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We believe this program is as unique as it is revolutionary. It redefines how figurative artists see their work and how that art finds its way into the world of commerce—fine art, illustration and publication. It begins with developing a personal vision. Vision is not style. Whether the work is tightly rendered, loose, more or less expressive or Photoshopped, we help you to achieve personal content in your work—to tell your story as only you can. When your “style” is personal content, the images you make can only be original. The program is difficult, demanding and highly selective. At the same time, it is an opportunity to be with exceptional artists like yourself exchanging ideas and sharing information, as well as simply hanging out. Each class becomes a community of figurative artists whose interest in storytelling encompasses all 21st-century media: graphic and illustrated novels, children’s books, comic books and painting series for gallery walls. But, when you tap into your personal vision and find your own stories, the applications for the work flow naturally. We focus on teaching how to combine words with images, continually refining and re-defining your personal vision. Our faculty is made up of illustrators, fine artists, computer artists, writers, art historians and art directors. The contact with faculty is personal, constant and intense. We accept only 20 students per year in the two-year program. It is a classroom-based curriculum, unlike many graduate programs where students work independently with scheduled faculty oversight. Close interaction between faculty and student, as well as with other classmates, is an essential part of the creative process that is our program. Each student has a personal workspace with 24-hour access, seven days a week. In addition to required classes, graduate students can audit classes from the various diverse offerings in our undergraduate college, including film, animation, fine arts and humanities. Guest speakers from the outstanding New York professional arts community are regularly scheduled. Being in New York City, the opportunities for access to working artists, gallery shows, museum exhibitions and internships are not inconsequential to laying a foundation for a life as an artist. In the second year, students are encouraged to choose their thesis advisors according to their interests. Our advisors, past and present, are as diverse as they are celebrated in their fields. Yuko Shimizu, Steve Brodner, Gary Panter, Maira Kalman, Sam Weber, Stephen Savage, Paul Buckley, Guy Billout and Pat Cummings are among them.
The process involved in developing a truly personal vision is risky. It demands you be open to thinking in new ways, reassess your drawing and painting skills, put your creativity on the line and free your imagination. We offer you the chance to compete using your own vision.
Program overview
Main Subject
Art and Design
Degree
MFA
Study Level
Masters
Study Mode
On Campus
We believe this program is as unique as it is revolutionary. It redefines how figurative artists see their work and how that art finds its way into the world of commerce—fine art, illustration and publication. It begins with developing a personal vision. Vision is not style. Whether the work is tightly rendered, loose, more or less expressive or Photoshopped, we help you to achieve personal content in your work—to tell your story as only you can. When your “style” is personal content, the images you make can only be original. The program is difficult, demanding and highly selective. At the same time, it is an opportunity to be with exceptional artists like yourself exchanging ideas and sharing information, as well as simply hanging out. Each class becomes a community of figurative artists whose interest in storytelling encompasses all 21st-century media: graphic and illustrated novels, children’s books, comic books and painting series for gallery walls. But, when you tap into your personal vision and find your own stories, the applications for the work flow naturally. We focus on teaching how to combine words with images, continually refining and re-defining your personal vision. Our faculty is made up of illustrators, fine artists, computer artists, writers, art historians and art directors. The contact with faculty is personal, constant and intense. We accept only 20 students per year in the two-year program. It is a classroom-based curriculum, unlike many graduate programs where students work independently with scheduled faculty oversight. Close interaction between faculty and student, as well as with other classmates, is an essential part of the creative process that is our program. Each student has a personal workspace with 24-hour access, seven days a week. In addition to required classes, graduate students can audit classes from the various diverse offerings in our undergraduate college, including film, animation, fine arts and humanities. Guest speakers from the outstanding New York professional arts community are regularly scheduled. Being in New York City, the opportunities for access to working artists, gallery shows, museum exhibitions and internships are not inconsequential to laying a foundation for a life as an artist. In the second year, students are encouraged to choose their thesis advisors according to their interests. Our advisors, past and present, are as diverse as they are celebrated in their fields. Yuko Shimizu, Steve Brodner, Gary Panter, Maira Kalman, Sam Weber, Stephen Savage, Paul Buckley, Guy Billout and Pat Cummings are among them.
The process involved in developing a truly personal vision is risky. It demands you be open to thinking in new ways, reassess your drawing and painting skills, put your creativity on the line and free your imagination. We offer you the chance to compete using your own vision.
