Summer School 2017 - Ars in Fabula
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Summer School 2017
Summer
School
2017
The picture book into two full-im-
mersion paths of illustration
The courses of Ars in Fabula Summer School are a unique opportunity to
know illustration and animation, through the use of both traditional and
digital techniques, with two specific paths and with those who are today
the protagonists in the international arena.
The Summer School Ars in Fabula of- bula Entry-Level and Master, academies and
fers two distinguished types of artistic and illustration courses), as deepening and specific
professional training courses. improvement.
The Basic Design deals with the steps of The courses shall be attended individually or
planning a picture book concentrating on in the formula complete path. The certificate
individual issues, providing the basis for a pro- issued by the two courses Basic Design and
fessional methodology. On the painting techni- Visual Design guarantees the recognition of 5
cal side the training offer includes traditional points of 5 as Specific Education for entran-
techniques such as watercolor, acrylic, mixed ce to the Master in Illustration Ars in Fabula.
techniques and modern digital contamina- In addition at Ars in Fabula every day is Open-
tion. These courses are addressed to all those day! You can request an appointment with the
who intend to approach the publishing indu- school tutor for your port-folio rewiev and to
stry with professional aspirations, with no li- plan the course of your study or entry to the
mits about age and educational qualification. Master.
The Visual Design aims to provide students
with all the design and methodological tools
regarding the text interpretation. The main
purpose of these courses is to start a personal
research to develop those interpretative skills
essential to reach a personal style. Also on the On the cover a picture of Anna Forlati for “Le renard
painting technical side, the teachers will guide et l’aviateur”, Èditions Notari
our students in a program aimed at developing
a personal technique. These courses are desig-
ned for those who have already embarked on
their own path in the illustration (Ars in Fa-
Summer School Ars in Fabula Summer School 10 july / 4 august 2017 Basic design Visual design Stop-motion Stefano Bessoni 10/14 July Character design Visual style by: Marco Somà Carll Cneut 17/21 July 17/21 July Story-board design Visual style by: Simone Rea Pablo Auladell 24/28 July 24/28 July Illustration design Visual style by: Anna Forlati Roger Olmos 31 July/4 August 31 July/4 August
Stop motion Stefano Bessoni 10/14 July Stefano Bessoni, film-maker and illustrator, will reveal the secrets of ani- mation, guiding us in the realization of three-dimensional characters up to give them life thanks to the stop-motion technique. This course is also intended for students of past editions with a persolalized program and stage start for the Character design for those attending the entire Basic design module. MODALITY First day: History of of puppets. Deepening of the softwa- the stopmotion technique, with the re to make films in stop-motion, espe- analysis of some of the most important cially Dragonframe (projection of the animators of art films and commercial program interface and analysis of some cinema. Second day: The manufactu- realized animations). Of short shots in re of skeletons, from the simple ones stop-motion. Realization of short shots in braided iron wire to the complex in stop-motion.. ones with ball joints and micro screw adjustments. The various types of ma- TECHNIQUES Stop-motion. Stop- terials for the construction of the pup- motion, also called shooting in step one pets, from modeling to the mold, to or motion animation is a filmmaking replicas in series. The various types of and animation technique. Step one clay, foams, resins and latex (projec- uses a particular software that allows to tion of photographs from the topics). capture one frame at a time, driven by Third day: Design of an articu- the operator / animator. With this pro- lated character to animate. Gui- cess you can then create cartoons with ded manufacturing of skeletons articulated puppets. and puppets: each member can de- sign and set up his own puppet. Fourth day: Guided manufacturing of puppets. Fifth day: guided finalization
MATERIALS Special aluminum wire for stop-motion animation, and rub- ber latex (the school will arrange to buy them, then dividing the spending among all members, roughly 15 euros each). Scotch, tissue paper or china paper, iron wire. Modeling white clay Fimo Air Light. Watercolors. Soft foam and medical patch Omnifix (or similar) Various Tools: pliers, scissors, box cut- ters. Various tools for drawing and mo- deling. Laptop computer and a digital camera.
Character design This course is dedicated to issues related to the characterization of the cha- racters. Sketching a character that is fitting with the text we face requires special attention to the text. How does the author describe his characters or what emerges from their behavior, their objectives, by their actions? From this analysis we will search, as in a film casting, the protagonists but also the secondary characters, coming then to the graphic synthesis, the stylization that will make of them the right protagonists of our history.
