Summer School 2017

The picture book into two full-im- mersion paths of illustration

The courses of Ars in Fabula Summer School are a unique opportunity to know illustration and animation, through the use of both traditional and digital techniques, with two specific paths and with those who are today the protagonists in the international arena.

The Summer School Ars in Fabula of- bula Entry-Level and Master, academies and fers two distinguished types of artistic and illustration courses), as deepening and specific professional training courses. improvement.

The Basic Design deals with the steps of The courses shall be attended individually or planning a picture book concentrating on in the formula complete path. The certificate individual issues, providing the basis for a pro- issued by the two courses Basic Design and fessional methodology. On the painting techni- Visual Design guarantees the recognition of 5 cal side the training offer includes traditional points of 5 as Specific Education for entran- techniques such as watercolor, acrylic, mixed ce to the Master in Illustration Ars in Fabula. techniques and modern digital contamina- In addition at Ars in Fabula every day is Open- tion. These courses are addressed to all those day! You can request an appointment with the who intend to approach the publishing indu- school tutor for your port-folio rewiev and to stry with professional aspirations, with no li- plan the course of your study or entry to the mits about age and educational qualification. Master.

The Visual Design aims to provide students with all the design and methodological tools regarding the text interpretation. The main purpose of these courses is to start a personal research to develop those interpretative skills essential to reach a personal style. Also on the On the cover a picture of Anna Forlati for “Le renard painting technical side, the teachers will guide et l’aviateur”, Èditions Notari our students in a program aimed at developing a personal technique. These courses are designed for those who have already embarked on their own path in the illustration (Ars in Fa- Summer School

Ars in Fabula Summer School 10 july / 4 august 2017

Basic design Visual design

Stop-motion Stefano Bessoni 10/14 July

Character design Visual style by: Marco Somà Carll Cneut 17/21 July 17/21 July

Story-board design Visual style by: Simone Rea Pablo Auladell 24/28 July 24/28 July

Illustration design Visual style by: Anna Forlati Roger Olmos 31 July/4 August 31 July/4 August

Stop motion Stefano Bessoni 10/14 July Stefano Bessoni, film-maker and illustrator, will reveal the secrets of animation, guiding us in the realization of three-dimensional characters up to give them life thanks to the stop-motion technique. This course is also intended for students of past editions with a persolalized program and stage start for the Character design for those attending the entire Basic design module.

MODALITY First day: History of of puppets. Deepening of the softwa- the stopmotion technique, with the re to make films in stop-motion, espe- analysis of some of the most important cially Dragonframe (projection of the animators of art films and commercial program interface and analysis of some cinema. Second day: The manufactu- realized animations). Of short shots in re of skeletons, from the simple ones stop-motion. Realization of short shots in braided iron wire to the complex in stop-motion.. ones with ball joints and micro screw adjustments. The various types of ma- TECHNIQUES Stop-motion. Stop- terials for the construction of the pup- motion, also called shooting in step one pets, from modeling to the mold, to or motion animation is a filmmaking replicas in series. The various types of and animation technique. Step one clay, foams, resins and latex (projec- uses a particular software that allows to tion of photographs from the topics). capture one frame at a time, driven by Third day: Design of an articu- the operator / animator. With this pro- lated character to animate. Gui- cess you can then create cartoons with ded manufacturing of skeletons articulated puppets. and puppets: each member can design and set up his own puppet. Fourth day: Guided manufacturing of puppets. Fifth day: guided finalization MATERIALS Special aluminum wire for stop-motion animation, and rub- ber latex (the school will arrange to buy them, then dividing the spending among all members, roughly 15 euros each). Scotch, tissue paper or china paper, iron wire. Modeling white clay Fimo Air Light. Watercolors. Soft foam and medical patch Omnifix (or similar) Various Tools: pliers, scissors, box cut- ters. Various tools for drawing and modeling. Laptop computer and a digital camera. Character design

This course is dedicated to issues related to the characterization of the characters. Sketching a character that is fitting with the text we face requires special attention to the text. How does the author describe his characters or what emerges from their behavior, their objectives, by their actions? From this analysis we will search, as in a film casting, the protagonists but also the secondary characters, coming then to the graphic synthesis, the stylization that will make of them the right protagonists of our history. Marco Somà 17/21 July

