Seamlessly building on the skills and knowledge acquired in Foundation Painting 1, FOUNDATION PAINTING 2 will introduce an intensive colour component. All relevant facets of colour theory and colour mixing will be thoroughly addressed and you will achieve confidence and facility with your newly expanded palette.
In addition to introducing the world of colour, Foundation Painting 2 will also widen the repertoire of painting methods, adding glazing/indirect painting to the mix. In this course you will find the opportunity to continue to hone your sighting and drawing skills, to broaden your knowledge of art history and to continue to develop your individual aesthetic and conceptual investigations. The ultimate goal of the course is to provide you with the skills and confidence to maintain an autonomous and self-motivated painting practice.
FOUNDATION PAINTING 2
Term 4 begins Monday 14th October
12 – 3 pm OR
6:30 – 9:30pm BOOKED OUT
Tutor: Jennifer Whitten
$580 / $540 Concession
PLACES ARE LIMITED
FOUNDATION PAINTING 2 IS SUITABLE FOR
Artists that have completed Foundation Painting 1
Paintbrushes, apron, gloves (optional)
All paints and basic materials
AVAILABLE TO PURCHASE
Brush Starter Pack
– Select from Gift Certificates, Packages, and Products section when booking
Our Foundation Drawing and Painting courses will give you the skills, knowledge and confidence to develop a lifelong and autonomous practice. The focus of these courses is not just on developing your technical skills but also expanding your visual literacy and critical thinking.
We encourage and support our students to make the best work they can, by working hard and building discipline you create long term skills that transcend the duration of the course. All of our teachers are professional artists who generously share their experience and knowledge. You will be exposed to a diverse range of artistic practice, both historical and contemporary, allowing you to explore your own visual motivation and experience of art.
Jennifer Whitten is an American artist and immigrated to Melbourne in 2009. At the start of her career her fastidious and highly skilled manner of working seemed well suited for medical illustration, but she quickly abandoned medical studies in pursuit of her own artistic investigations.
For years, her photorealistic paintings have navigated the aestheticisation of absence and autobiographical nostalgia; and most recently, after an encounter in Italy with a collection of 18th century reverse-glass paintings, she determined that glass would serve as an ideal conduit of these themes. Oil, reverse-glass and representational painting have lengthy histories, but Jennifer’s edgy recontextualisation of these methods upends any hint of the conventional. Incorporating everything from steel, to video, to live music, her complex installations defy the traditional 2D confines set for painting, but preserve its seduction and sincerity.