prostudies. portfolios and get a taste of college
increase energy and focus, heighten
life, while earning four college credits.
awareness and develop strong social
and leadership skills. Study Abroad Programs Scholarships are available. The pro-
gram is offered on both the Brooklyn
During the Art of Living Course,
Spring 2010 and Manhattan campuses.
you’ll learn a set of powerful breathing
• Copenhagen Program includes: Architecture, Art
techniques which decrease stress,
Interior Design History, Creative Writing, Fashion
increase energy and stamina, detoxify
Jan 17–May 14, 2010 Design, Foundation Art, Graphic
the body, balance the emotions and
• London, Milan, Paris Design (including Computer Design),
clear the mind. Through discussion
Mar 11–24, 2010 Traditional Illustration, Painting and
and exploration of the mind and its
Fashion in Europe Drawing, Photography, and Portfolio
tendencies, you will develop and refine
• Rome (Ungraduate) Development.
skills for success in school and the
Jan 11–May 14, 2010
work place. Tuition: $2,445, plus fees*
Architecture
Topics include: stress-management; * Tuition and fees are subject to change.
increasing energy; managing the mind
Summer 2010 For more information and a detailed
and emotions; interpersonal relation-
• Copenhagen brochure, contact our Brooklyn office
ships; leadership and entrepreneurship;
Jun 27–Aug 14, 2010 at 718-636-3453 or email us at
and personal and social responsibility.
Architecture, Urban Design, precollege@pratt.edu. Visit our web
Please note: up to 3 free follow-up
Industrial Design, Interior Design, site at: www.pratt.edu/ccps-precollege
and upgrade classes provided for
Furniture Design, Textile Design,
those who have attended the Art
Glass Design, Jewelry Design
of Living Course.
• Rome (Graduate)
• Section 1: M–Tu 6–10 PM ,
Jun 1–Jun 30, 2010
Sa–Su 10 AM –4 PM
Architecture
6 sessions Oct 16–20
• Tuscany
Annelies Richmond
Jun 11–Jul 24, 2010
• Section 2: Th–F, M 6–10 PM ,
Fine Arts
Sa–Su 10 AM –4 PM
• Venice
6 sessions Nov 19–23
Jun 9–Jul 21, 2010
Annelies Richmond
Art History, Printmaking, Materials
XPE 101 1.8 C.E.U.s $275
and Technique, Painting and Drawing
 9

C OM PU TE R
G R A P H IC S
M A N H A T TA N
CE RT I F I C AT E
P ROG R A M AN D C O N T I N U I N G E D U C AT I O N
NON - C REDI T
COU R SE S
Pratt’s well-known continuing education
classes at our Manhattan center offer a
A RT A N D D E S I G N Decorative Arts Entering the Handcrafted
broad range of courses in computing, Gift Market
computer graphics, art and design, career COURSES Block Printing and Stenciled Learn to create a unique gift line
development, writing, and much more. Our Patternmaking Intensive incorporating your own artwork and
computer courses, taught at our Advanced The Center for Continuing and
Workshop other skills that can be sold to boutiques,
Computer Applications Training Center, Professional Studies offers superior
Decorated patterns on band motifs and stationary stores, and galleries. You will
consist of interactive media, electronic professional art and design education,
border designs will be explored as an bring in 3-4 samples of their finished
imaging and illustration, electronic with an outstanding faculty and excep-
art form in themselves. This course will art or designs, photos, or computer
publishing, computer animation and tional facilities. Courses are taught by
deal with Ornamental Design principles graphics and learn how to adapt their
video, and computer-aided design and the finest professional artists and
and composition including shape, work into a small collection for the gift
visualization. designers in the world. This, along with
linear elements, planes, spirals and market. We will research the handmade
the cultural resources of New York City,
angular subdivisions of a square. market using websites and visiting
CENTER FOR ensures an exceptional education.
Topics include: Study motifs from shops, with emphasis on identifying
CONTINUING AND Greek vases, Byzantine, Persian, and reaching high-end luxury and mid-
PROFESSIONAL STUDIES Book Arts Chinese, Indian ornament, stained level diverse markets. We will discuss
Director glass and illuminated manuscripts. materials, construction, and sourcing
Book Arts Workshop Explore how to create repeatable inexpensive materials that can later be
Dr. Charles W. Münster
This class is an overview of the tech- patterns using surface transfer and purchased wholesale, and preparing
Associate Director niques, processes and concepts in the for handmade reproduction.
stenciling techniques. Geometric and
Karen Adler Miletsky production of artist books. Students will Topics include: trends, colors, and
organic shapes can be captured in
Academic Director create a variety of book formats, learn templates made in a range of common categories (e.g.: wedding, baby, Judaica,
Joelle Danant about paper/glues, creating decorative materials utilizing simple subtractive gender specific); simple business plans
papers, and paper-based techniques processes. You will practice block for artists: choosing a business name,
Director Enrollment (collage, cut paper, simple printmaking, printing skills (wood block, collagraph, creating a business card, buyer/customer
Management for transfer methods, etc). Emphasis is on rubber stamp) and stencil making skills relationships, entering juried wholesale
Non-Credit Programs techniques and concepts to create (etched brass, cut mylar, and cardboard). shows, applying for a resale number,
Perry Han interesting books and art works that • Th 6:30–9:30 PM setting up a studio, internet sales,
Pre-College Coordinator function on many levels. Slide presenta- 5 sessions Sept 3–Oct 1 expanding or redesigning your line,
Elizabeth Kisseleff tions, in-class projects, demonstrations Alicia Rothman wholesale market supplies, test
as well as a semester project. PMPF 493B 1.5 C.E.U.s $195 marketing, and more. By the end of
Special Programs Coordinator
Note: Students will be required to the course you will design a small
Karen D’Angelo
purchase their own materials. Gilding collection or gift line that will be
Account/Customer Service • M 6:30–9:30 PM ready for buyers.
Oil gilding is the technique of applying
Specialist 10 sessions Oct 5–Dec 7 • Th 6:30–9:30 PM
very thin sheets of precious and non-
Alana Smith Mary Ting 10 sessions Oct 8–Dec 17
precious metals to wood, metal, glass,
Administrative Secretary PMFA 503 3.0 C.E.U.s $375 ceramics, or any non-porous surface. Lisa Steinberg
Manhattan After these metals (gold, silver, brass, PMDA 102 3.0 C.E.U.s $385
Shirley McClean aluminum or copper) are gilded, they
can be patinated or antiqued to Hand-Painted Fabric Workshop
Technician Manhattan
achieve a variety of colors and effects. Wearables and Furnishings
Federico Savini
Topics include: preparing and gilding See page 12 for course description.
ACADEMIC COMPUTING wood samples, and observing demon-
Associate Director strations of patinating procedures.
Technology and Program • Su 10 AM –4:30 PM
Development 1 session Oct 4
David Marcinkowski Susan Perry
PMPF 495 .6 C.E.U.s $75
Telephone
212-647-7199

Facsimile
212-367-2489

Internet
pratt.edu/prostudies

Email REGISTER ONLINE: my.pratt.edu

prostudy@pratt.edu
10 FALL 2009 MANHATTAN CE
Decorative Arts continued
Handmade Toys
This 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.
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. The 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 shavens88@yahoo.com
• Th 9:30 AM–12:30 PM
10 sessions Oct 1–Dec 10
Sue Havens
PMDA 105 3.0 C.E.U.s $375
Quilting and the Handmade
This 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 recycled
materials to make projects such as
quilts, quilt squares, throws, bags,
REGISTER ONLINE: my.pratt.edu
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 shavens88@yahoo.com.
• Tu 9:30 AM –12:30 PM
10 sessions Oct 6–Dec 8
Sue Havens
PMDA 101 3.0 C.E.U.s $375
Quilting and the
Handmade: Advanced
Workshop
This class builds upon the basics of
Quilting and the Handmade I. It is a
non-traditional sewing class, for those
who would like to expand their skills
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.
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
shavens88@yahoo.com.
• F 9:30 AM–12:30 PM
10 sessions Oct 2–Dec 11
Sue Havens
PMDA 103 3.0 C.E.U.s $375
The Embroidered Art
Journal: Embroidery as
Narration and Illustration
This 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 as
Language: Elements of Design
In 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
10 sessions Sept 26–Dec 5
Francis James
PMGD 430 3.0 C.E.U.s $375
Color Theory
Color 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
10 sessions Oct 5–Dec 7
Richard Beenen
PMGD 429 3.0 C.E.U.s $375
Basic Layout and Typography
Create 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

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
10 sessions Sept 29–Dec 1
Newton Meyers
PMGD 463 3.0 C.E.U.s $375
Creatively Speaking: Innovative
Promotions that Work
For 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 Design
Create 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
10 sessions Sept 26–Dec 5
Mark Ziemann
PMGD 443 3.0 C.E.U.s $375
Introduction to Graphic Design
This 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
15 sessions Sept 3–Dec 17
Elaine Tannenbaum
PMCG 475 3.0 C.E.U.s $775
Graphic Design and
Print Production
This 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
15 sessions Sept 1–Dec 8
Elaine Tannenbaum
PMGD 468 .3 C.E.U.s $375
Expressive Design: Creating
Distinction through Innovative
Production Techniques
In 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 and
Brand Identity
With 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.
MANHATTAN CE FALL 2009 11
• Tu 6:30–9:30 PM
10 sessions Oct 6–Dec 8
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 Portfolio
Design for Computer Animation
From Here to There: A Seven-Step
Web Site Recovery Program
Fine Arts
Alternative Approaches:
Exploring Mixed Media
Throughout 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 Drawing
Drawing 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
10 sessions Oct 4–Dec 13
Phyllis Rosenblatt
PMFA 429 3.0 C.E.U.s $375
REGISTER ONLINE: my.pratt.edu
12 FALL 2009 MANHATTAN CE

• Sa 9:30 AM–12:30 PM Intermediate Drawing II Acrylic Painting Mastery

Fine Arts continued
10 sessions Sept 26–Dec 5 To follow through on the ideas you Join the acrylic revolution!
Lynn Foster have worked with in Intermediate Acrylic painting is creating oil painting
Figure Drawing Workshop
PMFA 485 3.0 C.E.U.s $375 Drawing, this second class, effects without the unpleasant smell
The figure as a basis of individual expres-
Intermediate Drawing II, will be and long drying time of oil paint.
sion is explored in this studio course.
Drawing on Location: offered for those who wish it to work Anything that can be done in oil paint
An understanding of line and volume
Advanced for three more hours per week with can be done better and faster in acrylic.
is developed through a variety of media.
For course description, please visit our tutorial help from the instructor. Learning how to paint is sensing what
Topics include: techniques ranging from
website: pratt.edu/prostudies. Topics include: interaction of color, you love and who you are as you
charcoal and pastel to wash drawings,
• Sa 9:30 AM –4:30 PM composition, representation and experiment with all the specific neces-
as well as experiments with the nude
5 sessions Sept 12–Oct 17 abstraction and better observation. sities of craft. We start by showing you
as a unit of abstraction.
Phyllis Rosenblatt This time also will give a better idea of how to stretch a canvas in the classical
• M 6:30–9:30 PM
PMFA 486 3.0 C.E.U.s $375 what can happen in the studio of pro- manner. Although you can also paint
10 sessions Oct 5–Dec 7
fessional artists when more time is on a prestretched canvas you buy in
Gillian Hughes
Fundamentals of Oil Painting given to the exploration of work. an art store if you wish or even on
PMFA 456 3.0 C.E.U.s $225
For course description, please visit our Prerequisite: Intermediate Drawing cardboard if you like.
website: pratt.edu/prostudies. • F 6–9 PM You’ll keep a sketchbook that you
Basic Drawing for Animation
• W 6–9 PM 6 sessions Oct 9–Nov 13 bring to class and with this we’ll work
This drawing course is recommended
10 sessions Not offered this semester. Phyllis Rosenblatt together to solve the problem of how
for the novice who wishes to develop
John Mandile PMFA 430B 1.8 C.E.U.s $225 a painting is started. Step by step we’ll
drawing skills for traditional and
PMFA 461 3.0 C.E.U.s $375 solve each problem as it presents itself.
computer animation.
Topics include: gesture drawing; drawing
Hand-Painted Fabric Workshop For painting is just one interesting
FusionArts Workshop: Wearables and Furnishings visual problem after another. In
with a sense of volume; construction
Philosophy and In this workshop you will paint directly between each class you’ll be working
of animation style characters; creation
Methodology on silk and cotton using appropriate with that trusty sketchbook creating
of a cartoon skeleton based on three-
In this 2-day weekend workshop you dyes for setting colors permanently. the raw material that you’ll turn into
dimensional basic shapes; how to draw
will be introduced to FusionArt, a multi- The class will explore the use of hand- paintings. In class you can work from a
a character from many angles; how to
disciplinary art movement that incorpo- painted fabrics for home furnishings live model or a still life subject. Picasso
imply motion in a single drawing, from
rates any or all art disciplines into one and wearables. The course is designed said, “When I paint I am not in my body.”
rough draft to clean-up (tighten it up);
cohesive work (painting/sculpture/light/ for painters as well as those new to the I have had this experience many times
drawing heads, hands, feet, hips, thorax,
kinetic movement/sound/performance, medium and is suitable for students of myself and I can explain exactly how it
and finally the whole cartoon and
etc.). The philosophy will be presented all levels. Color theory and textile design is done. Once the technique is under-
semi-real body. The course finishes
and discussed and the various method- will be an integral part of this class. stood, those who are interested can
with how to draw from imagination.
ologies will be explored. Topics include: The first session will experiment. It is not for everyone.
Recommended audience: Students
Topics include: Lecture with slide show focus on painting on silk and creating Topics include: Translating everything
enrolled in Traditional Animation and
and video presentation featuring a a few original designs on crepe de into a simplified value system to create
the computer animation program.
brief historical overview of multidisci- chine scarves. We will experiment with a grayscale underpainting for color
• F 6–9 PM
plinary art followed by an introduction painting yardage of cotton which can glazing; the power of silhouette as a
10 sessions Oct 9–Dec 18
and demonstration of techniques and then be applied to a variety of home design element as seen in the work of
Greg Webb
tools; studio visit with hands-on work- furnishing objects such as quilts and Goya and other artists; finding inspira-
PMFA 476 3.0 C.E.U.s $375
shop to create artwork where you will pillows. The last session will be devoted tion in artist’s work you admire; a
have full use of available power tools, to designing a table top of hand-painted posterizing technique for fine art.
Drawing on Location
welder, and other equipment. napkins and tablecloths. • Th 6:30–9:30 PM
Drawing on location is
• Su 9 AM–5 PM Materials Fee: $35 fee payable to 10 sessions Oct 1–Dec 10
designed to train you to visualize and
2 sessions Sept 13–20 instructor at the first class session. Newton Meyers
document the environment that you
Shalom Neuman Scarves, fabric, and dyes will be supplied. PMFA 469 3.0 C.E.U.s $375
observe. Locations are used as refer-
PMFA 504 1.4 C.E.U.s $185 • Th 6:30–9:30 PM
ence material for communication solu-
tions that relate to timely subjects and
4 sessions Sept 3–24 Pastel Intensive Workshop:
Intermediate Drawing Susan Steinbrock The Versatile Medium
provocative themes. You will complete
This course will help you develop PMFA 464B 1.2 C.E.U.s $155 Soft pastel has the range and richness
an 8-image drawing series based on
your style and skills in figure drawing, of oil painting without the oil, drying
one location. This series will be pre-
portraiture, cityscape, interiors and time or solvents. It can be developed
sented in sequential form.
still objects, through observation and over several work sessions or rapidly
Locations will include but not be limit-
imagination. There will be a special on one colorful sketch. In this class,
ed to the zoo, Coney Island, Ground
exploration of pictorial composition. we will begin with exploring the
Zero, Chinatown, South Street, St. John
Topics include: materials and techniques techniques of pastel use, and work
the Divine, and Union Square, where
in charcoal, brush and ink, pencil, pastel from observation and imagination in
we will gather visual data. We will also
and collage; examining representation figurative narration, city and land
be going to night court. You will keep
and abstraction in characteristics of space, scapes, and still life. Structured to work
intensive journals of your visits that
tone, volume, line, scale and proportion. with both beginners and more advanced
include observations of each location,
Single and serial drawings will be assigned. students, it is an ideal course for
interviews with people connected with
• Su 9:30 AM –12:30 PM personal development.
these locations, and photographs.
10 sessions Oct 4–Dec 13
Phyllis Rosenblatt
REGISTER ONLINE: my.pratt.edu PMFA 430 3.0 C.E.U.s $375

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
4 sessions Sept 1–22
Phyllis Rosenblatt
PMFA 433B 1.2 C.E.U.s $155
Perspective Drawing
and Rendering
This 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
10 sessions Sept 26–Dec 5
Sandra Rodriguez
PMFA 428 3.0 C.E.U.s $375
Pictorial Perspective
This 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
10 sessions Oct 8–Dec 17
Ricardo Morin
PMFA 440 3.0 C.E.U.s $375
Watercolor Realism Workshop
Watercolor 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
10 sessions Oct 3–Dec 12
Jacqui Morgan
PMFA 463 3.0 C.E.U.s $375
History of Art and Design
History of Animation
In 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 Comics
This 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 Illustration
The 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
10 sessions Oct 2–Dec 11
Lynn Foster
PMFA 452 3.0 C.E.U.s $375
Comic Book Illustration
You 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
MANHATTAN CE FALL 2009 13
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
10 sessions Sept 26–Dec 5
Mark Ziemann
PMFA 455 3.0 C.E.U.s $375
Editorial Illustration
Editorial 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
10 sessions Oct 6–Dec 8
Mark Ziemann
PMFA 465 3.0 C.E.U.s $375
Manga Comics
Learn 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
10 sessions Oct 2–Dec 11
Mark Ziemann
PMFA 466 3.0 C.E.U.s $375
See pages 12, 13, 20 and 26 for the
following course descriptions.
Basic Drawing for Animation
Drawing on Location
Illustrator for Fashion Design
Pastel: The Versatile Medium
Traditional Animation I and II
Watercolor Realism Workshop
REGISTER ONLINE: my.pratt.edu
14 FALL 2009 MANHATTAN CE
Jewelry Making
Jewelry Design Intensive I
This 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.
Note: Tools and other supplies must be
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: mel-teach@covad.net
• Sa–Su 9 AM –5 PM
4 sessions Nov 14–15, 21–22
Maria Leather
PMJ 470 2.8 C.E.U.s $365
Earrings
This 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.
REGISTER ONLINE: my.pratt.edu
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.
• 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 Components
This 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.
Please note: A $20 fee payable to the
instructor will be collected to cover
supply costs for the session. You
should provide a basic tool set of a
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.
• Section 1: Su 9:30 AM –12:30 PM
1 session Oct 18
Melanie Schmidt
PMJ 114 .3 C.E.U.s $40
Leather Jewelry
This 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.
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.
• Section 1: Sa 9:30–12:30 PM
1 session Oct 17
Melanie Schmidt
PMJ 110 .3 C.E.U.s $40
Organic Wire Wrapping
This 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.
Please note: A $20 fee payable to the
instructor will be collected to cover
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 Knotting
This 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.
Please note: A $20 fee payable to the
instructor will be collected to cover
supply costs for the session. Students
should provide a sharp scissor.
• Section 1: Sa 1–4 PM
1 Session Oct 17
Melanie Schmidt
PMJ 107 .3 C.E.U.s $40
Polyform Clay Workshop I
This 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
Stringing
This 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.
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.
• Section 1: Sa 1–4 PM
1 session Oct 10
Melanie Schmidt
PMJ 109 .3 C.E.U.s $40
Wire Wrapping
This 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.
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.
• Su 9:30 AM–12:30 PM
1 session Oct 11
Melanie Schmidt
PMJ 111 .3 C.E.U.s $40
Wire Wrapping with Chain
This 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.
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.
• Section 1: Su 1–4 PM
1 session Oct 11
Melanie Schmidt
PMJ 113 .3 C.E.U.s $40

