1 - 10 of 39 results for: ARTSTUDI

Using the concept behind the Post-Studio art practice as a starting point, this course will explore what it means to make art outside (in a landscape/cityscape, etc.) instead of inside the traditional Art Studio. With technology and equipment getting smaller and more handy and with the endless stream of apps and functions available on cell phones and other mobile devices, this course will furthermore investigate how this gives the artist the ability to work on the fly and produce most of their artwork on site. Given the interdisciplinary nature of this course, the students will be given 3 assignments throughout this course, where they will be introduced to sound, video, photography, and performance art. The goal of this course is to challenge the students to think differently about the use of their mobile devices and tablets and to be creative and experimental on the spot.

Focus is on the art of portraiture and underlying structures of the face, fundamental anatomical elements such as the skull and muscles of facial expressions, and the intersections between human anatomy and art. Studio sessions incorporate plastic models, dry bones, cadaveric specimens, and live models. Encourages use of proper anatomical terminology for describing structures and their relationships.

Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)

Plein Air (Outdoor) Painting is a wonderful way to build skills, explore your relationship to site, and unlock your voice and hand. We will paint at different locations on and off-campus, learning a variety of painting techniques in changing weather and light. This class is great for both true beginners and advanced students. Basic painting skills are incorporated throughout the quarter, with advanced options at each stage. Acrylic paint is versatile and fast-drying; we will use it to get a range of effects from washy watercolor, blended oil effects, and building the surface sculpturally, painting on different surfaces. As we move, we will consider the elements of site and the materiality of paint: water, earth, architecture and the nuance of human gesture. History and memory are parsed in both the visible and hidden worlds around us. On-site paintings are not touched after class; rather they exist as an ephemeral moments in time. Three outside projects allow each person to paint at their own pace, and spend more time developing ideas and skills. In this class, process is privileged and ¿failure¿ is embraced. Adventure is our priority; weather is our co-creator. Final projects will be based on individual concepts, allowing each person to stretch creatively and develop their own voice.

This course will explore different types of color phenomenon through cutting and arranging colored paper and mixing paint. The goal of the course is to enhance sensitivity to color relationships. There is no such thing as a bad color or a good color, it is all relative to context. Students in this course will gain the ability to recognize and identify different types of color phenomena that exist in art and nature. The development of observation and articulation when dealing with color comes from experience, trial and error, and in doing so, one develops an individual eye for color.

Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level)

Introduction to printmaking using monotype, a graphic art medium used by such artists as Blake, Degas, Gauguin, and Pendergast. May be repeated for credit. Prerequisite: 140. (lower level). May be repeated 2 times for total of 8 units.

The focus of this course is to discover how meaning is inscribed into the objects and places we make. Using three forms both ancient and contemporary¿ the votive, the totem and the sanctuary¿we will consider a variety of cultural precedents made with spiritual and/or religious intensions. Students will research the origins and philosophies of chosen examples, glean formal terms, such as size, scale, composition, color and materiality and create new works with both personal and cultural meanings.

Traditional and non-traditional approaches to sculpture production through working with materials including wood, metal, and plaster. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers.