"[2] Applied skills spanned a panoply of techniques, involving the design of picture frames, book and magazine covers, illuminations, lettering, stained glass, metalwork, architectural moldings and the "application of ornament to prints.

That's also when they created a teacher training program, and an Atelier Swain, modeled on the principles of instruction at the influential École des Beaux-Arts in Paris, with multiple annual competitions.

The school's mission was no longer limited to providing applied training in the arts to the city's poor, but also to "rais[e] the standard of artistic knowledge, and appreciation" for its wealthy potential benefactors.

The new faculty included Sigmund Abeles (1934–), Ron Kowalke (1936–2021), Alphonse Mattia (1947–2023), Joyce Reopel (1933–2019), Nathaniel Cannon Smith (1866–1943), Mel Zabarsky (1932–2019).

"[1] In the same year, Swain introduced a one-year certificate and a baccalaureate program in Architectural Artisanry, which was aimed at both novice students as well as those seeking retraining.

In 1988, spurred by low enrollment and a financially struggling city, the school sold its New Bedford campus, and merged with Southeastern Massachusetts University's College of Visual and Performing Arts in nearby North Dartmouth.

Ultimately, however, the campus would comprise some thirteen buildings, including the purpose-built New Bedford Textile School, two residence halls and the Rodman Mansion, listed on the National Register of Historic Places.

Aimed at local residents without means, students' only financial obligation to the school was a mandatory deposit of $10 per semester as a measure of good faith.

"[2] Annual catalogues, then called "circulars," were student-designed and competitively selected every year, and exhibitions and lectures were free, frequent and focused on well-known artists.

[1][2] The second year curriculum focused on mastering technique in historically correct ways: the design of picture frames, book and magazine covers, illuminations, lettering, stained glass, metalwork, architectural moldings and the "application of ornament to prints.

Although the circular still described the tuition as "free," the word was no longer included in the school's formal name, the endowment was described as "limited," and fees between $5 and $25 were introduced, depending on whether students attended day, evening or Saturday morning classes.

Many of the Courses of Study are planned to practically teach the theory of design that the pupils may apply the principles of Art to the requirements of Trade and Manufacture.

[15] Programs included a series of lectures on art and important exhibitions of 19th and 20th century masterpieces, a yearly drawing show and surveys of the work of significant contemporary artists.

[5] Modeled on the principles of instruction at the influential École des Beaux-Arts in Paris, its aim was to organize thirty-five competitions a year, which were showcased at the gallery.

Starting in the mid-1960s, and extending until the early 1980s, civil rights marches, anti-war protests and steady inflation contributed to a growing mistrust of traditional authority and chronological history, and which had a negative impact on Swain's fortunes.