AMHArtistsNetworkU
07-20-2012, 12:52 PM
This online mixed media workshop will investigate exploratory methodologies, techniques, and approaches in mixed-media art. Throughout this mixed-media workshop, exciting in-depth demonstrations will be shown, providing an extensive array of visually-stimulating mixed- media art project possibilities for artists to explore. Both two-dimensional and three-dimensional mixed media techniques will be covered. For artists who are looking to push their mixed-media ideas and work to a new level, this workshop will be a valuable resource and an ongoing source for creative inspiration.
Course registration comes with a digital download of Experimental Painting (http://www.northlightshop.com/experimental-painting-ebook-w7554/?lid=anuamh07242012) by artist and author Lisa L. Cyr. Click here (http://www.youtube.com/watch?v=_dixPgFXCg0) to see a trailer for the text!
COURSE BEGINS: July 24, 2012 (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
.
COURSE LENGTH: 4 weeks
COURSE MATERIALS (included with tuition):
Experimental Painting (http://www.northlightshop.com/experimental-painting-ebook-w7554/?lid=anuamh07242012) by Lisa L. Cyr TUITION: $149.99 ($135.00 for VIP (http://www.northlightshop.com/northlight-vip/?lid=anuamh05222012))
.
INSTRUCTOR: Lisa L. Cyr (Bio (http://www.artistsnetworkuniversity.com/meet-the-instructors))
MIXED-MEDIA ART TECHNIQUES YOU'LL LEARN:
How to build a tactile working environment utilizing both additive and subtractive processes
How to tone the painting surface in imaginative ways
How to employ custom tools for signature mark-makingWHO SHOULD TAKE THIS COURSE:
Artists of all levels who are interested in knowing how mixed media art techniques can add that magical, transforming element to their workhttp://www.familytreeuniversity.com/wp-content/uploads/2010/03/button.png (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
ART SUPPLIES YOU'LL NEED:
Art Material Safety Guidelines: read page 5 and seek manufacturer information on pages 122-123. Some processes used in the book Experimental Painting use printers, scanners, copiers and other equipment in alternative ways that may void manufacturers' warranties. The experimental processes covered have been developed by the artist/author/instructor and no guarantee of fitness is offered.
White acrylic gesso
Acrylic matte medium
Acrylic gel medium
Masonite - 1/4"
Various papers (handmade or commercial) and printed ephemera
Brushes
Acrylic paints
Molding paste
PVA (pH neutral) glue
Wax paper
Brayer
Painting knife with flat edge at top
Painting roller
Sponges with an irregular pattern
Painter's tape
Water-resistant silver tape
Mailing tubeREQUIREMENTS:
In order to be successful with this course, attendees should:
Read all assigned pages from the book Experimental Painting (http://www.northlightshop.com/art-revolution-alternative-approaches-in-art/?lid=anuamh07242012) by artist and author Lisa L. Cyr
View assigned links, showing additional demonstrations online that are created by the artist/instructor for attendees' enhanced knowledgeAll assignments must be submitted through the Blackboard System for evaluation. To expedite responses to questions, contact the instructor via e-mail.
http://www.familytreeuniversity.com/wp-content/uploads/2010/03/button.png (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
COURSE SYLLABUS
Introduction: Experimental Mixed Media Painting
Work as Play: read pages 6-7 and watch video at: http://www.cyrstudio.com/workasplay.html
An Exploratory Process: read pages 9-13 and watch video at: http://lisalcyr.blogspot.com/2011/10/working-in-mixed-media-exploratory.htmlSession 1: Mixed Media Collage & Paper Techniques
Conceptual Ideation and Development: read pages 15-19
Collage Techniques: read pages 42-45
Creating Custom Paper: read pages 74-75 and go to Making Custom-Treated Paper at: http://lisalcyr.blogspot.com/2011/09/making-custom-treated-paper.html (http://lisalcyr.blogspot.com/2011/09/making-custom-treated-paper.html)
Employing Additive & Subtractive Processes: read pages 50-53Homework Assignment: Onto gesso-primed Masonite, create a collage using various commercially available, handmade, or custom-treated papers and printed ephemera that have been creatively ripped, punch, riveted, stitched, or cut to create a dynamic composition. Try masking the collage with painter's tape, adding gesso dripping and texturing with a painting knife, and peeling back the layers or incorporating faux metal to areas. Make sure to have a theme or concept in mind.
Session 2: Unconventional Working Tools
Experimenting with Alternative Working Tools: read pages 21-23
Altered, Repurposed, & Custom Tools: read pages 24-27
Faux Surfaces, Finishes, and Patinas: read page 88-91Homework Assignment: Create a custom roller (pages 28-29) or employ an altered or repurposed tool (pages 24-27) and use it to texture a gesso-primed Masonite working surface with molding paste (see steps 5 - 7 on page 29 for adding molding paste to a flat, single-surface working ground). Once fully cured (overnight), try some of the faux surfaces, finishes, and patinas on pages 88-91. Make sure you allow for a subject or focal point in your work.
