Archive

We propose the themes and topics covered in the programs of the past years.

2021 Course programme - Simmetriy and asimmetry - Proportion and Harmony in Fabric Design

Topic
The thematic courses offered by Studio Aphorisma are scheduled for 2021 under the title “Symmetry / Asymmetry – Proportion and Harmony in Fabric Design”.
The concept of symmetry is present in all human design and creative activities. From mathematical theories and musical compositions to architecture and art, there is a discourse on symmetry and asymmetry in all areas.
We also see a widespread application of the symmetry concept in geometric decoration on everyday objects, especially artistically or handcrafted ones, as well as in design and textile creation. Symmetrical ornaments typical of the various cultures have always been used also on fabrics and ceramics.
When designing a textile, symmetry is a fundamental concept that determines both the fabric appearance and the style in terms of structure and colour.
If, when designing an artifact, symmetry communicates balance, harmony and limitation, asymmetry, on the other hand, communicates dynamism, play and freedom. Asymmetry therefore represents a “break” of symmetry, through which, if used in a targeted and effective way, a fabric can be made more attractive and aesthetically pleasing.

Objectives of the course
Weaving a sequence of colours or structures that repeat itself with minimal differences can be a meditative and very relaxing process.
The aim of our courses is to open our atelier to welcome people interested in the world of weaving and fabric design who are looking for a sense of balance and reflection in these times of stress.
Through the process of weaving the participant will be able to find, in the quiet of our atelier, a dimension of tranquility and harmony: these are, after all, the characteristics that identify the very concept of “symmetry”.
During the course the participants are individually instructed, in compliance with the rules of social distancing, and can develop and implement their own individual project on the subject of symmetry/asymmetry..

Course content 
The following topics will be covered during the course:
– Introduction to the conscious use of different design tools when planning a fabric in order to combine the different elements into a well-proportioned, harmonious and aesthetically pleasing whole.
– Symmetry and asymmetry in fabric colour design
– Symmetry and asymmetry in weave structures and patterns
– Symmetry and asymmetry in tapestry weaving
In our extensive library, participants can be inspired by a wide range of documentation on fabrics from different cultures with many examples of symmetrical patterns that have been created and used by artists and textile workers in the past.

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2020 Courses programme - Transparencies

TRANSPARENCIES
Transparency in fabric

Theme
Studio Aphorisma proposes two courses to be held in 2020 on the multi-faceted topic “Transparencies – transparency in fabric: techniques, projects and textile art”.
Transparency is one of the key design properties of a fabric. To create transparency and translucency effects in a fabric, first of all it is necessary to understand the difference between transparent, translucent and opaque fabrics and to realize how our perception of these textiles changes according to light and background. Transparency and depth effects can, however, also be produced in compact fabrics such as, for instance, tapestries.
During the course of the creative activity we shall endeavour to analyse these topics to clarify the various technical and perceptive aspect.

Objectives of the course
The purpose of our courses is to encourage our participants to design and produce fabrics that are visually and aesthetically attractive.
Whilst designing, exploring and experimenting with various textile structures, we shall draw inspiration from elements such as air, water, light and the surrounding landscape. We will enable our weaves to interact with these natural elements trying to verify how this may change our perception of a textile surface and how we can design new fabrics in this way.
The participants will be supported by the lecturers throughout all the phases of their projects from the beginning until the realisation of their projects on the loom. They will also be encouraged to experiment with surfaces that incorporate space, colour and brightness to obtain fabrics with transparency effects using both appropriate techniques and traditional or new materials.

Aspects approached
The following aspects will be approached during the course:
How to design a textile structure with empty and full spaces
Materials, techniques and weaves for transparent fabrics
Layering of two or more transparent fabrics
Designing transparent and translucent effects in fabrics evaluating different types of lighting, reflections and shadows.
Transparencies in compact fabrics and tapestries
How to change the perception of a texture by manipulating the fabric to obtain different effects of reflectivity and transparency.

Art Courses
TRANSPARENCIES
Transparency in fabric

Theme
Studio Aphorisma proposes two courses to be held in 2020 on the multi-faceted topic “Transparencies – transparency in fabric: techniques, projects and textile art”.
Transparency is one of the key design properties of a fabric. To create transparency and translucency effects in a fabric, first of all it is necessary to understand the difference between transparent, translucent and opaque fabrics and to realize how our perception of these textiles changes according to light and background. Transparency and depth effects can, however, also be produced in compact fabrics such as, for instance, tapestries.
During the course of the creative activity we shall endeavour to analyse these topics to clarify the various technical and perceptive aspect.

