Fine Arts 2D

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Anatomy and the Figure

OAK EXDRW-1508-01
Instructor: Sian Oblak
Tuesday & Thursday, 6:45 p.m. - 9:45 p.m., June 12 - July 12
10 sessions. $335; $20 materials fee payable to instructor at first session. Noncredit. Prerequisite: none
Working primarily from a life model and sometimes from the human skeleton and animal bones, students study basic human anatomy, learning the shapes and placement of key muscle masses and bony landmarks that create the human form. With this heightened visual awareness of the human body’s underlying structure, participants are able to invest their figures with a more lifelike believability. Students further technical skills such as hand-eye coordination, proportion, and accurate measuring, as well as exploring the use of diverse materials (pencil, charcoal, black and white paint, and pastels).

Participants visit the Oakland Museum on a Saturday field trip, July 23rd, discussing works in the collection and some of the academic art principles used. The class examines available figure painting to determine how an understanding of anatomy may or may not be an important factor. If time allows, the class also takes the opportunity to consider the use of color and depiction of space in the landscape collection.
Bring to first class: 18” x 24” Strathmore drawing pad (other brand fine but paper must be drawing quality), one 2b pencil, one plastic eraser.

This course is offered only in the summer.

Animation: Intro to 2D and 3D Production

OAK EXMED-1501-01
Instructor: Ed Gutierrez
Saturday, 10 a.m. - 4 p.m., June 16 - July 21
6 sessions. $350. Noncredit. Prerequisite: none
This course will cover the principles of animation and production pipeline procedures as they relate to 2D (traditional) and 3D animation. The first half of the course will focus on 2D animation production, while the second half will use Maya 3D software to complete assignments. Short animations will be produced in class, with instructor demonstrations preceding all projects. Industry standards will be emphasized and discussed. Students will have the opportunity to compile a final reel of all animations produced in class.

Bring to first class: a sketchbook no larger than 9" x 12", pen, B or 2B pencil, and a 2-4GB flash drive to save assignments. A more detailed materials list will be given out at the first class meeting.

Drawing X25: Pushing Boundaries

OAK EXDRW-1509-01
Instructor: Sheila Metcalf-Tobin
Tuesday & Thursday, 6:30 - 9:30 p.m., Jul 24 - August 9
6 sessions. $210. Noncredit. Prerequisite: none
By investigating a single object over and over again with different methods and from different perspectives, artists gain a familiarity with, and a muscle memory of, their subject that allows them to push past their usual comfort level and default drawing style. In this class, participants focus on drawing a singular object of their choosing. During the first meeting the class examines and explores the object from multiple perspectives, learning the characteristics of its form and details. Participants then work with simplifying, magnifying and multiplying to create a minimum of five well-composed drawings. In each of the following sessions, students continue to experiment with nontraditional methods, materials, and surfaces to create a collection of 25 drawings that define and explore both the act and art of drawing.

Bring to first class: An object that captures your imagination, 20" x 26" drawing board with clips, 18" x 24" pad newsprint, vine charcoal, soft compressed charcoal(2 sticks), sumi ink, assortment of soft chalk pastels, ink pens of various sizes, any and all materials you already have, or with which you would like to experiment. Some additional materials will be required and/or supplied by instructor after the first class session has met.

Dynamic Figure Drawing for Fine Arts & Animation

OAK EXDRW-1511-01
Instructor: Mel Adamson
Monday & Wednesday, 6:30 p.m. - 9:30 p.m., June 4 - July 9 (no class July 4)
10 sessions. $335; $20 lab fee payable at registration. Noncredit. Prerequisite: one previous drawing class or equivalent experience
This course blends figure-drawing techniques from the great masters with contemporary methods of problem solving. Paying consistent attention to line sensitivity, participants hone their skills in drawing the human form with an emphasis on both gesture and structural accuracy.

Students learn to respond directly to the movement, weight, mass, gesture, and character of each pose, while developing the skill of conceptualizing the human figure as a series of connected geometric forms. They gain the ability to measure dimensions and align various parts of the body by incorporating intuitive with mechanical methods. The class explores the dramatic effects of chiaroscuro and analyzes the planes and surface contours of the figure by using the sense of touch as well as sight. By the end, students should be able to balance their attention between gesture, core, and surface volumes, investing their figures with accuracy and character.

