Summer Academy 2017 – Try something different this summer
The Ottawa School of Art – Downtown Campus is pleased to offer an exciting selection of intensive workshops for adults this summer with the theme “Try something different!!” The workshops focus on providing students with new and unique approaches to familiar media that will expand their horizons of self-expression and creativity. The courses range from a Creature Workshop to traditional Japanese woodcut techniques (Mokuhanga) with a variety of other courses in between. Each workshop is taught by artists who are active practitioners of these techniques and students will have a rare opportunity to work with these artists to gain a better understanding of them as well as beginning to master the techniques involved. Please check out this dynamic selection of courses and try something new and different this summer!
Special effects prosthetic appliance creation is an exciting and extremely creative workshop. The methods taught in this course are the same as those currently used in the movie industry. This intensive five day course is limited to 6– 8 students. In this course the students will make a silicone Body Double face mold or part body mold which will become the basic mold for their prosthetic FX. Students can then cast a plaster master and sculpt any creation they want on their personal face or body cast master. From the sculpted art work we will then make a second mold and then create full colour durable silicone FX prosthetic appliances. The final cast appliance will be a custom appliance which will fit perfectly to their personalized face or body part. Once the silicone prosthetic is completed we will learn to paint the prosthetic using high end FX make-up methods to render a highly realistic special effect.
Instructor: Dave Clendining
Monday to Friday, 9 H – 16 H
July 10 to 14
5 days | 30 hours
Dave Clendining was born in Canada, and has pursued and developed his art throughout Europe, Canada and the US for over 25 years. While studying bronze casting and commercial art at the Ontario College of Art, he also audited animation classes at Sheridan College. He worked in the field of animation at Dick Williams Disney Studio in London, England, Nelvana Studios in Toronto, and in the television and film industry in Canada, the US and England. His art can be found in many public and private collections, and his illustrations have graced the pages of a variety of children’s books.
S17DAA2 | Electric Etching Workshop
The health and safety hazards of traditional etching techniques have posed problems for artists for many years. Etching metal with water and electricity offers a new and exciting way to work copper plates. Electro-etching is not only exciting and effective it is safe and environmentally responsible.
The workshop will offer students an overview of the electro-etching process as well as a step-by-step, hands on experience with the technique. Basic equipment, materials and safety issues will also be discussed. Students will develop and print a small etching plate using this exciting new and safe technique!
Instructor: Karen Cornelius
Friday, Saturday and Sunday, 9 H – 16 H
July 14, 15 & 16
3 Days | 15 hours
Karen Cornelius is a printmaker and new media artist. She sees her work contributing to an ongoing contemporary dialogue on identity and belonging. Cornelius was born in the United States, grew up in the Congo, attended high school in Kenya, returned to the United States for university, become a Canadian citizen while living in Ottawa, now lives in Winnipeg following two and half years working and living in Eritrea, northeast Africa. She travels often engaging in projects related to her art practice. Her travels have have taken her to China, Africa, Europe and the Caribbean, as well as many places across North America.
She received a BFA from Moore College of Art in Philadelphia. While living in Ottawa she studied Stanley William Hayter’s viscosity technique with Leonard Gerbrandt at the Ottawa School of Art and more recently studied waterless litho and salt etch with Nik Semenoff at the University of Saskatchewan.
Cornelius was awarded a printmaking residency at St. Michael’s Printshop in Newfoundland in 2012 and at Guanlan Printmaking Base in China in 2010. She works out of Martha Street Studio, Video Pool Media Arts Centre, and her own printmaking studio in Winnipeg.
She has exhibited her work in numerous solo and juried exhibitions in Canada, United States, Europe, Africa and China. Her work is held in public, corporate and private collections around the world, including the collections of the Canadian Art Bank, National Archives of Canada, Canadian Department of Foreign Affairs, Trade and Development, City of Ottawa, Ernst and Young, Abington Hospital in Philadelphia, Shenzhen University in China, Guanlan Printmaking Museum in China, Province of Manitoba, Manitoba Hydro, St. John’s College Winnipeg, and St. Boniface Hospital in Winnipeg.
At the onset of this 3-day mokuhanga workshop, participants will make a two-color print from prepared blocks using; water-based pigments, kento registration, and pressing with a baren – all hallmarks of this Japanese woodblock printmaking process dating back to the 17th century. We will then move into designing, carving and printing our own designs with thorough demonstrations of each step along the way. At the workshops’ closing, we will have the option of exchanging prints with one another. Questions? More info may be found at www.marybrodbeck.com/classes.
Instructor: Mary Brodbeck
Friday, Saturday and Sunday, 9 H – 16 H
August 11, 12 & 13
3 Days | 15 hours
Mary Brodbeck, a native of Michigan, has studied, employed, and taught the traditional methods of Japanese woodblock printmaking since learning these techniques in Tokyo in 1998. The calm aesthetic of her landscape prints have received widespread acclaim and can be found in many public and private collections. Mary has taught workshops extensively throughout the United States and in Japan. Her passion for the Japanese woodblock print medium is exemplified further in her 2014 award-winning documentary film, Becoming Made.
Polyester plates have made it possible to make lithographic images without the use of stones or even a press. Polyester plate images can be created with a wide variety of materials and techniques, from pencils, ballpoint pens, Sharpies, china markers and India ink to laser toner and photographic images, using 4 colour separation, and are extremely inexpensive. Because they are translucent, they allow for easy transfer of images and for prints using multiple plates. We will explore a range of techniques using polyester plates, from drawn and painted images, multiple plate images and photo lithography. Images will also be printed using both presses and hand-burnishing. This workshop is designed from students who have an intermediate or advanced knowledge of printmaking.
