DOCSLIB.ORG

Short Courses 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Short Courses 1 2017 Term 1 Term Short Courses 1 Adelaide Central School of Art is South Australia’s only independent, single-focus art school that is dedicated to offering expert tuition in visual arts education. Our program of specialist short courses is taught by our team of respected professional artists, many of whom also lecture within our highly regarded degree program. These studio-based courses are designed for participants of all ages and levels - whether you are a beginner learning the basics, enhancing your teaching skills, undertaking professional development, refreshing your skills as a practising artist, or considering studying visual art at a tertiary level. Small class sizes ensure all participants receive individual, expert attention, and with classes conducted in evenings and on weekends, the program is accessible and flexible. Most classes are held in our air-conditioned studios on our award- winning campus with free parking onsite. Ceramics classes are held at JamFactory, an esteemed partner institution. Be courageous and let us take you on your creative journey. Beginning Sunday 12 February 2017 Early-bird fee* ends Friday 20 January 2017 (see policy on reverse) No classes will be held from Saturday 11 March - Monday 13 March 2017 Code Course Lecturer Cost Drawing 1 2 S11701 Portraits & Identity Daniel Connell Wed 6.30pm – 9.30pm 15 Feb – 29 Mar 7 wks $530 1 S11702 Drawing Fundamentals Yve Thompson Sat 1.30pm – 4.30pm 18 Feb – 8 Apr 7 wks $460 Painting 1 S11703 Introduction to Oil Painting Melanie Brown Sat 1.30pm – 4.30pm 18 Feb – 8 Apr 7 wks $460 1 2 S11704 Oil Painting: Level 2 Melanie Brown Fri 9.30am – 12.30pm 17 Feb – 31 Mar 7 wks $460 1 2 S11705 Watercolour and Ink Drawing Arthur Phillips Sat 1.30pm – 4.30pm 18 Feb – 8 Apr 7 wks $460 1 2 S11706 Expressionist Portrait Painting Daniel Connell Sat 1.30pm – 4.30pm 18 Feb – 8 Apr 7 wks $530 Printmaking 1 2 S11707 Introduction to Printmaking Hanah Williams Tue 6.30pm – 9.30pm 14 Feb – 28 Mar 7 wks $460 Sculpture 1 S11708 Introduction to Wheel Throwing Charmain Hearder Sun 2.00pm – 4.00pm 12 Feb – 9 Apr ^ 8wks $320 1 S11709 Introduction to Wheel Throwing Charmain Hearder Tue 6.00pm – 8.00pm 14 Feb – 11 Apr ^ 8wks $340 1 S11710 Introduction to Hand Building Ebony Heidenreich Wed 6.00pm – 8.00pm 15 Feb – 12 Apr ^ 8wks $340 2 S11711 Intermediate Wheel Throwing Charmain Hearder Thu 6.00pm – 8.00pm 16 Feb – 13 Apr ^ 8wks $340 Teen Workshops 1 SS1100 Summer Sessions for Teens James Dodd, Sat & Sun 10am – 4.00pm 21 Jan – 22 Jan 2 days $190** Julia Robinson & Luke Thurgate All courses have a maximum of 12 places unless specified 1 Beginners **Please enrol using separate Summer Sessions for Teens form Intermediate (basic experience assumed) 2 ^Maximum of 8 places, held at the JamFactory 3 Advanced (experience assumed) ^JamFactory Members’ Price - $306 Glenside Cultural Precinct | Carpark C 7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road] T 08 8299 7300 [email protected] acsa.sa.edu.au Drawing Painting 1 2 Portraits & Identity 1 Introduction to Oil Painting 1 2 Expressionist Portrait Painting Daniel Connell Melanie Brown Daniel Connell Wed 15 Feb – 29 Mar 6.30pm – 9.30pm Sat 18 Feb – 8 Apr 1.30pm – 4.30pm Sat 18 Feb – 8 Apr 1.30pm – 4.30pm This course is for both beginners and This course introduces a complete beginner Expressionist Portrait Painting is offered as established artists. Focusing on the nature to the essential principles and practices of an adjunct to Portraits and Identity, allowing of portraiture, the course introduces various oil painting. Included in the course is participants to explore portraiture from a non- techniques for portrait drawing from life and instruction