Session 3: Transforming the Surface
Transforming the Surface: read pages 63-65
Resists, Blotting, Lifting & Dissolving: read pages 66-69
Marbling using Self-Leveling Clear Gel: go to http://lisalcyr.blogspot.com/2011/10/self-leveling-clear-gel-is-poured-into.html
Printmaking with Ordinary Objects: go to http://lisalcyr.blogspot.com/2011/10/printmaking-with-ordinary-objects.html
Automatism & Freeform Painting: read pages 70-73Homework Assignment: Onto gesso-primed Masonite, create a painting that responds to instrumental music, sounds from nature, or background music (no voices) from a favorite movie. Try different painting instruments and techniques, painting to the heartbeat of the music. Make sure your colors correspond with your feeling about the music. Create three abstractly painted backgrounds.
Session 4: Altering the Topography of the Visual Landscape
Unique Constructs and Assemblage Accents: read pages 85-87
Using Layered Panels & Mixed Surfaces: read pages 34-35
Building a Tactile Working Environment: read pages 39-41
Playing with Cloth: go to http://lisalcyr.blogspot.com/2011/09/playing-with-cloth.html
Dimensional Substrates & Treated Surfaces: go to http://www.artistsnetwork.com/articles/art-demos-techniques/dimensional-substrates
Working in Bas-relief: read pages 96-101
Three-part step-by-step demonstration covering several mixed-media techniques: texturing the working ground, employing ink transfers, transparent and opaque painting, monoprinting, creating multidimensional accents, using die-cut and debossed paper, infusing pattern and texture, employing a patina, dry brushing, sponging, sgraffito, spattering, custom debossing using a handmade stamp, altering hardware, and adding a patina to vintage assemblage accents
Go to: http://www.cyrstudio.com/demonstrations_voyage.html Homework Assignment: Onto a single or multi-dimensional working ground, create a mixed-media work that incorporates the third dimension in some way. You can also utilize any of the other mixed-media techniques that we have used in class so far. The piece should have a concept to which your choice of materials and techniques helps to support.
Go to the Create Mixed Media Interview with the Artist: http://www.createmixedmedia.com/meet/artist-profile-lisa-l-cyr
Free Bonus Materials: Articles, demonstrations, wallpapers and more:
http://www.artistsnetwork.com/free-bonus-materials-experimental-painting
http://www.familytreeuniversity.com/wp-content/uploads/2010/03/button.png (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
Course registration comes with a digital download of Experimental Painting (http://www.northlightshop.com/experimental-painting-ebook-w7554/?lid=anuamh07242012) by artist and author Lisa L. Cyr. Click here (http://www.youtube.com/watch?v=_dixPgFXCg0) to see a trailer for the text!
COURSE BEGINS: July 24, 2012 (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
.
COURSE LENGTH: 4 weeks
COURSE MATERIALS (included with tuition):
Experimental Painting (http://www.northlightshop.com/experimental-painting-ebook-w7554/?lid=anuamh07242012) by Lisa L. Cyr TUITION: $149.99 ($135.00 for VIP (http://www.northlightshop.com/northlight-vip/?lid=anuamh05222012))
.
INSTRUCTOR: Lisa L. Cyr (Bio (http://www.artistsnetworkuniversity.com/meet-the-instructors))
MIXED-MEDIA ART TECHNIQUES YOU'LL LEARN:
How to build a tactile working environment utilizing both additive and subtractive processes
How to tone the painting surface in imaginative ways
How to employ custom tools for signature mark-makingWHO SHOULD TAKE THIS COURSE:
Artists of all levels who are interested in knowing how mixed media art techniques can add that magical, transforming element to their workhttp://www.familytreeuniversity.com/wp-content/uploads/2010/03/button.png (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
ART SUPPLIES YOU'LL NEED:
Art Material Safety Guidelines: read page 5 and seek manufacturer information on pages 122-123. Some processes used in the book Experimental Painting use printers, scanners, copiers and other equipment in alternative ways that may void manufacturers' warranties. The experimental processes covered have been developed by the artist/author/instructor and no guarantee of fitness is offered.
