THIRTY-SECOND SESSION — 1 9 2 6 19 5 6 PROSPECTUS 1956-1957

THE SCHOOL 0 F ART ADMINISTRATION

THE VANCOUVER BOARD OF SCHOOL TRUSTEES

Mrs. H. F. Angus (Chairman); R. Atherton (Deputy Chairman); L. C. Aggett; E. J. Broome; Mrs. E. Crowley; J. Henderson; Mrs. F. J. Hollis; C. G. Robson; F. M. Sharp.

SUPERINTENDENT OF SCHOOLS

R. F. Sharp, B.A., D. Poed.

SECRETARY

Miss B. L. Paulding 590 Hamilton Street, Vancouver 3, B.C.

STAFF

FRED AMESS .'. Principal PETER ASPELL ». Drawing, Painting Design MOLLY BOBAK Drawing, Painting REG DIXON Pottery, Ceromics ORVILLE FISHER Drawing, Graphic Arts HERBERT GILBERT Design Workshop DONALD JARVIS Drawing Painting GORDON SMITH Advertising Design DONALD STEWART Sculpture G. H. TYLER History of Art GENERAL INFORMATION

THE VANCOUVER SCHOOL OF ART 590 Hamilton Street, Vancouver 3, B.C. Phones TAtlow 7650 or TAtlow 6645.

The Vancouver School of Art offers . . . a thorough training for those desiring a serious interpretive study in the fine arts. . . . courses leading to a professional standard for those whose object is the commercial field. . . . a sound basic study satisfying to those who pursue art for their own pleasure.

LOCATION The Vancouver School of Art is centrally located. It is one block from the Bus Depot, adjacent to the Vocational School and opposite to the proposed Auditorium. The new Post Office is being built on Hamilton Street diagonally across from the Art School. A short walk takes the student to the shopping districts of either Granville Street or Hastings Street and the sketching areas of False Creek and the Waterfront. Stanley Park and the Queen Elizabeth Arboretum are a short bus ride away, while from the School windows can be seen the attractive North Shore. The Art Gallery, engraving houses, printing establishments and advertising agencies are oil close at hand.

DATES Day classes commence Wednesday, September 5th, 1956. The nine-month session closes Friday, May 31st, 1957. The day is divided into two periods, the first from 9:00 to 1 1:30 a.m. and the second from 12:45 to 3:15 p.m.

Enrolment is open to anyone 16 years of age or over.

FEES Day school fees and terms of payment are shown in full on the back of the student registra• tion card. All fees are payable on the first of the month, and are payable in advance. Laboratory fees are charged for Pottery, Modelling, Design Workshop and Graphic Art classes. STUDENT ACTIVITIES A student activity fee of $1.50 will be charged all doy students. Proposed student activities include noon hour shows and concerts, planned theatre parties, sketch groups, etc. The major social event of the year will be the Beaux Arts Ball, which is produced jointly by the Women's Auxiliary to the and the staff and students of the Art School. An "Under Sea" motif has been proposed for this year's ball.

EXHIBITIONS Displays will be exhibited in the showcases of the School and a full programme of exhibitions is planned for the School gallery and common room. The Vancouver School of Art retains the right to withhold any student work for exhibition purposes.

COMMON ROOM AND CAFETERIA There is a large bright common room where students may eat their lunches or have coffee at "break" periods. A cafeteria at the adjoining Vancouver Vocational Institute serves a student lunch.

LECTURES Students may supplement their class studies through attendance at many lectures presented both at the Art School and elsewhere. Visiting artists are invited to speak at the School.

LIBRARY A valuable art reference library is at the disposal of the students. Current periodicals and excellent reproductions of the works of the past and present masters are available.

INTERVIEWS The Principal of the School will be pleased to discuss the course of studies with students and to plan for their individual requirements. Appointments may be arranged between 10 a.m. and 4 p.m. from Wednesday to Friday inclusive, commencing Wednesday, August 29th.

PART-TIME COURSES may be taken during the daytime in any of the subjects taught, pro• vided that there is room in class desired.

TEACHER TRAINING Enquiries regarding Teacher Training should be directed to the Dean, The College of Education, University of British Columbia. FOREWORD

The Voncouver School of Art is completing its thirtieth year of service this year. "The Art School" (as it is familiarly known to its area) has built itself solidly into the artistic life of the Canadian West. For its first twenty-five years, under the directorship of Charles H. Scott, it did a pioneer job of organization—of getting a curriculum established, of assembling adequate equipment, of training a staff, in short, of establishing its pattern of existence within the framework of the Vancouver School Board and the Provincial education system. The fact that the School is now on a secure footing, with a serious, coordinated programme and an inspired and well integrated staff is directly attributable to those early years of stabilizing. For the concept of an Art School had literally to be built in the still more or less frontier West.