Bring to first class: Biggie Sketch or Canson Sketch pad (50 lb), 1 stick medium size vine charcoal, 1-2 sticks willow charcoal - thin, 1 kneaded eraser, 1 chamois, artist tape 1/4" or 1/2", drawing board, 2 charcoal pencil, soft or 2B and 4B or 6B.

Explorations of Color Through Painting

OAK EXPNT-1510-01
Instructor: Merl Ross
Saturday, 9:45 a.m. - 12:45 p.m., June 16 - July 21
6 sessions. $210. Noncredit. Prerequisite: none
This course is intended for students of all painting levels who wish to develop their use of color with acrylic or oil paint.

In this course, participants apply mixing colors to various painting subjects, to gain a deeper understanding of color and its properties. Emphasis is given to developing a personal vision, through explorations of still life and the use of warm and cool shadows, landscape, and the tonal palette, as well as abstraction and the psychology of color.

Individual feedback and group critiques are an integral part of this course.

Bring to the first class: oil or acrylic paints (a minimal palette of titanium white, mars or ivory black, cadmium yellow light and medium, cadmium red medium, alizarin crimson, cerulean and ultramarine blue, cadmium green light, and additional colors if you have them); oil painters should bring odorless mineral spirits, Liquin, Galkyd, or linseed oil; acrylic painters should bring acrylic glazing medium or gloss- or matte-medium; brushes and palette knives; rags, jars, disposable palette sheets; primed canvas or panels, and 9"x12" Bristol paper, vellum surface.

Exploring Watercolor

SF EXPNT-1400-01
Instructor: Lynn Sondag
Saturday & Sunday, 10 a.m. - 1 p.m., July 28 & 29
2 sessions. $135. Noncredit. Prerequisite: none
This workshop is designed to assist individuals with any level of watercolor experience to increase their facility with the medium. Themes, subjects, and imagery are derived from interior environments such as still-life and lighting, as well as architecture and abstract patterns. While exploring various techniques such as washes, blending, "wet into wet," and dry brush, participants investigate ways to merge formal and technical considerations with personal intention and visual expression.

Bring to first class: two brushes (No 8 and No 12 Rounds), 2 sheets of 22" x 30" watercolor paper (hot press, cold press, or rough), small tubes of watercolor paints (Cadmium Red, Cadmium Yellow, Ultramarine Blue, Cerulean Blue, Alizarine Crimson, Burnt Sienna, Viridian).

Intro to Painting

SF EXPNT-1500-01
Instructor: Libby Black
Monday & Wednesday, 6:45 - 9:45p.m., July 11 - August 13
10 sessions. $335. Noncredit. Prerequisite: none
This course is designed for beginners and those who have minimal painting experience. Students learn a variety of techniques, including alla prima, glazing, scumbling, and impasto, while exploring a wide range of subject matter, including still life, portraiture, abstraction, and the model. Individual critiques, group discussions, and field trips to galleries supplement the studio experience.

The course emphasizes learning different methods to develop a personal painting style.

Bring to first class: two preprimed canvas boards, acrylic or oil paints (black, white, yellow, ultramarine blue, and cadmium red hues), palette knife, disposable palettes, several brush sizes, a few jars, rags; if working in oils, bring odorless mineral spirits.

Painting: Beg, Borrow, and Steal

SF EXPNT-1513-01
Instructor: Libby Black
Tuesday & Thursday, 6:45 - 9:45 p.m., July 12 - August 14
10 sessions. $335. Noncredit. Prerequisite: Intro to Painting or equivalent experience

To appropriate is to take possession of. Beg, Borrow, and Steal lifts its title from the 2010 Rubell Family Collection exhibition, and its intent from a quote often attributed to Picasso: “Good artists borrow, great artists steal.” In this course, participants explore the shifting role and meaning of appropriation in artistic practice from postmodernism to contemporary art. Each class begins with a slide presentation and discussion of contemporary painters whose work deals with issues of appropriation. Through these presentations, students investigate shifing notions of originality and authenticity; the counterfeit; satire/parody; mimicry/sampling; and reuse/fair use. Remaining class time is dedicated to studio work. Using one-on-one and group critiques, participants identify what concepts are successful in their work, what techniques are being used to express their ideas, and how those are relevant to Beg, Borrow, and Steal.

