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This course focuses on developing a series of working methods to deconstruct the representational, moving ideas beyond the expressive approaches explored within Abstract 1 and Abstract 2, bridging the space between the observed and an inner world. Experimenting with, and employing the use of language, colour, collage and painting processes to engage in a series of directed and personal references, forging and exploring abstract possibilities, developing a personal language.
Please note - this is a credit course and has an integrated digital component. All students enrolled on credit courses are required to matriculate through the university student system EUCLID. If you do not do so you will not be able to access information provided by your tutor nor will you be able to submit work for assessment. Please read our Studying for Credit Guide, Rules and Regulations for more information.
It is RECOMMENDED that students have passed: Abstract 1: Expressive Approaches or Abstract 2: Painting with Expression
This course requires you to bring their own art and design materials. Most of these can be sourced and purchased in advance from any good art material supplier such as the Art Shop at ECA Lauriston Place Campus. Essential items not readily available will be provided during classes and you will be invoiced at the end of the course for items used. Listed below are the materials and equipment requirements for this course and an estimated cost. You are advised not to purchase any materials until you have received confirmation the course is running – usually 7 days before the start of the course. You will be guided by the tutor as to which materials you need to bring to classes each week.
Essential materials you will need to bring to the first class:
* Sketchbook A4 or A3
* A selection of recent works, to be used as a starting point for ideas.
* Acrylic painting brushes
* Range of oil/chalk pastels
* Range of Acrylic paints
* Palette Knife
* Sponge
Materials and equipment provided for students as part of the course and included in course fee:
* Mono-print equipment
* Craft knife
Materials and equipment available for purchase during the course:
* One-sided card
* Newsprint
* Cartridge paper
Essentials materials and equipment students will need to provide themselves:
* Compressed and willow charcoal
* Graphite Stick 4b
* Masking tape
* Sketchbook A4
* Chalk/ oil Pastels
* Indian and/or Quink ink
* Collage materials (to collect and use throughout the course)
* Range of Acrylic paints: Cadmium Red, Cadmium Yellow, Ultramarine Blue, Cerulean, Black, White (at least 250ml pot), Yellow Ochre, Burnt Umber, (other colours as required during the course).
* Palette Knife
* Sponge and rags
Additional recommended materials and equipment students can provide:
Over the class sessions the course will cover:
Introduction to the use of the sketchbook for recording, researching and evidencing work.
Develop a series of works derived through directed, location-based and personal references.
Exploration of text and image to explore ideas.
Employ the use of collage and motifs.
Exploration of using Mind-maps and lists.
Exploration of composition, formats and editing.
Developing a series of mono-prints to aid the development of ideas.
Exploration of working on various painting surfaces and grounds.
Use photographic references to support ideas and project themes.
A series of discussions and group critiques relating to the various exercises and project themes.
Introduction to a range of relevant artists.
Keep a log/blog during the period of the course to record learning, achievements and challenges.
The teaching will be based and delivered in specialist art and design studios or workshops and will typically include a range of practical exercises, introductions to techniques, processes and concepts, and set projects which lead to more focused and personal exploration. Over the course, students’ progress will be monitored and supported by the tutor. Teaching will include practical demonstrations, one to one tuition, group discussions and critiques.
For work required to be undertaken after the class hours are complete, the course tutor will set students a ‘directed study plan’ which can be undertaken without the need for specialist workshops or access to models.
Directed study will include research into a range of suggested artists and their associated movements to engender a contextual awareness. Students are expected to demonstrate how their research has informed their work through annotated sketchbooks, a visual digital journal and practical outcomes.
The Directed Study Plan will include preparing evidence of research and practical work to form an appropriate presentation for assessment.
On completion of this course, the student will be able to: |
Research, context and ideas (33.3%) Demonstrate an enquiring work ethic and range of personal strategies for recording and developing visual ideas and concepts, showing the beginnings of appropriate contextual research.
|
Practice, skills and techniques (33.3%) Demonstrate a range of painting approaches, methods and processes to create a body of focused and coherent visual studies, which underpin the research of abstract representations through to the resolved works.
|
Selection, presentation and reflection (33.3%) Evidence independent judgement in the documenting, selecting, editing and presenting a body of art works, revealing its value.
|
Suggested Readings
STANGOS, N. 1981. Concepts of Modern Art. Thames & Hudson Ltd.
SOLOMON, R. 1957. Piet Mondrian: the Earlier Years. New York,
COLLINGS, M. 2001. British Abstract Painting 2001, Albany NY, Momentum.
MOORHOUSE, P. 1998 Albert Irvin: Life to Painting. Lund Humphries Publishers Ltd.
BANCROFT, S.C. & DEVANEY, E. 2015. Richard Diebenkorn. Royal Academy of Arts, London.
SEITZ, W.C. 1962. Mark Tobey. Museum of Modern Art.
LANDAU, E. 1989. Jackson Pollock. Thames & Hudson.
ECCHER, D. 2007. Sean Scully: A Retrospective. Thames & Hudson Ltd.
BERGER, J., 1972, Ways of seeing, London: BBC Books.
HUGHES, R., 1991, The Shock of the New: Art and the century of change, London: Thames and Hudson.
FOSTER, R.K.H.,BENJAMIN H.D. YVE-Alain BOIS, D.J. 2012. Art Since 1900: Modernism · Antimodernism · Postmodernism. Thames & Hudson Ltd.
ALLTHORPE-GUYTON, A., TUCKER, M., LAMPERT, C. 2009. Ian McKeever (Histories of Vision S.). Lund Humphries.
BUTIN, H. 2014. Gerhard Richter. Editions 1965-2013. Hatje Cantz
HESS, B. 2004. Willem De Kooning (Basic Art Album). Taschen.
https://www.youtube.com/watch?v=Hh6QbJNvWZE
Details of the Art and Design assessment requirements can be found on the short course website. Please click on the following link for more information: Submission and Assessment Information
If you choose to study for credit you will need to allocate significant time outwith classes for coursework and assessment preparation. Credit points gained from this course can count towards the Certificate of Higher Education.
If you have questions regarding the course or enrolment, please contact COL Reception at Paterson's Land by email COL@ed.ac.uk or by phone 0131 650 4400.
If you have a disability, learning difficulty or health condition which may affect your studies, please let us know by ticking the 'specific support needs' box on your course application form. This will allow us to make appropriate adjustments in advance and in accordance with your rights under the Equality Act 2010. For more information please visit the Student Support section of our website.