Objectives of the course
The purpose of our courses is to encourage our participants to design and produce fabrics that are visually and aesthetically attractive.
Whilst designing, exploring and experimenting with various textile structures, we shall draw inspiration from elements such as air, water, light and the surrounding landscape. We will enable our weaves to interact with these natural elements trying to verify how this may change our perception of a textile surface and how we can design new fabrics in this way.
The participants will be supported by the lecturers throughout all the phases of their projects from the beginning until the realisation of their projects on the loom. They will also be encouraged to experiment with surfaces that incorporate space, colour and brightness to obtain fabrics with transparency effects using both appropriate techniques and traditional or new materials.

Aspects approached
The following aspects will be approached during the course:
How to design a textile structure with empty and full spaces
Materials, techniques and weaves for transparent fabrics
Layering of two or more transparent fabrics
Designing transparent and translucent effects in fabrics evaluating different types of lighting, reflections and shadows.
Transparencies in compact fabrics and tapestries
How to change the perception of a texture by manipulating the fabric to obtain different effects of reflectivity and transparency.

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2019 Courses programme - Textile Identity / re-invented tradition

2019 Courses programme

Weaving courses
Textile Identity / re-invented tradition

Theme
Studio Aphorisma proposes for the 2019 season a series of courses that will take place on the subject: “Textile Identity /re-invented tradition”.
Textile art is one of the more ancient forms of craftsmanship of our civilisation. Handcrafted textiles have contributed, as part of the diverse cultural contexts, to the forming of local identity and to the production of the collective memory.
Today there is a renewed interest in the creation of handcrafted fabrics, in particular within contemporary fashion, also because of the awareness of ecological sustainability present in the creative processes of handcrafted fabric.
Our courses introduce the idea of re-invention of a fabric starting from the analysis of textiles of past traditions. Re-invention in design means creating something completely new while respecting history, a message based on something that existed previously. Modernisation and contemporaneity are therefore very important in the design process of the new because they allow the survival and dissemination of traditional cultural identities in different forms.

Objectives of the course
The aim of our proposal is to develop new textile design tools that are able to interpret weaving systems and techniques of past cultures with modern concepts and designs.
Students will be encouraged to consider the process of creation and design as a narration that links the old and the new.
The traditional fabrics of the past will have for us a value that is both historical and cultural. For this reason an in-depth exploration will take of techniques and ancient artefacts belonging to different cultural contexts.
Considering that every hand-produced fabric is a unique piece, one creation to itself, the following will be required from our participants: a passion for the subject, patience and openness to learning.

Aspects approached
Design elements used in traditional textiles such as: colour, shape, material, technique and function
Construction and deconstruction of a handmade fabric
Textures and weaves drawn from many popular cultural contexts
Analysis and re- interpretation of fabrics of the various regions and cultures of the past
The use of novel materials applied to ancient methods, techniques and models
Elaboration of a series of samples on the loom that will document the various stages of development of the personal research.

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Art Courses
Art: Textile Identity / re-invented tradition

Theme
Studio Aphorisma proposes for the 2019 season a series of courses that will take place on the subject: “Textile Identity /re-invented tradition”.
Textile art is one of the more ancient forms of craftsmanship of our civilisation. Handcrafted textiles have contributed, as part of the diverse cultural contexts, to the forming of local identity and to the production of the collective memory.
Today there is a renewed interest in the creation of handcrafted fabrics, in particular within contemporary fashion, also because of the awareness of ecological sustainability present in the creative processes of handcrafted fabric.
Our courses introduce the idea of re-invention of a fabric starting from the analysis of textiles of past traditions. Re-invention in design means creating something completely new while respecting history, a message based on something that existed previously. Modernisation and contemporaneity are therefore very important in the design process of the new because they allow the survival and dissemination of traditional cultural identities in different forms.

