drawing & painting course for the (semi) advanced
In this follow up year course the accent lies on the various techniques and approaches towards visual art. You will get lectures from different tutors that will be alternating, each with his own particular block of about 6 lessons in which they will issue specific assignments.The emphasis lies on further exploring the experience acquired with the foundation techniques. By allowing to work longer on an assignment you will have more time to explore various techniques. You will be experimenting with drawing- and painting-materials and expand your technical capabilities.
You will work among other things with oil paint, aquarelle paint and acrylic paint or you will make a drawing in which the observation is the starting point. Examples from contemporary art and art history supply a frame of reference from which to glean new ideas and to give insight into your own art work.While discussing your work and during the individual guidance of your instructor you will get inspiring feedback from your instructor as well as from your fellow students. Follow up year starts twice each year; beginning February and half September. Each half year you will follow 3 blocks. There are 9 blocks in total, the whole program takes 1,5 year. Embark or rather take individual lessons? that is possible with the flexcard.
This course contains the following blocks:
oilpaint The secret of a painting
A painting is like a show box. Through layer upon layer or thought upon thought, you'll arrive at an image. You’ll gain control over the laws of painting and learn how to build up a picture by using under-painting, light and shade, forms and left-over forms. Which steps remain visible in the final image? The secret of the painting reveals itself not just on the surface but is embedded more deeply than you think. In this module 'Oil paint' you will familiarize yourself with the major techniques of painting with oil paint.(Although, you are free to choose to work with acrylic, of course).Contrary to common believe oil paint is very easy in its use and a flexible material. It allows easy rectifications which is not possible most times with acrylic paint.The aim is to try to learn to paint through observation with oil paint on canvas.It will become an exercise in describing the physical world around you in terms of planes and forms on your canvas: the painting.
Acrylic paint A photograph is not a painting
How do artists use photographs as a starting point for their paintings, and why are they doing that? What is the difference between the photograph and the final painting?In this section, you’ll be investigating various ways to interpret and convert photographs into acrylic paint. The photographs used can be existing ones, manipulated ones or those you have taken yourself.You’ll learn to mix colours and to build up a painting in various layers (of colour) so that a new, personal image, relating to the photograph, emerges.You’ll also investigate how the paint surface and the specific application of paint (through experimenting with thick and thin layers, splodges, structures etc.) will influence the final image.
drawing and aquarelle An experiment with line and blotch
In this block you will make a voyage of discovery starting from drawing after reality towards an experiment in colour. Proceeding from drawing from observation (live model, still life, photograph) you will start an investigation in which you will draw and experiment with the fluid technique of aquarelle.(Although, you are free to choose to work with acrylic, of course).Light and darkness, shade, depth, proportions, overlapping, line and colour perspective, deformation and reflection come up for discussion.
modelling clay and drawing from 3D towards 2D
In this block you will make three-dimensional studies and drawings of form, both from observation; the 3D-forms include portraits. The objective of the lessons is to being able to interpret spatial forms, in order to be able to better reproduce them on a 2D surface. Once you understand how a spatial form is composed you will be able to better convert this onto a two-dimensional surface, where the suggestion of depth is achieved through light and shade. You will work with clay, plaster and iron wire. The drawing studies are made with graphite and pencil.
the portrait portraits in oil
After the studies of the previous module from 3D towards 2D you will continue interpreting and suggesting of spatial forms on a 2D surface. You will do this by making portrait studies from live models. In the first two lessons, you will concentrate on sketching the head with attention for the construction and proportions. During the other lessons, you will be working on portrait painting using oil paint (acrylic is also possible).
collage the suggestion of space
The starting point in this module is again 'the head', but this time in a spatial sense. You will be focussing on groups of portraits in a particular setting. You will start making drafts with collage and drawings.Your designs could be on a pedestal in an imaginary space, showing grotesque expressions.You will zoom in on the setting and lightning through which new objects arise with a somewhat more abstract appearance.This visual material forms the starting point for a 2-dimensional painting. From 2D to 3D and back again to 2 dimensional.
ideation how to develop an idea
What could form the starting point for making visual art?An assignment, a study of form or an experiment might give you the impulse to know where you want to aim for.In this block you will get acquainted with the development of ideas in order to make visual art.
Through experiment and study, collecting and sketching will you become aware where your interest lies and how to further develop your ideas. You will get insight in the concepts behind works of art of other artists, as a result of which the personal approach to your own work will become more profound. How for example did Yves Klein arrive at the choice to work solely with ultramarine pigment?
During the lessons will you get to work with a source book, in which you will gather your choices and lay them down. This could be visual material but also a text, a piece of music or an artistic event. You can make use of this source book further on in the course and beyond that, while making your own work.
the still life create your own painting
The still life is one of the basic subject’s artists have been engaged in during the course of history. Even today it still forms a splendid starting point to investigate all the possibilities of drawing and painting. Think e.g. of the still lives of Morandi and Luc Tuymans. In these lessons you will keep yourself busy with the tangible reality of objects and explore how to represent this through exercise. How are you dealing with light and shade, transparency, space or the rendition of the different texture of object?
With the aid of examples and practical experience you will be supplied with leads and clues enabling you to come to grips with this visual reality. While doing this your individual handwriting will be taken into account as well as your personal preference in style. Subsequently a number of lessons in a row will be dedicated to exercise and experiment on a still life that has been composed by yourself.
plein air- out door painting a special place
The wide view across the Westerdok, the boats and the architecture, the skies and the reflections on the water make Westerdok an extraordinary place to paint.Through unconstrained and intensive observation, you will experience how you could paint and draw a cityscape, the canal with boats, the bridges, or the view across Het IJ.You will be guided in the search of finding a personal rendition of reality. This does not necessarily always have to be as you would be inclined to think.What is the influence of the light on the water, how do you translate a texture into paint or how are you dealing with composition or the general segmentation of plains and directions in a landscape? How do you apply atmospheric perspective?You will discover new possibilities to approach and to paint the environment. There is room for a personal choice as regard to material and subjects.