Bring to the first class: oil or acrylic paints (a minimal palette of titanium white, mars or ivory black, cadmium yellow light and medium, cadmium red medium, alizarin crimson, cerulean and ultramarine blue, cadmium green light, and additional colors if you have them); oil painters should bring odorless mineral spirits, Liquin, Galkyd, or linseed oil; acrylic painters should bring acrylic glazing medium or gloss- or matte-medium; brushes and palette knives; rags, jars, disposable palette sheets; primed canvas or panels.

The Series

SF EXPNT-1506-01
Instructor: Mel Prest
Tuesday & Thursday, 6:45 - 9:45 p.m., June 5 - July 5
10 sessions. $335. Noncredit. Prerequisite: Introduction to Painting or equivalent experience
Many artists choose to work in a series to hone and explore an idea beyond its initial glimmer. The Series focuses on painting a chosen subject again and again to create a body of work. In the first session, students choose a subject (self-portrait, still life, photographs, landscape, etc.) that will be their topic for the semester. Participants are encouraged to keep a painting journal to help document the growth of their ideas, which allows them to see each painting as a step in the creative process.

Each session includes studio time for painting and may also include critique, slide viewing, writing, a field trip, or time with a visiting artist. The goal of the class is to see works not only as individual paintings but also as part of a larger creative practice.

Bring to first class: sketchbook, writing/drawing tools, your own painting materials, ideas and sources for subject matter.

Photographing Your Artwork

OAK EXPHO-1200-02
Instructor: Douglas Sandberg
Saturday, 10 a.m. - 4:30 p.m., June 16
1 session. $85. Noncredit. Prerequisite: none
This workshop is designed to teach students how to make high-quality digital captures and slides of their artwork. Topics covered include choosing equipment, judging proper exposure, working with the lab, photographing two- and three-dimensional work (including context), documenting a show or installation, digital capture, and mounting and masking slides. Students are encouraged to bring a piece of artwork (two- or three-dimensional) for demonstrations.
Equipment and cameras will be provided for the demonstrations, but students may also bring in equipment they have questions about.

Studio Photography Workshop

OAK EXPHO-1200-01
Instructor: Douglas Sandberg
Saturday & Sunday, 10 a.m.–4:30 p.m, August 11 - 12
2 sessions. $140. Noncredit. Prerequisite: none
Photographing in a studio allows you to control and manipulate light and perspective in ways that create arresting imagery. In this lively workshop students view examples of extraordinary lighting then learn how to achieve the same effect in simple and cost-effective ways.

Hands-on demonstrations cover photographing people and objects, film and digital photography, and studio gear options and backgrounds. Results are seen instantaneously in studio digital capture. Students leave with a basic knowledge of studio equipment and studio lighting techniques, as well as information on how to set up a home studio.

Equipment and cameras will be provided for the demonstrations, but students may also bring in equipment they have questions about.

Collagraph, and Intaglio (Drypoint)

OAK EXPRN-1502-02
Instructor: Tomoko Murakami
Tuesday & Thursday, 6:30 - 9:30 p.m., July 10 - July 31 (no class on July 19)
6 sessions. $210; $20 materials fee payable to instructor at first session. Noncredit. Prerequisite: None
This course explores intaglio (drypoint) and collagraph.

In drypoint, artists can use any sharp instrument with the same freedom as a pencil, incising an image directly into a metal plate . The incised ridges catch and hold ink when the plate is wiped for printing, creating rich, velvety-soft lines, often characterized as “subtle simplicity.”

Collagraph is an amazingly versatile printmaking process based on the construction of a collaged matrix to provide a printable plate. This intriguing technique creates a wide array of different effects — the use of diverse materials providing great textural variation in the paper. The result is often unpredictable, rewarding the artist with an inspirational surprise.

Bring to first class: Notebook, journal or sketchbook, Apron or work cloth, design ideas (9”x12” for collagraph, 4.5” x 6” for drypoint), collage materials (thin, flat objects such as leaves, textured paper)

Optional (If you have any of the following materials, please bring them to the class as well.) Brushes for oils or water colors, drawing Tools, a selection of watercolors or oil paints, water-soluble crayons and pencils, paint palette, carving tools, X-acto knife, drypoint needle, wooden spoon, etching burnisher, and baren, mylar or acetate, fine printing paper (paper for hand printing: Mullberry, Hosho, Kitakata, Okawara, Masa, Rives), lightweight paper (paper for press printing: Rives BFK, Arches Cover, Stonehenge, Sommerset), Sharpie pens, ruler.