Marco Somà
17/21 July
MODALITY From the observation of aded eraser, for final sheets (smooth
the real to the sketches in pencil until white sheets and tracing papers), wa-
the final synthesis of the chosen story. tercolors, watercolor brushes of various
We will then pass to the study of pain- sizes, watercolor satin paper brand Ar-
ting techniques to get to the final reali- ches or Fabriano Artistico 300 gr., Pc
zation of the characters. Photoshop CS4 or later, graphics tablet,
collage cards, for example: rice paper,
TECHNIQUES Watercolor, pencils, di- textured papers, (for convenience and
gital coloring. to save time it is preferable to bring the
material already digitized and stored in
MATERIALS Paper sketch, pencils or a single folder).
micromine of different hardness, kne-
Book
design
Simone Rea
24/28 July
The purpose of this course is to acquire a working method for dealing
with the most important phase in building a picture book. We will focus,
in fact, on the initial themes of the book work: the text analysis and the
division of pages, the study of characters and settings up to the creation
of storyboards and study of construction techniques.
MODALITY The initial work will fo- TECHNICAL acrylic, monotype and
cus on the text, with the aim of brin- mixed media, story-board (story-board
ging out various interpretations. An is an English term for the graphical re-
analysis of the technical characteristics presentation in the form of sequences
of the various picture books will follow: designed in chronological order, of the
paper, sizes, pages, print sheet, passage shots of a picture book, a comic book
from the original to the printing. Great or a cinematographic work ).
importance will be given to the practi-
cal design phase: the study of the cha- MATERIALS Acrylic, round and flat
racters, the settings, the rhythm of the brushes of various sizes (important to
pages, up to the creation of storyboard bring at least a large flat brush, measu-
which is the real project of the book. ring about 30), adhesive tape, crayons,
Knowledge of the storyboard techni- copy paper A3 or A4, glossy paper, ace-
que is basic to the illustrator’s work. tate, tissue paper, sandpaper, drypoint ,
The course will also deal with the expe- smooth paper of basis weight of not less
riments on color for the realization of than 320 gr. and max 600 gr. (Ex. Qua-
the definitive tables. drex), chalcographic roller medium
sized (15 cm. approximately), chalco-
graphic water-dilutable ink tube (color
of your choice).Illustration
design
How many times have we found ourselves in the position of not being
able to create the image or concept we have in mind? Create an illustra-
tion means to plan it. Compositionally knowing how to build the image
without losing sight of the narrative but always chasing our intuitions;
finally give her expressive force through technical and color choices, this
is the main purpose of the course.
Anna Forlati
31 July/4 August
MODALITY Initial analysis of a selec- TECHNIQUES Acrylic, pastel pencils,
tion of books with particular attention oil pastels.
to rhythm, structure, and the image-text
relationship. Theoretical and practical MATERIALS Scissors, utility knife, glue
insights into the structure and rules of sticks, whites and blacks A4 cardbo-
the picture book, color, composition, ards, flat and pointed brushes in diffe-
the yield of detail and technique. After rent sizes, pencils of different grades.
a series of warm-up exercises for crea- Sketch paper, satin paper Fabriano Ar-
tive release, a sequence of story-board tistico 300 gr. A fine tip marker. Acrylic
will be faced. We will work to the rea- of the following colors: titanium white,
lization of one or more tables, thinking gray of Paynes, natural umber. Pastel
about how not to lose in the definitive pencils and oil pastels. Modeling paste
table the freshness and strength of the Liquitex or or something. Cotton cloth,
black and white sketch. fine sandpaper. A drypoint.Visual
style Carll Cneut
17/21 July
One of the most important sectors of the illustrated publishing is un-
doubtedly that of children’s classics. Facing a classic is the first step for
those who aspires to become an illustrator. The way to give new life to
immortal texts of children’s literature through a reading key and contem-
porary style will be the theme of this course conducted by one of the great
masters of the field.
Facing a text whose iconography is well- MODALITY We will work trying dif-
established in the popular imagination ferent formulations for the treated text
as in the case of the classics, requires starting from the more adherent to the
great narrative skills to an illustrator text to arrive at alternatives and origi-
as well as the ability to innovate while nal hypothesis.
remaining close to the text. For this you
need to acquire critical sense to figure TECHNIQUES Personal technique.
out which section in ones own stylistic The student will be followed in the de-
sample is more faithful to the text that velopment of ones own technique or of
you are facing. the preferred technique.