on materials, methods of paint realist tradition in which character and feeling explores ways to apprehend the identity of application and insights into key elements come to the fore. Participants will work ‘Alla the subject. Participants will draw and hear of tone and colour. In a supportive Prima’ (in one sitting), using both live models from a culturally diverse range of sitters and atmosphere participants will make a tonal and source photos to create finished works. look at other artists working in this genre. study, start a colour wheel and paint 2 simple Participants will be encouraged to research Artist Daniel Connell will guide participants still life arrangements. artists, and experiment with new painting through the etiquette involved in producing techniques and media. portraits and discuss issues relating to the role Materials Oil paints: Titanium White, Ivory Black, Cadmium Materials of the visual arts and intercultural relations in Red Light, Alizarin Crimson, Cadmium Yellow Acrylic paints: Warm Red, Cool Red, Blue, Yellow, broader society. Mid, Lemon Yellow, Ultramarine Blue, Pthalo Blue, Orange, Turquoise, Magenta, Green, White (approx. Materials Prussian Blue. Brushes: Synthetic filbert nos 1, 2, 3 & 500ml). 5 sticks willow charcoal medium, 1 graphite 14 sheets newsprint paper or 2 A3 cartridge pad 4. Flat hog hair brushes nos 6 & 8. Medium: Painting pencil HB, 1 charcoal pencil medium, A3 cartridge (not spiral ring bound), 3 sheet mid-grey Canson medium no 2, odourless solvent. Disolv for cleaning paper pad, white plastic eraser, 30cm ruler, masking paper, 3 sheets A2 cartridge paper, 1 A5 or A4 brushes. 2 sheets A3 oil sketch paper. 1 14”x18” tape. Brushes: At least 4 different sizes up to cartridge paper pad 3 sticks compressed charcoal and 1 16”x20” canvas board. A3 disposable palette, 4”. Supports: 7 different supports up to A0 size soft (suggested brand Faber Castell) 3 sticks willow palette knife, 1 stick willow charcoal, paper towels, (stretched or upstretched canvas, canvas board, charcoal thin, 1 charcoal pencil medium, 1 Conte or Glad Wrap (or equivalent cling film), 2 small glass primed cardboard). Container for water, palette, rag. pastel pencil white, 1 graphite pencil HB, 1 white jars with lids, soft t-shirt or cotton rags. plastic eraser, 1 pencil-style eraser, masking tape and Please note you will need access to a camera/phone bulldog clips, blade for sharpening, 1 3” or larger to create source images outside of class time. soft brush. 1 set of 24 or more coloured pencils 1 2 Oil Painting: Level 2 (student grade or better). Melanie Brown Printmaking Fri 17 Feb – 31 Mar 9.30am – 12.30pm 1 Drawing Fundamentals For participants who have already completed 1 Introduction to Printmaking Yve Thompson Introduction to Oil Painting, this course builds NEW! Hanah Williams Sat 18 Feb – 8 Apr 1.30pm – 4.30pm on skills previously gained. The emphasis will be learning oil painting techniques and Tue 14 Feb – 28 Mar 6.30pm – 9.30pm This structured course introduces participants developing confidence in handling paint. During this course beginners will learn how to the basic techniques of drawing by The course will introduce several different to carve and handprint a lino block, prepare observation. Moving from line drawings to approaches in how to begin a painting, as and etch a steel plate and make two small tonal drawings, participants acquire the skills well as various distinct methods of applying editions of prints. Using non-toxic techniques, to achieve precision in their drawing and to paint. Participants will also gain experience participants will complete two projects in accurately represent what they see. working with tone and colour, through simple which they investigate relief and intaglio warm and cool