XXXXXX
MEDIA A RT S /
P H OTO G R A P H Y
Certificate Program
in Photography and
Digital 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 Information
OneKey user names and passwords
are necessary for all students and
faculty of Pratt Institute. Please see
page 71 for detailed instructions.
Registration Deadlines
Registration 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.
VA Benefits for
Certificate Program
This 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 phan@pratt.edu or
Karen D’Angelo kdangelo@pratt.edu
C E RT 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
C E RT I F I C AT E
REQUIREMENTS
In order to receive Pratt’s Certificate
in Photography and Digital Imaging,
students must complete foundation
courses, required core classes and at
least five electives. A Foundation or
required Core Course(s) may be
waived for a more advanced course
if you show competency—for exam-
ple, through a portfolio review in
the subject matter of the course
wishing 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.
P H OTO G R A P H Y A N D
D I G I TA L A RT
Introduction to the Camera
The 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 Photography
This 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
10 sessions Oct 3–Dec 12
Maxim Ryazansky
PMPH 470 3.0 C.E.U.s $375
15
Introduction to Photography
Explore 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
10 sessions Oct 8–Dec 17
Federico Savini
• Section 2: Sa 9:30 AM–12:30 PM
10 sessions Oct 3–Dec 12
Federico Savini
PMPH 481 3.0 C.E.U.s $405
Intermediate Black and White
Photography
This 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
10 sessions Oct 6–Dec 8
Richard Beenen
PMPH 481B 3.0 C.E.U.s $405
REGISTER ONLINE: my.pratt.edu
16 FALL 2009 MANHATTAN CE
P H OTO G R A P H Y A N D
D I G I TA L A RT continued
Advanced Black and White
Photography
This 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
10 sessions Sept 30–Dec 2
Sara Signorelli
PMPH 484 3.0 C.E.U.s $405
Advanced Portrait Master Class
This 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.
REGISTER ONLINE: my.pratt.edu
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
10 sessions Not offered this semester.
Enrico Sacchetti
PMPH 508 3.0 C.E.U.s $405
Alternative Photographic
Process Weekend Workshop
This 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 Photographic
Process
This 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
10 sessions Oct 3–Dec 12
Melissa Fleming
PMPH 506 3.0 C.E.U.s $395
Creative Entrée to
the Photography
Marketplace
Photography 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 I
This 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.
Computer facilities fee: $25
• Section 1 (m): Tu 6:05–8:05 PM
15 sessions Sept 1–Dec 8
Steven Hirsch
PMCG 500 3.0 C.E.U.s $785
Digital Photography II
This 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.
Computer facilities fee: $25
• Section 1 (m): F 6:05–9:05 PM
10 sessions Oct 2–Dec 11
Melody Reed
PMCG 501 3.0 C.E.U.s $785
Experimenting with
Papers and Toners
in 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
10 sessions Sept 30–Dec 2
Ken Taranto
PMPH 515 3.0 C.E.U.s $405
Fine Art Photography
This 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
10 sessions Oct 6–Dec 8
Paul Lachenauer
PMPH 489 3.0 C.E.U.s $385
How to Sell Your
Photographs to
Fine Art Markets
This 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
10 sessions Oct 6–Dec 8
Leonard Morris
PMPH 476 3.0 C.E.U.s $375
Location Photography
This 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.
Prerequisite: Intro to Photography,
Digital Photography
• Sa 1–4 PM
10 sessions Oct 10–Dec 19
Ralph Masullo
PMPH 512 3.0 C.E.U.s $385
Intro to Fashion
Photography
This 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.
MANHATTAN CE FALL 2009 17
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
10 sessions Oct 8–Dec 17
Tracy Toler
PMPH 518 3.0 C.E.U.s $405
Panoramic Photography
and the Gigapan
This 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
3 sessions Oct 4–18
Ken Taranto
PMPH 516 1.2 C.E.U.s $165
REGISTER ONLINE: my.pratt.edu
18 FALL 2009 MANHATTAN CE
P H OTO G R A P H Y A N D
D I G I TA L A RT continued
Photographic
Illustration
Creativity 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
10 sessions Oct 10–Dec 19
Ralph Masullo
PMPH 513 3.0 C.E.U.s $385
Photographic Lighting I
This 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
REGISTER ONLINE: my.pratt.edu
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.
Prerequisite: Intro to Photography,
Digital Photography, or portfolio review.
• W 6:30–9:30 PM
10 sessions Oct 7–Dec 9
Don Penny
PMPH 485 3.0 C.E.U.s $385
Photographic Lighting II:
Photographing Commercial
Products
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
10 sessions Oct 5–Dec 7
Dawn Giarrizzo
PMPH 503 3.0 C.E.U.s $385
Photographing Artwork and
Small Objects
This 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 Sept 5–Oct 3
Paul Lachenauer
PMPH 511 1.2 C.E.U.s $155
Pratt Institute co-sponsors
The Hollywood Film Institute’s
Two-Day Film School™:
A Crash Course for Writers,
Producers, and Directors
This 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
2 sessions Oct 10–11
• Section 2: Sa–Su 9 AM –6 PM
2 sessions Dec 12–13
Dov S-S Simens (all sections)
PMFI 200 $389
Professional Practice for
Photographers: Getting from
Here to There—Photographic
Thinking and Strategies
For course description, please visit our
website: pratt.edu/prostudies.
Prerequisite: Intro to Photography/
lighting useful; portfolio of work;
own camera.
• Tu 6–9 PM
10 sessions Not offered this semester.
Ron Nicolayson
PMPH 475 3.0 C.E.U.s $375
The Art of Photographic
Portraiture
Portraiture 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
10 sessions Oct 8–Dec 17
Peter Bellamy
PMPH 487 3.0 C.E.U.s $385
Wide Format Printing
This 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
10 sessions Oct 2–Dec 11
Ken Taranto
PMPH 517 3.0 C.E.U.s $385
See pages 25 and 27 for course
descriptions.
Adobe Lightroom for Photographers
Making Masterpieces with
Corel Painter
Photoshop: Channels, Masks and
Layers: Essentials and Advanced
Techniques
Photoshop Retouching
Photoshop Montage and Collage
Photoshop for Photographers
CAREER
DEVELOPMENT
Selling Your Art in
New York City
New 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 Portfolio
Creative Entrée to the
Photography Marketplace
Entering the Handcrafted Gift Market
Expressive Design: Creating
Distinction through Innovative
Production Techniques
How To Sell Your Photographs to
Fine Art Markets
The Business of Contemporary Art
and Professional Practice
C R E AT I V I T Y
A N D A RT I S T I C
EXPRESSION
Secrets of Altered States
of Consciousness for Artists,
Writers, and Creative Thinkers
Increase 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
smedleygunk@yahoo.com.
• Sa 1–4 PM
5 sessions Oct 3–31
Newton Meyers
PMCD 101 1.5 C.E.U.s $175
C O N S T RU C T I O N
M A N AG E M E N T
Blueprint Reading
The 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
2 sessions Nov 1–8
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 Project
Building Green: An Overview
Construction Methods and Materials
Construction Specifications Writing
Estimating Cooling Load on Excel
(HVAC 1 and 2): Refrigeration
Principles
Estimating Structural Steel Erection
Estimating Structural Steel Fabrication
Fuel Properties, Combustion, Heating
Load Estimation on Excel (HVAC)
Improving Public Health by
Greening Your Specifications
Specifications Writing, Principles,
and Practice
FAC I L I T I E S A N D
E N V I R O N M E N TA L
COMPLIANCE
See pages 41-43, 59 for descriptions of
the following AIA-approved courses.
Architectural Restoration:
Motivators and Constraints to the
Preservation of Older Structures
Building Green: An Overview
Building Green ‘Round the World
Building Naturally
Climate Change Fundamentals for
Design Professionals
Designing and Renovating Carbon
Neutral Buildings
Earth in Balance
Energy, Greenhouse Gas,
Weatherization Audits, and
Capital Planning
Freshwater Wetlands
Go Green Retrofits
Gray Water Heat Recovery
Green By Design
Green Design Versus Historic
Preservation
Greening Your Facilities:
A Holistic Approach
Improving Public Health by
Greening Your Specifications
Indoor Air Quality
Land Use Engineering
Performance Modeling for
Carbon Neutral Buildings
Performance Rating of New
Buildings: The Process
Renewable/Green Energy
Sustainability Approach to
Engineering Design
Sustainability Pioneers: Heroes
of the Planet
Sustainable Habitats
Sustainable Remodeling
The Environment. SEQRA and
the Engineered Project
This Hazardous House
Visionary Designing with
Glass Block and High Performance
Glass Block Systems
Wind Energy Systems
L AW
See page 54 for a description of the
following AIA-approved course.
New York Construction Law
MANHATTAN CE FALL 2009 19
MARKETING
WO R K S H O P S
See pages 9, 18 for course descriptions.
Entering the Handcrafted Gift Market
Professional Practice for
Photographers: Getting from
Here to There—Photographic
Thinking and Strategies
PUBLISHING FOR
T H E R E A L WO R L D
Ghostwriting and
Self-Publishing to
Rocket Your Career
Having 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 Writing
See page 7 for course description.
Electronic Publishing
and Digital Art
See pages 25–27 for course descriptions.
REGISTER ONLINE: my.pratt.edu
20
Computer Facilities Fees
Students registering for thirty-hour
computer courses are required to pay
a non-refundable facilities fee of:
• $25 per course
Lab Time
Two hours of lab time is available per
week, for those taking 10 and 15
session courses. Students also receive
additional floating lab time for the
semester. Students must show
their student IDs to gain entrance
to the lab. Daytime seminars do not
include lab time.
Make-up Classes
Make-up classes may be scheduled for a
time other than your normally scheduled
class time, such as a Saturday or Sunday.
Computer courses can be taken on an
individual basis or as part of Pratt’s
Certificate Program.
See pages 38–39 for information
on the Certificate Program.
OneKey Account
Information
OneKey user names and passwords are
necessary for all students and faculty
of Pratt Institute. Please see page 71
for detailed instructions.
Autodesk® Authorized Training Center
Premier Media and Entertainment,
(formerly known as discreet®) courses,
see pages 21-24.
Autodesk® Authorized Training Center
courses, see pages 30-37.
Registration Deadlines
Registration 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.
COMPUTER GRAPHICS AND
TECHNOLOGY COURSE
DESCRIPTIONS
CLASSES FOR
BEGINNERS
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 Creation
and Digital Media
This 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
10 sessions Sept 26–Dec 5
Vincent Yakoumakis
PMCG 180 3.0 C.E.U.s $735
PowerPoint:
The Presentation Tool
If 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
A N I M AT I O N
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 I
Animation 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
10 sessions Sept 30–Dec 2
Greg Webb
PMFA 479 3.0 C.E.U.s $375
Traditional Animation II
This 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.

• Th 6:30–9:30 PM
10 sessions Oct 1–Dec 10
Greg Webb
PMFA 480 3.0 C.E.U.s $375
Basic Drawing for Animation
See page 12 for course description.
Continuity Storyboards:
The Filmmaker’s Best Friend
This 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
10 sessions Oct 5–Dec 7
Greg Webb
PMCG 250 3.0 C.E.U.s $375
3D Computer Graphics Theory
This 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
15 sessions Sept 2–Dec 9
Debbie Deas
PMCG 210 3.0 C.E.U.s $375
Design for Computer Animation
Focusing 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
10 sessions Oct 2–Dec 11
Instructor to be announced
PMCG 251 3.0 C.E.U.s $375
Maya™ I Fundamentals:
3D Modeling, Animation,
and Rendering
Alias-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
15 sessions Sept 3–Dec 17
James Bowman
• Section 2 (w): Su 9:30 AM –12:30 PM
10 sessions Oct 4–Dec 13
Daniel Krengiel
• Section 3 (m): Su 1–4 PM
10 sessions Oct 4–Dec 13
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, Animation
and Effects
This 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
15 sessions Sept 3–Dec 17
Daniel Krengiel
PMCG 241 3.0 C.E.U.s $845
History of Animation
See page 13 for course description.
Maya Advanced
Character 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
10 sessions Oct 4–Dec 13
Daniel Krengiel
PMCG 340 3.0 C.E.U.s $845
Special Effects with Maya
This 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
10 sessions Oct 2–Dec 11
Daniel Durning
PMCG 341 3.0 C.E.U.s $845
Autodesk® 3ds Max® Design
See page 36 for course description.
MANHATTAN CE FALL 2009 21
Autodesk® 3ds Max® Design
2010 Update
See page 37 for course description.
Autodesk® 3ds Max® 2010
Fundamentals: Modeling
and Rendering I
Creating 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 Max
provides 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
15 sessions Sept 1–Dec 8
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
• Section 4 (w): M–F 9 AM –4 PM
5 sessions Nov 16–20
Eric Kachelhofer, Ruslan Kuchman
PMCG 223 3.0 C.E.U.s $845
Autodesk® 3ds Max® 2010
Modeling, Materials,
and Rendering II
This 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.
REGISTER ONLINE: my.pratt.edu
22 FALL 2009 MANHATTAN CE
A N I M AT I O N 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 Max
Model and Rendering I
• Section 1 (w): W 6:05–8:05 PM
15 sessions Sept 2–Dec 9
Eric Kachelhofer, Frank Collazo
• Section 2 (w): M–F 9 AM –4 PM
5 sessions Sept 14–18
Eric Kachelhofer, Marcello Ferri
PMCG 240 3.0 C.E.U.s $845
Autodesk® 3ds Max® 2010
Animation I
This 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 Max
Model and Rendering I. Design for
Computer Animation recommended.
• Section 1 (w): M 6:05–8:05 PM
15 sessions Aug 31–Dec 21
Eric Kachelhofer, Ruslan Kuchman
• Section 2 (w): M–F 9 AM –4 PM
5 sessions Sept 21–25
Eric Kachelhofer, Ruslan Kuchman
PMCG 254 3.0 C.E.U.s $845
Autodesk® 3ds Max® 2010
Animation II
This 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 Max
Animation I students; advanced
computer animators who wish to
become fluent in Autodesk 3ds Max.
REGISTER ONLINE: my.pratt.edu
Prerequisite: Autodesk 3ds Max
Animation I or advanced computer
animation experience.
• Section 1 (w): F 6:05–9:05 PM
10 sessions Oct 2–Dec 11
John Scalera
• Section 2 (w): M–F 9 AM –4 PM
5 sessions Oct 5–9
Eric Kachelhofer, Frank Collazo
PMCG 330 3.0 C.E.U.s $845
Clases Nuevas en Español
New Classes in Spanish
Diseño Arquitectónico
con Autodesk® 2010
3ds Max® Design
Architectural Design with
Autodesk® 3ds Max® Design
Autodesk 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.
• Section 1 (w): M–F 9 AM–4 PM
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 2010
See page 36 for course description.
Modelado
Arquitectónico II con
Autodesk® 3ds Max®
Design 2010
Architectural Modeling II with
Autodesk® 3ds Max® Design
El 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 Max
Model and Rendering I or Architectural
Visualization using AutoCAD and
Autodesk 3ds Max.
• Section 1 (w): M–Th 9 AM–5:30 PM
4 sessions Offered Spring 2010
Alfredo Villalobos M.
PMCG 256S 3.0 C.E.U.s $845
Autodesk® 3ds Max® 2010
Advanced 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 Max
Modeling, Materials, and Rendering II
or the instructor’s approval.
• Section 1 (w): F 6:05–9:05 PM
10 sessions Oct 2–Dec 11
John Scalera
PMCG 331 3.0 C.E.U.s $845
Autodesk® 3ds Max® 2010
Advanced Character Animation
Character 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 Max
Advanced Character Design or the
instructor’s approval.
• Section 1 (w): W 8:10–10:10 PM
15 sessions Sept 2–Dec 9
Marc Floresant, Eric Kachelhofer
PMCG 332 3.0 C.E.U.s $845
Autodesk® 3ds Max® 2010
Advanced Projects
For course description, please visit our
website: pratt.edu/prostudies.
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 Game
Level and Character Design
Making 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 3ds
Max. 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 3ds
Max 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
10 sessions Oct 4–Dec 13
Gabe Walter
PMCG 243 3.0 C.E.U.s $845
Special Effects (FX) with
Autodesk® 3ds Max® 2010
This course will teach Autodesk 3ds
Max users how to accomplish special
effects in the Autodesk 3ds Max
environment. 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 Max
environment 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
15 sessions Sept 1–Dec 8
Eric Kachelhofer, Ruslan Kuchman
• Section 2 (w): M–F 9 AM –4 PM
5 sessions Oct 19–23
Eric Kachelhofer, Ruslan Kuchman
PMCG 333 3.0 C.E.U.s $845
See page 36 for the following course
descriptions.
Architectural Design with
Autodesk 3ds Max Design
Architectural Visualization using
AutoCAD and Autodesk
3ds Max Design
Architectural Modeling II with
Autodesk 3ds Max Design
Architectural Rendering and
Lighting in Autodesk
3ds Max Design
Autodesk 3ds Max Design
Intensive Workshop
Autodesk® 3ds Max® 2010
Design Advanced Lighting
Scene 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 Max
Model and Rendering I.
• Section 1 (w): Tu–Th 9 AM –5 PM
3 sessions Oct 13–15
Eric Kachelhofer, Ruslan Kuchman
PMAM 224 2.1 C.E.U.s $615
Camera Matching and
Integration of Live Footage
in Autodesk® 3ds Max® 2010
This workshop will teach the camera
matching techniques for seamless
integration of live footage and computer
animation enabled by Autodesk 3ds
Max.
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 Max
Modeling 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 skin
for Autodesk® 3ds Max® 2010
This 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 Max
Animation I or equivalent.
• Section 1 (w): M–W 9 AM –5 PM
3 sessions Dec 14–16
Kim Lee, John Scalera
PMAM 237 2.1 C.E.U.s $605
Facial Animation with
Autodesk® 3ds Max® 2010
In 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 Max
Animation 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 Effects
with Autodesk® 3ds Max® 2010
and combustion
This 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 3ds
Max with combustion; and the special
interoperability within the discreet
family of products.
Prerequisite: Autodesk 3ds Max
Modeling and Rendering I.
MANHATTAN CE FALL 2009 23
• Section 1 (w): F 9 AM –5 PM
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 Autodesk
3ds 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
15 sessions Sept 3–Dec 17
Gabe Walter
PMCG 258 3.0 C.E.U.s $845
REGISTER ONLINE: my.pratt.edu
24 FALL 2009 MANHATTAN CE
A N I M AT I O N continued
Project Management Seminar
Project 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 Projects
Independent Study
Advanced 3ds Max students can
arrange to take a special projects
seminar with Eric Kachelhofer
<kman@kmanstudios.com>. You
will be consulting with Eric on projects
for your portfolio with advanced
assignments.
For further information, please
contact Karen Adler Miletsky,
Associate Director, kmiletsk@pratt.edu.
• PMCG 601 3.0 C.E.U.s $845
Texturing Seminar
Texturing 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.
Prerequisite: Autodesk 3ds Max
Modeling and Rendering I.
• Section 1 (w): F 9 AM –5 PM
1 session Oct 2
John Scalera
PMAM 245 .7 C.E.U.s $225
REGISTER ONLINE: my.pratt.edu
D I G I TA L V I D E O Adobe Premiere Pro CS4 Non-Linear Editing and Video
This course provides a comprehensive Effects with Final Cut Pro
A N D AU D I O overview of Premiere Pro, Adobe’s This course is a comprehensive overview
latest non-linear digital video editing of non-linear editing using Apple’s
Our digital video and audio courses are
software. Advances such as real-time popular and powerful Final Cut Pro
useful for artists and designers interested
playback of transitions, effects, motion software. The course is designed to
in incorporating multiple media into
paths, and titles; broadcast color give an overall feel for Final Cut Pro. It
existing projects and the professional
adjustment; DVD output; and Dolby starts with the basics and will go as far
who needs these tools for post-pro-
5.1 audio surround-sound production as title creation and video effects. The
duction and final output.
positions this software’s as an important course focuses on the application, its
force in today’s DV industry. Using interface, and relevant technicalities.
Adobe After Effects CS4: I
Premiere Pro as the primary software tool, Editing techniques, aesthetics, theory
Adobe After Effects is essential for digital
students will focus on visual effects and basic production concepts will also
artists interested in 2D or 3D animation,
issues unique to time-based media. be discussed. You will learn to edit
digital video, web video, broadcast
Students will be assigned a series of shots, capture video, organize footage,
graphics, and film. Examine composition
projects through which technical, aesthetic, edit and mix sound, apply transitions
and animation, using Adobe After
and narrative issues will be explored. and effects, layer and composite video
Effects. You will produce several weekly
Topics include: optimization and com- tracks, and output to various formats.
assignments as well as a final project
pression codes; time code, logging, Topics include: hardware configuration,
of your own design.
and capturing media; importing source working with time code, traditional
Topics include: working with existing
material; trimming, transition edits; editing techniques in digital media,
visual materials; layer compositing,
key-framing; compositing; title overlays; capturing setups, basic sound editing
rendering, and outputting movies;
applying video/audio effects and filters; and audio mixing, key framing, filters,
special effects; key-frame animation
and outputting/archiving project material. titles, compositions, exporting footage,
controls; and other production
Prerequisite: Photoshop. outputting to tape, media management,
techniques. Aesthetic problems
• Section 1 (w): W 8:30–10:30 PM and editing terminology
include motion, transparency, textures,
15 sessions Sept 2–Dec 9 Tools include: Final Cut Pro, SoundTrack,
transitions, camera movement, music,
Mark Solomon LiveType.
and structure.
PMCG 435 3.0 C.E.U.s $805 Prerequisites: Computer Competency
Software tools include: Adobe After
(Mac) or comfort with Mac OS X is
Effects, Photoshop, Illustrator, Sound
Compositing with Shake required. Highly recommended: some
Edit 16, and Painter.
Shake is a compositing application previous experience working with
Prerequisite: Computer Competency
optimized for film and video special any web, video, sound, or graphic
(Mac/PC), Imaging I or equivalent are
effects. Designed for quality, speed, applications.
required. Experience with time-based
and efficiency, Shake has been used in You may contact the instructor if
media is recommended.
the broadcast, interactive gaming, and unsure about these recommendations.
• Section 1 (w): M 6:05–8:05 PM
multimedia effects industries. Shake • Section 1 (m): Tu 8:10–10:10 PM
15 sessions Aug 31–Dec 21
merges compositing, motion tracking, 15 sessions Sept 1–Dec 8
Adam Meyers
color correction, image manipulation, Shachar Langler
PMCG 436 3.0 C.E.U.s $805
and special effects tools in an easy-to- PMCG 434 3.0 C.E.U.s $815
understand interface.
Adobe After Effects CS4: II
Topics include: compositing techniques, Advanced Techniques
This course will focus on the role of
as well as some of the more advanced in Final Cut Pro
the After Effects animator in the
features of Shake; creating simple and This course is designed for those who
production pipeline.
complex composites; and using techniques have a basic understanding of Final Cut
Topics include: advanced key-framing
such as keying, tracking, and rotoscoping. Pro and want to go beyond an intro-
and motion, keying (blue-screening)
The instructor will bring in footage for ductory skill-set. The emphasis is on
and compositing techniques, 3D
hands-on demonstrations, but students advanced editing techniques using FCP.
camera matching, motion tracking and
are encouraged to develop their own You are encouraged to work on inde-
stabilization, advanced 3D and light-
projects as they learn the software. pendent projects with the instructor's
ing, working with effects and tools,
Prerequisite: Comfort with OS X and guidance, to combine motion graphics
working with time, expressions (After
a background in video applications and other media to enhance their
Effect’s scripting language). Also,
(Premiere or Final Cut Pro) or time-line- projects, and to integrate their FCP
discussions will cover a variety of
based environments (After Effects, Flash). workflow with other applications. The
common challenges faced in the
• Section 1(m): Su 9:30 AM –12:30 PM emphasis is on a mastery of all the appli-
production environment.
10 sessions Oct 4–Dec 13 cations in the Final Cut Studio 2 suite.
Software tools include: After Effects,
Manuel Gonzalez Topics include: advanced media man-
Photoshop, Illustrator, as well as a brief
PMCG 463 3.0 C.E.U.s $815 agement; multi-resolution editing;
exploration of several 3D packages.
advanced titles; post-syncing video and
Prerequisite: Adobe After Effects I.
sound elements; basic effects, split
• Section 1 (w): M 8:10–10:10 PM
screens; nesting; masking and mattes;
15 sessions Aug 31–Dec 21
keying; compositing; color correction
Adam Meyers
and finishing.
PMCG 440 3.0 C.E.U.s $805

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
15 sessions Sept 3–Dec 17
Shachar Langler
PMCG 462 3.0 C.E.U.s $815
DRAFTING AND
MODELING ON
T H E M AC
AIA
VectorWorks Professional I
This 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
15 sessions Sept 1–Dec 8
Jeffrey Harris
30 AIA/CES LU’s
PMCG 212 3.0 C.E.U.s $815
AIA
VectorWorks 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
15 sessions Sept 1–Dec 8
Jeffrey Harris
30 AIA/CES LU’s
PMCG 321 3.0 C.E.U.s $815
AIA
form•Z Fundamentals:
Modeling and Rendering I
In 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
15 sessions Sept 1–Dec 8
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 Mac
See page 21 for course description.
• Section 3 (m): Su 1–4 PM
10 sessions Oct 4–Dec 13
Daniel Durning
PMCG 230 3.0 C.E.U.s $845
ELECTRONIC
PUBLISHING AND
D I G I TA L A RT
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
following course descriptions.
Book Arts Workshop
Graphic Design and Print Production
Ghostwriting and Self-Publishing to
Rocket Your Career
Introduction to Graphic Design
Adobe Acrobat CS4
This 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 CS4
InDesign 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
10 sessions Oct 4–Dec 13
John Pace
• Section 2 (m): F 6:05–9:05 PM
10 sessions Oct 2–Dec 11
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 CS4
with Photoshop and Illustrator
Since 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
MANHATTAN CE FALL 2009 25
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
10 sessions Oct 11–Dec 13
• 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 Lightroom
for Photographers
Lightroom 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
5 sessions Oct 2–30
Melody Reed
PMCS 319 1.5 C.E.U. $388
REGISTER ONLINE: my.pratt.edu
26 FALL 2009 MANHATTAN CE
ELECTRONIC
PUBLISHING AND
D I G I TA L A RT continued
Advanced Techniques in
Photoshop: Channels, Masks,
Layers, Actions and Plug-ins
Combining 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
15 sessions Sept 2–Dec 9
Melody Reed
PMCG 481 3.0 C.E.U. $785
Create a Professional
Design Portfolio
Your 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
REGISTER ONLINE: my.pratt.edu
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.
• Section 1 (m): Su 1–4 PM
10 sessions Oct 4–Dec 13
Joe Miceli
PMCG 510 3.0 C.E.U.s $785
Desktop Publishing
with QuarkXPress I
This 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
10 sessions Sept 26–Dec 5
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 II
For course description, please visit our
website: pratt.edu/prostudies.
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 II
See page 16 for course description.
Electronic Prepress Production
This 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
15 sessions Sept 1–Dec 8
Elaine Tannenbaum
PMCG 427 3.0 C.E.U.s $785
Graphic Illustration I:
Adobe Illustrator CS4
Adobe 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
15 sessions Aug 31–Dec 21
Joe Miceli
• Section 2 (m): M 12–3 PM
10 sessions Oct 12–Dec 14
John Pace
• Section 3 (w): Tu 3–6 PM
10 sessions Oct 2–Dec 8
Joe Miceli
PMCG 202 3.0 C.E.U.s $785
Graphic Illustration II:
Adobe Illustrator CS4
This 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
15 sessions Aug 31–Dec 21
John Pace
• Section 2 (m): F 3–6 PM
10 sessions Oct 2–Dec 11
John Pace
PMCG 420 3.0 C.E.U.s $785
Illustrator CS4 for
Artists and Illustrators
Adobe 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
10 sessions Oct 6–Dec 8
John Pace
PMCG 478 3.0 C.E.U.s $785
Illustrator for Fashion Design
Adobe 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
10 sessions Oct 2–Dec 11
Joe Miceli
PMCG 477 3.0 C.E.U.s $785
Imaging I: Photoshop CS4
Learn 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 some