Carll Cneut MATERIALS Each student will bring
the materials with which he/she nor-
mally works.
NB: It is required by the teacher the
work’s portfolio of the student.Visual
style Pablo Auladell
24/28 July
This course will face a particularly delicate issue, that is to convey myste-
ry and poetry through images. Auladell will help us to understand how
the illustration is a journey within yourself and at the same time in the
depths of the text.
How can we get the poetic mystery in our MODALITY In the morning we will
illustrations? Like Alice we must cross the start with audiovisual lessons conti-
mirror and look at the text from there, or nuing with individual work on the il-
immersing ourselves in the deep lake of lustrations; at the end of the day there
the text to return with an image and give will be a comparison to comment and
it life. As always I will share with you the share progress and difficulties.
process of elaboration of my new picture
books, as well as the problems, thoughts MATERIALS Base material for drawing
and achievements of a year’s work. (pencil, paper, etc.) and everything
with which students prefer to work to
Pablo Auladell make some final tables professionally.
A mirror. A basic portfolio (5 images
maximum).Visual
style Roger Olmos
31 July/4 August
Very special problems arise in dealing with texts by contemporary au-
thors. Styles blend together creating unusual and sophisticated imagina-
ry. Olmos will guide us during this course in an attempt to overcome the
barriers of conventional in a play of contamination and cross-references.
We will create a range of stylistic as- MODALITY The activity will alterna-
sumptions bringing out your traits, your te theoretical moments of reflection on
operating mode, your color palette by the meaning of the text and the mea-
creating images for very different texts. ning of the image: the analysis of the
Each text is an experience, and our uni- subject and its interpretation, the life
verse emerges through the experiences drawing and its reinterpretation, ca-
we have made and the answers that we mera angles and points of view to con-
have been able to give to the many que- struct a narrative and a personal look.
stions of the various texts. You will find
the essential ingredients to begin to ma- TECHNIQUES The teacher will follow
ture your way to see the world. the development of the technique used
by the student.
Roger Olmos
MATERIALS Each participant can
bring the materials with which he/she
habitually works.Teachers of Stefano
BESSONI
the
Summer
School
2017
Stefano Bessoni is a film-maker, illustrator and ani-
mator. He works with stop-motion technique. He
graduated at the Academy of Fine Arts in Rome.
Since 1989 he has been making many experimental
films, video and theatre installations and documen-
tary films, attracting the attention of critics and re-
ceiving many awards at national and international
festivals. In 2015, on the occasion of the sesquicen-
tennial of the first edition of Alice in Wonderland,
the Luzzati Museum of Genoa has dedicated to him
an important exhibition, where all the original il-
lustrations by Alice Under Ground and sketches
realized since 1989, have been compared with the
reinterpretation of the Carroll’s classic realized by
Emanuele Luzzati in the nineties. His interest for
“the imaginary dimension of fairy tales”, of Wun-
derkammern and old rhymes led him to the crea-
tion of several books, all published by publishing
house Logos, inspired by this universe: Homun-
culus and Wunderkammer (2011), Alice under
ground (2012), Gallows Songs (2013) the rewriting
in “macabre” style of Pinocchio (2014), Mr Punch
(2015), which also led to the eponymous short film
and Oz (2016). Always for Logos we remember the
manuals on the stop-motion technique.Marco Simone SOMÀ REA Marco Somà was born in Cuneo in 1983. After After graduating at the Academy of Fine Arts in studying painting at the Academy of Fine Arts, he Rome he began to focus on editorial illustration attended the Master in Illustration for Publishing for children and teenagers. He begins to be known Ars in Fabula. His illustrations have been selected with the selection of the exhibition ‘Figures Futur’ for the Annual 2011 of Illustrators (Milan), at the in Montreuil (Paris) in 2006. Consecrated then 31st edition of Le immagini della fantasia in Sar- with the selection to the Bologna Illustrators Exhi- mede, for the Biennial of Illustration in Bratislava bition in 2008, 2011, 2015, 2016. He was awarded (Slovakia) in 2013 and for the Bologna Illustrators with The Plaque of the BIB in 2011 during the Exhibition in 2011, 2013, 2014 and 2016. In 2015 Biennial of Illustration in Bratislava (Slovakia). He he received the “Premio Emanuele Luzzati - Gi- publishes with publishers: Rizzoli (Italy), Topipit- gante delle Langhe - XIII Edition” for illustrations tori (Italy), A buen paso (Spain), Vanvere (Italy). of the picture book La Regina delle rane non può bagnarsi i piedi (the Queen of the frogs) Kite Edi- tion and “Giovanni Arpino Award - XV° Edition” for illustrations of the picture book Robot Publisher Rizzoli.