Instructor: Villia Jefremovas
Monday to Friday, 9 H – 16 H
August 21 to 25
5 Days | 30 hours
Imagine creating strikingly bold silver gelatin prints without the use of a camera and without an enlarger. In this two-day workshop, you will use a combination of painting, photography and alchemy to create one of a kind pieces of art. This unique process involves the use of resists on photographic paper which holds back the chemical effects of developer and fixer on black and white silver gelatin paper.
The first day of the workshop will involve a lecture covering the history of chemigram, the process and its techniques. A demo on applying the different resists and examination of prepared tests will inform the student on how to compose their work. Then participants will begin to work on their pieces. The second day – after a brief in lab demonstration – participants will dive in and make their own art pieces. A limit of 6 sheets of 8×10 darkroom paper will be provided to each participant.
Instructor: Angelina McCormick
Saturday and Sunday, 9 H – 16 H
July 22 & 23
2 Days | 12 hours
S17DAA6: ANTHOTYPES: MAKING PHOTOGRAPHS USING PLANTS | INTRO-INTER
An Anthotype is an environmentally friendly process of making photographic prints using nothing other than natures’ own colour pigments from flower petals, berries, plants, vegetables and even spices.
Participant will learn create their own emulsion using a mortar and pestle.
The first day of the workshop will involve a lecture covering the history of Anthotype, the process and its techniques. A demo on making of the emulsion and examination of prepared tests will inform the student on density and colour sifts of different emulsions. Participants will work in groups making different emulsions and coat their emulsion to paper.
The second day will begin with a brief lecture and demo on the making digital positive. Then more examinations of prepared tests of different emulsions. After a brief in lab demonstration – participants will dive into making their own emulsion and unique anthotype print.
For a complete outline and material list please contact the Ottawa School of Art : email@example.com
Angelina McCormick is a Canadian visual artist working in the photographic medium from Ottawa, Ontario. She completed her BSc at Carleton University in 1994 and in 2005 she entered and graduated with highest honors from the Photographic Arts Production Program at The School of Photographic Arts: Ottawa. She specializes in both analog and digital photography, alternative and inkjet printmaking, and portfolio building. Her interdisciplinary approach to her studies has led to an art practice that balances her interest in the fine arts with her love of darkroom chemistry. Upon graduation, Angelina has successfully run her own commercial photographic practice for 10 years while also pursuing her art practice. Her artwork has been exhibited nationally and internationally.
Instructor: Angelina McCormick
Saturday & Sunday, 8 h – 17 h
August 19 & 20
2 sessions | 16 hours
S17DAA7: Creating Photo Artwork on the Watershed
Join Harry Nowell as he leads a photo/art adventure following in the footsteps of his “Watershed” project following Chelsea Creek through Gatineau Park and Chelsea. http://www.harrynowell.com/watershed
On the first evening Harry will briefly discuss his long-term project including inspiration, process, and equipment used.
Harry follows a learner led teaching style and will allow students to help set the direction of discussion.
• Art project development – what it takes to create a body of work.
• Equipment choices and demonstration of large format equipment.
• Opportunities /challenges of traditional, digital, analog and unusual formats.
In the Field Art Creation
Harry will introduce students to different areas of the Watershed project and guide participants to stretch their artistic practice, whether artistically or technically.
• Camera – digital, analog, 35mm, medium or large format.
• Lens(es) – any lens is possible. Wide to normal lenses (24-50mm Full frame 35mm equivalent will be most useful)
• Film, if needed
• Appropriate clothing for weather and exploration. Rubber boots, waterproof hiking boots or extra, dry boots are suggested as there will be opportunities to get close to the creek in wet areas. However, nobody is required to get wet feet!
This will be an active workshop with some walking with your equipment. Participants should be comfortable walking 1-3 km with their equipment each day of shooting.
Instructor: Harry Nowell
Friday, Saturday and Sunday,
August 11, 12, & 13
Hours: Variable (see course outline below)
Length of class: 1 evening (3 hours) and 2 days – 6 hours each day; total 15 hours
In this hands-on workshop you will learn how to make “direct positive” tintypes from start to finish, each plate is a one-of-a-kind positive image exposed directly in camera on blackened metal. These timeless photographs use silver and light to develop a superior image with a surreal quality that will literally last for generations.
You will learn the chemistry and techniques to pour, expose, develop and varnish your own plates. Each student can expect to shoot 3-4 of your own tintypes using converted vintage cameras.
On the 1st evening we will gather at the NGC in the prints & drawings study room and begin with a brief lecture covering history, and look at some masterpieces from the national collection. On the 2nd evening at the OSA we will cover chemistry, recipes, pouring technique and safety, followed by an instructor demo. Saturday & Sunday will be devoted to shooting and varnishing your plates with one-on-one instructor guidance. Each student will pick one of the unique vintage cameras provided to use during the workshop. These fascinating objects are the real thing, converted to make Tintypes, intimate images (approx. 23/4” x 41/4”) from cameras over 100 years old. You will also receive recipes, information and resources to help further your wet-plate exploration. This class will be conducted in the darkroom and mostly outdoors with the emphasis on shooting in natural daylight. After completing this course, you will have the foundation of skills, experience and information to continue the Wet-Plate process on your own. Having a base knowledge and practice in analog photography would be helpful but not essential.
July 13 to 16 – Thursday 3-5pm, Friday 3-6pm Saturday & Sunday 10am-5pm
Instructor: Paul Elter
Thursday, Friday, Saturday and Sunday
July 13, 14, 15 & 16
24 Sessions | 17 hours