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.
Prerequisite: Computer Competency
(Mac/PC).
• Section 1 (m): Tu 6:05–8:05 PM
15 sessions Sept 1–Dec 8
Stephen Blauweiss
• Section 2 (m): Tu 3–6 PM
10 sessions Oct 6–Dec 8
Cheryl Stockton
• Section 3 (w): Th 3–6 PM
10 sessions Oct 1–Dec 10
John Pace
• Section 4 (m): Th–F 9 AM –3 PM
6 sessions Sept 24–25, Oct 1–2, 8–9
Stephen Blauweiss
PMCG 422 3.0 C.E.U.s $785
Imaging II
This 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
10 sessions Oct 6–Dec 8
Tracy Toler
• Section 2 (m): Su 1–4 PM
10 sessions Oct 4–Dec 13
John Pace
PMCG 425 3.0 C.E.U.s $785
Making Masterpieces
with Corel Painter
Transform 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
15 sessions Sept 2–Dec 9
Melody Reed
PMCG 480 3.0 C.E.U. $785
Photoshop for Photographers
This 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.
Prerequisite: Computer Competency
(Mac) and some Photoshop experience.
• Section 1 (m): Th 8:10–10:10 PM
15 sessions Sept 3–Dec 17
Stephen Blauweiss
PMCG 442 3.0 C.E.U.s $785
MANHATTAN CE FALL 2009 27
Photoshop Montage ELECTRONIC
and Collage
The difference between this course and PUBLISHING AND
other Photoshop classes is that, here, we D I G I TA L A RT: S H O RT
will consider the creative process at the
same time we discuss specific techniques. CLASSES FOR PROS
This class is geared to designers who
Created for professionals with busy
already understand the basic functionality
schedules, the following twelve-hour
of Photoshop’s many tools. The challenge
classes are available in order to provide
is not how to use each of these tools
a good foundation and understanding
individually, but how to use them together
of the programs in the least amount of
to transform simple images into creative
time possible.
and unique works of art.
Topics include: selection strategies and
Express Your Way
essentials; removing the background;
Through Quark XPress
making complex selections (hair and
The class begins with simple methods
fine detail); the power of layer masking;
that build on each other. You’ll learn
strengths and weaknesses of Paths;
how a professional analyzes and applies
enhancing image focus; mastering
keyboard shortcuts to increase speed
curves; color correction techniques;
and proficiency. By the end of this
adjustment layers; understanding the
class you will be able to design and
Blending modes; the Zen of Alpha
complete a full-page 4-color ad.
channels; image calculations; photog-
Topics include: importing text, pictures
raphy for compositing; photorealistic
learning menus, linking tools, measure-
compositing; creative compositing.
ment palette, document palette, color
You will also learn how to stitch photos
and more.
together for panoramas.
Prerequisites: None.
Prerequisite: Basic Photoshop tools and
• Section 1 (m): W–Th 8:30 AM –2 PM
a digital camera. Ideally, the camera
4 sessions Nov 4–5, 11–12, 18–19
should have at least some ability to
Joe Miceli
manually override the automatic settings,
PMCS 300 1.2 C.E.U.s $305
so you can change the settings creatively.
• Section 1 (m): M 8:10–10:10 PM
Quick Draw Your Way
15 sessions Aug 31–Dec 21
Through Illustrator
Melody Reed
For course description, please visit our
PMCG 458 3.0 C.E.U.s $785
website: pratt.edu/prostudies.
Prerequisite: None
Photoshop™ Retouching
• Section 1 (m): W–Th 8:30 AM –2 PM
This course provides an overview of the
4 sessions Oct 14–15, 21–22, 28–29
problems retouchers must solve.
Joe Miceli
Recommended for anyone doing visual
PMCS 301 1.2 C.E.U.s $305
manipulation, photography, computer
graphics, and illustration.
Snap Your Way
Topics include: shadows; hair; extensions;
Through Photoshop
photo-compositing; assessing and
For course description, please visit our
manipulating color, light and texture with
website: pratt.edu/prostudies.
subtlety and control; Photoshop features
Prerequisite: None
such as gamma, curves, masking tech-
• Section 1 (m): W–Th 8:30 AM –2 PM
niques, and filters.
4 sessions Dec 2–3, 9–10, 16–17
Prerequisite: Imaging I.
Joe Miceli
• Section 1 (m): Th 6:05–8:05 PM
PMCS 302 1.2 C.E.U.s $305
15 sessions Sept 3–Dec 17
Stephen Blauweiss
• Section 2 (m): Th–F 9 AM –3 PM I N T E R AC T I V E M E D I A
6 sessions Oct 15–16, 22–23, 29–30
AND THE INTERNET
Stephen Blauweiss
PMCG 426 3.0 C.E.U.s $785 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.
REGISTER ONLINE: my.pratt.edu
28 FALL 2009 MANHATTAN CE
I N T E R AC T I V E M E D I A
AND THE INTERNET
continued
Character Animation with Flash
In 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
15 sessions Sept 2–Dec 9
Lee Corey
PMCG 461 3.0 C.E.U.s $785
Adobe® InDesign
See page 25 for course description.
Creating Mobile Content
in 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
15 sessions Sept 2–Dec 9
Lee Corey
PMCG 466 3.O C.E.U.s $775
Dreamweaver CS4
and Fireworks CS4: I
Macromedia 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
REGISTER ONLINE: my.pratt.edu
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
15 sessions Sept 3–Dec 17
Instructor to be announced.
• Section 2 (m): Th 3–6 PM
10 sessions Oct 1–Dec 10
Instructor to be announced.
• Section 3 (m): Sa 1–4 PM
10 sessions Sept 26–Dec 5
Russell Ferguson
• Section 4 (m): Th–F 9 AM –3 PM
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 Behaviors
This 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
15 sessions Sept 2–Dec 9
Jerome Amos
PMCG 468 3.0 C.E.U.s $785
Dreamweaver II: ColdFusion
with Dreamweaver CS4
For course description, please visit our
website: pratt.edu/prostudies.
Prerequisites: Familiarity with
Dreamweaver, HTML, Microsoft Access,
or some other Database program helpful.
• Section 1 (w): F 6:05–9:05 PM
10 sessions Offered Spring 2010
Russell Ferguson
PMCG 450 3.0 C.E.U.s $785
Flash™ CS4: I
Flash 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
10 sessions Oct 5–Dec 7
Renee Levitt
• Section 2 (m): Su 9:30 AM –12:30 PM
10 sessions Oct 4–Dec 13
David Tristman
• Section 3 (m): M 6:30–8:30 PM
15 sessions Aug 31–Dec 21
Renee Levitt
• Section 4 (m): Th–F 9 AM –3 PM
6 sessions Dec 3–4, 10–11, 17–18
Renee Levitt
PMCG 438 3.0 C.E.U.s $785
Flash II: Action Scripting
This 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
15 sessions Sept 3–Dec 10
Russell Ferguson
PMCG 444 3.0 C.E.U.s $785
Flash III: Advanced
Action Scripting
One 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
10 sessions Oct 2–Dec 11
Russell Ferguson
PMCG 455 3.0 C.E.U.s $785
From Here to There: A Seven-
Step Web Site Recovery Program
Creating 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.

• Section 1: W 3–6 PM
1 session Sept 16
• Section 2: F 6–9 PM
1 session Sept 25
Bud Kraus (all sections)
PMCS 318 .3 C.E.U.s $105
Great Web Design with CSS:
Cascading Style Sheets
In 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
15 sessions Sept 2–Dec 9
Bud Kraus
PMCG 317 3.0 C.E.U.s $785
Going Mobile:
Designing Web Sites
for the Tiny Screen
What 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.
• Section 1: F 3–6 PM
1 session Oct 16
• Section 2: F 3–6 PM
1 session Dec 4
Bud Kraus (all sections)
PMCS 322 .3 C.E.U.s $105
Podcasting 101
Workshop: The Basics
This 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.
• Section 1: Sa 1–4 PM
2 sessions Sept 12–26
• Section 2: Sa 1–4 PM
2 sessions Dec 12–19
Janhavi Pakrashi (all sections)
PMCS 320 .6 C.E.U.s $195
Introduction to
XHTML and CSS
Develop 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
15 sessions Sept 2–Dec 9
• Section 2 (w): W 3–6 PM
10 sessions Sept 26–Dec 28
Bud Kraus (all sections)
PMCG 325 3.0 C.E.U.s $785
(X)HTML Refresher
Both 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 1 (w): F 3–6 PM
2 sessions Oct 2–9
• Section 2 (w): M 3–6 PM
2 sessions Dec 7–14
Bud Kraus (all sections)
PMCS 321 .6 C.E.U.s $195
Web Development with
Adobe Dreamweaver
Adobe 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
10 sessions Sept 26–Dec 5
Russell Ferguson
PMCG 439 3.0 C.E.U.s $775
MANHATTAN CE FALL 2009 29
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 I
with 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
10 sessions Sept 26–Dec 5
Rodney Dash
PMCG 270 3.0 C.E.U.s $775
Introduction to PHP
Programming for the Web
PHP 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
15 sessions Sept 1–Dec 8
David Corbino
PMCG 467 3.0 C.E.U.s $785
REGISTER ONLINE: my.pratt.edu
30
Pratt Manhattan Authorized
Training Center
Pratt Manhattan is proud to be an author-
ized training center for several excellent,
industry standard software packages. The
training centers include Autodesk and
Discreet software.
Autodesk and Autodesk Media and
Entertainment Training Centers are
educational programs managed by
Autodesk. Although each ATC is monitored
through evaluations from every participant,
Autodesk is not responsible for the quality
of the training offered by the Autodesk
training centers or for any actions of the
Autodesk Training Center. Autodesk, the
Autodesk logo, AutoCAD, ATC, AutoCAD LT,
AutoCAD Architecture, AutoCAD MEP,
AutoLISP, Autodesk Inventor, Autodesk
3ds Max Design, Autodesk VIZ, Revit
Architecture, Revit MEP, Revit Structure,
and character studio are registered trade-
marks, and combustion are trademarks
of Autodesk, Inc. in the U.S. and/or other
foreign countries. © 2000 Autodesk, Inc.
All rights reserved. Microsoft, Windows,
and Windows NT are registered trademarks
of Microsoft Corporation. All other brand
names, product names, or trademarks
belong to their respective holders.
Autodesk® Authorized Training Center
(ATC®) and Autodesk® Authorized Training
Center Premier Media and Entertainment
are educational programs managed by
Autodesk, Inc. Although each ATC is
monitored through evaluations from every
participant, Autodesk is not responsible for
the quality of the training offered by the
ATC or for any actions of the ATC.
AIA Provider
Pratt is registered as a
Premier provider with
the American Institute
of Architects, Continuing
Education System (AIA/CES). We are
committed to offering quality education
in accordance with the AIA/CES criteria
(provider #F163).
OneKey Account Information
OneKey user names and passwords are
necessary for all students and faculty
of Pratt Institute. Please see page 71
for detailed instructions.
AU TO D E S K ®
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 courses
include:
• 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
Student Software, One-Year License
Students who register for Discreet Training
Center and Autodesk Training Center courses
qualify to purchase a one-year license of
discreet and Autodesk software. For further
information, please visit
www.studica.com/dtc/pratt.
AIA
AutoCAD® 2010 Overview
This 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.
• Section 1 (w): M 9 AM –5 PM
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 Update
AutoCAD Architecture 2010 Update
AIA
AutoCAD® 2010 Professional
Level I
This 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.
Please note: Not accepted by NYS for
LU or PDH credit.
• Section 1 (w): Tu 6:05–8:05 PM
15 sessions Sept 1–Dec 8
Gil Santiago
• Section 2 (w): Sa 9:30 AM –12:30 PM
10 sessions Sept 26–Dec 5
Chris Ramirez
• Section 3 (w): W–F 9 AM –3 PM
6 sessions Sept 2–4, 9–11
Gil Santiago
• Section 4 (w): W–F 9 AM –3 PM
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
AIA
AutoCAD® 2010 Professional
Level II
This 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
15 sessions Sept 3–Dec 17
Chris Ramirez
• Section 2 (w): Sa 1–4 PM
10 sessions Sept 26–Dec 5
Chris Ramirez
• Section 3 (w): W–F 9 AM –3 PM
6 sessions Sept 16–18, 23–25
Gil Santiago
30 AIA/CES LU’s, 30 PDH’s
PMA 402 3.0 C.E.U.s $845
AIA
AutoCAD® 2010 Professional
Level III
Upon 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
4 sessions Oct 17–Nov 7
John Takacs
30 AIA/CES LU’s, 30 PDH’s
PMA 403 3.0 C.E.U.s $845

AIA
3D Modeling and Rendering
with AutoCAD® 2010
Develop 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
15 sessions Sept 1–Dec 8
Gil Santiago
• Section 2 (w): Sa 9 AM –5:30 PM
4 sessions Sept 5–Oct 3
John Takacs
• Section 3 (w): W–F 9 AM –3 PM
6 sessions Sept 30–Oct 2, 7–9
Gil Santiago
30 AIA/CES LU’s, 30 PDH’s
PMA 404 3.0 C.E.U.s $845
AIA
AutoCAD® AutoLISP®
with Visual LISP
For course description, please visit our
website: pratt.edu/prostudies.
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.
• Section 1 (w): Sa 9 AM –5:30 PM
4 sessions Oct 17–Nov 7
John Takacs
28 AIA/CES LU’s
PMA 392 3.0 C.E.U.s $845
AIA
AutoCAD® 2010
Conceptual Design
This 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
7 AIA/CES LU’s, 7 PDH’s
PMA 525 .7 C.E.U.s $235
AIA
AutoCAD® 2010 Creating and
Presenting 3D Models
This 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.
Prerequisites: A working knowledge of
Microsoft® Windows® 98, Microsoft
Windows NT 4.0/Microsoft Windows
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
2 sessions Sept 21–22
Phil Gauntt
14 AIA/CES LU’s, 14 PDH’s
PMA 526 1.4 C.E.U.s $405
AIA
AutoCAD® 2010
Designing and Managing
Dynamic Blocks
This 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.
Hands-on exercises throughout the
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.
Prerequisites: A working knowledge of
Microsoft® Windows® 98, Microsoft
Windows NT 4.0/Microsoft Windows
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
• Section 1 (w): Tu 9 AM –5 PM
1 session Sept 15
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 524 .7 C.E.U.s $235
MANHATTAN CE FALL 2009 31
AIA
AutoCAD® 2010 Essentials of
Customizing 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.
Hands-on exercises throughout the
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.
Please note: Not accepted by NYS for
LU or PDH credit.
• Section 1 (w): M 9 AM –5 PM
1 session Sept 14
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 512 .7 C.E.U.s $235
AIA
AutoCAD® Architecture 2010:
Essentials
This 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.
REGISTER ONLINE: my.pratt.edu
32 FALL 2009 MANHATTAN CE
AU TO D E S K ®
TRAINING CENTER
continued
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
• Section 1 (w): W–F 9 AM –3 PM
6 sessions Oct 14–16, 21–23
Phil Gauntt
30 AIA/CES LU’s, 30 PDH’s
PMA 405 3.0 C.E.U.s $845
AIA
AutoCAD® Architecture 2010:
Advanced
This 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.
Topics include: The tools that are neces-
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
Microsoft® Windows® XP or Microsoft®
Windows® 2000.
Recommended audience: Experienced
users of AutoCAD Architecture.
Registration Deadline: Nov 10
REGISTER ONLINE: my.pratt.edu
• Section 1 (w): W–F 9 AM –5 PM
3 sessions Nov 18–20
Phil Gauntt
21 AIA/CES LU’s, 21 PDH’s
PMA 510 2.1 C.E.U.s $615
AIA
AutoCAD® MEP 2010: Electrical
This 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
• Section 1 (w): Tu 9 AM –5 PM
1 session Sept 29
Tyrone McLean
7 AIA/CES LU’s, 7 PDH’s
PMA 541 .7 C.E.U.s $235
AIA
AutoCAD® MEP 2010: Mechanical
This 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.
Topics include: The tools that are neces-
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®
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: Oct 19
• Section 1 (w): W 9 AM –5 PM
1 session Oct 28
Tyrone McLean
7 AIA/CES LU’s, 7 PDH’s
PMA 540 .7 C.E.U.s $235
AIA
AutoCAD® MEP 2010: Plumbing
This 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.
Topics include: The tools that are neces-
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
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: Oct 19
• Section 1 (w): Th 9 AM –5 PM
1 session Oct 29
Tyrone McLean
7 AIA/CES LU’s, 7 PDH’s
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.
Topics include: The tools that are neces-
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
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.
Please note: Not accepted by NYS for
LU or PDH credit.
Registration Deadline: Oct 19
• Section 1 (w): F 9 AM –5 PM
1 session Oct 30
Tyrone McLean
7 AIA/CES LU’s, 7 PDH’s
PMA 543 .7 C.E.U.s $235
AIA
Autodesk® Inventor Level I
This 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.
Registration Deadline: Nov 12
• Section 1 (w): Sa 9 AM –5:30 PM
4 sessions Nov 21–Dec 19
John Takacs
30 AIA/CES LU’s, 30 PDH’s
PMA 407 3.0 C.E.U.s $845

AIA
Autodesk® Raster Design 2010
For course description, please visit our
website: pratt.edu/prostudies.
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
Microsoft® Windows® XP or Microsoft®
Windows® 2000.
Registration Deadline: Oct 19
• Section 1 (w): M–Tu 9 AM –5 PM
2 sessions Oct 26–27
Phil Gauntt
14 AIA/CES LU’s, 14 PDH’s
PMA 511 1.4 C.E.U.s $475
AIA
Mastering AutoCAD Sheet Sets
As 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.
Prerequisite: A working knowledge of
AutoCAD 2000/2002/2004 drawing
creation and editing.
• Section 1 (w): M 9 AM –5 PM
1 session Nov 23
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 521 .7 C.E.U.s $235
KEY
(m) = Macintosh Platform
(w) = Windows Platform
(m/w) = Cross-Platform
(L)=Keynote Lecture
(LW)=Keynote and Workshop
(AIA)= AIA Professional
AIA
Mastering AutoCAD®
Tables and Schedules
For course description, please visit our
website: pratt.edu/prostudies.
Prerequisites: Intermediate-level
AutoCAD experience is necessary. A
working knowledge of Microsoft®
Windows® XP, Microsoft® Windows®
2000, or Microsoft® Windows® NT 4.0.
• Section 1 (w): M 9 AM –5 PM
1 session Nov 2
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 522 .7 C.E.U.s $235
AIA
Mastering AutoCAD®
Architecture: Documentation,
Annotation and Schedules
Using 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.
Prerequisite: A working knowledge of
AutoCAD Architecture or Architectural
Desktop drawing creation and editing.
• Section 1 (w): Tu 9 AM –5 PM
1 session Nov 10
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 507 .7 C.E.U.s $235
AIA
Mastering AutoCAD®
Architecture 2010: Doors,
Windows and Openings
Using 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.
Prerequisite: A working knowledge of
AutoCAD Architecture or Architectural
Desktop drawing creation and editing.
• Section 1 (w): M 9 AM –5 PM
1 session TBD
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 503 .7 C.E.U.s $235
AIA
Mastering AutoCAD®
Architecture 2010: Drawing
Management with Projects
For course description, please visit our
website: pratt.edu/prostudies.
Prerequisite: A working knowledge of
AutoCAD Architecture or Architectural
Desktop drawing creation and editing.
• Section 1 (w): Tu 9 AM –5 PM
1 session Nov 3
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 508 .7 C.E.U.s $235
MANHATTAN CE FALL 2009 33
AIA
Mastering AutoCAD®
Architecture 2010: Elevation
Sections and Perspectives
AutoCAD 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.
Prerequisite: A working knowledge of
AutoCAD Architecture or Architectural
Desktop drawing creation and editing.
• Section 1 (w): M 9 AM –5 PM
1 session TBD
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 506 .7 C.E.U.s $235
Student Software, One-Year License
Students who register for Autodesk
Media 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
REGISTER ONLINE: my.pratt.edu
34 FALL 2009 MANHATTAN CE
AU TO D E S K ®
TRAINING CENTER
continued
AIA
Mastering AutoCAD®
Architecture 2010: Roofs,
Dormers, and Slabs
The 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.
Prerequisite: A working knowledge of
AutoCAD Architecture or Architectural
Desktop drawing creation and editing.
• Section 1 (w): M 9 AM –5 PM
1 session TBD
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 505 .7 C.E.U.s $235
AIA
Mastering AutoCAD®
Architecture 2010:
Walls and Wall Styles
Creating 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.
REGISTER ONLINE: my.pratt.edu
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.
Prerequisite: A working knowledge of
AutoCAD Architecture or Architectural
Desktop drawing creation and editing.
• Section 1 (w): M 9 AM –5 PM
1 session TBD
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 504 .7 C.E.U.s $235
AIA
Printing and Plotting with
AutoCAD®
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
knowledge of Microsoft® Windows®
XP, Microsoft® Windows® 2000, or
Microsoft Windows NT 4.0.
Registration Deadline: Nov 10
• Section 1 (w): Tu 9 AM –5 PM
1 session Nov 24
Phil Gauntt
7 AIA/CES LU’s, 7 PDH’s
PMA 500 .7 C.E.U.s $235
AIA
Revit® Architecture 2010:
Level I
This 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
10 sessions Oct 4–Dec 13
• Section 2 (w): Su 1–4 PM
10 sessions Oct 4–Dec 13
Tyrone McLean (all sections)
30 AIA/CES LU’s, 30 PDH’s
PMA 406 3.0 C.E.U.s $845
AIA
Revit® Architecture 2010:
Basic Course
This 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.
Topics include: The tools that are neces-
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.
Registration Deadline: Sept 3
• Section 1 (w): M–Tu 9 AM –5 PM
2 sessions Sept 14–15
Tyrone McLean
14 AIA/CES LU’s, 14 PDH’s
PMA 533 1.4 C.E.U.s $395
AIA
Revit® Architecture 2010:
Advanced
This 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.
Topics include: The tools that are neces-
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
knowledge of Microsoft® Windows® XP
or Microsoft® Windows® 2000.
Recommended audience: Designed for
experienced users of Revit Architecture.
Registration Deadline: Sept 21
• Section 1 (w): M–Tu 9 AM -5 PM
2 sessions Oct 5–6
Tyrone McLean
14 AIA/CES LU’s, 14 PDH’s
PMA 539 1.4 C.E.U.s $395
AIA
Revit® Architecture 2010:
Creating Construction
Documents
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.
Registration Deadline: Oct 22
• Section 1 (w): Th 3–6 PM
1 session Nov 5
Tyrone McLean
3 AIA/CES LU’s, 3 PDH’s
PMA 534 .3 C.E.U.s $105

AIA
Revit® Architecture 2010:
The Family You Always Wanted
Have 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.
Registration Deadline: Oct 23
• Section 1 (w): F 3–6 PM
1 session Nov 6
Tyrone McLean
3 AIA/CES LU’s, 3 PDH’s
PMA 535 .3 C.E.U.s $105
AIA
Revit® Architecture 2010:
Migrating to Revit Architecture
This 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.
Topics include: The tools that are neces-
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
Microsoft® Windows® 2000.
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
• Section 1 (w): M 9 AM –5 PM
1 session Aug 31
Tyrone McLean
7 AIA/CES LU’s, 7 PDH’s
PMA 544 .7 C.E.U.s $235
AIA
Revit® MEP 2010: Basics Course
In 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
knowledge of Microsoft® Windows®
XP or Microsoft® Windows® 2000.
Recommended audience: Those with
Revit® Architecture or Revit® Structure
experience, and mechanical or
electrical engineers.
• Section 1 (w): F 6–9:30 PM
Registration Deadline: Aug 14
4 sessions Sept 4–Oct 2
• Section 2 (w): Th–F 9 AM –2:30 PM
Registration Deadline: Oct 23
2 sessions Nov 5–6
Tyrone McLean (all sections)
9 AIA/CES LU’s, 9 PDH’s
PMA 538 .9 C.E.U.s $295
AIA
Revit® Structure 2010: Essentials
This 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.
Topics include: The tools that are neces-
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
Microsoft® Windows® 2000.
Please note: Not accepted by NYS
for LU’s and PDH credit.
• Section 1 (w): F 6–9 PM
Registration Deadline: Sept 18
4 sessions Oct 9–30
• Section 2 (w): M–Tu 9 AM –5 PM
Registration Deadline: Nov 2
2 sessions Nov 16–17
Tyrone McLean (all sections)
14 AIA/CES LU’s, 14 PDH’s
PMA 545 1.4 C.E.U.s $395
AIA
Revit® Structure 2010: Advanced
This 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.
Topics include: The tools that are neces-
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
knowledge of Microsoft® Windows®
XP or Microsoft® Windows® 2000.
Recommended audience: The experienced
users of Revit Structure.
• Section 1 (w): F 6–9:30 PM
Registration Deadline: Oct 16
4 sessions Nov 6–Dec 11
• Section 2 (w): M–Tu 9 AM –5 PM
Registration Deadline: Nov 30
2 sessions Dec 14–15
Tyrone McLean (all sections)
14 AIA/CES LUS’s, 14 PDH’s
PMA 546 1.4 C.E.U.s $385
MANHATTAN CE FALL 2009 35
AIA
Set Design for
Architects and
Designers using
AutoCAD® 2010
This 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
AIA
AutoCAD LT® I
AutoCAD 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.
REGISTER ONLINE: my.pratt.edu
36 FALL 2009 MANHATTAN CE
AU TO D E S K ®
TRAINING CENTER
continued
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
4 sessions Nov 2–5
Gil Santiago
20 AIA/CES LU’s, 20 PDH’s
PMA 370 2.0 C.E.U.s $545
AIA
AutoCAD LT II
This 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
4 sessions Nov 16–19
Gill Santiago
20 AIA/CES LU’s, 20 PDH’s
PMA 371 2.0 C.E.U.s $545
KEY
(m) = Macintosh Platform
(w) = Windows Platform
(m/w) = Cross-Platform
(L)=Keynote Lecture
(LW)=Keynote and Workshop
(AIA)= AIA Professional
REGISTER ONLINE: my.pratt.edu
AIA
Autodesk® 3ds Max® Design
2010 Intensive Workshop
This intensive workshop uses Autodesk
3ds 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).
Registration Deadline: Oct 30
• Section 1 (w): M–W 9 AM –5 PM
3 sessions Nov 9–11
Phil Gauntt
21 AIA/CES LU’s, 21 PDH’s
PMAM 230 2.1 C.E.U.s $615
AIA
Architectural Design with
Autodesk® 3ds Max® Design
2010
Autodesk 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
15 sessions Sept 9–Dec 16
Marcello Ferri
30 AIA/CES LU’s, 30 PDH’s
PMCG 252 3.0 C.E.U.s $845
AIA
Architectural Visualization
using AutoCAD 2010, Revit
2010 and Autodesk® 3ds Max®
Design 2010
Architectural 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 3ds
Max Design; importing Revit models into
Autodesk 3ds Max Design using
Autodesk’s FBX file format; Autodesk
3ds Max Design user-interface; creating
3D objects in Autodesk 3ds Max
Design 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
AIA
Architectural Modeling II with
Autodesk® 3ds Max® Design
The 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 Autodesk
3ds Max.
• Section 1 (w): W 8:10–10:10 PM
15 sessions Sept 9–Dec 16
Marcello Ferri
30 AIA/CES LU’s, 30 PDH’s
PMCG 256 3.0 C.E.U.s $845
AIA
Architectural Rendering and
Lighting 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 Max
Model and Rendering I or Architectural
Visualization using AutoCAD and
Autodesk 3ds Max.
• Section 1 (w): M–F 9 AM –4 PM
5 sessions Oct 26–30
Marcello Ferri
30 AIA/CES LU’s, 30 PDH’s
PMCG 257 3.0 C.E.U.s $835
C L A S E S N U E VA S E N
E S PA Ñ O L
NEW CLASSES IN
S PA N I S H
Vea 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 with
Autodesk® 3ds Max® Design)
Modelado Arquitectónico II con
Autodesk® 3ds Max® Design
(Architectural Modeling II with
Autodesk® 3ds Max® Design)