Objectives of the course
The aim of our proposal is to develop new textile design tools that are able to interpret weaving systems and techniques of past cultures with modern concepts and designs.
Students will be encouraged to consider the process of creation and design as a narration that links the old and the new.
The traditional fabrics of the past will have for us a value that is both historical and cultural. For this reason an in-depth exploration will take of ancient artefacts belonging to different cultural contexts.

Aspects approached
Design elements used in traditional textiles such as colour, shape and material as inspiration for new designs
Choosing an inspiration theme for the composition of a mood board made with collage of images, colours, illustrations, drawings, photographs, fabric samples, etc.
How to create your own colour palette.
How to elaborate fabric designs with techniques such as frottage, collage, masking etc.
How to design textures of fabrics taken from various iconographic contexts of popular cultures.

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2018 Courses programme - Bauhaus Inspiration

2018 Courses programme

Weaving courses
Bauhaus Inspiration

Theme
2019 celebrates the 100th anniversary of Bauhaus, the international school founded by Walter Gropius which bridged the gap between art and crafts and paved the way towards modern design.
Starting from our intensive work experience during the reconstruction of the Gropius-Zimmer textiles in Weimar, we are proposing a unique creative experience to the participants of the 2018 courses based on the theme: “Bauhaus Inspiration”.
The fundamental concept on which all the activities at Bauhaus were focused at that time, was to combine art and crafts. Its Director Walter Gropius once said “there is no essential difference between the artist and the craftsman, a knowledge of crafts is essential for every artist – this is the original source of creativity”.

Objectives of the course
Among the many craft laboratories at the school from 1919 to 1933, the one dedicated to weaving was among the most productive.
The main objective of our project is to examine the teaching methods, techniques, aesthetic and pedagogical concepts of Bauhaus and to comprehend their lasting impact on modern textile design and contemporary artistic practices.
The laboratory activities will allow us to experiment the creation of textile structures inspired by Bauhaus. We do not however intend to draw inspiration solely from the strict use of pure geometry, as we will allow ourselves to also be inspired by the creative and poetic aspect of this experience.

Aspects approached
The use of the various colour theories and weaving techniques using highly personal methods have been widely explored in the Bauhaus weaving laboratories.
More specifically, our activity includes in-depth studies on the connection between structure and colour and that between shape and function. The participants will work out different fabric designs and weave a series of samples during the course.
The works of Anni Albers, Gunta Stölzl, Benita Otte together with those of Else Mögelin and all the textile artists who have worked at Bauhaus shall be the source of inspiration for the fabric design activities.
Discussions will also take place on the colour theories of Johannes Itten, Paul Klee and Josef Albers, a lecturer at Bauhaus during the years when he proposed his theory on the interaction of colours and their effective use in the study of creation of depth on a flat surface.

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Art Courses
Bauhaus Inspiration

Theme
2019 celebrates the 100th anniversary of Bauhaus, the international school founded by Walter Gropius which bridged the gap between art and crafts and paved the way towards modern design.
Starting from our intensive work experience during the reconstruction of the Gropius-Zimmer textiles in Weimar, we are proposing a unique creative experience to the participants of the 2018 courses based on the theme: “Bauhaus Inspiration”.
The fundamental concept on which all the activities at Bauhaus were focused at that time, was to combine art and crafts. Its Director Walter Gropius once said “there is no essential difference between the artist and the craftsman, a knowledge of crafts is essential for every artist – this is the original source of creativity”.

Objectives of the course
The main objective of our project is to examine the teaching methods, techniques, aesthetic and pedagogical concepts of Bauhaus and to comprehend their lasting impact on modern design and contemporary artistic practices.
During the laboratory activities we will experiment the creation of works, drawings and paintings inspired by the works of artists who have taught at Bauhaus, focusing our attention mainly on Paul Klee. We do not however intend to draw inspiration solely from the strict use of pure geometry, as we will allow ourselves to also be inspired by the creative and poetic aspect of this experience.

Aspects approached
The use of the various colour theories and painting techniques using highly personal methods have been widely explored at the Bauhaus school.
More specifically, this laboratory activity includes in-depth studies on the connection between shape, function and colour.
Discussions will also take place on the colour theories of Johannes Itten, Paul Klee and Josef Albers, a lecturer at Bauhaus during the years when he proposed his theory on the interaction of colours and their effective use in the study of creation of depth on a flat surface.