White acrylic gesso
Acrylic matte medium
Acrylic gel medium
Masonite - 1/4"
Various papers (handmade or commercial) and printed ephemera
Brushes
Acrylic paints
Molding paste
PVA (pH neutral) glue
Wax paper
Brayer
Painting knife with flat edge at top
Painting roller
Sponges with an irregular pattern
Painter's tape
Water-resistant silver tape
Mailing tubeREQUIREMENTS:
In order to be successful with this course, attendees should:
Read all assigned pages from the book Experimental Painting (http://www.northlightshop.com/art-revolution-alternative-approaches-in-art/?lid=anuamh07242012) by artist and author Lisa L. Cyr
View assigned links, showing additional demonstrations online that are created by the artist/instructor for attendees' enhanced knowledgeAll assignments must be submitted through the Blackboard System for evaluation. To expedite responses to questions, contact the instructor via e-mail.
http://www.familytreeuniversity.com/wp-content/uploads/2010/03/button.png (http://anu.register.fwmedia.com/Course?CourseId=3022-1)
COURSE SYLLABUS
Introduction: Experimental Mixed Media Painting
Work as Play: read pages 6-7 and watch video at: http://www.cyrstudio.com/workasplay.html
An Exploratory Process: read pages 9-13 and watch video at: http://lisalcyr.blogspot.com/2011/10/working-in-mixed-media-exploratory.htmlSession 1: Mixed Media Collage & Paper Techniques
Conceptual Ideation and Development: read pages 15-19
Collage Techniques: read pages 42-45
Creating Custom Paper: read pages 74-75 and go to Making Custom-Treated Paper at: http://lisalcyr.blogspot.com/2011/09/making-custom-treated-paper.html (http://lisalcyr.blogspot.com/2011/09/making-custom-treated-paper.html)
Employing Additive & Subtractive Processes: read pages 50-53Homework Assignment: Onto gesso-primed Masonite, create a collage using various commercially available, handmade, or custom-treated papers and printed ephemera that have been creatively ripped, punch, riveted, stitched, or cut to create a dynamic composition. Try masking the collage with painter's tape, adding gesso dripping and texturing with a painting knife, and peeling back the layers or incorporating faux metal to areas. Make sure to have a theme or concept in mind.
Session 2: Unconventional Working Tools
Experimenting with Alternative Working Tools: read pages 21-23
Altered, Repurposed, & Custom Tools: read pages 24-27
Faux Surfaces, Finishes, and Patinas: read page 88-91Homework Assignment: Create a custom roller (pages 28-29) or employ an altered or repurposed tool (pages 24-27) and use it to texture a gesso-primed Masonite working surface with molding paste (see steps 5 - 7 on page 29 for adding molding paste to a flat, single-surface working ground). Once fully cured (overnight), try some of the faux surfaces, finishes, and patinas on pages 88-91. Make sure you allow for a subject or focal point in your work.
Session 3: Transforming the Surface
Transforming the Surface: read pages 63-65
Resists, Blotting, Lifting & Dissolving: read pages 66-69
Marbling using Self-Leveling Clear Gel: go to http://lisalcyr.blogspot.com/2011/10/self-leveling-clear-gel-is-poured-into.html
Printmaking with Ordinary Objects: go to http://lisalcyr.blogspot.com/2011/10/printmaking-with-ordinary-objects.html
Automatism & Freeform Painting: read pages 70-73Homework Assignment: Onto gesso-primed Masonite, create a painting that responds to instrumental music, sounds from nature, or background music (no voices) from a favorite movie. Try different painting instruments and techniques, painting to the heartbeat of the music. Make sure your colors correspond with your feeling about the music. Create three abstractly painted backgrounds.
Session 4: Altering the Topography of the Visual Landscape
Unique Constructs and Assemblage Accents: read pages 85-87
Using Layered Panels & Mixed Surfaces: read pages 34-35
Building a Tactile Working Environment: read pages 39-41
Playing with Cloth: go to http://lisalcyr.blogspot.com/2011/09/playing-with-cloth.html
Dimensional Substrates & Treated Surfaces: go to http://www.artistsnetwork.com/articles/art-demos-techniques/dimensional-substrates
Working in Bas-relief: read pages 96-101
Three-part step-by-step demonstration covering several mixed-media techniques: texturing the working ground, employing ink transfers, transparent and opaque painting, monoprinting, creating multidimensional accents, using die-cut and debossed paper, infusing pattern and texture, employing a patina, dry brushing, sponging, sgraffito, spattering, custom debossing using a handmade stamp, altering hardware, and adding a patina to vintage assemblage accents
Go to: http://www.cyrstudio.com/demonstrations_voyage.html Homework Assignment: Onto a single or multi-dimensional working ground, create a mixed-media work that incorporates the third dimension in some way. You can also utilize any of the other mixed-media techniques that we have used in class so far. The piece should have a concept to which your choice of materials and techniques helps to support.
Go to the Create Mixed Media Interview with the Artist: http://www.createmixedmedia.com/meet/artist-profile-lisa-l-cyr
Free Bonus Materials: Articles, demonstrations, wallpapers and more:
http://www.artistsnetwork.com/free-bonus-materials-experimental-painting
http://www.familytreeuniversity.com/wp-content/uploads/2010/03/button.png (http://anu.register.fwmedia.com/Course?CourseId=3022-1)