The present Vancouver School of Art can stand squarely to the future, and is able to absorb and project the new philosophies and techniques that are certain to be demanded with British Columbia's phenomenal expansion over the next decade. It is certain that this expansion will be not only industrial, but will consolidate new cultural patterns as prosperity and popu• lation growth bring a higher living standard, and bring our living into closer cultural contact with the whole outside world; and to judge by the increasing public demand for lively tele• vision, for live theatre and ballet, for up-to-date buildings, for crafts of all kinds to do and to buy, for better clothes and better objects for home use, for better fabrics and more pictures, all our arts and crafts seem due to flourish, and, of course, the advertising arts will have a hey-day.

In such on atmosphere of optimism there can be only one course for a responsible Art School —steady ahead, and to chart this course the Vancouver School of Art offers thirty years of experience, a creatively contributing staff, many of whom have achieved national reputation, and a wise basic curriculum, which has avoided quick tricks and slick styles. Our record stands on the high number of soundly trained graduates whose sure knowledge enables them to adapt, and yet to hold standards. This will continue to be our tradition—the maintenance of a thorough-going workshop control with the maximum freedom of experimentation.

The ingredients of the art student's study programme cover four broad aspects:

Structure: Analysis of all natural forms and of the principles on which they are constructed.

Composition: Exploration of all phases of relationship between form and form, in pattern or in depth, and in whatever idiom they may be projected.

Technique: Mastery of the techniques and craft in the creation and adaptation of oil design processes.

Taste: Awakening of the senses to new intensities of reaction in order to perceive the unique and the distinguished.

Experience: Stimulation of the mind to fuller realization of the meaning of experiences con• veyed, so that imagination moy be stirred, ond imaginary, in consequence take on wider relevance and subtler symbolic depth.

To these aims we are dedicated. We feel we have a stake in B.C.'s future, in every architect's building where an artist's decoration is visible, in every well-arranged room in a local house, in every well-designed product used, in the quality of our magazine advertisements, in the good jewellery that people wear, in attractive posters on our billboards, in exciting pictures in our Art Gallery, in every lively discussion in the local press or radio we are there in spirit, we want our beneficent influence to be felt. CURRICULUM FIRST YEAR

DESIGN Study of design principles; anatomy of pattern, material and abstract forms, historic orna• ment, etc. A study of colour theory and practice showing colour effects, mixing and relation. Two dimensional experiment in line and texture. DESIGN WORKSHOP Experiment in space, form and texture in various materials; e.g., wood, metal, paper, wire, etc. Employment of basic techniques with hand and simple power tools. COMMERCIAL DESIGN Basic lettering, block and Roman lettering, layout, printing, techniques and advertising psychology. ELEMENTARY DRAWING Analysis of natural and man-made objects for their shape, character, construction and volume. Techniques for creating solid form are established through a study ot still life, drapery, cast and landscape, and such principles are observed as rhythmic grouping, directions of movement, and tonal massing of light and shadow. COMPOSITION A basic course in the elements of picture making. Intensive study is made of natural and man-made forms. Outdoor sketching is a major part of the course. This course is a neces• sary preliminary to later work in painting and graphic art. SCULPTURE The student is introduced to the basic study of sculpture of form in bas-relief and Full-round through the medium of clay-modelling. Projects in mask-making will acquaint the student with the technique of papier-mache.