studies. Materials processes. A2 sketch pad, 4 sheets A1 cartridge paper, 1 sheet Materials Materials mid-grey Canson paper, selection of pencils (eg 2B, Oil paints: Titanium White, Ivory Black, Raw Umber, Etching needle, 1 set lino cutting tools, 10 A1 4B, 6B), willow and compressed charcoals, 1 Conte Burnt Sienna, Cadmium Red Light, Alizarin Crimson, sheets newsprint paper (80gsm bulky/heavy). Other - White, blade or sharpener, white plastic eraser, Cadmium Yellow, Lemon Yellow, Ultramarine Blue, materials will be supplied. Additional printmaking masking tape, measuring stick (dowel). Prussian Blue. Brushes: Synthetic filbert nos 2 x 2, papers to be discussed in week 1. 3, 2 x 4, 6 and 1 flat Taklon or Synthetic. Medium: Painting medium no 2, odourless solvent, Liquin or Liquol. Disolv for cleaning brushes. 2 10”x8”, 2 14”x18” and 1 10”x12” canvas board. A3 disposable palette, palette knife, 1 stick willow charcoal 9medium), paper towels, Glad Wrap (or equivalent cling film), 2 small glass jars with lids, soft t-shirt or cotton rags. *For week 1, please bring 2 10”x 8” canvas boards, all paints & materials ready to paint! 1 2 Watercolour & Ink Drawing Arthur Phillips Sat 18 Feb – 8 Apr 1.30pm – 4.30pm This course explores the creative potential of combining ink drawing with watercolour painting. Participants will experiment with handmade drawing nibs and various approaches to using the mediums together. Students will be encouraged to develop their own exciting and personal response to the materials and processes. Materials Watercolour paints: Madder Lake Deep, Cadmium Red Light, Ultramarine Blue, Pthalo Blue, Cobalt Blue, Burnt Umber, Cadmium Yellow Pale, Raw Sienna. If you already have watercolour materials, bring them to the first lesson. Watercolour brushes: Hake (2”), Talkon no12. 1 sheet A1 CA grain paper, 2 1 sheet 300gsm Arches Watercolour Paper Medium. 3 Masking tape, tissues, 2 white plastic plates for IMAGES 1. Introduction to Oil Painting 2. Drawing Fundamentals palettes (ice cream lids will do), 24” x 18” MDF 3. Introduction to Printmaking 4. Introduction to Wheel Throwing board, 2 water containers (ice cream). HB pencil, 4B Beginners (photo supplied by JamFactory) 5. Introduction to Oil Painting 1 6.
Load more

Recommended publications
  • Belfrage CV 2020 2003 - 2008 Adjunct Researcher, South Australian School of Art, University of South Australia (Unisa), Adelaide
    Clare Belfrage Artist Born Melbourne, 1966 Professional Experience 2018 Judge, FUSE Glass Prize 2018 for Australian and New Zealand Glass, JamFactory, Adelaide 2017- current Board Member, Guildhouse, South Australia 2017 Demonstrator, Glass Art Society Conference, Norfolk, VA, USA 2015-2016 Peer Assessor, Arts South Australia, Visual Arts, Craft and Design, Adelaide 2013 Lecture presentation, EY Women with Ambition series, National Portrait Gallery, Canberra 2012 Lecture presentation, NZSAG Conference, Wanganuii, New Zealand 2009 - 2013 Creative Director, Canberra Glassworks, Canberra 2009 Visiting Artist, Tacoma Museum of Glass, Washington, USA 2007 Visiting Artist, Tacoma Museum of Glass, Washington, USA 2005 Lecture presentation, Glass Art Society Conference, Adelaide 2004 - 2006 Peer Assessor, Arts South Australia Established and International peer assessment panel, Adelaide 2004 Peer Advisor, Visual Arts and Craft Board, Australia Council 2001 Visiting Artist, Glass Department, Jam Factory Contemporary Craft and Design (JamFactory), Adelaide 1999 Vice President, Craftsouth: Centre for Contemporary Craft and Design Inc, Adelaide 1998 Demonstrator, Glass Art Society (USA) Conference, Seto, Japan 1997 - 2008 Studio Practitioner, Founding Member Blue Pony Studio, Adelaide 1989 - 1997 Studio Practitioner Victoria, Western Australia, South Australia 1996 Production Manager Glass Department, JamFactory, Adelaide 1995 Co-ordinator - International series of glass workshops, for Ausglass WA andCAGAWA. Kira Kim (Korea), David Hopper (USA) Judith