Anna Carll
FORLATI CNEUT
Anna Forlati was born in 1980 in Venice. In 2012 Carll Cneut was born in 1969 in Roeselare (Flan-
she graduated at the Master in Illustration for Pu- ders). He studied Graphic Design at Saint-Lucas
blishing Ars in Fabula publishing her thesis I libri Institute in Ghent and began his working career
di Maliq with the publishing house Rizzoli (Italy) in an advertising agency. In 1996, he illustrated
and the following year the book tables have been his first poetry volume: Varkentjes van marsepein.
displayed at the library Giannino Stoppani in Bo- Since then, Carll has illustrated more than twenty
logna. She has participated in various international books, which have been translated into just as many
exhibitions of illustration, including the Illustrators foreign languages and have received several inter-
Exhibition, Bologna Children’s Book Fair in 2014. national prizes, including the Flemish prize for the
He publishes in Italy with Rizzoli , Edizioni Cor- best illustrated book of the year, 2000 (Belgium);
sare, Settenove, Bulles de Savon (France), Kalimat the Honourable Mention of the Bologna Children’s
(UAE) , édition Notari (Switzerland). Book Fair, 2001; Prix Octogone (France); Eselsohr
(Germany); Zilveren Penseel (Netherlands) etc. In
2015 his exhibition In my head, in Gand, with ori-
ginal tables from The Golden cage and How to draw
birds has had 50,000 visitors in six months.Pablo Roger
AULADELL OLMOS
Graduated in English Philology at the University of Roger Olmos, born in Barcelona in 1975, he beca-
Alicante (Spain), he is an illustrator and cartoonist. me interested in the world of design and illustration
After collaborating with the collective La Taberna from an very young age, spending time in his fa-
del Ñú Azul, he began his professional career by ther’s studio. After completing his studies, he star-
getting the Premio de Cómic Injuve (Youth Institu- ted an apprenticeship at the Institut Dexeus as a
te) in 2000. In his publications he has revisited the scientific illustrator. Later he enrolled in the Llotja
classics and illustrated contemporary texts develo- Avinyo School of Arts and Crafts in Barcelona.
ping his narrative territory. His work has been reco- In 1999 he was selected at the Bologna Children’s
gnized with the Award of the Ministerio de Cultura Book Fair, where he met his first publisher, Ka-
a las Mejores Ilustraciones de Libros Infantiles y landraka. The following year he published his first
Juveniles in 2005 for “Peiter, Peter y Peer y otros book, Tío Lobo, which in 2002 is inserted into the
cuentos of Andersen, the Award to Autor Revela- selection White Ravens Internationale Jugendbi-
ción at the Saló of Cómic in Barcelona in 2006 bliothek of Monaco. He has illustrated over sixty
for The white Tower (ed. De Ponent / ed. Actes Sud titles for many Spanish and international publi-
the An2) and the National Comic Award in 2016 shers such as Edelvives, Penguin Random House,
for Paradise Lost (ed. Sixth Floor, 2015). His recent Macmillan, Kalandraka, Oqo Editora, Ediciones
publications include La feira abandonada (Barbara B, La Galera, Teide, Anaya, Edebé, Planeta, Baula,
Fiore, 2013), The Legend of the Holy Drinker (Red Melhoramentos, Bromera, Editions 62, Pirouette,
Fox, 2014) and Adventures of Huckleberry Finn Nubeocho, The Fragatina, Valentina editions, Pastel
(Sixth Floor, 2016). de Luna, Jaguar. In Italy his books are published by
Logos Edizioni.La scuola Ars in Fabula The children sector occupies for a long time a role of primary importance in the publishing field and has experienced a strong expansion in the last ten years. The il- lustrator who deals with this area is a professional who must have specific knowledge and skills. Narrative, organizational and management skills must combine with cre- ativity and stylistic originality. Ars in Fabula is the school of illustration specialized in this area. The School was born in 2001 in Mace- Illustrators Exhibition of the Bologna rata and is hosted in the rooms of Palaz- Children’s Book Fair. The school has zo Compagnoni Marefoschi, one of the several training offers : the Master most important buildings of the city, in Publishing Illustration is the focal work of Luigi Vanvitelli. Ars in Fabula point of the high artistic and vocatio- was always concerned with publishing nal training, and has been the real en- and is acknowledged in this sector for trance into the labour market for many the high level of preparedness of its gra- students with the publication of their duates. Many, indeed, are the professio- first book. Ars in Fabula received the nal illustrators who have trained here Andersen Award in 2011 for training. and who today work internationally, consecrated by the most important tra- de exhibitions such as the prestigious
To the left the interiors of Palazzo Compagnoni Mare- foschi. Above the facade of the palace and the garden in front of the school. Following the classrooms and some moments during the lessons.