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2017 Courses programme - Line: space and surface

2017 Courses programme

Weaving courses
Line: space and surface

Theme
The central theme of our 2017 course season is the line.
The line has a physical but also spatial and conceptual significance.
Drawing a line may be the simplest of creative acts.
A single line is the basic element of every drawing, as the thread is the basic element of every fabric.
The line connects two points but can also trace a path that, from one point, can move in all directions.
There are light and dark, joyous and tragic, weak and strong lines.
There are soft and hard, rough and smooth, glossy and matt threads.
A woven line can be raised, indented or knotted.
A single line on the fabric surface creates depth and the illusion of space.
Paul Klee “a line is a dot that went for a walk.”
The journey for the course participants starts here, with a reflection on the line concept expressed by Klee.

Goal of the course
The objective of this course is to explore, through textile practice, the relationship between the design and realisation of a fabric. During the course, each participant will be invited to investigate the spatial and expressive properties of the line in fabric. We will be using various compositional techniques adapted to the design of a textile structure using the line as the basic element. The participants will be able to experiment with different weaves and patterns obtained with different module variations: inverted, rotated, cropped or reflected. They can also use the element of the line in its varied expressions: short, long, thick, thin, uneven, broken, straight, crooked and so on.

Techniques and materials
During the “Line, space and surface” course the participants will implement a process for the development of original fabric creation techniques. The activities comprise the design and the realisation of a series of textile items freely created with different techniques on various types of looms and with natural and also more unusual materials and yarns. The participants will be individually guided throughout all the phases of their work.
They can also enjoy the environment which is ideal for the realisation of their works also exploiting the reciprocal stimuli that will inevitably arise from contact and exchange with the other participants.

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Art Courses
Line: space and surface

Theme
The central theme of our 2017 course season is the line.
The line has a physical but also spatial and conceptual significance.
A line consists of points.
The line connects two points but can also trace a path that, from one point, can move in all directions.
A single line is the basic element of every drawing.
Drawing a line may be the simplest of creative acts.
There are light and dark, joyous and tragic, weak and strong lines.
A line transmits the energy and movement of the hand that drew it.
The line is effective as a gestural trace of handwriting.
A horizontal line, the word is self explanatory, suggests the horizon.
A single horizontal straight or curved line creates the illusion of a landscape and space.
Paul Klee says “a line is a dot that went for a walk.”
The journey for the participants of our Line: space, surface course starts here, from a reflection on this line concept of Paul Klee contained in his “Pedagogical Sketch Book”.

Goal of the course
The objective of this course is to extend the experience of our students in the use, in particular, of mixed techniques. Each participant will be prompted to connect and merge the traditional boundaries of the various painting mediums with a fluid line. They will all be able to experiment with lines, drawing different types of lines with difference types of instruments, using different colours and different tools, namely pencils, crayons, watercolours, gouache, acrylics and so on. In addition to representing the outline, lines can also be used for the application of the tone of light, shadows and shading. In this case, our objective will not be to produce realistic effects, but to use these exercises to strengthen the connection between the eyes, hands and brain, all the tools required to learn to see and to facilitate the creation process.

Techniques and materials

The course activities comprise the design and implementation of a series of artistic artifacts made of paper.
Under the guidance of the course lecturer, the participants will take part in practical exercises such as:
– defining a shape with a line
– creating a structure with a line
– dividing space with a line
– drawing an outline with a line
– creating tonal variations with a line
– connecting different parts of the surface of a painting with a line.

Each participant can use the tools available at our atelier to create their works.
They can also enjoy the environment which is ideal for the realisation of their works also exploiting the reciprocal stimuli that will inevitably arise from contact and exchange with the other participants.

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2016 Courses programme - Textiles: structure and tactility

2016 Courses programme

Weaving courses
Textiles: structure and tactility
Textile creation encompassing the tactile and the visual
.

Theme
Nowadays new technologies allow us to increase our visual perception but at the same time limit the role of the tactile experience. However in the field of textile creation sufficient space is given over to appreciating the skilled craftsmanship and to creating textiles from tactile effects.
This is the design theme of our courses scheduled for 2016, i.e. the need to recapture and relive the experience of physical and tactile contact with the world of fabrics often considered as a second skin.