AUTODESK TRAINING
CENTER S O F T WA R E
U P DAT E T R A I N I N G
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® Design
2010 Update
This one-day workshop for the
experienced Autodesk 3ds Max
Design user covers the new features
in Autodesk 3ds Max Design.
Prerequisite: Prior experience with
Autodesk 3ds Max.
Registration Deadline: Aug 12
• Section 1 (w): Sa 9 AM –5 PM
1 session Sept 12
Ruslan Kuchman
PMAM 236 .7 C.E.U.s $235
AIA
AutoCAD® 2010 Update:
Transitioning from
AutoCAD® 2009
This 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.
Hands-on exercises throughout the
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
Please note: Not accepted by NYS for
LU credit.
Registration Deadline: Aug 10
• Section 1 (w): Tu 9 AM –5 PM
1 session Sept 1
Chris Ramirez
7 AIA/CES LU’s
PMA 391 .7 C.E.U.s $235
AIA
AutoCAD® Architecture
2010 Update
AutoCAD 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.
Please note: Not accepted by NYS
for LU credit.
Registration Deadline: Aug 11
• Section 1 (w): Tu 9 AM –5 PM
1 session Sept 1
Phil Gauntt
7 AIA/CES LU’s
PMA 395B .7 C.E.U.s $235
AU TO D E S K ®
AU T H O R I Z E D
TRAINING CENTER
PREMIER MEDIA AND
E N T E RTA I N M E N T
Pratt Manhattan is authorized as an
Autodesk® Authorized Training
Center Premier Media and
Entertainment (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
following course descriptions.
Autodesk® 3ds Max® Design
Autodesk® 3ds Max® Modeling
and Rendering I and II
Autodesk® 3ds Max® Animation I, II
Autodesk® 3ds Max® Advanced
Character Design and Animation
Autodesk® 3ds Max® Design
Advanced Lighting
Autodesk® 3ds Max® Adv. Projects
Autodesk® 3ds Max® Game Level
and Character Design
Autodesk® 3ds Max® Design Update
Architectural Modeling II with
Autodesk® 3ds Max® Design
Architectural Rendering and Lighting
in Autodesk® 3ds Max® Design
Architectural Visualization Using
AutoCAD, Revit and Autodesk®
3ds Max® Design
Camera Matching and Integration
of Live Footage in Autodesk®
3ds Max®
character studio and skin
combustion
Facial Animation with
Autodesk® 3ds Max®
Introduction to Special Effects
with Autodesk® 3ds Max®
and combustion
MaxScript Seminar
Mudbox®
Project Management Seminar
Special Effects (FX) with
Autodesk® 3ds Max®
Texturing Seminar
37
C U S TO M E R Student Software
One-Year License
TESTIMONIALS Students who register for Autodesk
Three-dimensional craniofacial imaging is
Media and Entertainment Training
Center and Autodesk Training Center
the future for orthodontic diagnosis and
treatment planning. Temple University has courses qualify to purchase a one-year
developed this technique with hopes that license of Autodesk sofware. For
it will become commonplace in the future further information, please visit
office. Several types of software programs www.studica.com/dtc/pratt.
must be utilized for development. Temple
University has teamed with Pratt’s
Autodesk Authorized Training Center Autodesk Users Group
Premier Media and Entertainment (formerly International (AUGI)
known as a discreet Training Center) to Membership to AUGI is free. For
enhance the knowledge and usage of the
software. Pratt has provided a certified
information, visit the AUGI website:
www.augi.com?source=ATC.US.10089
instructor to teach within a private and
custom teaching environment. Continuing
support has been an outstanding attribute
Useful Links
from Pratt. I believe the success of this
Visit our website for useful links
project will be ensured due to the strong
relating to the Autodesk Training
commitment Pratt has given us.
Center (ATC) program:
Ched Smaha, DMD
www.pratt.edu/ccps-autodesk_training
Temple University
Department of Orthodontics or for the
Philadelphia, PA
Autodesk Training Center Media and
Entertainment (ATCME) program:
The nature of our business is very dead- www.pratt.edu/ccps-autodesk_media
line-driven. In order to get our designers
proficient and up to speed on Autodesk
VIZ, we feel it is best to routinely provide Customized Training
them with offsite training. That way, they Customized training is available
can fully concentrate on learning about the
to corporate clients. For further
design tools without any daily distractions.
information, please contact Karen
Our ATC, Pratt Institute, has been a valuable
resource in training our product teams Adler Miletsky at kmiletsk@pratt.edu
and keeping our workflow proceeding concerning your training needs.
smoothly and efficiently.”
Donald Strum
OneKey Account Information
Senior Director of Product Design
OneKey user names and passwords
Michael Graves Design Group
Princeton, NJ and New York, NY are necessary for all students and
faculty of Pratt Institute. Please see
page 71 for detailed instructions.
Your institution should be proud to have
Mr. Chris Ramirez as part of your group Registration Deadlines
of instructors/professors. I was very
Registration deadlines for all courses
impressed with Mr. Ramirez’s pedagogi-
are one week prior to course start dates,
cal skills when I participated in the
unless otherwise noted. Exceptions will
AutoCad Level I course during Spring
2008. The skills I refer to are: be allowed based on space availability.
– clear way to express ideas We recommend that you register early.
– organized sequence of lessons
– structured and logical daily agenda
– concern for students’ difficulties
– always available when needed
I will certainly recommend this course
to my colleagues and personally look
foward to my next course in your depart-
ment. As a former adjunct professor at
college level institutions in NYC & NJ
and as a licensed educator in NY & NJ,
I appreciate taking courses in which the
instructor, besides having the expertise in
the subject, is also a good pedagogue.
Sincerely,
Arnaldo Cardona
BEnv.Design, B.S.L.A., M.Art, M.S.Educ
REGISTER ONLINE: my.pratt.edu
38
The certificate program in computer graphics
is designed to provide graphic and fine
artists with the skills necessary to utilize
the computer as a graphics tool, enabling
them to incorporate computer graphics
technology into their work. The curriculum
includes terminology, software instruction,
conceptual development, and hands-on
experience. Students work on state-of-the-
art equipment, using the latest software.
The certificate provides a firm grounding
in the basic elements of this fast-moving
field, and an opportunity to use, learn, and
understand the various types of specialized
equipment that exist in today’s electronic
design offices. Through collaboration with
leading hardware and software vendors
involved with computer graphics, the Center
for Continuing and Professional Studies
offers its students the latest in computer
graphics education. Pratt’s commitment to
professional education and commercial
applicability is stressed in course planning,
faculty selection, and the latest equipment.
Pratt’s approach consists of a foundation
designed to teach computer literacy, the
basic terminology and operating concepts
of these machines, and finally, a personal-
ized course of study tailored to the specific
educational goals and career needs of
different types of students. This method
combines theoretical and practical knowl-
edge that is essential to effective education
in this field. Students may take these courses
individually or as part of the certificate
program.
CAREER TRACKS
Interactive Media
Electronic Imaging and Illustration
Electronic Publishing
Computer Animation and Video
Computer-Aided Design and Visualization
Registration Deadlines
Registration 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.
VA Benefits for
Certificate Program
This 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 phan@pratt.edu or
Karen D’Angelo kdangelo@pratt.edu
C E RT I F I C AT E C O M P U T E R
GRAPHICS
C E RT I F I C AT E
REQUIREMENTS
In order to receive Pratt’s Certificate
in Computer Graphics, students
must complete foundation courses,
core courses, and electives within
your chosen career track: interactive
media, electronic imaging and
illustration, electronic publishing,
computer animation and video, and
computer-aided design and visuali-
zation. Students will receive a letter-
grade in each course and must
maintain a “C” average. Eighty
percent attendance must be main-
tained in order to pass, as well.
Please see Career Tracks, on pages
38-39, for details and requirements.
Students with particular application
requirements outside of these
career tracks can select courses
from different tracks as long as the
foundation and certificate require-
ments are satisfied. Certain courses
may be waived with permission of
the coordinator of the program.
Eighty percent attendance is also
required in these courses of study.
Students must have an understand-
ing of the basics of design before
pursuing 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 Fees
Students registering for thirty-hour
computer courses are required to pay
a non-refundable facilities fee of $25
per course.
Lab Time
Two 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 Media
This 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 180 Computer Comp (Mac)
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
PMCG 254 Autodesk® 3ds Max®
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 and
Illustration
This 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

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.
Required Foundation Courses:
Choose three.
PMCG 100 Overview of Digital
Creation and Digital Media
PMCG 180 Computer Comp (Mac)
PMCG 422 Imaging I
Core Courses: Choose six.
PMCG 202 Graphic Illustration I
PMCG 303 Adobe InDesign
PMCG 304 Desktop Pub/Quark XPress I
PMCG 420 Graphic Illustration II
PMCG 425 Imaging II
PMCG 426 Photoshop Retouching
PMCG 427 Electronic Pre-Press Prod
PMCG 439 Web Devel w/ Adobe
Dreamweaver
PMCG 478 Illustrator CS4 for Artists
and Illustrators
Electives: Choose at least two.
PMCG 213 3D Modeling w/form•Z
PMCG 223 Autodesk® 3ds Max®
Model and Rend I
PMCG 322 HTML and Web Design I
PMCG 325 Intro to XHTML and CSS
PMCG 352 Adv Adobe InDesign w/
Photoshop and Illustrator
PMCG 421 Desktop Pub I/QuarkXPress II
PMCG 434 Non-Linear Video Editing
and Video Effects w/
Final Cut Pro
PMCG 437 Web Design and Graphics
w/Adobe Web Programs
PMCG 438 Flash I
PMCG 442 Photoshop for Photographers
PMCG 458 Photoshop Montage and
Collage
PMCG 461 Character Anim w/Flash
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 500 Digital Photography
PMCG 510 Create a Professional
Design Portfolio
Electronic Publishing
This 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.
Required Foundation Courses:
Choose three.
PMCG 100 Overview of Digital
Creation and Digital Media
PMCG 180 Computer Comp (Mac)
PMCG 304 Desktop Pub/QuarkXPress I
PMCG 475 Intro to Graphic Design
Core Courses: Choose six.
PMCG 202 Graphic Illustration I
PMCG 224 Imaging for the Web
PMCG 303 Adobe InDesign
PMCG 305 Type and Design
w/QuarkXPress
PMCG 322 HTML and Web Design
PMCG 325 Intro to XHTML and CSS
PMCG 420 Graphic Illustration II
PMCG 421 Desktop Pub/QuarkXPress II
PMCG 422 Imaging I
PMCG 426 Photoshop Retouching
PMCG 478 Illustrator CS4 for Artists
and Illustrators
Electives: Choose at least two.
PMCG 324 Dreamweaver/ Fireworks: I
PMCG 352 Adv Adobe InDesign w/
Photoshop and Illustrator
PMCG 425 Imaging II
PMCG 427 Electronic Pre-Press Prod
PMCG 437 Web Design and Graphics
w/Adobe Web Programs
PMCG 439 Web Devel w/ Adobe
Dreamweaver
PMCG 442 Photoshop for Photographers
PMCG 458 Photoshop Montage and
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 500 Digital Photography
PMCG 510 Create a Professional
Design Portfolio
Computer Animation and Video
This 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.
Required Foundation Courses:
Choose five.
PMCG 100 Overview of Digital
Creation and Digital Media
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.
PMCG 202 Graphic Illustration I
PMCG 223 Autodesk® 3ds Max®
Model and Rend I
PMCG 230 Maya I Fundamentals
PMCG 240 Autodesk® 3ds Max®
Model and Rend II
PMCG 241 Maya II: Modeling,
Animation and Effects
PMCG 254 Autodesk® 3ds Max®
Animation I
PMCG 330 Autodesk® 3ds Max®
Animation II
PMCG 331 Autodesk® 3ds Max®
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
Electives: Choose at least two.
PMCG 213 form•Z Fundamentals:
Model and Render I
PMCG 243 Autodesk® 3ds Max®
Game Level and Character
Design
PMCG 258 Mudbox®
PMCG 270 Graphics Pro I w/C++
PMCG 332 Autodesk® 3ds Max®
Adv Char Anim
PMCG 333 Special Effects
w/Autodesk® 3ds Max®
PMCG 337 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 461 Character Anim w/Flash
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
MANHATTAN CE FALL 2009 39
Computer-Aided Design
and Visualization
This 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.
Core Courses: Choose six.
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
PMCG 223 Autodesk® 3ds Max®
Modeling and Rendering I
PMCG 240 Autodesk® 3ds Max®
Modeling and Rendering
II
PMCG 252 Arch Design w/Autodesk®
3ds Max® Design
PMCG 254 Autodesk® 3ds Max®
Animation I
PMCG 255B Arch Visual ACAD
w/AutoCAD, Revit and
Autodesk® 3ds Max®
Design
PMCG 256 Arch Model II w/
Autodesk® 3ds Max®
Design
PMCG 257 Arch Rendering and
Lighting in Autodesk®
3ds Max® Design
Special 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
REGISTER ONLINE: my.pratt.edu
40
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 Development
Series for Architects
Professional Engineers,
and Land Surveyors
AIA/CES Registered Provider
Drawing on Pratt’s historically strong
architecture and engineering curricu-
lum, we have expanded our program
andregisteredwiththeAmerican Institute
of Architects, Continuing Education
System (AIA/CES). For additional
approved AIA/CES courses, please see
Autodesk Training Center, pages
30–37; VectorWorks and form•Z
Fundamentals: Modeling and
Rendering I, page 25.
Please Note
• For the Architect: New York State
Licensing Board law requires architects
to complete 36 professionally-related
continuing education hours for every
three-year registration period. Of the
36 hours, 24 must relate directly to
HSW (general health and safety of the
public) issues.
• For the Professional Engineer and Land
Surveyor: Every New York State
licensed and registered professional
engineerandlandsurveyormustcomplete
continuing education. Professional
engineers will be required to complete 36
hours of continuing education during
each three-year registration period. Land
surveyors will be required to complete
24 hours of continuing education dur-
ing each three-year registration period.
* Please see courses with PDH’s notated.
• Non-HSW designation: Pratt courses
that do not have the HSW designation,
and which have been approved through
the AIA, have been formally submitted
to 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/.
PROFESSIONAL DEVELOPMENT
FOR ARCHITECTS & ENGINEERS
PROGRAM
ANNOUNCEMENTS
Program Location
Please note that all sections are held
at our Manhattan Center, 144 West
14th Street, unless otherwise noted.
Pratt AIA Online Partner
Programs Expanded
Engineered 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 Offerings
These lectures can be delivered on-site
to corporate clients. For further infor-
mation, please contact Karen Adler
Miletsky at kmiletsk@pratt.edu.
Registration Deadlines
Registration 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.
C U S TO M E R
TESTIMONIAL
I really enjoyed Roy Pachecano’s and David
Reck's class on “Green Design vs Historic
Preservation.” It was very informative and
inspiring. With the economy the way that
it is, I am trying find ways to reinvent
myself as an Architect. Your class gave me
much to consider.
My business partner and I are in contract
to purchase a landmark house on Staten
Island. The case study of the Nix House
gave me a renewed appreciation of the
restoration process.
I look forward to attending more of your
seminars in the future.
Thank you,
Michael A. Biagioli, AIA, Architect
EARN WHILE YOU LEARN
Sheathing: A Sustainable
Product for the 21st Century
This 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-Imagined
An 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 Continuous
Spanned Beams I
A 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.

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 Continuous
Spanned Beams II
Established 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
4 AIA/HSW LU’s, 4 PDH’s
PMPD 959 $196
Registration Deadlines
Registration 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.
Analysis of Continuous
Spanned Beams
From 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 960 $295
An American Revolution:
The Invention of Balloon
Framing and The History of
Wood Frame Architecture
in America
We 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
6 AIA/CES LU’s, 6 PDH’s
PMPD 940 $295
Architectural Acoustic
and 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
MANHATTAN CE FALL 2009 41
for noise control; indoor acoustics
and noise control; and outdoor noise
and abatement.
• F–Sa 9 AM –5 PM
2 sessions Oct 9–10
Alfred Yalaju, RA
14 AIA/HSW LU’s, 14 PDH’s
PMPD 914 $595
Architectural Restoration:
Motivators and Constraints
to the Preservation of
Older Structures
This 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
2 sessions Dec 3–4
Martin Kravitt, RA
14 AIA/HSW LU’s/SD’s, 14 PDH’s
PMPD 916 $595
REGISTER ONLINE: my.pratt.edu
42 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
Art Deco: The Architecture
of Boom and Bust
In 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
REGISTER ONLINE: my.pratt.edu
Between the Wars: the Golden
Age of Bridge Building
The 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 886 $295
Bidding the Construction Project
This 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
7 AIA/CES LU’s, 7 PDH’s
PMPD 861 $295
Big Apple to the Core
Above 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 929 $244
Brick Essentials
Brick 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 918 $295
Bridging America
North 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 927 $244
Bridging Gotham:
NYC Archipelago
Upon 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 871 $295
Bridging the World
The 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 930 $244
Registration Deadlines
Registration 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.
Building Green: An Overview
You 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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 890 $295
Building Green
‘Round the World
The 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
MANHATTAN CE FALL 2009 43
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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 941 $295
Building Healthy
Did 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.
REGISTER ONLINE: my.pratt.edu
44 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
• Su 9 AM –5 PM
1 session Nov 1
Jeffrey Syken
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 872 $295
Building Naturally
Touch 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
5 AIA/HSW LU’s/SD’s, 5 PDH’s
PMPD 988 $244
REGISTER ONLINE: my.pratt.edu
Building the Brooklyn Bridge:
An Epic for the Age
Technological 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 867 $295
Build It and They Will Come:
The Architecture of Sports
Perhaps 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 934 $244
Capital City: The Architecture
of the District of Columbia
Selected 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 Security
Technology: In the Age of
Terrorism and Natural Disasters
This 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 952 $ 295

Climate Change Fundamentals
for Design Professionals
This 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
Tony Gelber, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 600 $295
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:
www.pratt.edu/prostudies for
courses not acceptable to NYS or
see courses that state: Not accept-
ed 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/.
Connecting Us: The Arterial
Highway System of the
New York-New Jersey Region
In 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
7 AIA/CES LU’s, 7 PDH’s
PMPD 924 $295
Construction Cost Estimating
This 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
10 sessions Oct 5–Dec 7
Abraham Kovner, CPE
George Lawrence, CPE
William Manfredonia, CPE
30 AIA/CES LU’s, 30 PDH’s
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
2 sessions Oct 11–18
Jeffrey Syken
14 AIA/CES LU’s, 14 PDH’s
PMPD 862 $595
MANHATTAN CE FALL 2009 45
Construction Specifications
Writing
Learn 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.
• F–Sa 9 AM –5 PM
2 sessions Sept 11–12
Steven Danielpour, AIA, CCS, LEED® AP
14 AIA/HSW LU’s, 14 PDH’s
PMPD 836 $595
C U S TO M E R
TESTIMONIAL
I enjoyed Jeffrey Syken’s, ‘Bridging Gotham’
lecture very much. It was exactly the kind of
information 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-monthly
newsletter and are looking for articles.
I plan to write a brief piece on what I learned
about bridges between NJ and NY and
credit your seminar for the information
and even recommend your lectures.
Thanks again for the great day of interest
and learning.
Gene Graber
REGISTER ONLINE: my.pratt.edu
46 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
Continental Divide: Bridging
the Mighty Mississippi
With 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
7 AIA/CES LU’s, 7 PDH’s
PMPD 931 $295
REGISTER ONLINE: my.pratt.edu
Designing and Renovating
Carbon Neutral Buildings
This 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
Tony Gelber, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 601 $295
Designing for Broadcast
and 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
6 AIA/HSW LU’s, 6 PDH’s
PMPD 800 $295
Designing for Museums and
Other Cultural Institutions
This 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.
• Th–F 9 AM –5 PM
2 sessions Dec 17–18
Brenda Cowan
Larry Langham
14 AIA/HSW LU’s, 14 PDH’s
PMPD 978 $595
Designing Research and
Development Facilities
This 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
6 AIA/HSW LU’s, 6 PDH’s
PMPD 803 $295
Registration Deadlines
Registration 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.
Earth in the Balance
Has 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
5 AIA/HSW LU’s, 5 PDH’s
PMPD 975 $244
EIFS and Plaster in
Modern Construction
Exterior 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