MODALITY From the observation of aded eraser, for final sheets (smooth the real to the sketches in pencil until white sheets and tracing papers), wa- the final synthesis of the chosen story. tercolors, watercolor brushes of various We will then pass to the study of pain- sizes, watercolor satin paper brand Ar- ting techniques to get to the final reali- ches or Fabriano Artistico 300 gr., Pc zation of the characters. Photoshop CS4 or later, graphics tablet, collage cards, for example: rice paper, TECHNIQUES Watercolor, pencils, di- textured papers, (for convenience and gital coloring. to save time it is preferable to bring the material already digitized and stored in MATERIALS Paper sketch, pencils or a single folder). micromine of different hardness, kne- Book design Simone Rea 24/28 July

The purpose of this course is to acquire a working method for dealing with the most important phase in building a picture book. We will focus, in fact, on the initial themes of the book work: the text analysis and the division of pages, the study of characters and settings up to the creation of storyboards and study of construction techniques.

MODALITY The initial work will fo- TECHNICAL acrylic, monotype and cus on the text, with the aim of brin- mixed media, story-board (story-board ging out various interpretations. An is an English term for the graphical re- analysis of the technical characteristics presentation in the form of sequences of the various picture books will follow: designed in chronological order, of the paper, sizes, pages, print sheet, passage shots of a picture book, a comic book from the original to the printing. Great or a cinematographic work ). importance will be given to the practical design phase: the study of the cha- MATERIALS Acrylic, round and flat racters, the settings, the rhythm of the brushes of various sizes (important to pages, up to the creation of storyboard bring at least a large flat brush, measu- which is the real project of the book. ring about 30), adhesive tape, crayons, Knowledge of the storyboard techni- copy paper A3 or A4, glossy paper, ace- que is basic to the illustrator’s work. tate, tissue paper, sandpaper, drypoint , The course will also deal with the expe- smooth paper of basis weight of not less riments on color for the realization of than 320 gr. and max 600 gr. (Ex. Qua- the definitive tables. drex), chalcographic roller medium sized (15 cm. approximately), chalcographic water-dilutable ink tube (color of your choice).

Illustration design

How many times have we found ourselves in the position of not being able to create the image or concept we have in mind? Create an illustration means to plan it. Compositionally knowing how to build the image without losing sight of the narrative but always chasing our intuitions; finally give her expressive force through technical and color choices, this is the main purpose of the course. Anna Forlati 31 July/4 August

MODALITY Initial analysis of a selec- TECHNIQUES Acrylic, pastel pencils, tion of books with particular attention oil pastels. to rhythm, structure, and the image-text relationship. Theoretical and practical MATERIALS Scissors, utility knife, glue insights into the structure and rules of sticks, whites and blacks A4 cardbo- the picture book, color, composition, ards, flat and pointed brushes in diffe- the yield of detail and technique. After rent sizes, pencils of different grades. a series of warm-up exercises for crea- Sketch paper, satin paper Fabriano Ar- tive release, a sequence of story-board tistico 300 gr. A fine tip marker. Acrylic will be faced. We will work to the rea- of the following colors: titanium white, lization of one or more tables, thinking gray of Paynes, natural umber. Pastel about how not to lose in the definitive pencils and oil pastels. Modeling paste table the freshness and strength of the Liquitex or or something. Cotton cloth, black and white sketch. fine sandpaper. A drypoint. Visual Carll Cneut style 17/21 July

One of the most important sectors of the illustrated publishing is un- doubtedly that of children’s classics. Facing a classic is the first step for those who aspires to become an illustrator. The way to give new life to immortal texts of children’s literature through a reading key and contemporary style will be the theme of this course conducted by one of the great masters of the field.

Facing a text whose iconography is well- MODALITY We will work trying dif- established in the popular imagination ferent formulations for the treated text as in the case of the classics, requires starting from the more adherent to the great narrative skills to an illustrator text to arrive at alternatives and origi- as well as the ability to innovate while nal hypothesis. remaining close to the text. For this you need to acquire critical sense to figure TECHNIQUES Personal technique. out which section in ones own stylistic The student will be followed in the de- sample is more faithful to the text that velopment of ones own technique or of you are facing. the preferred technique.