    [Show full text]
  • Short Courses 1
    2014 Term Three Term Short Courses 1 Adelaide Central School of Art is an independent, not-for-profit, accredited Higher Education Provider that offers intensive training for students looking to develop careers as practising artists. In addition to the School’s accredited and highly regarded degree courses, we also conduct specialist short courses throughout the year for those who are interested in taking the first step towards developing basic skills, knowledge and valuable techniques in the visual arts. Intermediate and more advanced classes are also offered for those artists looking to extend or hone their skills and learn new techniques. Like our degree course, the 2014 Short Course Program features some of South Australia’s most outstanding artists/teachers and we guarantee that they will take the fear out of learning how to draw and paint. Small class sizes ensure students receive one-on-one expert tuition provided by our lecturers. Students also have the flexibility to attend daytime, evening or weekend classes, all held in the air-conditioned studios of the School’s new Teaching and Studio Building, within the Glenside Cultural Precinct where free parking is available. Be courageous this year and let us take you on your creative journey. Beginning 21 June 2014 Early-bird fee ends Friday, 6 June 2014 (see policy on reverse) Code Course Lecturer Cost Drawing 1 S21401 Introduction to Drawing Trena Everuss Sat 9.30am - 12.30pm 12 Jul - 2 Aug 4 wks $240 Fundamentals 1 S21402 Life Drawing Fundamentals Melanie Brown Sat 1.00 - 4.00pm
    [Show full text]
  • South Australian Living Artists Festival August 2019
    #salafestival / salafestival.com Official Program South Australian Living Artists Festival August 2019 (detail), timber, (detail), timber, End to 2 Artist: Louise Haselton, acrylic, webbing, 2018. Photo Sam Roberts Thank you to our partners, supporters, the venues and the South Australian artists. Major Sponsors Front image credit: Louise Haselton End to End 2, 2018, timber, mirrored acrylic, acrylic, webbing, 54.5 (plus tail) x 50.5 x 12cm. Photo: Sam Roberts Festival Founder & Patron Paul Greenaway OAM SALA Festival is supported by the South Australian Government through Arts South Australia and by the Visual Arts and Craft Strategy, SA Living Artists Inc Board an initiative of the Australian, State and Territory Governments. Nicholas Linke (Chair) Naomi Fallon (Deputy Chair) Festival Partners Education Partner Richard Allen (Treasurer) Christine Nicholls Traci Ayris Roy Ananda (until May 2019) Trish Hansen Mena Muecke Sarah Boucaut Gill Hicks Jenna Pippett Media Partner Community Media Partner Local Chinese Media Partner Staff Kate Moskwa – CEO Christina Joy Peek – Program Coordinator Isobella Caruso – Partnerships Manager Steph Fuller – Administration Assistant Grace Marlow – Schools Program Coordinator Extended SALA Team Philip Grudnoff - Bookkeeper Anthony & Kelly O’Sullivan (Influx Creative) – Graphic Design Premium Partners Mark de Raad, Adrian Bennett & Yogeshwar Chauhan, (I-Nex) - Web Developer Petrina Egan – Publicity Geoff Vass (Cadzow TECH ) - IT Support Artist Advisory Group Ali Baker, Gus Clutterbuck, Jenna Pippett, Kate Power, Thom Buchanan, Thomas Readett, Vicki Reynolds Will Nolan, Yusuf Hayat. Sponsors SALA Volunteers Chen Zhang (Claire), Wang Xiayi (Ashley), Tina (Prabhjot) Parikh, Colleen Slattery and all the volunteers Official Suppliers Thank you to our supporters, colleagues, family & friends In memoriam: South Australian artists and friends who passed away in 2018-2019.