SECOND YEAR An elementary Diploma Course of two years gives a thorough grounding in basic subjects. INTRODUCTION TO OIL PAINTING This course will lay the foundation in simple techniques of priming, sizing, choosing colours and using the painter's tools. It will include the recognition and mixing of colours, the rela• tion between the colour ond tone plans and the identification of a colour theme. Painting is done from still life and simple landscape. FIGURE DRAWING Quick action drawing from the draped and nude figure. Study of mass and line movements of the figure. Drapery construction. Practice in the various media. Anatomy. Sustained studies of the figure, analyzing its structure and volume, ond the relation between figures and between figure ond surroundings. Portraiture. ANATOMY A thorough analysis of the bone and muscle structure of the human body, insofar as it con• cerns the figure draughtsman, taught with reference to diagrams, the skeleton, the living model and reproductions of master drawings. This course is an essential part of the training of the serious draughtsman. COMPOSITION A continuation of the first year composition course, in which picture-making problems are approached through a series of themes, treated in a variety of media, including watercolour, gouache, lithography, and silk-screen. Themes include the figure, natural forms, landscape and the urban scene. Sound composition principles are stressed, and at the same time con• siderable scope is given to individual freedom to experiment. LETTERING, LAYOUT, REPRODUCTION PROCESSES Study of modern letter forms. Practice in mechanical and built-up styles. Layouts for cata• logues and book production, advertisements, etc. A necessary course for'students of commer• cial art. Drawing for letterpress, in black and white and colour lithography and silk-screen printing. The various printing processes will be explained and process drawings made for them. Methods of preparing copy for reproduction will be outlined and all types of cuts and impres• sions fully described. SCULPTURE The techniques of wood carving are applied in the second phase of study, together with a more advanced approach to design and anatomical form in clay-modelling. DESIGN Extension of First Year Design with special emphasis on technique as applied to visuol design and crofts; e.g., textile, rugs, drapery, book binding, rendering. POTTERY An inclusive course covering the whole field of earthenware pottery-clay preparation, wheel throwing and hand building; various decorative treatments, glazing and firing. While the emphasis is on individual design and skill, nevertheless industrial techniques such as slip casting and spraying are taught. THIRD AND FOURTH YEAR An Advanced Diploma Course of four years allows the student to specialize in the latter two years in Drawing and Painting, Design, Commercial Art, or Sculpture. DRAWING, PAINTING AND COMPOSITION The study of composition is basic to the whole curriculum and is taught in constant and intimate relation to every phase of the Drawing and Painting courses. All teaching in these courses is done with basic reference to aspects of nature forms. Teaching is done by demonstration, analytical diagram and group discussion, with constant reference to the historic and contemporary forms of art. Although teaching is generally concerned with the permanent abstract elements of form, every consideration is given to individual development and personal direction. Meaningful note-book habits ond direct drawing on location are stressed from the beginning. DESIGN The design course falls into four main phases; experiment, technique, application and speciali• zation. Experiment—Exposure to two dimensional form, e.g., textures, colour, line, spatial illusion. Exposure to three dimensional form, e.g., wood, metals, paper, etc. This series of projects develops a free, imaginative approach to Commercial Art, Painting, Applied Design, etc. Technique—This phase is designed to develop a mastery of materials and techniques and a wider understanding of the fundamental design elements through open discussion and visual reproduction, past and present. Application—To apply experiment and technique to the many branches of design with special reference to their purpose in contemporary society. Specialization—In this phase the student chooses one field of design and pursues it to the best of his ability; e.g., interior design, fabric design, crafts, ceramics, etc. ADVERTISING ART There are two main phases to the Advertising Art program. One is to develop the student's aesthetic awareness and appreciation and the other is to teach the skills, techniques and processes applied to advertising art. The course is planned to prepare the student in as many phases as possible in the Adver• tising Field. During the year visits are made by the students to printing establishments and art studios, and specialists in the various fields of Advertising Art visit the school as guest lecturers. GRAPHIC ARTS Graphic Art training includes laboratory discipline and the use of materials with instruction in the basic techniques of dry-point, etching and aquatint. In the first year instruction is given in printing and presentation. In the final year of study the course covers colour aquatint, soft-ground, lift-ground and mixed techniques. Emphasis is always placed on creative experi• mentation. SCULPTURE The sculpture course is designed to cover the essential techniques of clay modelling, carving, armature building and plaster casting. Papier-mache is also used in association with mask making. Projects include detailed study of the head, culminating in portraiture and general anatomical work associated with figure-study in the full round. The techniques of high and low relief are also taught. Application of these to architecture, ceramics, display and theatre are stressed. This course provides advancement to figure construction, high relief, and group compositions with applications to architecture, ceramics, display and theatre. POTTERY From the raw clay to the finished pot the emphasis in this course is olways on clay as a plastic medium. Individual design and function are correlated through whe^el-thrown as well as hand techniques. Instruction includes basic preparation of clays and firing procedures as well as decorating methods such as slip, underglaze and overglaze. The making of simple molds and the process of slip casting are undertaken. Special emphasis is placed on the achievement of individual glaze colours and textures through a study of chemistry of ceramic materials and their behaviour in the kiln. SENIOR PAINTING—Monday, Tuesday and Wednesday Classes "Senior" painting designates a special group of people who want to paint seriously for their own enjoyment. A structural approach to drowing and painting (using still life and model) is followed by actual field trips by the group during the late spring term. The class embraces beginners and people with previous training. There is no age limit. There are frequent noon hour trips to exhibitions at the Art Gallery, and a serious attempt is made to discuss the art of our time in relation to the painting course. CERAMICS From the raw clay to the finished pot the emphasis in this course is always on clay as a plastic medium. Individual design and function are correlated through wheel-thrown as well as hand techniques.