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 and
plaster systems; veneer plaster systems,
ornamental plaster, the Gypsum
Association—purpose and publications.
• Su 9 AM –5 PM
1 session Oct 25
Jeffrey Syken
7 AIA/HSW LU’s, 7 PDH’s
PMPD 863 $295
Empire State Building:
Monarch of the Sky
The public had an instant love affair
and an enduring fascination with the
Empire State Building, which rose
phoenix-like at the height of the Great
Depression, giving hope to millions.
A product of the “Dream Team,” legendary
builder Starrett Bros. & Eken and the
very capable architectural firm of Shreve,
Lamb & Harmon, the Empire State Building
represented—as Col. Starrett said of
building skyscrapers—“the nearest
peace-time equivalent to war.” The
Empire State would be the culmination
of his career and fifty years of skyscraper
evolution. The prefabrication of major
building components, just-in-time
delivery of materials, fast-track scheduling,
assembly line-like organization of the
work force. etc., were all aspects of the
Empire State’s design and construction.
Perhaps New York Times architectural
critic Paul Goldberger summed it up
best at the 50th anniversary of the
Empire State Building in 1981. “It is
about height, it is about commerce,
it is about entertainment, it is about
views,” he said. “It is about the very
meaning of the skyline itself.”
Topics include: the evolution of the
skyscraper: 1883-1929; the site: historical
context; end of an era: Waldorf-Astoria
makes way for the world’s tallest building;
NYC in the 1920s: the building boom
and the race for the sky; the designer:
Shreve, Lamb & Harmon, Architects;
the constructor: Starrett Bros. & Eken,
Builders; thirteen months: constructing
the Empire State; and the building’s legacy.
• Sa 9 AM –5 PM
1 session Oct 17
Jeffrey Syken
7 AIA/CES LU’s, 7 PDH’s
PMPD 891 $295
Energy, Greenhouse
Gas, Weatherization
Audits, and Capital Planning
This 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
Tony Gelber, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 604 $295
Estimating Cooling Load
on 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 support@chotkeh.com.
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
7 AIA/CES LU’s, 7 PDH’s
PMPD 909 $295
Estimating Structural
Steel Erection
This 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 Fabrication
This 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
7 AIA/HSW LU’s, 7 PDH’s
PMCM 106 $295
MANHATTAN CE FALL 2009 47
Ever Higher: The Quest to
Touch 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
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:
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/.
REGISTER ONLINE: my.pratt.edu
48 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
Far Horizon: The Architecture
of the World’s Fair
If 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
REGISTER ONLINE: my.pratt.edu
Fire Protection Technology
The 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.
Registration Deadline: Oct 13
• Tu 9 AM –12 PM
1 session Oct 27
Mario Antonetti, PE
Eric Babcock, PE
Richard Thonnings, PE
3 AIA/HSW LU’s, 3 PDH’s
PMPD 876 $145
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:
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/.
Forest Hills Gardens:
A Modern Arcadia
Conceived 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 Wetlands
Freshwater 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
3 AIA/HSW LU’s/SD’s, 3 PDH’s
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
support@chotkeh.com.
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 Polarized
Lighting Systems
Full-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
6 AIA/HSW LU’s/SD’s, 6 PDH’s
PMPD 993 $295
Fundamentals Technologies and
Safeguards of Nuclear Energy
There 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 968 $295
Geotechnical Engineering
This 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 851 $295
MANHATTAN CE FALL 2009 49
Gimme Shelter Materials usage and waste minimiza-
Aside from food, mankind’s most basic tion. Methods to be implemented to
need is shelter. Nature provides the reduce resources consumed and waste
former, but for the latter, shelter, generated and increasing efficiencies
not since caveman-days has nature in the areas of: Energy consumption;
provided us with protection from the Water consumption; Waste water
elements. In this regard, the human generated; and Waste generation.
race has been at its most innovative in For the Facility Renovation: Green
creating shelter from the storm and a Building Renovation—Facilities utilizing
place to call “home.” a USGBC Leadership in Energy and
Our dwellings provide us with more Environmental Design (LEED) certified
than just a place to stay dry, warm retrofit using either the LEED-Existing
and safe; they also reflect our culture, Buildings or LEED: Commercial
Interiors rating standard as a basis in
values, technological achievements,
performing an overhaul of existing
and make a statement about who we
facilities, even if certification is not the
are as individuals and as a society.
goal. Explore the competitive advantage,
Housing remains a touchstone issue,
potential profit, and return on investment
in particular concerning the expected
that can be realized from implementing
exponential growth of the human
the green initiatives.
population in the 21st century. Post-
• Th 9 AM–5 PM
WWII America saw the rise of suburbia
1 session Oct 1
or, what some have termed: The
Terese Kinsley
Geography of Nowhere. The lost sense
7 AIA/HSW LU’s/SD’s, 7 PDH’s
of community endemic of suburban
PMPD 809 $295
sprawl in the post-war years has been
recognized by urban planners, archi-
Gray Water Heat Recovery
tects, and developers and is being
Hot water going down the drain is
addressed. Places like Seaside and
a largely untapped energy resource.
Celebration Florida are representative
Until the invention of the falling film
of the New Urbanism; they are trying
heat exchanger, it has been impossible
to make right what went wrong.
to achieve high rates of heat recovery.
Topics include: the evolution of the
The gravity falling film heat exchanger
private residence; the evolution of
consists of a coil of copper tubing
multiple dwelling housing; the prairie
wrapped around a vertical copper
style of FLW and its influences; suburban
drain pipe. The coil of copper tubing
Sprawl and the New Urbanism; a man’s
pipes the cold water from the street
home is his castle (literally); modern
around the drain pipe prior to feeding
architecture & housing; and trends in
it, warmed up, to the hot water heater.
neo-traditional housing.
Recovery rates of 85 percent are possible.
• Th 8 AM –1:30 PM
Topics include: How much energy is
1 session Sept 10
used for domestic hot water; Proper
Jeffrey Syken
piping for the installation; Residential
5 AIA/CES LU’s
case studies; and Commercial case studies.
PMPD 962 $244
• M 1–4 PM
1 session Sept 14
Go Green Retrofits
Daniel Karpen, PE
This course is designed to help design
3 AIA/HSW LU’s/SD’s, 3 PDH’s
professionals incorporate sustainability
PMPD 953 $145
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 REGISTER ONLINE: my.pratt.edu
50 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
Green by Design
What does a highway bridge over
the Iowa River have in common with a
hybrid, passive solar house in the New
Mexico desert? Answer: they are both
green, by design. Contemporary
design and construction practices that
prevent environmental disruption
(a.k.a. eco-disruption) preserve and
protect natural resources, encourage
recycling and/or use recycled-content/
alternative building materials, create
healthier indoor environments and/or
follow the U.S. Green Building Council’s
(USGBC) LEED (Leadership in Energy
& Environmental Design) protocols are
no longer the domain of a minority of
“fringe” designers, developers and
builders. This has created a profound
change in the way we design and con-
struct the built environment. The rise of
the green building movement, starting
in the early 1990s, has made designing
and building along “green” guidelines
mainstream in the 21st century. With
this heightened awareness, sustainable
design and construction practices are
no longer looked upon as an oddity
but, rather, as an expectation.
Topics include: ecological design practices;
preserving the Iowa Greenbelt: construc-
tion of the Iowa River Bridge; alternative
building designs, techniques and materials;
Feng Shui: an ancient art in modern
design; and heightened awareness: con-
structing a passive solar hybrid home.
• Sa 9 AM –5 PM
1 session Oct 24
Jeffrey Syken
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 922 $295
Green Design Versus
Historic Preservation
With 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.
REGISTER ONLINE: my.pratt.edu
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.
Registration Deadline: Oct 12
• Th 9 AM –5 PM
1 session Oct 22
Roy Pachecano, AIA
David B. Reck, RA
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 963 $295
Greening Your Facilities:
A Holistic Approach
Save 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
Tony Gelber, LEED® AP
4 AIA/HSW LU’s/SD’s, 4 PDH’s
PMPD 829 $195
Hazardous Waste Management
The 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
3 AIA/HSW LU’s/SD’s, 3 PDH’s
PMPD 954 $145
High Steel: The Legacy of
Steel-Frame Construction
When 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 923 $244
Historic Preservation:
Techniques and Methods
This 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.
• Th–F 9 AM –5 PM
2 sessions Nov 5–6
Lisa Easton, AIA
Kate Lemos McHale, AIA
14 AIA/HSW LU’s, 14 PDH’s
PMPD 844 $595
Improving Public Health by
Greening your Specifications
This 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
Steven Danielpour, AIA, CCS, LEED® AP
• Section 2: Th 9 AM –5 PM
1 session Nov 19
Steven Danielpour, AIA, CCS, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 955 $295
Improving the Energy
Efficiency of Steam Systems
Energy 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
3 AIA/HSW LU’s/SD’s, 3 PDH’s
PMPD 956 $145
Indoor Air Quality
Indoor 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
3 AIA/HSW LU’s/SD’s, 3 PDH’s
PMPD 951 $145
Inland Sea: The Bridging of
San Francisco Bay
For 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 905 $295
Integrating Accessibility
Accessibility 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 into
Urban Architecture
This 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 Engineering
This 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
MANHATTAN CE FALL 2009 51
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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 823 $295
Light Gauge Metal Framing
(LGMF): Let’s Get More Familiar
Long 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 877 $295
Registration Deadlines
Registration 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.
REGISTER ONLINE: my.pratt.edu
52 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
Masters of Architecture I:
Pei, Gehry & Kahn
Through 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.
Please note: Not accepted by NYS for
LU or PDH credit.
• W 8 AM –1:30 PM
1 session Nov 11
Jeffrey Syken
5 AIA/CES LU’s
PMPD 942 $244
REGISTER ONLINE: my.pratt.edu
Matrix Analysis for Continuous
Spanned Beams and Multilevel
Building Frames
The 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 Tour
Around 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 943 $244
Modern Drywall
Construction Systems
Since 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 864 $295
Mold Remediation: How to
Detect Mold and Clean Mold
Mold 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.
Registration Deadline: Aug 19

• Section 1: W 6–9 PM
6 sessions Sept 2–Oct 7
Joseph P. Majewski, FCPE, PE
Alex MacKenzie, CPE
18 AIA/HSW LU’s, 18 PDH’s
PMERM 502 $575
Monumental Architecture:
A Gift to the Ages
More 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
7 AIA/CES LU’s, 7 PDH’s
PMPD 932 $295
Museums: The Architecture
of Art
Architecture 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 944 $244
New Accessibility Requirements
for 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 964 $295
MANHATTAN CE FALL 2009 53
New Accessibility Requirements
for Residential Occupancies
United 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
7 AIA/HSW LU’s, 7 PDH’s
PMPD 965 $295
Registration Deadlines
Registration 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.
REGISTER ONLINE: my.pratt.edu
54 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
New York City
Building Code:
Using an Example
This 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.
Registration Deadline: Oct 9
• F 9 AM–5 PM
1 session Oct 30
Laura Cooney
7 AIA/HSW LU’s, 7 PDH’s
PMPD 984 $295
New York Construction Law
The law influences all aspects of the
construction process. Its reach extends
far and wide; and its impact can be felt
from the very beginning of a project,
through completion, closeout, and
beyond. Attendees are sensitized to
the problems, issues, and concerns that
can arise during major phases of a project
and leave with a better understanding
of how the law affects them.
Topics include: bidding; contractor
claims, owner defenses, and related
contract clauses; subcontractor claims;
owner’s rights and affirmative claims;
bonds; New York Lien Law; Public and
Private Improvement Mechanics Lien.
Registration Deadline: Nov 22
REGISTER ONLINE: my.pratt.edu
• F–Sa 9 AM–5 PM
2 sessions Dec 11–12
Robert J. Miletsky, Esq.
12 AIA/HSW LU’s, 12 PDH’s
PMPD 802 $575
New York State Building
Codes, Rules, and Regulations
This course consists of a series of lectures
focusing on recent changes in the industry
that affect the practice of architecture
and 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 Construction
Code, the Fire Code, the Fuel Gas Code,
the Mechanical Code, the Plumbing
Code, the Property Maintenance Code,
the Residential Code—and their interpre-
tations and applications locally. In a
seminar environment, you will achieve an
understanding of the existing New York
City Building Code while recognizing the
need for change.
Topics include: the New York State
Building Code and the Federal OSHA
Labor Law Safety and Health Regulations
for Construction, as well as the New York
City Building Code; how building codes
affect the cost of construction by dictating
the type of materials developers can use;
detailing the kind of buildings or structures
which can be built; and establishing the
review process that must be followed to
ensure code compliance. Special emphasis
is placed on the role of the Buildings
Department and its authority.
• Tu 9 AM –5 PM
1 session Oct 27
Edward D. Re, Jr., AIA
7 AIA/HSW LU’s, 7 PDH’s
PMPD 816 $295
New York State
Building Code:
Using an Example
This course is intended to take attendees
through the main design provisions of
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.
Registration Deadline: Oct 22
• M 9 AM–5 PM
1 session Nov 9
Laura Cooney
7 AIA/HSW LU’s, 7 PDH’s
PMPD 985 $295
New York State
Existing Building
Code: Using an Example
This course is intended to take attendees
through the main design provisions of
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.
Registration Deadline: Oct 29
• M 9 AM–5 PM
1 session Nov 16
Laura Cooney
7 AIA/HSW LU’s, 7 PDH’s
PMPD 986 $295
9/11 and Beyond
To 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 939 $244
Offsite Fabrication for Housing
No 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.
Registration Deadline: Oct 29
• Sa 9 AM –5 PM
1 sessions Nov 14
Michael Hardiman, AIA
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 966 $295
Peace through Understanding:
The 1964-65 New York
World’s Fair
Like 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 945 $244
Performance Modeling for
Carbon Neutral Buildings
This 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
Design charette for a carbon neutral
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
Tony Gelber, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 602 $295
Performance Rating of
New Buildings: The Process
Global 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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 982 $295
MANHATTAN CE FALL 2009 55
Renewable/Green Energy
Globally, 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 Landscape
Architecture
This 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.
56 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
• Th 9 AM –5 PM
1 session Nov 19
Charles Turofsky, RLA
7 AIA/HSW LU’s
PMPD 946 $295
Rivers of Steel
Just 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.
REGISTER ONLINE: my.pratt.edu
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
5 AIA/CES LU’s, 5 PDH’s
PMPD 977 $244
Sacred Architecture
For 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
5 AIA/CES LU’s, 5 PDH’s
PMPD 947 $244
Security Design through CPTED
Terrorism, 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.
Registration Deadline: Sept 22
• Tu 9 AM –12 PM
1 session Oct 6
Robert Summers, CPP
3 AIA/HSW LU’s, 3 PDH’s
PMPD 857 $145
Small-Scale Real Estate
Development
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.
Please note: Not accepted by NYS
for LU credit.
Registration Deadline: Oct 12
• 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 Practice
This 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
Steven Danielpour, AIA, CCS, LEED® AP
7 AIA/HSW LU’s, 7 PDH’s
PMPD 801 $295
Sustainability Approach to
Engineering Design
Designers, engineers, and architects
are in the unique position in society of
bringing ideas into form. This course
challenges designers to reprioritize,
rethink, and approach design opportu-
nities from a sustainability perspective,
so that nothing created adds to the
environmental or health burden we
currently face. By taking a whole system
design approach and integrating every
aspect of the lifecycle of the product or
system into the design criteria, we can
minimize environmental and health
impacts and move forward to achieving
sustainability without compromising
the 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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
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
5 AIA/HSW LU’s/SD’s, 5 PDH’s
PMPD 817 $244
Sustainable Remodeling
It’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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 980 $295
Sustainability
Pioneers: Heroes
of 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 Eiffel
Tower and the Chrysler Building
Separated by 50 years and two centuries,
the Eiffel Tower would hold the title of
“tallest man-made structure in the
world“ for more than half a century; the
Chrysler Building would hold the same
title for only a year. Bridge-builder Gustav
Eiffel’s masterwork, erected as a center-
piece for the 1889 Paris Exposition,
demonstrated the potential of a light-
weight iron frame and Elijah Otis’ safety
elevator to “scrape the sky“ at 1,000
feet above terra-firma, thus making very
tall structures possible. With the structural
steel frame perfected and high-speed
elevator technology well established by
the late 1920s, the stage was set for the
title of tallest man-made structure to
pass to Architect William Van Alen and
his client-automobile mogul Walter P.
Chrysler. Built at the height of the
“Golden Age of Skyscrapers,“ the
Chrysler Building remains an icon of
the art deco era and the quintessential
New York City skyscraper.
Topics include: Gustav Eiffel, Man of
Genius; Paris Exposition of 1889 and
the design competition for its center-
piece; technology involved in the
design and construction of the Eiffel
Tower; evolution of the skyscraper;
the building boom, 1920s New York;
irreconcilable differences: Van Alen vs.
Severance; Walter Chrysler: Captain of
Industry; Race for the Sky: Chrysler v.
Bank of Manhattan; Legacy of the Eiffel
Tower and the Chrysler Building.
• Su 9 AM –5 PM
1 session Dec 6
Jeffrey Syken
7 AIA/CES LU’s, 7 PDH’s
PMPD 903 $295
MANHATTAN CE FALL 2009 57
That’s Entertainment! The
Architecture of Theaters:
“An Acre of Seats in a
Garden of Dreams”
Prior to 1900, not a single structure
had been built specifically for use as a
movie theater in the United States. In
the period from 1915 to 1945, the
height of Hollywood’s “Golden Age,”
over 4,000 movie palaces were
constructed, many still in use today
as theaters or adapted for other uses.
Perhaps the most public of public
buildings, theaters provide an escape
from everyday life. In addition, they
highlight 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 in
ancient Rome are long gone, but the
2000-year-old architecture of this
amphitheater—using the simplest of
building materials such as brick, con-
crete and circular arches—still has the
power to awe and amaze. The 19th
century saw the construction of grandil-
oquent structures, such as the Paris
Opera House, with the same skill and
care as the great medieval cathedrals.
The art deco era saw some of the
greatest deco theaters ever built,
including the Wiltern in Los Angeles
and others in places like Napier, New
Zealand, and Bombay, India. In modern
times, the Sydney Opera House is con-
sidered one of the greatest achieve-
ments of modern architecture for its
design, setting, and structural innova-
tions. Frank Gehry’s Disney Hall in Los
Angeles has the power to stir a variety
of reactions, but, like all theater expe-
riences, it leaves an everlasting impres-
sion on the collective imagination.
Topics include: Roman Amphitheater: The
Coliseum, Rome; Charles Garnier’s Paris
Opera House; Form Follows Function:
Louis Sullivan’s Auditorium Building,
Chicago; 42nd Street Revival: The New
Amsterdam Theater; The Great Movie
Palaces: 1900 to 1945; Art Deco Theaters
Around the World; Triumph of Design:
The Sydney Opera House; Mickey
Magic: Frank Gehry’s Disney Hall, Los
Angeles.
• W 8 AM –1:30 PM
1 session Dec 2
Jeffrey Syken
5 AIA/CES LU’s, 5 PDH’s
PMPD 949 $244
REGISTER ONLINE: my.pratt.edu
58 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
The Architect’s Role in
Development: Preserving
the Public’s Welfare
The seminar examines how the architect,
through implementation of land planning,
building design, codes, and life-safety
systems facilitates the preservation of
the public’s welfare in order to minimize
adverse affects of uncontrolled devel-
opment. We discuss how the design of
buildings based on a developer’s ideal
model is, at times, in opposition to the
public’s interests. Using the history of
adverse development in the housing
sector as a backdrop, we will examine
the parallels between social upheavals
and design breakthroughs led by archi-
tects whose solutions helped protect
the public’s welfare. This course is ideal
for professionals seeking a broader
understanding of the architect’s role in
development. We examine the architect’s
fiduciary duties and discuss the tension
exerted upon the architect during the
planning process as seen through the lens
of various stakeholders: the developer,
the owner, the investor, the contractor/
vendor, and the public.
Topics include: Fire and hygiene: Legal
underpinnings of change; The architect
at the center of community planning
controls; Land use, zoning: How archi-
tecture responds to both; The architect’s
fiduciary duties; Private/Public Controls
and Planning Regulations—How archi-
tecture contributes to both; Expansion
of environmental laws forces architects
to think on macro-scale: site, water, air,
materials; and The “Green” movement.
Registration Deadline: Oct 12
• W 9 AM –5 PM
1 session Oct 21
Roy Pachecano, AIA
David B. Reck, RA
7 AIA/HSW LU’s
PMPD 997 $295
REGISTER ONLINE: my.pratt.edu
The Architecture of Empire
Down through the ages, civilizations
have used architecture as an expression
of the power and glory of the empires
they have created. Most often, all that
remains of most of the great civilizations
of the past are the ruins of their pyramids,
temples, amphitheaters, palaces, bridges,
roads, and government buildings. Many
of the structures these empires created
remain intact and are still used in modern
times. Some find use for purposes other
than those for which they were created,
while many still serve their original intent.
The medieval cathedrals remain the seat
of Catholic bishops, while Roman temples
—the Pantheon, for example, built to
exalt all the Roman Gods—saw use as
churches under Christendom.
With the rise and fall of empires, the
architectural, engineering, and building
skills, traditions, knowledge, and tools,
were carried forward and advanced.
Modern masons can thank the builders
of the ancient pyramids for establishing
masonry construction, while the crane
and wheelbarrow made their first
appearance in the Middle Ages during
the construction of the great cathedrals.
Even the Nazis under Hitler, an aspiring
architect himself, considered architecture
the crowning achievement and symbol
of their “Thousand-Year Reich.” Hitler
and his architects sought to emulate
the classical architecture of the Roman
and Greek empires, even mandating
that their buildings look good when
in ruins, much like the Roman Forum
itself. Even the communists sought a
“Stalinist” architectural style of their
own, to the detriment of their state
treasuries but to the glory of the cult
of personality their leaders endorsed.
Topics include: The Master Builders of
Egypt; The Acropolis & the Golden Age
of Greece; World Empire: Rome and
the Seven Hills; Medieval Cathedrals:
Christendom’s Crowning Glory; Berlin,
Germany: Capitol of the Nazi World
Empire; Bucharest, Romania:
Cosmopolitan to Communism.
• Tu 8 AM –1:30 PM
1 session Dec 8
Jeffrey Syken
5 AIA/CES LU’s, 5 PDH’s
PMPD 950 $244
The Environment, SEQRA and
the Engineered Project
The 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
6 AIA/HSW LU’s/SD’s, 6 PDH’s
PMPD 995 $295
The Path to Greater
Architectural Freedom with
Today’s Structural Steel
This 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
4 AIA/HSW LU’s, 4 PDH’s
PMPD 835 $195
This Hazardous House
Considering 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
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 967 $295

“Visionary” Designing
with Glass Block and High
Performance Glass Block
Systems 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.
Registration Deadline: Sept 2
• Sa 9–11 AM
1 session Sept 12
Rena McDonnell
2 AIA/HSW LU’s/SD’s, 2 PDH’s
PMPD 819 $85
Wind Energy
Systems
Modern 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
3 AIA/HSW LU’s/SD’s, 3 PDH’s
PMPD 983 $145
Wooden Scaffolds
Wooden 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
4 AIA/HSW LU’s, 4 PDH’s
PMPD 961 $195
World of Tomorrow: The
1939-40 New York World’s Fair
The 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 Creating
the World’s Fair; The Architecture of
the World’s Fair; Exhibits and Pavilions;
The Products of Tomorrow; and
Entertainment and Food at the Fair.
• Tu 8 AM–1:30 PM
1 session Dec 15
Jeffrey Syken
5 AIA/LU’s
PMPD 818 $244
World Trade Center:
Magnificent Ambition
The World Trade Center had two main
goals: use the power and resources of
the Port of New York Authority—a
quasi-governmental agency, to revitalize
Lower Manhattan and make NYC the
center of international trade in the
post-war era. First conceived by David
Rockefeller in the 1940s, it would not
be until the early ‘60s that the idea for
an international trade center took root
and became a reality by the early ‘70s.
From almost every aspect, the design
and construction of the WTC was so
innovative and revolutionary that the
“Twin Towers“ were often referred to,
at the time, as “the first buildings of
the 21st Century.“
The prefabrication of major building
components; the slurry walls to create
“The Bathtub,“ the unique foundation
of the WTC whose massive excavation
“spoil“ provided the landfill used to
create Battery Park City and would
also keep the Hudson River out; the
first use of “Kangaroo Cranes“—
Australian tower cranes with 50+ tons
lifting capacity; and the first application
of a gypsum-drywall Shaftwall system
to enclose the elevator shafts all served
to make the WTC the standard-setter
for the way high-rise buildings would
be designed and built thereafter.
Offering 50% more rentable space
than a conventional skyscraper using
steel “cage“ design, the unique struc-
tural system of the Twin Towers made
use of the exterior wall for structural
support freeing the interior spaces of
support columns. Sadly, this innovative
structural system would play a key role
in the collapse of the towers on
September 11, 2001. Topics include:
skyscraper evolution; the site; WTC
conception; key players; Port of NY
Authority background (now the Port
Authority of NY & NJ); logistics &
infrastructure; foundation excavation;
creation of Battery Park City; “The
Bathtub“—WTC foundation; prefabri-
cation; steel erection; tallest buildings
in the world; and The Day of Infamy.
MANHATTAN CE FALL 2009 59
• Su 9 AM –5 PM
1 session Dec 13
Jeffrey Syken
7 AIA/CES LU’s, 7 PDH’s
PMPD 928 $295
Wright by Design: The Life
and Architecture of America’s
Master Architect
Frank 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
REGISTER ONLINE: my.pratt.edu
60 FALL 2009 MANHATTAN CE
PROFESSIONAL
DEVELOPMENT
S E R I E S continued
Zoning and Its Impacts
on Architecture and
the 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.
Registration Deadline: Oct 12
• M 9 AM –5 PM
1 session Oct 19
Roy Pachecano, AIA
David B. Reck, RA
7 AIA/HSW LU’s
PMPD 900 $295
REGISTER ONLINE: my.pratt.edu
Zoning and Its Impacts For additional AIA/CES-approved
on Architecture and the courses see:
Community (Part II) Autodesk Training Center on
pages 30–37.
All architecture forcibly impacts com-
munities on every scale. Some build form•Z Fundementals: Modeling
communities, some harm them. This and Rendering I on page 25.
seminar takes an in-depth look at the VectorWorks Professional I
various aspects of zoning and its impact on page 25.
on architecture and the community. VectorWorks Professional:
This course studies how zoning laws 3D Modeling and Rendering
are created in order to minimize any on page 25.
negative aspect to the public health
and examines scalar impacts on both State Approval
small and large architectural plans. It is your responsibility to check
Areas of discussion include a detailed with the state licensing boards
discussion on bulk, use, sky exposure as to whether or not a course is
plane, floor area ratios, and set-back acceptable to meet its continuing
requirements for rear and side yards education credit requirements.
that impact ventilation and light/ air for Visit Pratt’s website:
communities. We will also analyze how www.pratt.edu/prostudies for
the public interest is balanced with courses not acceptable to NYS or
private interest to safe-guard infra- see courses that state: Not accepted
by NYS for LU and PDH credit.
structure needs of residential and
commercial projects; show how the
governmental review process is an For more information, visit the
important factor in maintaining/pre- website for New York State
serving public safety; and review the Education Department, Office
variance and process and how the of the Professions at
community is able to respond to an www.op.nysed.gov/.
architectural project and comment in
public hearings and reviews. This class
is intended as a sequel to the introduc-
OneKey Account Information
OneKey user names and passwords
tory course, but can stand alone for
are necessary for all students and
attendees already familiar with the
faculty of Pratt Institute. Please see
basic zoning concepts. page 71 for detailed instructions.
Topics include: brief overview of the
history and evolution of zoning; technical
aspects of zoning; zoning districts; use Registration Deadlines
groups; bulk rules; floor area ratio; sky Registration deadlines for all
exposure plane; set backs; yard courses are one week prior to
requirements; zoning requirements course start dates, unless otherwise
that preserve light and air; special zoning noted. Exceptions will be allowed
based on space availability. We
districts and their relationship to the
recommend that you register early.
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.
Registration Deadline: Oct 12
• Tu 9 AM –5 PM
1 session Oct 20
Roy Pachecano, AIA
David B. Reck, RA
7 AIA/HSW LU’s
PMPD 926 $295