One of the important factors when considering a master's degree is the cost of study. Luckily, there are many options available to help students fund their master's programme. Download your copy of the Scholarship Guide to find out which scholarships from around the world could be available to you, and how to apply for them.
MFA Illustration as Visual Essay
Manhattan, New York City, United States
# 20QS Subject Rankings
YesScholarships
Art and DesignMain Subject Area
Program overview
Main Subject
Art and Design
Degree
MFA
Study Level
Masters
Study Mode
On Campus
The program is difficult, demanding and highly selective. At the same time, it is an opportunity to be with exceptional artists like yourself exchanging ideas and sharing information, as well as simply hanging out.
Each class becomes a community of figurative artists whose interest in storytelling encompasses all 21st-century media: graphic and illustrated novels, children’s books, comic books and painting series for gallery walls. But, when you tap into your personal vision and find your own stories, the applications for the work flow naturally.
We focus on teaching how to combine words with images, continually refining and re-defining your personal vision. Our faculty is made up of illustrators, fine artists, computer artists, writers, art historians and art directors. The contact with faculty is personal, constant and intense. We accept only 20 students per year in the two-year program. It is a classroom-based curriculum, unlike many graduate programs where students work independently with scheduled faculty oversight. Close interaction between faculty and student, as well as with other classmates, is an essential part of the creative process that is our program.
Each student has a personal workspace with 24-hour access, seven days a week. In addition to required classes, graduate students can audit classes from the various diverse offerings in our undergraduate college, including film, animation, fine arts and humanities. Guest speakers from the outstanding New York professional arts community are regularly scheduled. Being in New York City, the opportunities for access to working artists, gallery shows, museum exhibitions and internships are not inconsequential to laying a foundation for a life as an artist. In the second year, students are encouraged to choose their thesis advisors according to their interests. Our advisors, past and present, are as diverse as they are celebrated in their fields. Yuko Shimizu, Steve Brodner, Gary Panter, Maira Kalman, Sam Weber, Stephen Savage, Paul Buckley, Guy Billout and Pat Cummings are among them.
The process involved in developing a truly personal vision is risky. It demands you be open to thinking in new ways, reassess your drawing and painting skills, put your creativity on the line and free your imagination. We offer you the chance to compete using your own vision.
Program overview
Main Subject
Art and Design
Degree
MFA
Study Level
Masters
Study Mode
On Campus
The program is difficult, demanding and highly selective. At the same time, it is an opportunity to be with exceptional artists like yourself exchanging ideas and sharing information, as well as simply hanging out.
Each class becomes a community of figurative artists whose interest in storytelling encompasses all 21st-century media: graphic and illustrated novels, children’s books, comic books and painting series for gallery walls. But, when you tap into your personal vision and find your own stories, the applications for the work flow naturally.
We focus on teaching how to combine words with images, continually refining and re-defining your personal vision. Our faculty is made up of illustrators, fine artists, computer artists, writers, art historians and art directors. The contact with faculty is personal, constant and intense. We accept only 20 students per year in the two-year program. It is a classroom-based curriculum, unlike many graduate programs where students work independently with scheduled faculty oversight. Close interaction between faculty and student, as well as with other classmates, is an essential part of the creative process that is our program.
Each student has a personal workspace with 24-hour access, seven days a week. In addition to required classes, graduate students can audit classes from the various diverse offerings in our undergraduate college, including film, animation, fine arts and humanities. Guest speakers from the outstanding New York professional arts community are regularly scheduled. Being in New York City, the opportunities for access to working artists, gallery shows, museum exhibitions and internships are not inconsequential to laying a foundation for a life as an artist. In the second year, students are encouraged to choose their thesis advisors according to their interests. Our advisors, past and present, are as diverse as they are celebrated in their fields. Yuko Shimizu, Steve Brodner, Gary Panter, Maira Kalman, Sam Weber, Stephen Savage, Paul Buckley, Guy Billout and Pat Cummings are among them.
The process involved in developing a truly personal vision is risky. It demands you be open to thinking in new ways, reassess your drawing and painting skills, put your creativity on the line and free your imagination. We offer you the chance to compete using your own vision.
Tuition fee and scholarships
Scholarships
One of the important factors when considering a master's degree is the cost of study. Luckily, there are many options available to help students fund their master's programme. Download your copy of the Scholarship Guide to find out which scholarships from around the world could be available to you, and how to apply for them.
In this guide you will find:
Where to look for scholarship opportunities
How to apply to scholarships relevant to you
A list of available scholarships around the world
A scholarship application checklist
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