Monotype & Relief

OAK EXPRN-1502-01
Instructor: Tomoko Murakami
Tuesday & Thursday, 6:30 - 9:30 p.m., June 12 - 28
6 sessions. $210; $20 materials fee payable to instructor at first session. Noncredit. Prerequisite: None
In this course, participants create black & white and color prints while acquiring fundamental techniques of Monotype and Relief printing.

Monotype is a fluid, malleable medium that captures the transitory imagination of the artist and allows a freedom of expression often elusive with other printmaking processes. The image is painted or drawn directly on a plate and then transferred to paper. Monotype also allows exceptional control, from crisp lines, to subtle tones to, intricate layering of colors and found imagery.

Among the most appealing aspects of Relief Printmaking are its directness and vigor. In relief printing, the parts of the matrix not to be printed are cut away. The raised surface is inked/painted and the print is produced by hand printing or press-printing. Relief prints are characterized by bold, dark-light contrasts.
Bring to First class: Notebook, journal or sketchbook, apron or work cloth, design ideas (drawn on 9”x12” paper)

Optional (If you have any of the following materials, please bring them to the class as well.) Brushes for oils or water colors, drawing Tools, a selection of watercolors or oil paints, water-soluble crayons and pencils, paint palette, carving tools, wooden spoon, etching burnisher, and baren, mylar or acetate, fine printing paper (paper for hand printing: Mullberry, Hosho, Kitakata, Okawara, Masa, Rives), Lightweight paper (paper for press printing: Rives BFK, Arches Cover, Stonehenge, Sommerset), Sharpie pens, ruler

Image Transfers: 30+ Techniques Workshop

OAK EXTEX-1202-01
Instructor: Richard Elliott
Saturday & Sunday, 10 a.m. - 5 p.m., June 16-17
2 sessions. $150; $20 materials fee payable to instructor at first session. Noncredit. Prerequisite: none
OAK EXTEX-1202-02
Instructor: [Richard Elliott](/academics/extended/instructors#
Saturday & Sunday, 10 a.m. - 5 p.m., August 4-5
2 sessions. $150; $20 materials fee payable to instructor at first session. Noncredit. Prerequisite: none

This intensive two-day workshop introduces more than thirty processes for transferring photocopied images, as well as computer laser and ink-jet prints and magazine photos onto paper, fabric, wood, and other surfaces. A variety of visual effects can be achieved for inclusion in drawings, paintings, collages, and artists’ books, or as applications on fabrics, garments, furniture, walls, and more. Photocopying tips and techniques using transfer crayons, pens, pencils, acrylic medium, adhesive materials, natural oils, heat transfer and decal papers, and a variety of solvents are explored. Examples and slides are shown.
Warning: solvents produce noxious fumes; respirator mask is recommended. Materials fee includes a handout packet and most materials. A materials list will be mailed to registrants.

Structure & Image: Computer Jacquard Weaving

OAK EXCOM–1502–01
Instructor: Stacy Speyer
Mon. & Wed., 6:30 p.m.–9:30 p.m., Fri., Sat., Sun. 10a.m.-5p.m., June 8-20
10 sessions. $750; $20 lab fee payable at registration. Noncredit. Prerequisite: basic knowledge of Photoshop and experience working on Mac computers
This intensive course explores how the myriad of patterns possible on a computer-controlled loom can transform drawings, photographic imagery, and text into the structure of a piece of fabric.

The first week of the workshop will introduce students to Pointcarré Computer Jacquard Weaving software, how to import images from Photoshop, and weave samples on the TC-1 computerized jacquard loom. During the second week, each class will begin with instruction followed by open studio, allowing each student time to weave. We will also discuss the history of Jacquard fabrics and look at contemporary works created with computerized Jacquard.

This course is limited to eight students: one student per computer.

Bring to first class: paper and pen for note-taking and a USB flashdrive to save files developed in class.