Instruction includes basic preparation of clays and firing procedures, as well as decorating methods such as slip, underglaze and overglaze. The making of simple molds and the process of slip casting are undertaken.

Special emphasis is placed on the achievement of individual glaze colours and textures through a study of chemistry of ceramic materials and their behavior in the kiln. DESIGN

The Design course falls into four main phases: experiment, technique, application and specialization.

EXPERIMENT Exposure to two dimensional form; e.g., textures, colour, line, spatial illusion. Exposure to three dimen• sional form; e.g., wood, metols, paper, etc. This series of projects develops a free imaginative approach to Commercial Art, Painting, Applied Design, etc. TECHNIQUE This phase is designed to develop a mastery of materials and techniques and a wider understanding of the fundamental design elements through open discussion and visual reproduction, past and present.

APPLICATION To apply experiment and technique to the mony branches of design with special reference to their purpose in contemporary society.

SPECIALIZATION In this phase the student chooses one field of design and pursues it to the best of his ability; e.g., interior design, fabric design, crafts, ceramics, etc. GRAPHIC ARTS Graphic Art training includes laboratory discipline ond the use of materials with instruction in the basic techniques of dry-point etching and aquatint. In the first year instruction is given in printing and presentation.

In the final year of study the course covers colour aquatint, soft-ground, lift-ground and mixed techniques. Emphasis is always placed on creative experimentation. ADVERTISING ART

There ore two main phases to the Advertising Art program. One is to develop the student's aesthetic awareness and appreciation and the other is to teach the skills, techniques and processes applied to advertising art.

The course is planned to prepare the student in as many phases as possible in the advertising field.

During the year visits are made by the students to printing establish• ments and art studios, and specialists in the various fields of adver• tising art visit the school as guest lecturers.

DRAWING, PAINTING AND COMPOSITION

The study of composition is basic to the whole curriculum and is taught in constant and intimate relation to every phase of the Drawing and Painting courses.

All teaching in these courses is done with basic reference to aspects of nature forms.

Teaching is done by demonstration, analytical diagram and group dis• cussion, with constant reference to the historic and contemporary forms of art.

Although teaching is generally con• cerned with the permanent abstract elements of form, every considera• tion is given to individual develop• ment and personal direction.

Meaningful note-book habits and direct drawing on location ore stressed from the beginning.

LIST OF AWARDS: May, 1955

The Mrs. Jonathan Rogers Scholarship $25.00 open to first year students. Awarded to Mr. Alistair Ross.

The Mrs. Jonathan Rogers Scholarship $25.00 open to first year students. Awarded to Mr. David Sutherland.

The School Scholarship $50.00 open to first yeor students. Awarded to Miss Nancy Patterson.

The Women's Canadian Club Scholarship $50.00 open to second year students. Awarded to Mr. Glen Windrim.

The Women's Art Association Scholarship $50.00 open to second year students. Awarded to Miss Hanna van de Wint.

The School Scholarship $50.00 open to second year students. Awarded to Miss Shirlie Twose.

The Evelyn Lipsett Ryan Prize $50.00 open to third year students. Awarded to Miss Beverley Rogers.

The Evelyn Lipsett Ryan Prize $50.00 open to third year students. Awarded to Mr. Lawrence Kristmanson.

The Vancouver School of Art Trust Fund Scholarship $50.00 open to third year students. Awarded to Mr. Arnold Burrell.

The Norine Brissenden Bursary $150.00 open to third year students. Awarded to Miss Lena Barmuta.

The School Scholarship $50.00 open to third year students. Awarded to Mr. James McElheron.

The T. Eaton Co. Ltd. Scholarship $50.00—Commercial—open to fourth year students. Awarded to Miss Grace Mooney.

The A. E. Grauer Scholarship $100.00 open to fourth year students. Awarded to Mr. Frank Mayrs.

The Henry Birk & Sons Ltd. Scholarship $50.00 open to fourth year students. Awarded to Miss Doreen Mackay.

The Canada Packers Ltd. Prize $100.00 open to fourth year students. Awarded to Mr. Murray Devlin.

The Reeves & Sons Scholarship $100.00 open to fourth year students. Awarded to Mr. Robert Crichton.

The Charles H. Scott Award $100.00 open to fourth year students. Awarded to Mr. David Shilleto.

The T. Ingledow Travel-study Scholarship $1,200.00 open to fourth year students. Awarded to Mr. Gordon Miller.