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
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.
VA Benefits for
Certificate Program
This 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 phan@pratt.edu or
Karen D’Angelo kdangelo@pratt.edu
C E RT I F I C AT E P R O G R A M
S U S TA I N A B L E B U I L D I N G ,
INFRASTRUCTURE DESIGN
AND MANAGEMENT
C E RT I F I C AT E
REQUIREMENTS
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.
Registration Deadlines
Registration 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.
Climate Change Fundamentals
for Design and Management
Professionals
This 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
Tony Gelber, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 600 $295
Designing, Renovating, and
Operating Carbon Neutral
Buildings
This 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.
61
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
Tony Gelber, LEED® AP
7 AIA/HSW LU’s/SD’s, 7 PDH’s
PMPD 601 $295
Energy, Greenhouse
Gas, Weatherization
Audits, and Capital Planning
See page 47 for course description.
PMPD 604 $295
Performance Modeling for
Carbon Neutral Buildings
See page 55 for course description.
PMPD 602 $295
REGISTER ONLINE: my.pratt.edu
62 FALL 2009 MANHATTAN CE
Certificate Program in Audio
Engineering and Production
Master Class Series
The 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
REGISTER ONLINE: my.pratt.edu
MANHATTAN CE
MANHATTAN CE FALL 2009
FALL 2009 62
62
C E RT I F I C AT E P R O G R A M
AUDIO ENGINEERING AND
PRODUCTION
C E RT I F I C AT E Audio Engineering I Audio Engineering II
As the complexity of recording studio A true hands-on course for aspiring
REQUIREMENTS technology increases, an understanding audio engineers or anyone who wants
of fundamental audio theory is essential, or needs a working knowledge of the
In order to receive Pratt’s Certificate
both for mastering the technology and recording studio. This class focuses on
for Audio Engineering and
for staying abreast of changes in the the actual process of recording and
Production you must successfully
field. Through lectures, demonstrations, mixing, utilizing a fully equipped,
complete all five of the courses in
and hands on application, you examine commercial recording studio, we cover
the program. Upon completion you
practical audio. We will discuss harmonic acoustics, microphone design, selection
will have the proficiency to handle
structure and equalization, dynamics and placement, the mixing console,
an entry-level position in any
and dynamics processing, signal flow, and the use of effects and automation.
ProTools studio!
and console design/operation. You have an opportunity to operate
Application fee: $100, non-refundable
You will start to learn about equalizer the board and set up microphones
Required Core Courses: Five
and compressor design and techniques. as we gain first hand knowledge of
PMAE 101 Audio Engineering I
You will then have the opportunity to the recording process. Digital and
PMAE 201 Audio Engineering II
start using these new tools as you analog formats are fully discussed and
PMAE 301 Audio Engineering III
learn about the strategies of mixing. demonstrated. To the career musician,
PMAEPT 101 Pro Tools I
Topics include: The concept and process producer, arranger, songwriter, A&R
PMAEPT 201 Pro Tools II
of recording; Sound and hearing; person, the recording studio is central
Waveform and timbre; Equalizer to every aspect of contemporary music.
Recommended audience: Following a
design; Equalizer techniques; Dynamic This course provides the means to func-
major shift in the music industry towards
Range; Analog vs. Digital; Dynamic tion effectively and communicate clearly
independent artists and home recording
processor design; Dynamics processing in the recording studio environment.
studios, any student with an interest in
techniques; Console design/operation; Topics include: Reverb and delay;
music production and recording will ben-
Signal flow in the analog and the digital microphone design and directionality;
efit from participating. There is currently
worlds; and general concepts of mixing. microphone technique; proper micro-
no other program like this in New York
Prerequisites: None phone handling; cables, impedance,
City, and this entire part-time program
Course location: Midtown Sound, and grounding; recording projects;
can be taken for under $6,000.
146 W. 29th St., Suite 11RW reverb and delay; and mixing.
• Section 1: M 6–10 PM Prerequisites: Audio Engineering 101
Course location:
8 sessions Sept 21–Nov 16 Course location: Midtown Sound,
Midtown Sound
• Section 2: M 6–10 PM 146 W. 29th St., Suite 11RW
146 West 29th Street
8 sessions Nov 23–Jan 11 • Section 1: Tu 6–10 PM
Ste. 11RW
Scott Noll (all sections) 8 sessions Sept 22–Nov 10
New York, NY 10001
PMAE 101 3.2 C.E.U.s $995 • Section 2: Tu 6–10 PM
www.midtownsoundny.com
8 sessions Nov 24–Jan 12
Scott Noll (all sections)
VA Benefits for
Registration Deadlines PMAE 201 3.2 C.E.U.s $1,195
Certificate Program
Registration deadlines for all courses
This program is approved for veterans
are one week prior to course start
and other eligible persons under the
dates, unless otherwise noted.
GI Bill for education. Contact the
Exceptions will be allowed based on
space availability. We recommend that Department of Veterans Affairs at
you register early. 1-888-GI BILL1 (1-888-442-4551 ), or
www.gibill.va.gov regarding eligibility.
OneKey Account Information Contact: Perry Han phan@pratt.edu or
OneKey user names and passwords Karen D’Angelo kdangelo@pratt.edu
are necessary for all students and
faculty of Pratt Institute. Please see
page 71 for detailed instructions.

Audio Engineering III
Emphasis 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
Course location: Midtown Sound,
146 W. 29th St., Suite 11RW
• Section 1: W 6–10 PM
8 sessions Sept 23–Nov 11
• Section 2: W 6–10 PM
8 sessions Nov 25–Jan 13
Scott Noll (all sections)
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
Course location: Midtown Sound,
146 W. 29th St., Suite 11RW
• Section 1: Sa 11 AM –3 PM
8 sessions Sept 26–Nov 14
• Section 2: Sa 11 AM –3 PM
8 sessions Nov 21–Jan 9
John White (all sections)
PMAEPT 101 3.2 C.E.U.s $995
MANHATTAN CE FALL 2009 63
ProTools II
This 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
Course location: Midtown Sound,
146 W. 29th St., Suite 11RW
• Section 1: Sa 3–7 PM
8 Sessions Sept 26–Nov 14
• Section 2: Sa 3-7 PM
8 sessions Nov 21–Jan 9
John White (all sections)
PMAEPT 201 3.2 C.E.U.s $1,195
VA Benefits for
Certificate Program
This 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 phan@pratt.edu or
Karen D’Angelo kdangelo@pratt.edu
Registration Deadlines
Registration 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.
OneKey Account Information
OneKey user names and passwords
are necessary for all students and
faculty of Pratt Institute. Please see
page 71 for detailed instructions.
REGISTER ONLINE: my.pratt.edu
64
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 kdangelo@pratt.edu or
prostudy@pratt.edu.
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.
VA Benefits for
Certificate Program
This 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 phan@pratt.edu or
Karen D’Angelo kdangelo@pratt.edu
64
C E RT I F I C AT E P R O G R A M
F I N E A N D D E C O R AT I V E A RT
APPRAISAL
C E RT I F I C AT E
REQUIREMENTS
In order to receive Pratt’s Certificate
in Fine and Decorative Art
Appraisal Studies you must
successfully complete all five of the
Appraisal Studies core courses plus
two elective courses. The courses
with 3.0 C.E.U.s last for three-and-
a-half days, and the courses with
1.5 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
PMPPGJ 203 Personal Property
Valuation-Report Writing
PMPPGJ 204 Personal Property
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.
Registration Deadlines:
Registrations received after deadline
are subject to availability.
Please note:
Registration schedules for courses
listed for upcoming semesters:
Fall 2009
Registration begins: July 27, 2009
Spring 2010
Registration begins: December 1, 2009
Summer 2010
Registration begins: April 23, 2010
MANHATTAN CE FALL 2009 64
Core Courses
Introduction to Personal
Property 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.
Registration Deadline: Oct 1
• 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 Valuation
Methodology—Research and
Analysis
This 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
three-and-a-half consecutive days and
is taught by a senior ASA member and
experienced instructor.
Registration Deadline: Nov 19
• 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

Personal Property Valuation
Report Writing
This 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
three-and-a-half consecutive days and
is taught by a senior ASA member and
experienced instructor.
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 Commercial
Environment
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
three-and-a-half consecutive days and
is taught by a senior ASA member and
experienced instructor.
Registration Deadline: May 6, 2010
• Offered Spring 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 of
Professional Appraisal Practice
This 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.
MANHATTAN CE FALL 2009 65
Please note: This course is approved Topics include: A self-guided museum The Art of Curating
for Personal Property appraisers by tour with the instructor to focus on This course will guide you through all
the Appraisal Qualifications Board of furniture and decorative arts related the different phases of curating an art
the Appraisal Foundation. to the course. You will apply the 14 exhibition. You will work on a chosen
Level: Basic “Points of Connoisseurship“ as devel- project, curating either your own work
Registration Deadline: May 31, 2010 oped by the Winterthur Museum and or the work of other artists.
• Offered Summer 2010 will be expected to be familiar with Topics include: Ideas for shows, choosing
M–Tu 9 AM –5:30 PM the Getty ID system of identification artwork, finding spaces, finding artists,
2 sessions, Jun 14–15, 2010 and documentation of art objects. budgeting, pricing artwork, and instal-
Sandra J. Tropper, ASA You will review basic examination lation. The class will visit Chelsea galleries
PMSE 100PP 1.5 C.E.U.s $425 techniques and be expected to apply to meet gallery directors and curators.
critical appraisal skills such as qualitative Registration Deadline: Oct 1
Elective Courses ranking, classification, and writing • M–Tu 9 AM–5 PM
object descriptions. 2 sessions Oct 19–20
Forensics of Antique Jewelry... Prerequisites: You are expected to be Chana Benjamin
What to Look For! familiar with fundamental appraisal theo- PMPP 446 1.5 C.E.U.s $425
This unique course, taught by Gary L. ry and techniques and be prepared to
apply them. This course meets for The Business of Contemporary
Smith, founder of this countries' only
three-and-a-half consecutive days. Art and Professional Practice
forensic laboratory dedicated to the
Museum Tour Fee: $5 payable to the Artists and business managers seeking
jewelry profession, starts by examining
instructor. to operate their own organization will
the various processes used in the man-
Registration Deadline: Sept 24 appreciate the history and nature of
ufacturing of jewelry, then the hand
• Th–Sa 9 AM –5 PM , Oct 8–10 the growth of the gallery system,
tools used in the creation of hand
SU 9 AM –1 PM , Oct 11 study its various permutations in
wrought, antique and period jewelry
4 sessions America from the post-war period (as
and the distinct (and traceable) marks
Louise T. Hall, ASA New York replaced Europe as the cen-
they leave behind. Whether you are a
PMPP 308 3.0 C.E.U.s $795* ter of the art world) to regional art
novice wanting to understand how
markets in the United States, and
jewelry is made, or the professional
Strategies for Handling and understand the continuing globaliza-
wanting the latest “cutting edge”
Managing Difficult Appraisals tion of the art market, particularly
information on period jewelry – this
This course is geared toward advanced through the art fair phenomenon. The
course is for you!
as well as novice appraisers, art lovers, changing nature of the auction house
Topics include: Learning how to “forensi-
curators, and business minded people. business and its impact on the con-
cally” examine jewelry to determine
From time to time appraisers will be temporary art market will also be high-
“how and when” they were made and
retained to work on unusual or difficult lighted.
how to separate the authentic from the
appraisal assignments, which will Topics include: Gallery business strate-
reproductions. You will view many
require a unique and creative approach gies in difficult economic times; the
antique jewelry repairs and learn how
to determine value. Various scenarios continuing process of creating a “pro-
to distinguish them. The course will
that an appraiser may encounter will file” and an aesthetic; the complex
conclude with a hands-on session exam-
be discussed. nature of the artist-dealer relationship
ining actual period and antique jewelry.
Topics include: Valuing items that have (i.e. what each should expect from the
Please note: Due to this aspect and the
been destroyed, lost, or stolen; valuing other and the essence of that partner-
one-on-one nature of the instruction
items when there are no comparables; ship); what contemporary art dealers
given – class size is limited.
the art of extrapolation; associative actually do—the vast array of tasks
Registration Deadline: TBD
value; working with conservators; from actually selecting and mounting
• Offered Spring 2010
determining loss in value; organizing exhibitions to cultivating collectors,
Th–F 9 AM –5:30 PM
and managing large assignments; and critics, museums, corporate and inde-
2 sessions, TBD
innovative interview techniques. There pendent curators, art advisors and art
Gary L. Smith, Master Gemologist
will be a guest speaker and the oppor- consultants; getting solo and group
Appraiser, ASA
tunity for you to work on difficult exhibitions for gallery artists in other
PMPP 430 1.5 C.E.U.s $425
sample appraisal assignments. appropriate venues (domestic and for-
Prerequisites: None eign); successfully getting the art press
Introduction to Appraising
Registration Deadline: Feb 22, 2010 to write about artists; determining the
Antiques and Decorative Arts
• Offered Spring 2010 pricing of an artist’s work; negotiating
A general introduction to the connois-
M–Tu 9 AM–5 PM commissioned pieces, licensing
seurship and appraisal of furniture,
2 sessions Mar 8–9 images, and preparing appraisals.
ceramics, silver, and glass, this course
Chana Benjamin • Offered Spring 2010
includes an overview of the evolution
PMPP 445 1.5 C.E.U.s $425 Sa–Su 9 AM–5:30 PM
of form and style, including relevant
2 sessions TBD
visual images and appropriate termi-
Stephen Rosenberg
nology, as well as criteria for making
PMPP 450 1.5 C.E.U.s $425
value judgments.
REGISTER ONLINE: my.pratt.edu
66 FALL 2009 MANHATTAN CE

CERTIFICATE PROGRAM Registration Deadlines

Registration deadlines for all courses
FINE AND DECORATIVE are two weeks prior to course start
ART APPRAISAL continued dates, unless otherwise noted.
Exceptions will be allowed based on
Photographing Artwork and space availability. We recommend that
Small Objects you register early.
This 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 the

Argument: Improving
the Narrative
Every 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
• Offered Spring 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.

REGISTER ONLINE: my.pratt.edu


FA L L 2 0 0 9
PROGRAMS
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 2010
PROGRAMS
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.
Pre-College Coordinator
Elizabeth Kisseleff
Manhattan
212-647-7199
Brooklyn
718-636-3453
Email
preco@pratt.edu
Internet
www.pratt.edu/ccps-precollege
FA L L P R E - C O L L E G E
PROGRAMS
FA L L 2 0 0 9
Introduction to Architecture
What 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
11 sessions Sept 12–Dec 19
Kathleen Sowle-Shanley
ARCH 100S 2 credits $595+
$20 registration fee
Pratt Manhattan
Architectural Design Studio
Design 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
9 sessions Oct 10–Dec 19
Brent Porter
PMPC 107 2.7 C.E.U.s $335+
$20 registration fee Non-credit
Pratt Manhattan
Portfolio Development
for Architecture
Creating 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
10 sessions Oct 4–Dec 20
Aurora Robinson
PMPC 115 3.0 C.E.U.s $355 +
$20 registration fee Non-credit
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
11 sessions Sept 12–Dec 19
Thomas Eberharter
FDN 100S 2 credits $595+
$20 registration fee
Pratt Manhattan
67
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.
Please note: Nude figure drawing
is included.
• Sa 1:30–5 PM
11 sessions Sept 12–Dec 19
Young Hah
FAU 100S 2 credits $595+
$20 registration fee
Pratt Manhattan
Media Arts/Photography
The 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
11 sessions Sept 13–Dec 20
Frederico Savini
PHOT 103S 2 credits $595+
$20 registration fee
Pratt Manhattan
REGISTER ONLINE: my.pratt.edu
68 FALL 2009 PRE-COLLEGE

9
Portfolio Development Introduction to Interior Design
Your portfolio is the key to success Optimize the space in which we live. PRECOLLEGE
in being admitted to a top art school. This course focuses on designing
The goal of this studio course is to interior space through studying classic
FALL/SPRING
provide you with how-to advice on elements of form, space, light and WEEKEND PROGRAM:
portfolio development to assure your color. Emphasis will be on the impact
entry into the college of your choice. of the interior space on the individual,
as well as various groups. Course
Open House and
Instruction focuses on areas in the
portfolio that need improvement, and content includes hands-on studio proj- Art Reception
include life drawing, 2D and 3D design ects, class discussions and field trips.
projects. Please bring examples of work Projects consist of drafting, rendering When
and model making. Students will Saturday, January 23, 2– 4 PM
(your portfolio), an 18" x 24" drawing
pad and charcoal to the first class. engage in discussions on the notion of
good design, the role of design and Where
Please note: Nude figure drawing
the responsibility of the designer to CCPS Gallery
is included.
meet the demands of an ever-chang- Pratt Manhattan Center
• Section 1: Su 9:30 AM –12:30 PM
ing society. 144 West 14th Street, 2nd Floor
10 sessions Oct 4–Dec 20
• Su 9:30 AM –-1 PM New York, NY 10011
Heidi Metcalf
• Section 2: Su 1–4 PM 11 sessions Sept 13–Dec 20
Anthony Titus On Display:
10 sessions Oct 4–Dec 20
INT 101S 2 credits $595+ PreCollege student artwork from
Instructor to be announced.
$20 registration fee Fall 2009.
PMPC 114 3.0 C.E.U.s $355+
$20 registration fee Non-credit Pratt Manhattan
• Join us at the Open House/
Pratt Manhattan
Art Reception
• Find out about PreCollege
Sequential Art and
program offerings
the Comic Book
• Register for Spring/Summer 2010
Explore the popular art of visual story-
telling; combine images and text to
The exhibit will be on display
create visual narratives for single panel
January 18–February 1, 2010
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
11 sessions Sept 13–Dec 20
George O’Connor
COMD104Sp 2 credits $595+
$20 registration fee
Pratt Manhattan

Registration Deadlines
Registration 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.

OneKey Account Information

OneKey user names and passwords
are necessary for all students and
faculty of Pratt Institute. Please see
page 71 for detailed instructions.

REGISTER ONLINE: my.pratt.edu

 69

Dean, School of Art A S S O C I AT E D E G R E E

and Design
Dr. Concetta Stewart
PROGRAMS: SCHOOL
Chairperson
Mark O’Grady
OF ART AND DESIGN
Assistant to the
Chairperson
Chandra Singh T WO - Y E A R These programs feature: Associate of
Small classes, personal instruction,
A S S O C I AT E and critiques, designed to maximize
Occupational Studies (AOS)
3D Technician DEGREE PROGRAMS the student’s creative potential. Its Degrees Offered
Charlie Leese faculty consists of New York’s leading
professionals, who bring to the class- • Digital Design and Interactive
The Associate Degree program is
room the highest standards in their Media
Telephone concise, comprehensive, and demanding,
212-647-7375 offering students the choice of an fields. Internships that provide invalu- • Graphic Design
intensive two-year career (AOS) or able professional experience and
• Illustration
transfer (AAS) track education. affiliations while students complete
Facsimile
Located in Manhattan at 144 West 14th the program. Financial aid is available
212-367-2480
St., 3rd floor, these programs integrate to qualified part-time students who
Associate of
the best of new technologies with a take between six and eleven credits Applied Science (AAS)
Internet strong commitment to the traditional per semester. Part-time students Degrees Offered
www.pratt.edu/AOS art and design curriculum. may participate fully in Pratt programs
and activities. • Graphic Design/Illustration
Email Associate of Occupational • Painting/Drawing
aos@pratt.edu Studies (AOS) The primary requirement for entrance
With degrees in Graphic Design, is a portfolio review, which is an
Illustration, and Digital Design & opportunity to discuss your work, your
Interactive Media, the AOS Degree career aspirations, and the many pro-
program grants a professional degree fessional opportunities that are avail-
designed for high school graduates able. If you do not have a portfolio,
and adults with or without previous you may submit a home examination.
college experience. This is an intensive,
two year, art and design based curricu- Please call the department for details
lum, offering students a strong founda- at 212-647-7375.
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.

For more information, visit our
website at www.pratt.edu/aos, or
call the Office of Admissions at
718-636-3669 or 3514 for a catalog
and application. You may also
apply online. For specific program
information, or to make an
appointment to tour the facilities,
call 212-647-7375, or email
aos@pratt.edu.
Associate of Applied
Science (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.
70 INDEX FALL 2009 70

DIRECTIONS G E N E R A L I N F O R M AT I O N
Brooklyn Campus
200 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
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 Campus
144 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
between Sixth and Seventh Avenues
Parking in Manhattan By Path Train from New Jersey
Limited street parking is available on Take the Path train to 14th Street in
weekdays and weekends. Parking is Manhattan. Exit at 6th Avenue and 14th
available for a fee in nearby garages. Street. Pratt is located between Sixth and
Seventh Avenues on the south side of
By Subway the block, closest to Seventh Avenue.
Take the A, C, or E train to 14th
Street/Eighth Avenue, the F or V train
Going from Pratt Brooklyn
to 14th Street/Sixth Avenue, the 1, 2,
or 3 train to 14th Street/Seventh to Pratt Manhattan
Avenue, or the 4, 5, 6, N, R, Q or W
By Subway
train to 14th Street/Union Square. Take
Take the G train from the Clinton-
crosstown buses or the L train to travel
Washington station. Go one stop to the
east or west on 14th Street. Pratt is
Hoyt-Schermerhorn. Change for the A
located between Sixth and Seventh
or C train, and take it to 14th Street/
Avenues on the south side of the
Eighth Avenue. Walk east, or take the
block, closest to Seventh Avenue.
crosstown buses or L train for eastbound
travel. Pratt is located between Sixth and
By Bus
Seventh Avenues on the south side of
If uptown, take the M20, to 14th
the block, closest to Seventh Avenue.
Street/Eighth Avenue. You may also
take the M6 to 14th Street/Avenue of
By Bus and Subway
the Americas. If downtown, take the
Take the #38 bus to Flatbush Avenue.
M20 to 14th Street/Seventh Avenue.
Exit at Dekalb Avenue Station. Take the
You may also take the M6 to 14th
N, R, Q or W train to 14th Street/Union
Street/Union Square. Take crosstown
Square. Walk west or take crosstown
buses or the L train to travel east or
buses or the L train west for west-
west on 14th Street. Pratt is located
bound travel. Pratt is located between
between Sixth and Seventh Avenues
Sixth and Seventh Avenues on the
on the south side of the block, closest
south side of the block, closest to
to Seventh Avenue.
Seventh Avenue.
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Manhattan
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on the south side of the block, closest

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FROM BQE, HEADING ge yn

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EAST/NORTH, EXIT 30– FROM NEW JERSEY

FLUSHING AVENUE Take the Holland Tunnel to Manhattan.
Bear left onto Classon Avenue, From tunnel, bear right to Eighth
Cadman Plaza

then turn left onto Flushing Avenue.
Turn left on to Washington Avenue.
Proceed two blocks to Willoughby
Avenue. Make a left on Willoughby.
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 Brooklyn-Queens
Tillary St. Expressway (BQE)
Clinto

Campus is on right. south side of the block, closest to

Hall S

Seventh Avenue.
Flat

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t.
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FROM WESTCHESTER
Pratt
Willoughby Ave.
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Take the West Side Highway South.

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DeKalb Ave.
St. Jam

Make a left turn onto 14th Street. Ful ve.

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Brooklyn St. Lafay

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Pratt is located between Sixth and

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the block, closest to Seventh Avenue.