DURATION AND PLACE Visual Style: Send by mail the completed entry form to
RULES The courses have all a weekly duration (Mon-Fri
schedule 09:00-13:00/14:30-18:30) and take place at
the secretariat at info@arsinfabula.com together with
2/3 copies of your drawings and a short curriculum.
the headquarters of the school Ars in Fabula, Palaz-
zo Marefoschi via Don Minzoni 11, 62100 Macerata All courses have a limited number and inscriptions
(Italy). will be inspected by order of arrival with priority for
students enrolled on the entire paths.
CERTIFICATE
For each course students will be issued with a Cer- PAYMENTS
tificate of Attendance. The title for the attendance of Payments must be made within five working days of
the entire paths (Basic Design and Visual Design) confirmation by the secretariat about the availabili-
is recognized, with 5 points in Specific Training for ty of places for the Basic Design courses or admis-
entrance to the Master Ars in Fabula. sion for Visual Style courses. The registration shall
be effective upon receipt of payment.
BASIC DESIGN ILLUSTRATION
These courses are open to all and are intended METHOD OF PAYMENT
to provide students with the basic elements of Bank transfer on checking account registered to
storytelling through images, of picture book design, Ars in Fabula
of painting techniques both traditional and digital, Iban: IT91Y0605513401000000021974
and of animation. As purpose only specify the student’s name and the
name of the teacher or the chosen path. Then send
VISUAL STYLE ILLUSTRATION the payment record by mail to the secretariat.
Courses with selection, aimed at the technical and
stylistic refinement, but also at the deepening of MEMBERSHIP CARD ARS IN FABULA
topics related to the publishing sector. Candidates Ars in Fabula-Summer School is a service provided
from artistic studies, Master and the Entry-Level by the cultural association Ars in Fabula. In order
students do not require selection. to take part you must be associated with the abo-
ve mentioned and be in good standing with the
PRICES payment of membership card. The cost of the card as
The cost of each course is 360 €. It’s possible to pay an ordinary member is 15 euro; it lasts one year and
by bank transfer of 360 euro in one solution or, for entitles you to participate in all the initiatives of the
those registering before May 31, by transfer of 160 association. For membership card or renew contact
euro in advance and a transfer of 200 euro in settle- the secretariat.
ment within 30 days.
SEGRETERIAT
REGISTRATION Ars in Fabula - Scuola di Illustrazione
Basic Design: Send by mail the completed entry Palazzo Marefoschi, Via Don Minzoni n° 11,
form together with a short curriculum to the secre- 62100 Macerata. Tel+ 39 0733 231740
tariat at info@arsinfabula.com www.arsinfabula.com
info@arsinfabula.com
Name
Surname
Street
Summer City
School Telephon
2017 Mail
To suscribe tick individual courses or the entire path.
10/14 Luglio 17/21 Luglio 24/28 Luglio 31 Lug/4 Ago
Basic design Stefano Bessoni Marco Somà Simone Rea Anna Forlati
17/21 Luglio 24/28 Luglio 31 Lug/4 Ago
Visual style Carll Cneut Pablo Auladell Roger Olmos
Date and signature
Send it compiled to: info@arsinfabula.comThe picture book academy
Ars in Fabula
Scuola di Illustrazione
Palazzo Marefoschi
Via Don Minzoni 11
62100 Macerata, Italy
Tel 0733 231740
info@arsinfabula.com
www.arsinfabula.comSummer
School
2017
Ars in Fabula
Scuola di Illustrazione
Palazzo Marefoschi
Via Don Minzoni 11
62100 Macerata, Italy
Tel 0733 231740
info@arsinfabula.com
www.arsinfabula.comYou can also read