Goal of the course
During the course activity we will explore the world of materials and textile techniques with the aim of creating exciting fabrics that will have an inherently tactile nature.
If commonly the visual weave and the tactile quality to date have been considered separately, this course will help you to discover the living language of connection to therefore see textiles as a tool of visual and tactile knowledge combined.
The aim of this course is to increase the sensory experience of participants, to broaden their technical knowledge and to increase their artistic and creative skills.

Techniques and materials
In this course we will be creating fabrics, playing with materials, exploring surfaces and different tactile-visual effects, combining functional and sensory quality, enhancing and experiencing in particular the multitude of
sensations and emotions that a fabric can communicate.

Subjects covered
In this course we will be creating fabrics, playing with materials, exploring surfaces and different tactile-visual effects, combining functional and sensory quality, enhancing and experiencing in particular the multitude of sensations and emotions that a fabric can communicate.
Upon conclusion of the course, the items produced will be appropriately paginated and exhibited in our atelier for a final presentation.
All the tools and materials useful for the creation and impagination of your work will be available at our studio.

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Art Courses
Painting: structure and tactility
Pictorial practice encompassing the tactile and the visual

Theme
Nowadays new technologies allow us to increase our visual perception but at the same time limit the role of the tactile experience. However contemporary artistic creation has for some time now experimented going beyond ocular vision and thereby enhancing the tactile experience.
This will be the design theme of our painting courses that are scheduled for 2016.

Goal of the course
If tactile and visual quality are commonly treated as separate elements, this course will help you to rediscover the living language of connection between the visual and the tactile texture through the hands-on experience of painting.
Participants will be invited to consider artistic creation as an activity that incorporates the values of the past to explore new forms of expression. Participants will be offered the use of traditional materials and tools with an opportunity to explore the use of mixed techniques and new media.
The objective of this course is to increase the sensory experience of participants, to broaden their technical knowledge in the expressive use of materials and to increase their artistic and creative skills.

Programme
The course activity involves the design and implementation of a series of artistic artefacts created on paper or on other similar media with the following techniques: tempera, watercolour, acrylic, collage, mixed techniques, photography, etc.
Attendees will be able to enjoy the environment conducive to the realisation of their creations in close contact and exchange with the other course participants. They will in any case be personally supported by the tutor at all phases of creation of their work.

Techniques and materials
During the research phase the use of appropriate techniques and materials that have an inherent tactile quality will be encouraged. This will allow participants to create new shapes by combining textures, reliefs and colours in a sensory narration with numerous novel tactile sensations.
Upon conclusion of the course, the items produced will be appropriately paginated and exhibited in our atelier for a final presentation.
Each participant will be able to bring with them all the tools and materials useful to the accomplishment of their work, otherwise they are welcome to use the materials available at our atelier.

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2015 Courses programme - Woven Book - Thoughts, yarns, textures, marks and shapes in the creation of a woven book.

2015 Courses programme

Weaving courses
Woven Book
Thoughts, yarns, textures, marks and shapes in the creation of a woven book.


Theme
In line with the topic aimed at analysing in depth the relation between textile and text, we are proposing the ‘’Woven Book” theme for course season 2015.
According to the etymology, the Italian word ”libro” derives from Latin “liber’’ that was originally indicating the film beneath the tree bark. Moreover, the botanic term “liber” recalls an existing relation since its origins, between writing and textile fibres. In fact, from the term “liber” also derives ‘’Liberian fibres”, which are vegetable fibres essentially obtained from the trunk of some plants like hemp, linen, jute, etc..

Goal of the course
The objective of the course is to see, through hands-on activities, how the book, which was once the privileged writing medium, is losing today its function to support the written word to embrace multiple expressions developed towards a complex language experience, more multi-sensorial.
During the course activity, the book will not be considered by us as a simple writing support medium, neither as a “word container”, but it will be seen as an independent three-dimensional object, extended in space.
If writing can be considered a sequence of marks expanding in the space, the book can also be thought as an expanding sequence of spaces (pages). These spaces will be conceived, created, designed, woven, drawn, shaped, written, etc., by the participants attending our courses.

Programme
The course activity foresees the design and creation of a unique textile object in the form of a book, pliable or other, a book that can also be created from a fabric/ text consisting of woven textures, special materials, layers, embroideries, cuts, etc. Each participant assisted by the instructor will choose his/per personal path, starting from creation until the execution of the design. He/she will also be assisted in implementing all practical tools aimed at executing his/her woven book.