Bro

CCPS POLICIES
AND PROCEDURES
Alumni Audit
Pratt Institute alumni are entitled to
audit any regular credit class at the
Institute for $200 plus a $10 fee.
Registration may be done by phone
with VISA, MasterCard, American
Express, or Discover; by mail with a
check; or in person at the Center for
Continuing and Professional Studies,
Brooklyn campus, ISC Building, Room
205. Please make sure there is suffi-
cient space in the class by calling the
department office.
Please note: Before you are allowed
to audit any credit class, you must
purchase a Pratt Alumni Access Card.
To purchase this card, go to the Alumni
Office, North Hall, Room 219. The cost
for an alumni card is $25, payable by cash
or check. The card is valid for one year.
Center for Continuing
and Professional Studies
Brooklyn Campus Office
200 Willoughby Avenue, ISC 205
Telephone: 718-636-3453
Facsimile: 718-399-4410
Manhattan Campus Office
144 West 14th Street, Room 209
Telephone: 212-647-7199
Facsimile: 212-367-2489
Email: prostudy@pratt.edu
Website: www.pratt.edu/prostudies or
http://prostudies.pratt.edu
Changes to Policies,
Procedures, and Fees
Pratt Institute reserves the right to
change tuition, fees, the calendar,
course offerings, graduation require-
ments, rules, policies, and procedures
as necessary. Students are provided
with written notice of these changes,
whenever possible, through such
means 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 written
authorization by the provost of the
Institute. No representation by any
college employee to the contrary may
be considered authorized or binding.
CCPS reserves the right to deny enroll-
ment to, or to expel any student whose
behavior, attitude, or level of development
is inconsistent, in the sole discretion of
CCPS, with the creative environment,
student growth, and harmony in the
educational process.
Classroom Assignments
• Please contact the Brooklyn office at
718-636-3453, or the Manhattan
office at 212-647-7199 or visit our
website: www.pratt.edu/prostudies
Continuing Education Units
All students receive continuing educa-
tion units (C.E.U.s) upon successful
completion of the program. C.E.U.s
are nationally recognized units earned
by participants in qualified continuing
education programs, making it possible
to document non-credit work completed.
C.E.U.s are not equivalent to college
credits. One C.E.U. is awarded for each
ten hours of participation. Continuing
education courses in the Center for
Continuing and Professional Studies
are not automatically attributed to
Pratt Institute’s degree programs.
Corporate Billing
Purchase Orders as well as Letter of
Intent to pay must be submitted at
time of registration. All Letters of
Intent must be verified prior to first
day of class.
Course Cancellation
All continuing education courses are
subject to minimum enrollment. When
courses are withdrawn or cancelled by
Pratt for any reason, students may
transfer to another course or receive a
full refund. Pratt Institute reserves the
right to cancel any class for which
there is insufficient enrollment and to
withdraw or modify course offerings.
Course locations, fees, and instructors
may also be changed when necessary.
Please note: Allow sixty days for
refunds to be processed.
Credit Courses for Non-Credit
Many of our credit courses may also
be taken on a non-credit basis. For
information, contact the Center for
Continuing and Professional Studies at
718-636-3453.
Tuition Schedule for Credit
Courses for Non-Credit
School of Information
and Library Science $600
Architecture and
Urban Design $565
All other credit courses
taken for non-credit $395
Alumni audit of credit classes
only* $200
*Please note: Alumni audits do not
apply to non-credit courses. For non-
credit courses, alumni should refer to
Pratt’s Alumni Discount policy.
Discounts
Discounts listed below apply to all
continuing education courses, unless
otherwise noted in the course description.
The discount is computed on the actual
tuition, minus the registration fee. Only
one discount can apply, per semester.
Please note: mulitiple types of discounts
do not apply.
Senior Citizen Discount
Senior citizens sixty-five and older who
present evidence of age at the time of
registration will receive a ten percent
discount.
Pratt Alumni Discount
Alumni of Pratt degree programs
receive 10% discount, only if stated at
the time of registration.
Pratt Full-Time Faculty
and Staff Discount
Pratt full-time faculty and staff may be
eligible for tuition remission, excluding
lab fees and the $10 registration fee
per course, subject to the guidelines
published by Human Resources, and
are permitted to register only after
registration has been closed for paying
students.
Pratt Part-Time Faculty Discount
Pratt part-time faculty receives a partial
credit for tuition, exclusive of fees,
based on established guidelines available
in the Human Resources office.
Corporate Discounts
Corporate discounts apply to three or
more registrations from a company in
the same section of a course or seminar.
For further information about discounts,
call 212-647-7199 or 718-636-3453 or
email prostudy@pratt.edu.
Fees
Payment in full must be mailed with
the registration form, or paid at the
time of registration in person, for both
non-credit and credit courses. Any
student placed on a Bursar hold, will
not be able to register for any courses
until balance is paid in full. For ques-
tions about a Bursar hold, please
contact Alana Smith at 212-647-7657
or email asmith17@pratt.edu.
Registration Fee
There is a $10 registration fee charged
for each non-credit course over $95
for which you enroll. The fee is non-
refundable, unless classes are cancelled
due to lack of enrollment.
• $10 per course (over $95)
INFORMATION FALL 2009 71
Certificate Program
Application Fee
• $100 non-refundable
Facilities Fees
Students registering for thirty-hour
computer courses are required to pay
a non-refundable facilities fee of:
• $25 per course
Please note: All facilities fees are
non-refundable.
Uncollectible Checks
A $20 surcharge will be imposed
for processing.
OneKey Account Information
OneKey user names and passwords are
necessary for all students and faculty of
Pratt Institute.
Register Online:
To Get your OneKey user name and
password:
• Visit www.pratt.edu
• Click on my.pratt.edu and click the
my.pratt.edu link again on the
white fly-out box
• Click on the link – Instant Enrollment,
CCPS
• Enter the course code in the Course
Code field (PMPP 455 for example)
• You will be taken to the Payment
Screens
• A receipt will be emailed to you
upon successful registration.
• Your login and password is mailed to
your street address. Allow 24 hours
for processing, so register early to
guarantee yourself a seat and start
using your benefits.
Login: Your username will be your
first initial, followed by your last name,
for no more than 8 characters total.
Password: Your initial password will
be your student ID. Once in, you can
change your password if desired.
Please Note: If you can't get in using
the simple rules above, send an email
to the helpdesk at helpdesk@pratt.edu,
and give them your student ID number.
They will send you back a way to get in.
How to use my.pratt.edu with your
OneKey password: For further infor-
mation and instructions, please visit
www.pratt.edu/ccps/resources/onekey_
instructions.
Privacy
Pratt Institute is a private educational
institution and does not share email
addresses or any personal data with
external resources. Instant Enrollment
is a secure server – use this with
confidence to pay for classes.
72 FALL 2009 INFORMATION
Semester Student Photo ID
Semester Photo ID will be required for
students registered in semester-long
courses at Pratt’s Manhattan campus,
144 West 14 Street.
In order to facilitate this process,
please make arrangements to have
your photo taken for your ID at least
thirty minutes before your first class,
or on a day prior to the start of your
course.
IDs will be issued at the security desk
located in the lobby. For additional
information on hours for receiving IDs,
please call Sharon Boddie at 212-647-
7776 or email at pmcsec@pratt.edu.
Visitors’ Passes
A 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 Web
Class schedule and catalogs can be
downloaded from our website at
www.pratt.edu/prostudies
Guarantee yourself a seat!
Don’t wait for the last moment to
register. Please register early to avoid a
course cancellation and to guarantee
yourself a seat in classes that fill quickly.
Registration deadlines are one week
prior to course start dates, unless other-
wise noted.
Faculty Biographies
Faculty biographies can be found on
our website. To download a pdf, visit
www.pratt.edu/prostudies
Refunds
Students who, for any reason, find it
impossible to complete the course
for which they are registered should
inform the Center for Continuing and
Professional Studies, CCPS, in writing
that they wish to withdraw. Failure
to complete the course does not con-
stitute official withdrawal, nor does
notification to the instructor. Lack of
attendance alone does not entitle a
student to a refund. Pratt cannot be
responsible for providing make-ups or
issuing refunds for programs missed as
a result of illness, emergencies, or
other events beyond our control.
Withdrawals do not necessarily entitle
the student to a refund of tuition and
fees paid, or the cancellation of tuition
still due. See withdrawal policy.
Please note: Allow sixty days for
refunds to be processed.
Withdrawal Policy
Withdrawal or refund requests cannot
be made by telephone or through the
instructor. Withdrawals and refunds
are computed from the date and time
written or electronic notice of with-
drawal is received. Requests can be
faxed, 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 class
meeting.
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 for
refunds to be processed.
Withdrawal by Email
• Email: prostudy@pratt.edu
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 Aid
CCPS 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.com
or write to:
Free Scholarship Guide Inc.
132 E. 43rd Street, Suite 535
New York, NY 10017
Registration Deadlines
Registration 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.
Register Online Weather Emergency Line
Non-credit online registration: Pratt Institute’s Weather Emergency
my.pratt.edu Line can be reached by dialing
Please note: Online registrations 718-636-3700.
received through my.pratt.edu will Callers will get information on any
receive a confirmation via email. weather-related closings at either the
Pre-college online registration: Brooklyn or Manhattan campuses.
www.anton.net/pratt/html/reg_step1. Visit our website at www.pratt.edu.
html
Special Summer Credit Intensive
courses online registration:
www.anton.net/pratt/html/reg_step1.
html
Supply Lists
Supply lists for several courses are
available in PDF format on the website
at www.pratt.edu/prostudies. Some
courses require supplies or textbooks
(with pre-course reading) to be
purchased and brought to the first
class. Please make sure to look for a
supply list PDF on the CCPS home
page, under Resources, as you begin
your registration. Or call the CCPS
office in Manhattan or Brooklyn for
help finding your supply list PDF.
Transcripts
To check your grades online and
request transcripts visit my.pratt.edu
and 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 by
selecting that option.
Students enrolled in the certificate
programs in computer graphics or
photography and digital art automati-
cally receive one transcript free of
charge each semester. A fee of $5 is
charged for additional transcripts.
Students in all other courses must pay
a $5 fee for each transcript, letter of
completion, or any additional certificate
requested. Requests for transcripts,
certificates of completion, certifications,
and other statements relating to the
record should be addressed to either
Pratt Manhattan, Center for Continuing
and Professional Studies, or the Brooklyn
Campus, Center for Continuing and
Professional Studies, Attention:
Continuing Education Transcripts—
along with the correct remittance.
Requests must state name while in
attendance, dates of attendance,
and course(s) of study, list the name
and address to which information is
to be mailed, and bear the signature
of the student.

FA LL 2 0 0 9
S UB JE C T I N D E X
A Green Design Versus Historic Preservation, 50
Abstract Painting: Concepts and Techniques:
The Workshop, 2
Abstract Painting: Concepts and Techniques, 2
Acrylic Painting Mastery, 12
Adaptive Reuse Re-Imagined, 40
Adobe Acrobat CS4, 25
Adobe After Effects CS3: I, II, 24
Adobe InDesign CS4, 25
Adobe Lightroom for Photographers, 25
Adobe Premiere Pro CS4, 24
Advanced Adobe InDesign CS4 with
Photoshop and Illustrator, 25
Advanced Black and White Photography, 16
Advanced Portrait Master Class, 16
Advanced Techniques in Final Cut Pro, 24
Advanced Techniques in Photoshop:
Channels, Masks, Layers, Actions and
Plug-ins, 26
AIA/CES Registered Provider, 40–60
Adaptive Reuse Re-Imagined, 40
Analysis of Continuous Spanned Beams I, 40
Analysis of Continuous Spanned Beams II, 41
Analysis of Continuous Spanned Beams, 41
An American Revolution: The Invention of
Balloon Framing, 41
Architectural Acoustic and Noise Control, 41
Architectural 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, 42
Big Apple to the Core, 42
Brick Essentials, 42
Bridging America, 42
Bridging Gotham: NYC Archipelago, 43
Bridging the World, 43
Building Green: An Overview, 43
Building Green ‘Round the World, 43
Building Healthy, 43
Building Naturally, 44
Building the Brooklyn Bridge:
An Epic for the Age, 44
Build It and They Will Come:
The Architecture of Sports, 44
Capital City: The Architecture of the District
of Columbia, 44
Chronicles of Security Technology: In the Age
of Terrorism and Natural Disasters, 44
Climate Change Fundamentals for Design
Professionals, 45
Connecting Us: The Arterial Highway System
of the New York – New Jersey Region, 45
Construction Cost Estimating, 45
Construction Cost Estimating: “The Bridge”, 45
Construction Specifications Writing, 45
Continental Divide: Bridging the Mighty
Mississippi, 46
Designing and Renovating Carbon Neutral
Buildings, 46
Designing for Broadcast and Media Facilities, 46
Designing for Museums and Other Cultural
Institutions, 46
Designing Research and Development
Facilities, 46
Earth in the Balance, 46
EIFS and Plaster in Modern Construction, 46
Empire State Building: Monarch of the Sky, 47
Energy, Greenhouse Gas, Weatherization
Audits, and Capital Planning, 47
Estimating Cooling Load on Excel (HVAC 1
and 2): Refrigeration Principles, 47
Estimating Structural Steel Erection, 47
Estimating Structural Steel Fabrication, 47
Ever Higher: The Quest to Touch the Sky, 47
Far Horizon: The Architecture of the World’s
Fair, 48
Fire Protection Technology, 48
Forest Hills Gardens: A Modern Arcadia, 48
Freshwater Wetlands, 48
Fuel Properties, Combustion, Heating Load
Estimation on Excel (HVAC), 48
Full-Spectrum Polarized Lighting Systems, 48
Fundamentals, Technologies and Safeguards
of Nuclear Energy, 49
Geotechnical Engineering, 49
Gimme Shelter, 49
Go Green Retrofits, 49
Gray Water Heat Recovery, 49
Green by Design, 50
Greening Your Facilities:
A Holistic Approach, 50
Hazardous Waste Management, 50
High Steel: The Legacy of Steel-Frame
Construction, 50
Historic Preservation: Techniques and
Methods, 50
Improving Public Health by Greening your
Specifications, 50
Improving the Energy Efficiency of Steam
Systems, 51
Indoor Air Quality, 51
Inland Sea:
The Bridging of San Francisco Bay, 51
Integrating Accessibility, 51
Integrating Landscape into Urban Architecture,
51
Land Use Engineering, 51
Light Gauge Metal Framing (LGMF): Let’s Get
More Familiar, 51
Masters of Architecture I: Pei, Gehry & Kahn, 52
Matrix Analysis for Continuous Spanned
Beams and Multilevel Building Frames, 52
Modern Architecture World Tour, 52
Modern Drywall Construction Systems, 52
Mold Remediation: How to Detect Mold and
Clean Mold, 52
Monumental Architecture: A Gift to the
Ages, 53
Museums: The Architecture of Art, 53
New Accessibility Requirements for
Commercial Occupancies, 53
New Accessibility Requirements for
Residential Occupancies, 53
New York City Building Code:
Using an Example, 54
New York Construction Law, 54
New York State Existing Building Code:
Using an Example, 54
New York State Building Code:
Using an Example, 54
New York State Building Codes, Rules, and
Regulations, 54
9/11 and Beyond, 54
Offsite Fabrication for Housing, 54
Peace through Understanding: The 1964-65
New York World’s Fair, 55
Performance Modeling for Carbon Neutral
Buildings, 55
Performance Rating of New Buildings: The
Process, 55
Renewable/Green Energy, 55
Residential Landscape Architecture, 55
Rivers of Steel, 56
Sacred Architecture, 56
Security Design through CPTED, 56
Small-Scale Real Estate Development, 56
Specifications Writing, Principles, and Practice,
56
Sustainability Approach to Engineering Design,
56
Sustainability Pioneers: Heroes of the Planet, 57
Sustainable Habitats, 57
Sustainable Remodeling, 57
Tale of Two Towers: The Eifel Tower and the
Chrysler Building, 57
That’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, 58
The Environment, SEQRA and the
Engineered Project, 58
The Path to Greater Architectural Freedom
with Today’s Structural Steel, 58
This Hazardous House, 58
Visionary Designing with Glass Block and
High Performance Glass Block Systems
covering LEED, Safety and Security, 59
Wind Energy Systems, 59
Wooden Scaffolds, 59
World of Tomorrow: The 1939-40 New York
World’s Fair, 59
World Trade Center: Magnificent 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, 16
Alternative Photographic Process Weekend
Workshop, 16
An American Revolution: The Invention
of Balloon Framing and The History of
Wood Frame Architecture in America, 41
Analysis of Continuous Spanned Beams, 41
Analysis of Continuous Spanned Beams I, II,
40-41
Animation (see Computer Graphics), 20
Architectural Acoustic and Noise Control, 41
Architectural Design Studio, 67
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
Architectural Restoration: Motivators and
Constraints to the Preservation of Older
Structures, 41
Architectural Visualization using AutoCAD
2010, Revit 2010 and Autodesk 3ds Max
Design 2010, 36
Art and Design Courses, 2, 4-6, 9-15, 26, 69
Associate Degree, 69
Book Arts, 9
Decorative Arts, 2, 9
Design, 9-12, 19, 26
Fashion Design, 2, 26
Fine Arts, 2, 11-12
History of Art and Design, 13
Illustration, 4, 13
Industrial Design, 4
Interior Design, 5
Jewelry Making, 5, 14
Media Arts/Photography, 6, 15-17
Sculpture, 6
Art Deco: The Architecture of Boom and
Bust, 42
Art Law, 7
Art of Living Course, 8
Associate Degree Program, 69
Associate of Applied Science, 69
Associate of Occupational Studies, 69
Audio Engineering and Production, Certificate
Program, 62-63
Audio Engineering I, II, 62
Audio Engineering III, 63
ProTools I, II, 63
AutoCAD 2010 Overview, 30
AutoCAD 2010 Professional Level I, II, III, 30
AutoCAD LT I, II, 35-36
AutoCAD 2010 Conceptual Design, 31
AutoCAD 2010 Creating and Presenting 3D
Models, 31
AutoCAD 2010 Designing and Managing
Dynamic Blocks, 31
AutoCAD 2010 Essentials of Customizing
AutoCAD, 31
AutoCAD 2010 Update: Transitioning from
AutoCAD 2009, 37
AutoCAD Architecture 2010 Update, 37
AutoCAD Architecture 2010: Advanced, 32
AutoCAD Architecture 2010: Essentials, 31
AutoCAD AutoLISP with Visual LISP, 31
AutoCAD MEP 2010: Electrical, 32
AutoCAD MEP 2010: Mechanical, 32
AutoCAD MEP 2010: Plumbing, 32
AutoCAD MEP 2010: Projects and Tools, 32
Autodesk 3ds Max Design 2010 Update, 37
Autodesk 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
Architectural Visualization using AutoCAD
2010, Revit 2010 and Autodesk 3ds Max
Design 2010, 36
AutoCAD Architecture 2010 Update, 37
AutoCAD Architecture 2010: Advanced, 32
AutoCAD Architecture 2010: Essentials, 31
AutoCAD AutoLISP with Visual LISP, 31
AutoCAD LT I, II, 35-36
AutoCAD MEP 2010: Electrical, 32
I ND EX FA L L 2009 73
AutoCAD MEP 2010: Mechanical, 32
AutoCAD MEP 2010: Plumbing, 32
AutoCAD MEP 2010: Projects and Tools, 32
AutoCAD 2010 Conceptual Design, 31
AutoCAD 2010 Creating and Presenting 3D
Models, 31
AutoCAD 2010 Designing and Managing
Dynamic Blocks, 31
AutoCAD 2010 Essentials of Customizing
AutoCAD, 31
AutoCAD 2010 Overview, 30
AutoCAD 2010 Professional Level I, II, III, 30
AutoCAD 2010 Update: Transitioning from
AutoCAD 2009, 37
Autodesk Inventor Level I, 32
Autodesk Raster Design 2010, 33
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, 22
Autodesk 3ds Max 2010 Design Advanced
Lighting, 23
Autodesk 3ds Max 2010 Fundamentals:
Modeling and Rendering I, 21
Autodesk 3ds Max 2010 Game Level and
Character Design, 23
Autodesk 3ds Max 2010 Modeling, Materials,
and Rendering II, 21
Autodesk 3ds Max Design 2010 Intensive
Workshop, 36
Autodesk 3ds Max Design 2010 Update, 37
Camera Matching and Integration of Live
Footage in Autodesk 3ds Max, 23
character studio and skin for Autodesk 3ds
Max 2010, 23
Diseño Arquitectónico con Autodesk 2010
3ds Max Design, 22
Facial Animation with Autodesk 3ds Max
2010, 23
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
Mastering AutoCAD Architecture:
Documentation, Annotation and
Schedules, 33
Mastering AutoCAD Sheet Sets, 33
Mastering AutoCAD Tables and Schedules, 33
Modelado Arquitectónico II con Autodesk
3ds Max Design 2010, 22
Printing and Plotting with AutoCAD, 34
Revit Architecture 2010: Advanced, 34
Revit Architecture 2010: Basic Course, 34
Revit Architecture 2010:
Creating Construction Documents, 34
Revit Architecture 2010: Level I, 34
Revit Architecture 2010: Migrating to Revit
Architecture, 35
Revit Architecture 2010: The Family You
Always Wanted, 35
Revit MEP 2010: Basics Course, 35
Revit Structure 2010: Advanced, 35
Revit Structure 2010: Essentials, 35
Set Design for Architects and Designers using
AutoCAD 2010, 35
Special Effects (FX) with Autodesk 3ds Max
2010 and combustion, Introduction to, 23
Special Effects (FX) with Autodesk 3ds Max
2010, 23
3D Modeling and Rendering with AutoCAD
2010, 31
Autodesk 3ds Max Design 2010 Intensive
Workshop, 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, 22
Autodesk 3ds Max 2010 Fundamentals:
Modeling and Rendering I, 21
Autodesk 3ds Max 2010 Modeling, Materials,
and Rendering II, 21
Autodesk 3ds Max 2010 Design Advanced
Lighting, 23
74 FA L L 20 0 9 INDEX
Autodesk 3ds Max 2010 Game Level and
Character Design, 23
Autodesk Inventor Level I, 32
Autodesk Raster Design 2010, 33
B Computer Graphics and Technology course
Basic Drawing, 11
Basic Drawing for Animation, 12
Basic Layout and Typography, 10
Between the Wars: the Golden Age of
Bridge Building, 42
Bidding the Construction Project, 42
Big Apple to the Core, 42
Block Printing and Stenciled Patternmaking
Workshop, 9
Blueprint Reading, 19
Book Arts, 9
Book Arts Workshop, 9
Brick Essentials, 42
Bridging America, 42
Bridging Gotham: NYC Archipelago, 43
Bridging the World, 43
Build It and They Will Come:
The Architecture of Sports, 44
Building Green ‘Round the World, 43
Building Green: An Overview, 43
Building Healthy, 43
Building Naturally, 44
Building the Brooklyn Bridge: An Epic for
the Age, 44
C Autodesk 3ds Max Design 2010 Intensive
Camera Matching and Integration of Live
Footage in Autodesk 3ds Max, 23
Capital City: The Architecture of the District
of Columbia, 44
Career Development courses, 5, 6, 10, 11,
19, 26
Create a Professional Design Portfolio, 26
Creatively Speaking: Innovative Promotions
that Work, 11
Expressive Design: Creating Distinction
through Innovative Production
Techniques, 11
From Product to Profit: How to Make Money
from Your Ideas, 5
Getting Out There: How to Present, Promote,
Exhibit, and Sell Your Artwork, 6
Greeting Card Design, 10
Selling Your Art in New York City, 19
Center for Real Estate Education, 8
CCPS Policies and Procedures, 70-72
Alumni Audit, 71
Changes to Policies, Procedures, and Fees, 71
Classroom Assignments, 71
Corporate Billing, 71
Directions, 70
Discounts, 71
Faculty Biographies, 72
Fees, 71
Financial Aid, 72
Refunds, 72
Register Online, 72
Registration Deadline, 72
Supply Lists, 72
Transcripts, 72
Weather Emergency Line, 72
Withdrawal Policy, 72
Certificate Programs, 15, 38, 61, 62, 64
Audio Engineering and Production, 62
Computer Graphics, 38
Fine and Decorative Art Appraisal, 64
Photography and Digital imaging, 15
Sustainable Building, Infrastructure Design
and Management, 61
Character Animation with Flash, 28
character studio and skin for Autodesk 3ds
Max, 23
Chinese Drawing and Painting, 3
Chronicles of Security Technology: In the Age
of Terrorism and Natural Disasters, 44
Clases 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, 10
Comic Book Illustration, 13
Compositing with Shake, 24
Computer Competency (Mac), 20
descriptions
Animation 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
Architectural Visualization using AutoCAD
2010, Revit 2010 and Autodesk 3ds Max
Design 2010, 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, 22
Autodesk 3ds Max 2010 Design Advanced
Lighting, 23
Autodesk 3ds Max 2010 Fundamentals:
Modeling and Rendering I, 21
Autodesk 3ds Max 2010 Game Level and
Character Design, 23
Autodesk 3ds Max 2010 Modeling, Materials,
and Rendering II, 21
Workshop, 36
Autodesk 3ds Max Design 2010 Update, 37
Basic Drawing for Animation, 12
Camera Matching and Integration of Live
Footage in Autodesk 3ds Max 2010, 23
character studio and skin for Autodesk 3ds
Max 2010, 23
Continuity Storyboards: The Filmmaker’s Best
Friend, 21
Design for Computer Animation, 21
Diseño Arquitectónico con Autodesk 2010
3ds Max Design, 22
Facial Animation with Autodesk 3ds Max
2010, 23
History of Animation, 13
Introduction to Special Effects with Autodesk
3ds Max 2010 and combustion, 23
MAXScript Seminar, 23
Maya Advanced Character Design, 21
Maya I Fundamentals: 3D Modeling,
Animation, and Rendering, 21
Maya II: Modeling, Animation and Effects, 21
Modelado Arquitectónico II con Autodesk
3ds Max Design 2010, 22
Mudbox, 23
Project Management Seminar, 24
Special Effects (FX) with Autodesk 3ds Max
2010, 23
Special Effects with Maya, 21
Texturing Seminar, 24
3D Computer Graphics Theory, 21
Traditional 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, 22
Diseño Arquitectónico con Autodesk 3ds Max
Design, 22
Modelado Arquitectónico II con Autodesk
3ds Max Design, 22
Classes for Beginners, 20
Computer Competency (Mac), 20
Computing (MAC), Intro to, 20
Overview of Digital Creation and Digital
Media, 20
PowerPoint: The Presentation Tool, 20
Digital Video and Audio courses, 24
Adobe After Effects CS4 I, II, 24
Adobe Premiere Pro CS4, 24
Advanced Techniques in Final Cut Pro, 24
Compositing with Shake, 24
Non-Linear Editing and Video Effects with
Final Cut Pro, 24
Drafting and Modeling on the Mac courses,
21, 25
form•Z Fundamentals: Modeling and
Rendering I, 25
Maya I Fundamentals: 3D Modeling,
Animation, and Rendering On the Mac, 21
VectorWorks Professional I, 25
VectorWorks Professional II: 3D Modeling and
Rendering, 25
Electronic Publishing and Digital Art courses,
11, 25–27
Adobe Acrobat CS4, 25
Adobe InDesign CS4, 25
Adobe Lightroom for Photographers, 26
Advanced Adobe InDesign CS4 with
Photoshop and Illustrator, 25
Advanced Techniques in Photoshop:
Channels, Masks, Layers, Actions and
Plug-ins, 26
Create a Professional Portfolio, 26
Desktop Publishing with QuarkXPress I, II, 26
Electronic Prepress Production, 26
Graphic Illustration I, II: Adobe Illustrator
CS4, 26
Illustrator CS4 for Artists and Illustrators, 26
Illustrator for Fashion Design, 26
Imaging I: Photoshop CS4, 26
Imaging II, 27
Introduction to Graphic Design, 11
Making Masterpieces with Corel Painter, 27
Photoshop for Photographers, 27
Photoshop Montage and Collage, 27
Photoshop Retouching, 27
Electronic Publishing and Digital Art:
Short Classes for Pros, 27
Express Your Way Through Quark XPress, 27
Quick Draw Your Way Through Illustrator, 27
Snap Your Way Through Photoshop, 27
Interactive Media and the Internet, 25, 28–30
Adobe InDesign CS3, 25
Character Animation with Flash, 28
Creating Mobile Content in Flash CS4, 28
Dreamweaver CS4 and Fireworks CS4: I, 28
Dreamweaver II: ColdFusion with Dreamweaver
CS4, 28
Dreamweaver II: Web Standards – Content,
Presentation, and Behaviors, 28
Flash CS4: I, 28
Flash II: Action Scripting, 28
Flash III: Advanced Action Scripting, 28
From Here to There: A Seven-Step Web Site
Recovery Program, 28
Going Mobile: Designing Web Sites for the
Tiny Screen, 29
Great Web Design with CSS: Cascading Style
Sheets, 29
XHTML and CSS, Introduction to, 29
Podcasting 101 Workshop: The Basics, 29
Web Development with Adobe Dreamweaver,
29
(X)HTML Refresher, 29
Programming courses, 29, 31
AutoCAD AutoLISP with Visual LISP, 31
Graphics Programming I with C++, 29
PHP Programming for the Web, Introduction
to, 29
XHTML and CSS, Introduction to, 29
(X)HTML Refresher, 29
Software Update Training, Autodesk, 37
AutoCAD Architecture 2010 Update, 37
AutoCAD 2010 Update: Transitioning from
AutoCAD 2009, 37
Autodesk 3ds Max Design 2010 Update, 37
Connecting Us: The Arterial Highway System
of the New York-New Jersey Region, 45
Construction Cost Estimating, 45
Construction Cost Estimating: “The Bridge”, 45
Construction Management, 19, 45-56
Bidding the Construction Project, 44
Blueprint Reading, 19
Building Green: An Overview, 45
Construction Cost Estimating, 45
Construction Specifications Writing, 45
Estimating Cooling Load on Excel (HVAC 1
and 2): Refrigeration Principles, 47
Estimating Structural Steel Erection, 47
Estimating Structural Steel Fabrication, 47
Fuel Properties, Combustion, Heating Load
Estimation on Excel (HVAC), 48
Improving Public Health by Greening Your
Specifications, 50
Specifications Writing, Principles, and
Practice, 56
Construction Specifications Writing, 45
Continental Divide: Bridging the Mighty
Mississippi, 46
Continuity Storyboards: The Filmmaker’s Best
Friend, 21
Create a Professional Design Portfolio, 26
Creating Mobile Content in Flash CS3, 28
Creative Entrée to the Photography
Marketplace, 16
Creative Writing, 7
Creatively Speaking: Innovative Promotions
that Work, 11
Creativity and Artistic Expression, 6, 7, 11, 19
Creative Expression from the Inside-Out:
An Interdisciplinary Sampler Course,
Introduction to, 7
Creative Writing, 7
Creatively Speaking: Innovative Promotions
that Work, 11
Sacred Singing, 7
Sacred Singing: The Workshop, 7
Secrets of Altered States of Consciousness for
Artists, Writers, and Creative Thinkers, 19
Vocal Improvisation, 7
Vocal Improvisation: The Workshop, 7
Voice and Movement Improvisation from the
Inside Out, 7
Voice and Movement Improvisation from the
Inside Out: The Workshop, 7
D
Decorative 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, 9
Gilding, 9
Hand-Painted Fabric Workshop Wearables
and Furnishings, 12
Handmade Toys, 10
Quilting and the Handmade, 2, 10
Quilting and the Handmade: Advanced
Workshop, 10
Design courses, 9-11, 19, 20, 26
Basic Layout and Typography, 10
Color Theory, 10
Continuity Storyboards: The Filmmaker’s
Best Friend, 21
Create a Professional Portfolio, 26
Creatively Speaking: Innovative Promotions
that Work, 11
Design for Computer Animation, 21
Expressive Design: Creating Distinction
through Innovative Production
Techniques, 11
Graphic Design, Introduction to, 11
Graphic Design and Print Production, 11
Greeting Card Design, 11
Package Design and Brand Identity, 11
Visual Iconography-Art as Language:
Elements of Design, 10
Design for Computer Animation, 21
Designing and Renovating Carbon Neutral
Buildings, 46
Designing for Broadcast and Media Facilities,
46
Designing for Museums and Other Cultural
Institutions, 46
Designing Research and Development
Facilities, 46
Designing, Renovating, and Operating
Carbon Neutral Buildings, 61
Desktop Publishing with QuarkXPress I, II, 26
Digital Photography I, II, 16
Digital Video and Audio, 24
Directions, 70
Diseño Arquitectónico con Autodesk 3ds
Max Design, 22
Drafting and Modeling on the Mac, 25
Drawing for Product Design (GP), 4
Drawing for Product Design I, 4
Drawing Foundation for Interior Design, 5
Drawing on Location, 12
Drawing on Location: Advanced, 12
Dreamweaver CS4 and Fireworks CS4: I, 28
Dreamweaver II: ColdFusion with
Dreamweaver CS4, 28
Dreamweaver II: Web Standards – Content,
Presentation, and Behaviors, 28

