Emily Ball at Seawhite
Contemporary Drawing and Painting Courses
Images produced by students at the Seawhite Studio
“The virility of drawing lies in the immediate necessity to make decisions – with it departs the fears and the funk, and to that it owes its vibrant qualities.” (David Bomberg)
Working from the moving figure offers artists the chance to connect with their subject in an immediate and vital way. The popularity of Gary Goodman’s figure-based course "Large Scale Expressive Drawing" (this week’s course is sold out) is testament to the interest and appetite that students have for working from the figure and being free and expressive in their drawings.
In this newsletter, we want to tell you more about another dynamic drawing course which has the figure as its heart. THE FIGURE: AN INTENSIVE EXPERIMENTAL DRAWING COURSE is a wonderful and unique opportunity to spend three days with three tutors, who specialize in charcoal drawing, film and animation. With the focus being on the moving figure, students will create charcoal and ink drawings from the models as well as from the animations they create. It’s an exciting process that encourages students to play and discover new ways of describing the figure.
A good example of how animation can augment and enhance the drawing process is the work of South African artist William Kentridge who works experimentally with drawing and animation. Take a look at these films which describe his work and process:
William Kentridge (SFMoMA film)
William Kentridge (Tate film)
The Seawhite Studio set up for previous animation workshops
THE FIGURE: AN INTENSIVE EXPERIMENTAL DRAWING COURSE will introduce dynamic approaches to mark making, develop student’s critical judgement and increase their confidence in making creative decisions about selecting, editing and inventing.
It is so much more than Life Drawing course. Working from a moving figure can have huge benefits for your work. The drawings created can have a life after the course and give lots of content for more work to be developed in your own time.
Creating paintings and drawings from a moving model produces work that is a departure from copying and illustrating. Working from a moving figure encourages intuitive sifting and selecting. The movement brings a change of pace to the drawing, a sense of urgency that necessitates an impulsive response. With a problem to solve the brain and hand work more closely together. There is less time worrying and attempting to transfer our idea into an image; the resulting work comes into existence rather than being imposed.
Image: Eype Venus by John SKinner
“The idea of a posed figure is a very false situation. Our everyday experiences of people are often fleeting. Whether shaking hands, brushing past, embracing or avoiding we are constantly making decisions about our physical orientation to people. Working from a moving model in the studio is therefore good preparation for dealing with how to make a response to the world beyond ourselves.” (Emily Ball)
Image: Evie Swimming, 2010, charcoal and chalk on paper, Emily Ball
(below) Float, Shimmer and Dive, 2010, oil on canvas, Emily Ball
“My drawing of Eve swimming is a good example of how the directness of the drawing experience was translated into the subsequent painting: the changes, layers and inventions produced whilst drawing directly helped me to choose the marks on the painting and the shape of the figure.” (Emily Ball)
Who is this course for?
Image: students working from the moving figure at the Seawhite Studio
For more information about the course or to book your place, click on the course title below:
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