| class descriptions |
| Figure
Painting in the Venetian Tradition |
My personal interest in historical techniques and
experience in transforming those techniques into a modern equivalent
for my own use, has led to the fundamentals that I am teaching
in this painting course.
During this course, which is based on the techniques of the Venice
and Florence schools of the 15th and 16th centuries, we will be
exploring the possibilities of indirect painting. From the starting
point of designing our composition by means of a careful under
drawing followed by a monochrome ‘grisaille’, progressing
to ‘dead palette’ and warm/cool decisions and through
to the final stages of applying glazes and scumbles and a full
color palette.
This is an advanced course suitable for anyone with an interest
in classical painting techniques and some experience with painting.
It is not suitable for those who are just entering the door of
the magical world that is painting.
I do not believe that art can be taught by rote but that we learn
through the slow appreciation and understanding of our own painting
experience. I feel it is my job as an artist and teacher to give
help and encouragement through the stormy seas of the creative journey
and perhaps point out some shortcuts along the way. I can try to
pass on what I have learned so far on my own journey as a painter.
SUPPLY LIST
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| Expressive Life Drawing |
To draw successfully, we need to connect with our subconscious
energy, as well as our conscious or intellectual center. The aim
of this class is to encourage, through a series of specific exercises
and techniques, an emphasis on using the subconscious and intuitive
abilities that we have when engaged with drawing from the model.
The student will be asked to break away from their habitual methods
of drawing and to experience the wonderful energy that exists within.
In this 5 day drawing workshop, drawing from a non
intellectual and more emotionally based center we will be using
both left and right hands and the mouth, using dry and wet materials.
We will do a series of exercises which build up over the week to
a more complex drawing using layers of different marks. We also
draw to music and with eyes shut. All in all it is an intense and
enjoyable experience based on methods that I have taught myself
over 30 years.
SUPPLY LIST
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| Artists’ Anatomy
Course |
This is an anatomy course specifically for artists who are interested
in using the figure in their work. Since the 15th century, artists
have relied on a thorough understanding of anatomy to produce convincing
depictions of humans and animals in their work. Over ten days, we
will thoroughly cover all the bones of the human skeleton and the
superficial muscles of the body including the face. I will be concentrating
mainly on the surface muscles of the body that are actually visible
and some time will be spent discussing the methods we use to move
our bones through space and why it is that we have evolved the particular
muscles and bones that we have. Each three and a half hour
session will comprise of a lecture followed by a drawing session
focusing on the part/s that we have been discussing. The student
will have the opportunity to compare real human bones to the living
model in order to understand the body surfaces that they see.
SUPPLY LIST
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| Advanced Drawing techniques |
Classical painters always used drawing as a preliminary way to work
out their compositions and motifs.
In this workshop, specifically designed for students with advanced drawing
experience, the student will be introduced to various ways to make extended
drawings from the figure instead of the typical sketches to found in life drawing
classes no matter how long the pose.
Each day introduces a different method to make a more in-depth drawing from the
model and the background around the model. Using the paper from edge to edge
and a variety of mediums, the workshop builds up using different disciplines,
to a final multi figure composition that might perhaps lead to ideas for a painting.
SUPPLY LIST
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"My philosophy of teaching
is very simple. I believe that there is an implicit contract between
the teacher and the one who is taught. The teacher says, in effect, I
will share with you my knowledge and experience. To the best of my ability
I will incite you to think, to experiment, to learn, to improve your
mind and to enable you to gain knowledge that you do not already possess.
And the learner says, in effect, I will be guided by your knowledge and
experience. I will accept what you offer. I will learn from you. This
is an ancient and sacred contract and it is the foundation of education."
Scott Momaday, Kiowa Author and Institute
of American Indian Arts faculty |
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