E Forensics of Antique Jewelry...What to Look
Earn While You Learn Sheathing: A
Sustainable Product for the 21st Century,
40
Earrings, 5, 14
Earth in the Balance, 46
Editorial Illustration, 13
EIFS and Plaster in Modern Construction, 46
Electronic Prepress Production, 26
Electronic Publishing and Digital Art, 25
Electronic Publishing and Digital Art:
Short Classes for Pros, 27
Empire State Building: Monarch of the Sky, 47
Energy, Greenhouse Gas, Weatherization
Audits, and Capital Planning, 47
Entering the Handcrafted Gift Market, 9
Estimating Cooling Load on Excel (HVAC 1
and 2): Refrigeration Principles, 47
Estimating Structural Steel Erection, 47
Estimating Structural Steel Fabrication, 47
Ever Higher: The Quest to Touch the Sky, 47
Experimenting with Papers and Toners in the
Darkroom, 17
Express Your Way Through Quark XPress, 27
Expressive Design: Creating Distinction
through Innovative Production
Techniques, 11
Expressive Forms, 3
F Figure Drawing Workshop, 12
Facial Animation with Autodesk 3ds Max
2010, 23
Facilities and Environmental Compliance
courses, 19, 41-60
Architectural Restoration: Motivators and
Constraints to the Preservation of Older
Structures, 41
Building Green: An Overview, 43
Building Green ‘Round the World, 43
Building Naturally, 44
Climate Change Fundamentals for Design
Professionals, 45
Designing and Renovating Carbon Neutral
Buildings, 46
Earth in the Balance, 46
Energy, Greenhouse Gas, Weatherization
Audits, and Capital Planning, 47
Freshwater Wetlands, 48
Go Green Retrofits, 49
Gray Water Heat Recovery, 49
Green By Design, 50
Green Design Versus Historic Preservation, 50
Greening Your Facilities: A Holistic Approach,
50
Improving Public Health by Greening Your
Specifications, 50
Indoor Air Quality, 51
Land Use Engineering, 51
Performance Modeling for Carbon Neutral
Buildings, 55
Performance Rating of New Buildings:
The Process, 55
Renewable/Green Energy, 55
Sustainability Approach to Engineering
Design, 56
Sustainability Pioneers: Heroes of the Planet, 57
Sustainable Habitats, 57
Sustainable Remodeling, 57
The Environment, SEQRA and the Engineered
Project, 58
This Hazardous House, 58
Visionary Designing with Glass Block and
High Performance Glass Block Systems
Covering LEED, Safety and Security, 59
Wind Energy Systems, 59
Far Horizon: The Architecture of the World’s
Fair, 48
Fashion Design courses, 2, 26
Fashion Design: Construction Techniques for
Garments I, 2
Illustrator for Fashion Design, 26
Pattern-Making Basics for the Female Form, 2
Figure Drawing Workshop, 12
Fine and Decorative Art Appraisal courses,
64-65
Appraising Antiques and Decorative Arts,
Introduction to, 65
Art of Curating, The, 65
Business of Contemporary Art and
Professional Practice, The, 65
For!, 65
Logic of the Argument: Improving the
Narrative, The, 66
Personal Property Valuation, Introduction to, 64
Personal Property Valuation Methodology—
Research and Analysis, 64
Personal Property Valuation Report Writing, 65
Personal Property Valuation—The Legal and
Commercial Environment, 65
Photographing Artwork and Small Objects,
18, 66
Strategies for Handling and Managing
Difficult Appraisals, 65
Uniform Standards of Professional Appraisal
Practice, 65
Fine Art Photography, 17
Fine Arts courses, 2-3, 11-12, 66
Abstract Painting: Concepts and Techniques, 2
Abstract Painting: Concepts and Techniques:
The Workshop, 2
Acrylic Painting Mastery, 12
Alternative Approaches: Exploring Mixed
Media, 11
Basic Drawing, 11
Basic Drawing for Animation, 12
Chinese Drawing and Painting, 3
Drawing on Location, 12
Drawing on Location: Advanced, 12
Expressive Forms, 3
Fine Arts/Mixed Media, 3
Fine Arts: Painting and Drawing, 67
Fundamentals of Acrylic Painting, 3
Fundamentals of Acrylic Painting:
The Workshop, 3
Fundamentals of Oil Painting, 12
FusionArts Workshop: Philosophy and
Methodology, 12
Fusion Painting, 3
Hand-Painted Fabric Workshop Wearables
and Furnishings, 12
Intermediate Drawing, 12
Intermediate Drawing II, 12
Introduction to Curatorship, 3
Making Art in New York City, 3
Media Arts/Photography, 6, 67
New Materials in Sculpture: Using Material
from the World Around Us, 4
Painting and Drawing Workshop, 4
Painting with Watercolors, 4
Pastel Intensive Workshop:
The Versatile Medium, 12
Perspective Drawing and Rendering, 13
Pictorial Perspective, 13
Watercolor Realism Workshop, 13
Fine Arts/Mixed Media, 3
Fine Arts: Painting and Drawing, 67
Fire Protection Technology, 48
Flash II: Action Scripting, 28
Flash III: Advanced Action Scripting, 28
Flash CS4: I, 28
Forensics of Antique Jewelry...
What to Look For!, 65
Forest Hills Gardens: A Modern Arcadia, 48
Forged Metal Components, 5, 14
form•Z Fundamentals: Modeling and
Rendering I, 25
Foundation Art, 67
Freshwater Wetlands, 48
From Here to There: A Seven-Step Web Site
Recovery Program, 28
From Product to Profit: How to Make Money
from Your Ideas, 5
Fuel Properties, Combustion, Heating Load
Estimation on Excel (HVAC), 48
Full-Spectrum Polarized Lighting Systems, 48
Fundamentals of Acrylic Painting, 3
Fundamentals of Acrylic Painting: The
Workshop, 3
Fundamentals of Oil Painting, 12
Fundamentals Technologies and Safeguards
of Nuclear Energy, 49
FusionArts Workshop: Philosophy and
Methodology, 12
Fusion Painting, 3
G Intro to Computing (MAC), 20
General information, 70-72
CCPS Policies and Procedures, 71-72
Directions, 70
Geotechnical Engineering, 49
Getting Out There: How to Present,
Promote, Exhibit, and Sell Your Artwork, 6
Ghostwriting and Self-Publishing to Rocket
Your Career, 19
Gilding, 9
Gimme Shelter, 49
Go Green Retrofits, 49
Going Mobile: Designing Web Sites for
the Tiny Screen, 29
Graphic Design and Print Production, 11
Graphic Illustration I: Adobe Illustrator CS3, 26
Graphic Illustration II: Adobe Illustrator CS3, 26
Graphics Programming I with C++, 29
Gray Water Heat Recovery, 49
Great Web Design with CSS:
Cascading Style Sheets, 29
Green by Design, 50
Green Design Versus Historic Preservation, 50
Greening Your Facilities: A Holistic Approach,
50
Greeting Card Design, 11
H Jewelry Making courses, 5-6, 14
Hand-Painted Fabric Workshop Wearables
and Furnishings, 12
Handmade Toys, 10
Hazardous Waste Management, 50
High Steel: The Legacy of Steel-Frame
Construction, 50
Historic Preservation: Techniques and
Methods, 50
History of Animation, 13
History of Art and Design, 13, 15
History of Animation, 13
History of Comics, 13
History of Photography, 15
History of Comics, 13
History of Photography, 15
How to Sell Your Photographs to Fine Art
Markets, 17
I Legal Topics for the Creative Professional, 7
Illustration courses, 4, 12-13, 20, 27
Basic Drawing for Animation, 12
Botanical Illustration, Introduction to, 4
Comic Book Illustration, 13
Editorial Illustration, 13
Illustration Portfolio, Introduction to The, 13
Illustrator CS4 for Artists and Illustrators, 26
Illustrator for Fashion Design, 26
Manga Comics, 13
Pastel Intensive Workshop: The Versatile
Medium, 12
Traditional Animation I, II, 20
Watercolor Realism Workshop, 13
Illustrator CS3 for Artists and Illustrators, 26
Illustrator for Fashion Design, 26
Imaging I: Photoshop CS3, 26
Imaging II, 27
Improving Public Health by Greening your
Specifications, 50
Improving the Energy Efficiency of Steam
Systems, 51
Indoor Air Quality, 51
Industrial Design courses, 4-5
Drawing for Product Design (GP), 4
Drawing for Product Design I, 4
From Product to Profit: How to Make Money
from Your Ideas, 5
Product Design (GP), 5
Product Design I, 4
Inland Sea: The Bridging of San Francisco
Bay, 51
Integrating Accessibility, 51
Integrating Landscape into
Urban Architecture, 51
Interior Design courses, 5
Drawing Foundation for Interior Design, 5
Interior Design Preparatory Course, 5
Intermediate Black and White
Photography, 15
Intermediate Drawing, 12
Intermediate Drawing II, 12
Intro to Bollywood Cinema: An Exploration
of Indian Culture and History through
Films, 6
Intro to Fashion Photography, 17
Introduction to Curatorship, 3
Introduction to Interior Design, 68
I ND EX FA L L 2009 75
Introduction to Appraising Antiques and
Decorative Arts, 65
Introduction to Architecture, 67
Introduction to Botanical Illustration, 4
Introduction to Creative Expression from the
Inside-Out: An Interdisciplinary Sampler
Course, 7
Introduction to Graphic Design, 11
Introduction to Illustration The Illustration
Portfolio, 13
Introduction to Personal Property Valuation,
64
Introduction to Photography, 15
Introduction to PHP Programming for the
Web, 29
Introduction to Special Effects with Autodesk
3ds Max 2010 and combustion, 23
Introduction to the Camera, 15
Introduction to XHTML and CSS, 29
J
Jewelry Design Intensive I, 14
Earrings, 5, 14
Forged Metal Components, 5, 14
Jewelry Design Intensive I, 14
Leather Jewelry, 5, 14
Organic Wire Wrapping, 5, 14
Pearl Knotting, 5, 14
Polyform Clay Workshop I, 14
Stringing, 6, 14
Wire Wrapping, 6, 14
Wire Wrapping with Chain, 6, 14
L
Land Use Engineering, 51
Law courses, 7, 54
Art Law, 7
Legal Topics for the Creative Professional, 7
New York Construction Law, 54
Leather Jewelry, 5, 14
Light Gauge Metal Framing (LGMF):
Let’s Get More Familiar, 51
Location Photography, 17
M
Making Art in New York City, 3
Making Masterpieces with Corel Painter, 27
Manga Comics, 13
Marketing Workshops, 6, 11, 19
Creatively Speaking, Innovative Promotions
that Work, 11
Getting Out There: How to Present, Promote,
Exhibit, and Sell Your Artwork, 6
Professional Practice for Photographers:
Getting from Here to There—
Photographic Thinking and Strategies, 18
Martial Arts, 8
Mastering AutoCAD Sheet Sets, 33
Mastering AutoCAD Tables and Schedules, 33
Mastering 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, 23
Maya Advanced Character Design, 21
Maya II: Modeling, Animation and Effects, 21
Maya I Fundamentals: 3D Modeling,
Animation, and Rendering, 21
Media Arts/Photography courses, 6, 15-18,
27, 66
Advanced Black and White Photography, 16
Advanced Portrait Master Class, 16
Alternative Photographic Process, 16
Alternative Photographic Process Weekend
Workshop, 16
76 FA L L 20 0 9 INDEX
Artist’s Diary: Digital Photography and
Bookmaking, The, 6
Art of Photographic Portraiture, The, 18
Bollywood Cinema: An Exploration of Indian
Culture and History through Films,
Intro to, 6, 18
Camera, Introduction to the, 15
Creative Entrée to the Photography
Marketplace, 16
Digital Photography I, II, 16
Experimenting with Papers and Toners in the
Darkroom, 17
Fine Art Photography, 17
History of Photography, 15
How to Sell Your Photographs to Fine Art
Markets, 17
Intermediate Black and White Photography,
15
Intro to Fashion Photography, 17
Introduction to Photography, 15
Location Photography, 17
Media Arts/Photography, 67
Panoramic Photography and the Gigapan, 17
Photographic Illustration, 18
Photographic Lighting I, 18
Photographic Lighting II: Photographing
Commercial Products, 18
Photographing Artwork and Small Objects,
18, 66
Photography, Introduction to, 15
Photoshop for Photographers, 27
Professional Practice for Photographers:
Getting from Here to There—
Photographic Thinking and Strategies, 18
Wide Format Printing, 18
Metalworking I, II, 6
Modelado Arquitectónico II con Autodesk
3ds Max Design 2010, 22
Modern Architecture World Tour, 52
Modern Drywall Construction Systems, 52
Mold Remediation: How to Detect Mold &
Clean Mold, 52
Monumental Architecture: A Gift to the
Ages, 53
Mudbox, 23
Museums: The Architecture of Art, 53
N Professional Practice for Photographers:
New Accessibility Requirements for
Commercial Occupancies, 53
New Accessibility Requirements for
Residential Occupancies, 53
New 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, 54
New York State Existing Building Code:
Using an Example, 54
New York State Building Code:
Using an Example, 54
New York State Building Codes, Rules, and
Regulations, 54
9/11 and Beyond, 54
Non-Linear Editing and Video Effects with
Final Cut Pro, 24
O Product Design I, 4
Offsite Fabrication for Housing, 54
Organic Wire Wrapping, 5, 14
Overview of Digital Creation and Digital
Media, 20
P Project Management Seminar, 24
Package Design and Brand Identity, 11
Painting and Drawing Workshop, 4
Painting with Watercolors, 4
Panoramic Photography and the Gigapan, 17
Pastel: The Versatile Medium, 12
Pattern-Making Basics for the Female Form, 2
Peace through Understanding: The 1964-65
New York World’s Fair, 55
Pearl Knotting, 5, 14
Performance Modeling for Carbon Neutral
Buildings, 55
Performance Rating of New Buildings:
The Process, 55
Personal Enrichment, 8
Personal Property Valuation Methodology—
Research and Analysis, 64
Personal Property Valuation Report Writing,
65
Personal Property Valuation—The Legal and
Commercial Environment, 65
Perspective Drawing and Rendering, 13
Photographic Illustration, 18
Photographic Lighting I, 18
Photographic Lighting II: Photographing
Commercial Products, 18
Photographing Artwork and Small Objects,
18, 66
Photography and Digital Art courses, 6,
15-17, 28, 67
Advanced Black and White Photography, 16
Advanced Portrait Master Class, 16
Alternative Photographic Process, 16
Alternative Photographic Process Weekend
Workshop, 16
Artist’s Diary: Digital Photography and
Bookmaking, The, 6
Art of Photographic Portraiture, The, 18
Camera, Introduction to the, 15
Creative Entrée to the Photography
Marketplace, 16
Digital Photography I, II, 16
Experimenting with Papers and Toners in the
Darkroom, 17
Fine Art Photography, 17
History of Photography, 15
How to Sell Your Photographs to Fine Art
Markets, 17
Intermediate Black and White Photography, 15
Intro to Fashion Photography, 17
Location Photography, 17
Media Arts/Photography, 67
Panoramic Photography and the Gigapan, 17
Photographic Illustration, 18
Photographic Lighting I, 18
Photographic Lighting II: Photographing
Commercial Products, 18
Photographing Artwork and Small Objects, 18
Photoshop for Photographers, 27
Photography, Introduction to, 15
Getting from Here to There—
Photographic Thinking and Strategies, 18
Wide Format Printing, 18
Photoshop for Photographers, 27
Photoshop Montage and Collage, 27
Photoshop Retouching, 27
Pictorial Perspective, 13
Podcasting 101 Workshop: The Basics, 29
Polyform Clay Workshop I, 14
Portfolio Development, 68
Portfolio Development for Architecture, 67
PowerPoint: The Presentation Tool, 20
Pre-College Programs, 67-68
Fall 2009, 67
Architectural Design Studio, 67
Fine Arts: Painting and Drawing, 67
Foundation Art, 67
Introduction to Architecture, 67
Media Arts/Photography, 67
Portfolio Development, 68
Portfolio Development for Architecture, 67
Sequential Art and the Comic Book, 68
Summer 2010, 67
Printing and Plotting with AutoCAD, 34
Product Design (GP), 5
Professional Development for Architects &
Engineers, 40
Professional Practice for Photographers:
Getting from Here to There—
Photographic Thinking and Strategies, 18
Programming, 29
ProTools I, II, 63
Publishing for the Real World, 7, 19, 25
Creative Writing, 7
Electronic Publishing and Digital Art
(see Computer Graphics), 25
Ghostwriting and Self-Publishing to Rocket
Your Career, 19
Q Traditional Animation I, II, 20
Quick Draw Your Way Through Illustrator, 27
Quilting and the Handmade, 2, 10
Quilting and the Handmade: Advanced U
Workshop, 10 Uniform Standards of Professional Appraisal
Practice, 65
R
Renewable/Green Energy, 55 V
Residential Landscape Architecture, 55 VectorWorks Professional I, 25
Revit Architecture 2010: Advanced, 34 VectorWorks Professional II: 3D Modeling
Revit Architecture 2010: Basic Course, 34 and Rendering, 25
Revit Architecture 2010: Creating Construction Visionary Designing with Glass Block and
Documents, 34 High Performance Glass Block Systems
Revit Architecture 2010: Level I, 34 covering LEED, Safety and Security, 59
Revit Architecture 2010: Migrating to Revit Visual Iconography-Art as Language:
Architecture, 35 Elements of Design, 10
Revit Architecture 2010: The Family You Vocal Improvisation, 7
Always Wanted, 35 Vocal Improvisation: The Workshop, 7
Revit MEP: Basics Course, 35 Voice and Movement Improvisation from the
Revit Structure: Advanced, 35 Inside Out, 7
Revit Structure: Essentials, 35 Voice and Movement Improvisation from the
Rivers of Steel, 56 Inside Out: The Workshop, 7
S W
Sacred Architecture, 56 Watercolor Realism Workshop, 13
Sacred Singing, 7 Web Development with Adobe Dreamweaver,
Sacred Singing: The Workshop, 7 29
Sculpture courses, 4, 6 Wide Format Printing, 18
Metalworking I, II, 6 Wind Energy Systems, 59
New Materials in Sculpture, 4 Wire Wrapping, 6, 14
Secrets of Altered States of Consciousness for Wire Wrapping with Chain, 6, 14
Artists, Writers, and Creative Thinkers, 19 Wooden Scaffolds, 59
Security Design through CPTED, 56 World of Tomorrow: The 1939-40 New York
Selling Your Art in New York City, 19 World’s Fair, 59
Sequential Art and the Comic Book, 68 World Trade Center: Magnificent Ambition,
Set Design for Architects and Designers using 59
AutoCAD 2010, 35 Wright by Design: The Life and Architecture
Small-Scale Real Estate Development, 56 of America’s Master Architect, 59
Snap Your Way Through Photoshop, 27
Special Effects (FX) with Autodesk 3ds Max
2010, 23 X
Special Effects with Maya, 21 (X)HTML Refresher, 29
Special Programs, 8
Special Projects Independent Study, 24
Specifications Writing, Principles, and Z
Practice, 56 Zoning and Its Impacts on Architecture and
Strategies for Handling and Managing the Community (Part I), 60
Difficult Appraisals, 65 Zoning and Its Impacts on Architecture and
Stringing, 6, 14 the Community (Part II), 60
Study Abroad Programs, 8
Summer Pre-College Programs, 8, 67
Sustainability Approach to Engineering
Design, 56
Sustainability Pioneers: Heroes of the Planet, 57
Sustainable Habitats, 57
Sustainable Remodeling, 57
T
Tai Chi, 8
Tale of Two Towers: The Eiffel Tower and the
Chrysler Building, 57
Texturing Seminar, 24
That’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, 58
The Art of Curating, 65
The Art of Photographic Portraiture, 18
The Artist’s Diary: Digital Photography and
Bookmaking, 6
The Business of Contemporary Art and
Professional Practice, 65
The Embroidered Art Journal: Embroidery as
Narration and Illustration, 10
The Environment, SEQRA and the
Engineered Project, 58
The 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, 58
3D Computer Graphics Theory, 21
3D Modeling and Rendering with AutoCAD
2010, 31