Carll Cneut MATERIALS Each student will bring the materials with which he/she nor- mally works. NB: It is required by the teacher the work’s portfolio of the student.

Visual Pablo Auladell style 24/28 July

This course will face a particularly delicate issue, that is to convey mystery and poetry through images. Auladell will help us to understand how the illustration is a journey within yourself and at the same time in the depths of the text.

How can we get the poetic mystery in our MODALITY In the morning we will illustrations? Like Alice we must cross the start with audiovisual lessons conti- mirror and look at the text from there, or nuing with individual work on the il- immersing ourselves in the deep lake of lustrations; at the end of the day there the text to return with an image and give will be a comparison to comment and it life. As always I will share with you the share progress and difficulties. process of elaboration of my new picture books, as well as the problems, thoughts MATERIALS Base material for drawing and achievements of a year’s work. (pencil, paper, etc.) and everything with which students prefer to work to Pablo Auladell make some final tables professionally. A mirror. A basic portfolio (5 images maximum). Visual Roger Olmos style 31 July/4 August

Very special problems arise in dealing with texts by contemporary au- thors. Styles blend together creating unusual and sophisticated imaginary. Olmos will guide us during this course in an attempt to overcome the barriers of conventional in a play of contamination and cross-references.

We will create a range of stylistic as- MODALITY The activity will alterna- sumptions bringing out your traits, your te theoretical moments of reflection on operating mode, your color palette by the meaning of the text and the mea- creating images for very different texts. ning of the image: the analysis of the Each text is an experience, and our uni- subject and its interpretation, the life verse emerges through the experiences drawing and its reinterpretation, ca- we have made and the answers that we mera angles and points of view to con- have been able to give to the many que- struct a narrative and a personal look. stions of the various texts. You will find the essential ingredients to begin to ma- TECHNIQUES The teacher will follow ture your way to see the world. the development of the technique used by the student. Roger Olmos MATERIALS Each participant can bring the materials with which he/she habitually works.

Teachers of Stefano the BESSONI Summer School 2017

Stefano Bessoni is a film-maker, illustrator and animator. He works with stop-motion technique. He graduated at the Academy of Fine Arts in Rome. Since 1989 he has been making many experimental films, video and theatre installations and documen- tary films, attracting the attention of critics and re- ceiving many awards at national and international festivals. In 2015, on the occasion of the sesquicen- tennial of the first edition of Alice in Wonderland, the Luzzati Museum of Genoa has dedicated to him an important exhibition, where all the original illustrations by Alice Under Ground and sketches realized since 1989, have been compared with the reinterpretation of the Carroll’s classic realized by Emanuele Luzzati in the nineties. His interest for “the imaginary dimension of fairy tales”, of Wun- derkammern and old rhymes led him to the creation of several books, all published by publishing house Logos, inspired by this universe: Homun- culus and Wunderkammer (2011), Alice under ground (2012), Gallows Songs (2013) the rewriting in “macabre” style of Pinocchio (2014), Mr Punch (2015), which also led to the eponymous short film and Oz (2016). Always for Logos we remember the manuals on the stop-motion technique. Marco Simone SOMÀ REA

Marco Somà was born in Cuneo in 1983. After After graduating at the Academy of Fine Arts in studying painting at the Academy of Fine Arts, he Rome he began to focus on editorial illustration attended the Master in Illustration for Publishing for children and teenagers. He begins to be known Ars in Fabula. His illustrations have been selected with the selection of the exhibition ‘Figures Futur’ for the Annual 2011 of Illustrators (Milan), at the in Montreuil (Paris) in 2006. Consecrated then 31st edition of Le immagini della fantasia in Sar- with the selection to the Bologna Illustrators Exhi- mede, for the Biennial of Illustration in Bratislava bition in 2008, 2011, 2015, 2016. He was awarded (Slovakia) in 2013 and for the Bologna Illustrators with The Plaque of the BIB in 2011 during the Exhibition in 2011, 2013, 2014 and 2016. In 2015 Biennial of Illustration in Bratislava (Slovakia). He he received the “Premio Emanuele Luzzati - Gi- publishes with publishers: Rizzoli (Italy), Topipit- gante delle Langhe - XIII Edition” for illustrations tori (Italy), A buen paso (Spain), Vanvere (Italy). of the picture book La Regina delle rane non può bagnarsi i piedi (the Queen of the frogs) Kite Edi- tion and “Giovanni Arpino Award - XV° Edition” for illustrations of the picture book Robot Publisher Rizzoli. Anna Carll FORLATI CNEUT

