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This course focuses on exploring various abstract processes and methods to develop and push ideas beyond the expressive, focusing on process, materials and concepts. Through exploring various abstract approaches and possibilities, to develop a series of personal responses, students will create a body of work that consider and reveal specific tensions or relationships for colour, surface, compositions, materials, or formats to derive at an aesthetic quality for an idea.
In addition to the course fee, students are expected to provide the following list of indicate tools, materials and equipment:
Compressed and willow charcoal
Graphite Stick 4b
Plastic rubber
Masking tape
Craft knife
Sketchbook A4
Chalk Pastels
Indian and/or Quink ink
Newsprint & Cartridge paper (as required)
One-sided card or painting Card or Acrylic Painting Paper.
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).
Mixing Palette
Palette Knife
Sponge and rags
A digital camera
Over the class sessions the course will cover:
1. Introduction to the use of the sketchbook for recording, researching and evidencing work.
2. Develop a series of works derived through directed, location-based and personal references.
3. Exploration of text and image to explore ideas.
4. Employ the use of collage and motifs.
5. Exploration of using Mind-maps and lists.
6. Exploration of composition, formats and editing.
7. Developing a series of mono-prints to aid the development of ideas.
8. Exploration of working on various painting surfaces and grounds.
9. Use photographic references to support ideas and project themes.
10. A series of discussions and group critiques relating to the various exercises and project themes.
11. Introduction to a range of relevant artists.
12. 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:
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.
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.
Evidence independent judgement in the documenting, selecting, editing and presenting a body of art works, revealing its value.
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.