    [Show full text]
  • STEPHEN BOWERS Born 1952, Katoomba, New South Wales, Australia
    STEPHEN BOWERS Born 1952, Katoomba, New South Wales, Australia EDUCATION 1971–1973 Diploma of Teaching, Alexander Mackie College of Advanced Education, Sydney, Australia 1974–1976 Diploma of Art (Stage 2), National Art School, Darlinghurst, Sydney, Australia 1984–1986 Bachelor of Education, Underdale College of Advanced Education, Adelaide, Australia SELECTED EXHIBITIONS 2019 Flora/Fuana, Strohl Art Center, Chautauqua Institution, Chautuaqua, NY 2018 New York Ceramics & Glass Fair, Ferrin Contemporary, New York, NY 2016 RE — Reanimate, Repair, Mend and Meld, Ferrin Contemporary, North Adams, MA KOCEF 2016 Craft Trend Fair, Gyeonggi, Korea 2015–2016 On the Beach, Mornington Peninsular Regional Gallery, Victoria, Australia 2015 Storm in a Teacup, Mornington Peninsula Regional Gallery, Victoria, Australia Works on View, Independent Art Projects, North Adams, MA New York Ceramics & Glass Fair, New York, New York, NY 2014–2015 Beyond Bravura: JamFactory ICON exhibition: Visions of Australia touring program, Goolwa, Gelong, Watson, Brisbane, Caboolture, Cairns, Cowra, Wagga Wagga, Manly, Launceston, Seppeltsfield, Australia 2014 Gallery Inaugural, Gallery 224, Ceramics Program, Office for the Arts at Harvard, Allston, MA In Horizon – Landscapes, Ceramics and Print, National Museum of Decorative Arts, Oslo, Norway 2013 Ceramic Top 40, Red Star Studios at Belger Crane Studios, Kansas City, MO New Blue and White, Museum of Fine Arts, Boston, MA 2012 COVET, Ferrin Gallery, Pittsfield, MA, SOFA NY 2011 Lark’s Tongues in Aspic, Robin Gibson Gallery,
    [Show full text]
  • RANAMOK GLASS PRIZE 2006 Underwriter of the 2006 Ranamok Glass Prize
    RANAMOK GLASS PRIZE 2006 Underwriter of the 2006 Ranamok Glass Prize JOHARKO INTERNATIONAL Coal Preparation and Handling Services RANAMOK GLASS PRIZE SPONSORS 2006 v Contents The Ranamok Glass Prize 2006 2 Miki Kubo 52 Reflecting on Ranamok 3 Ruth McCallum-Howell 54 Nudibranch Art Glass: Finalists Laurie Young and Tricia Allen 6 Christian Arnold 56 Nicole Ayliffe 8 Wayne Pearson 58 Andrew Baldwin 10 Denise Pepper 60 Annette Blair 12 Rachel Ravenscroft 62 Ayelet Brooks 14 Matthew Ryan 64 Christine Cathie 16 Morgan Shimeld 66 Richard Clements 18 Carmen Simmonds 68 Cobi Cockburn 20 John Skinner 70 Zara Collins 22 Crystal Stubbs 72 Hilary Crawford 24 Mark Thiele 74 Estelle Dean 26 Zoja Trofimiuk 76 Marcus Dillon 28 Emma Varga 78 Hamish Dunlop 30 Janice Vitkovsky 80 Evelyn Dunstan 32 Bethany Wheeler 82 Craig Ellis 34 Richard Whiteley 84 Tegan Empson 36 Robert Wynne 86 Wendy Fairclough 38 Finalists’ Biographies 88 David Hay 40 Glossary of Glass Terms 98 Derise Hemmes 42 Ede Horton 44 The Judges 100 Robyn Irwin 46 Ranamok 2006 Tour Dates 101 Nigel Jones 48 Acknowledgements 101 Sue Kesteven 50 The Ranamok Glass Prize 006 Ranamok has touched a lot of lives. The annual exhibition gives artists a vehicle to show the world what they are doing and the catalogue forms a permanent record that ‘keeps on giving’ year after year. I also know from first hand experience that, because of Ranamok, many people now take an active interest in the glass scene; buying, collecting and following the careers of artists who they’ve taken a shine to.