Anna Forlati was born in 1980 in Venice. In 2012 Carll Cneut was born in 1969 in Roeselare (Flan- she graduated at the Master in Illustration for Pu- ders). He studied Graphic Design at Saint-Lucas blishing Ars in Fabula publishing her thesis I libri Institute in Ghent and began his working career di Maliq with the publishing house Rizzoli (Italy) in an advertising agency. In 1996, he illustrated and the following year the book tables have been his first poetry volume: Varkentjes van marsepein. displayed at the library Giannino Stoppani in Bo- Since then, Carll has illustrated more than twenty logna. She has participated in various international books, which have been translated into just as many exhibitions of illustration, including the Illustrators foreign languages and have received several inter- Exhibition, Bologna Children’s Book Fair in 2014. national prizes, including the Flemish prize for the He publishes in Italy with Rizzoli , Edizioni Cor- best illustrated book of the year, 2000 (Belgium); sare, Settenove, Bulles de Savon (France), Kalimat the Honourable Mention of the Bologna Children’s (UAE) , édition Notari (Switzerland). Book Fair, 2001; Prix Octogone (France); Eselsohr (Germany); Zilveren Penseel (Netherlands) etc. In 2015 his exhibition In my head, in Gand, with original tables from The Golden cage and How to draw birds has had 50,000 visitors in six months. Pablo Roger AULADELL OLMOS

Graduated in English Philology at the University of Roger Olmos, born in Barcelona in 1975, he beca- Alicante (Spain), he is an illustrator and cartoonist. me interested in the world of design and illustration After collaborating with the collective La Taberna from an very young age, spending time in his fa- del Ñú Azul, he began his professional career by ther’s studio. After completing his studies, he star- getting the Premio de Cómic Injuve (Youth Institu- ted an apprenticeship at the Institut Dexeus as a te) in 2000. In his publications he has revisited the scientific illustrator. Later he enrolled in the Llotja classics and illustrated contemporary texts develo- Avinyo School of Arts and Crafts in Barcelona. ping his narrative territory. His work has been reco- In 1999 he was selected at the Bologna Children’s gnized with the Award of the Ministerio de Cultura Book Fair, where he met his first publisher, Ka- a las Mejores Ilustraciones de Libros Infantiles y landraka. The following year he published his first Juveniles in 2005 for “Peiter, Peter y Peer y otros book, Tío Lobo, which in 2002 is inserted into the cuentos of Andersen, the Award to Autor Revela- selection White Ravens Internationale Jugendbi- ción at the Saló of Cómic in Barcelona in 2006 bliothek of Monaco. He has illustrated over sixty for The white Tower (ed. De Ponent / ed. Actes Sud titles for many Spanish and international publi- the An2) and the National Comic Award in 2016 shers such as Edelvives, Penguin Random House, for Paradise Lost (ed. Sixth Floor, 2015). His recent Macmillan, Kalandraka, Oqo Editora, Ediciones publications include La feira abandonada (Barbara B, La Galera, Teide, Anaya, Edebé, Planeta, Baula, Fiore, 2013), The Legend of the Holy Drinker (Red Melhoramentos, Bromera, Editions 62, Pirouette, Fox, 2014) and Adventures of Huckleberry Finn Nubeocho, The Fragatina, Valentina editions, Pastel (Sixth Floor, 2016). de Luna, Jaguar. In Italy his books are published by Logos Edizioni. La scuola Ars in Fabula

The children sector occupies for a long time a role of primary importance in the publishing field and has experienced a strong expansion in the last ten years. The illustrator who deals with this area is a professional who must have specific knowledge and skills. Narrative, organizational and management skills must combine with cre- ativity and stylistic originality. Ars in Fabula is the school of illustration specialized in this area.