    [Show full text]
  • Nuske B Photo
    Bruce Nuske Curriculum Vitae Born 1949, North Adelaide, Australia 1969-1972 South Australian School of Art, Adelaide, Australia 1978 SA College of Advanced Education, Australia, Diploma in Teaching 2001 University of South Australia, Adelaide, Australia, BA Visual Art & Design Working in Adelaide, Australia The universally recognised and continuously reinvented Teapot is the spouted icon and Prima Donna of the ritual of tea. It is the cross dressing engine of hospitality, spanning cultural and social boundaries and a context for story telling and imagining. The intimate relationship of functional form and ornamentation conspires to provoke endless encounters with the possible. I make teapots in homage to this tradition. The abiding references and interplay of ideas gleaned from historical precedents that continue to inspire my responses are interwoven with a keen passion for the observation and perception of beauty, its strangeness and infinite possibilities of interpretation. Bruce Nuske -2 - Selected Group Exhibitions 2015 Adrian Sassoon, Masterpiece London, The Royal Hospital Chelsea, London 2014 Adrian Sassoon, Masterpiece London, The Royal Hospital Chelsea, London Important Australian Ceramics, Mossgreen, Melbourne, Victoria, Australia 2013 Expressions of Self, Skepsi at Monsalvat, Victoria, Australia 2012 Irrational and Idiosyncratic. Samstag Museum, University of SA, Adelaide, Australia Artistic Directors Choice, JamFactory Centre for Contemporary Craft and Design, Adelaide, Australia Post Skangaroovian, SASA Gallery, University
    [Show full text]
  • Blyfield J Biography
    Julie Blyfield Curriculum Vitae Born 1957, Melbourne, Australia 1976-1978 Torrens College of Advanced Education, Adelaide, South Australia, Diploma in Teaching (Secondary Fine Art) 1984-1987 South Australian College of Arts and Education, Adelaide, South Australia, Associate Diploma of Jewellery Making & Silversmithing Working in Adelaide, South Australia “My work is inspired by the botanical landscape in Australia, which I interpret in my metal work using the technique of ‘metal raising’ and ‘chasing’. I enjoy exploring and collecting plant specimens from rich and diverse environments such as the Simpson Desert in the north of South Australia and further south around the coast of Kangaroo Island. Working with both pure silver and sterling silver as my preferred choice of material, I texture the surface to create individual pieces in the form of vessels and also more sculptural pieces. During the making process, I enjoy the way the metal ‘moves and shifts’ in almost unpredictable ways to create the organic forms which shimmer with the silver textures or colours derived from nature. “ Julie Blyfield -2 - Selected Solo Exhibitions 2017 Panorama, Bilk Gallery for Contemporary Metal and Glass, Canberra, Australia 2016 Rare Collection, Objectspace, Auckland and The National, Christchurch, New Zealand Panorama, The Scottish Gallery, Edinburgh 2015 Panorama, Ruthin Craft Centre for the Applied Arts, Ruthin Panorama, JamFactory, Adelaide, South Australia 2013 Second Nature, Gallery Funaki, Melbourne, Victoria, Australia Twice Loved, Studio 20/17,
    [Show full text]