The School was born in 2001 in Mace- Illustrators Exhibition of the Bologna rata and is hosted in the rooms of Palaz- Children’s Book Fair. The school has zo Compagnoni Marefoschi, one of the several training offers : the Master most important buildings of the city, in Publishing Illustration is the focal work of Luigi Vanvitelli. Ars in Fabula point of the high artistic and vocatio- was always concerned with publishing nal training, and has been the real en- and is acknowledged in this sector for trance into the labour market for many the high level of preparedness of its gra- students with the publication of their duates. Many, indeed, are the professio- first book. Ars in Fabula received the nal illustrators who have trained here Andersen Award in 2011 for training. and who today work internationally, consecrated by the most important tra- de exhibitions such as the prestigious To the left the interiors of Palazzo Compagnoni Mare- foschi. Above the facade of the palace and the garden in front of the school. Following the classrooms and some moments during the lessons. Visual style Basic RULES

design

Summer Send it compiled to: [email protected] Date andsignature To suscribetickindividualcoursesortheentirepath. tariat at [email protected] form together to secre- withthe ashort curriculum by: Send Design mailBasic completed the entry REGISTRATION ment within 30days. euro inadvance and atransfer of 200euro- insettle registeringthose before May 31,by transfer of 160 by transfer bank of 360euro inone solution or, for The cost eachof course is 360 €. It’spossible payto PRICES students donot require selection. from studies, artistic Master and Entry-Level the topics related to publishing the sector. Candidates refinement,stylistic but also the deepening at of aimed with at selection, Courses and technical the VISUAL ILLUSTRATION STYLE and of animation. of painting techniques traditional both and digital, storytelling through images, of picture design, book to provide students elements with basic the of coursesThese are all andto open are intended BASIC DESIGN ILLUSTRATION entrance to Master the Ars inFabula. is recognized, with 5points inSpecific Training for entirethe and paths Design Visual (Basic Design) tificate of Attendance. The title thefor attendance of For eachcourse students issued with be aCer will CERTIFICATE (Italy). zo Marefoschi Don via Minzoni 11,62100Macerata headquartersthe of schoolArs the inFabula, Palaz- schedule 09:00-13:00/14:30-18:30) and place take at The courses have a all weekly duration (Mon-Fri DURATION ANDPLACE School

Stefano BessoniMarco SomàSimoneRea Anna Forlati 10/14 Luglio 2017

17/21 Luglio24/28 Luglio31Lug/4 Ago Carll CneutPablo Auladell RogerOlmos 17/21 Luglio24/2831Lug/4 Ago Mail Telephon City Street Surname Name - students enrolled on entire the paths. by inspected be orderwill of with arrival priority for coursesAll have alimited number and inscriptions 2/3 copies of your drawings and ashort curriculum. secretariatthe at [email protected] together with Visual Style [email protected] www.arsinfabula.com 62100 Macerata. Tel+ 390733231740 Palazzo Marefoschi, Via Don Minzoni n°11, diIllustrazione Ars inFabula -Scuola SEGRETERIAT secretariat.the association. For membership card or renew contact entitles you to participate initiatives the inall of the an ordinary member is 15euro; it lasts one year and payment of membership card. The cost thecard of as ve mentioned standing and ingood be with the youto part take must associated with- be abo the by cultural the association Ars inFabula. In order Ars inFabula-Summer provided is aservice School MEMBERSHIP CARDARSINFABULA paymentthe record by mail to secretariat. the name of teacher the or chosen the path.send Then student’s the As only specify purpose name and the Iban: IT91Y0605513401000000021974 Ars inFabula transferBank on checking account registered to METHOD OF PAYMENT effective be upon receipt payment.of sion for Visual Style courses. The registration shall ofty places for courses or Design Basic the admis- confirmation secretariatthe by aboutthe availabili- Payments must made within five be workingdays of PAYMENTS : Send by: Send mail completed the form entry to

The picture book academy

Ars in Fabula Scuola di Illustrazione Palazzo Marefoschi Via Don Minzoni 11 62100 Macerata, Italy Tel 0733 231740 [email protected] www.arsinfabula.com Summer School 2017

Ars in Fabula Scuola di Illustrazione Palazzo Marefoschi Via Don Minzoni 11 62100 Macerata, Italy Tel 0733 231740 [email protected] www.arsinfabula.com