Techniques and materials
All textile materials (natural and non, Liberian fibres, etc,) or non textile materials can be freely used by the participants, also papers recycled from other books, newspapers, Japanese paper ‘’washi’’, etc.
At the end of the course, the created works will be properly paged and displayed in our atelier.
Each participant, at his/her discretion, can bring personal materials such as: drawings, papers, photographs and any other type of material that could be used to create the woven book.
All other tools and materials required to execute and page the book will be available at our atelier.

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Art Courses
Artist Book
Thoughts, texts, textures, marks and shapes in the creation of an artist book.

Theme
In line with the topic aimed at analysing in depth the relation between writing and art, we are proposing the ‘’Artist Book” theme for course season 2015.
According to the etymology, the Italian word ”libro” derives from Latin “liber’’ that was originally indicating the ‘’bark’’ (internal bark of the tree) which was once used as writing support medium.

Goal of the course
The objective of the course is to see, through hands-on activities, how the book, which was once the privileged writing medium, is losing today its function to support the written word to embrace multiple expressions developed towards a complex language experience, more multi-sensorial.
During the course activity, the book will not be considered by us as a simple “word container”, but it will be seen as an independent three-dimensional object, extended in space.
If writing can be considered a sequence of marks expanding in the space, the book can also be thought as a expanding sequence of spaces (pages). These spaces will be conceived, created, designed, shaped, traced, written, manipulated or left blank, by the participants attending our courses.

Programme
The course activity foresees the creation and execution of an artistic object in the form of a limited edition book, a book that can also consist of a single sheet, with cover and internal pages created using mixed techniques.
The participants attending the course will dispose of all the tools needed to create their personal book-object, conceiving a poetic and sensorial, visual and tactile tale through texts and images, consisting of a mix of letters, marks, drawings, shapes, colours and images.

Techniques and materials
The participants can freely use different techniques and materials like paper recycled from other books, tempera, watercolour, collage, frottage, drawing, photography, monotyping, hand-made paper, etc. At the end of the course, the books will be assembled using simple and original binding, and will be displayed in our atelier.
Each participant, at his/her discretion, can bring personal materials like old photographs, drawings, papers, or any other material that could be used to create the book.
All other tools and materials required to execute and page the book will be available at our atelier.

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2014 Courses programme - How to write by weaving

2014 Courses programme

Weaving courses
Textile / Text / Texture
How to write by weaving


In this course we intend, together with the participants, to explore the connection between weaving and storytelling through and from the practical experience of weaving.

The connection between textile and text corresponds to one of the oldest metaphors in which it is stated that thought is a thread, the narrator is a spinner of yarns and the true narrator is a weaver.
The terms “textile” and “text” come from the same Latin root “texere” and at the same time indicate the connection between writing a story and the creation of a fabric. From the same root is also derived the word “texture” that refers to the quality of the structure of a fabric but may also refer to the plot of a tale. The textus- fabric is thus composed of a weft yarn that as an organic line creates a structure based on a system in which warp and weft, writing and weaving intersect.

The aim of this course is to create fabrics reflecting on shapes, materials, processes, concepts and abstractions that are linked to the activities of weaving.
During the laboratory activity, participants will be able to develop projects through a serial module or with free techniques, creating textile narratives composed together by harmony, repetition, complexity and aesthetics. Particular attention will be given to the choice of materials, structures (texture), and the quality of the product through which the fabric will take the form of a “textus”: a written page to be entirely read.

Topics covered:
How to write by weaving
Inspiration, creation and relating of a “narrative” textile module
Methods and tools for the design of textile texture
Chromatic colourways of the fabric

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Art Courses
Painting / Text / Texture
Text as image


During this year’s course we intend to offer participants a range of broad technical and practical experience to develop forms of operating-thought with painting techniques in relation to the theme proposed.
Reflecting on “Painting/ Text/ Texture” today, means seeing how from the beginning painting and writing have been closely intertwined. Already in the Latin world Horace with the motto “ut pictura poiesis” (painting is like poetry) had laid the foundations of the relationship between painting and written text.
In artistic practices of modern art the use of the written text has become a very widespread feature. Since 1967, the year in which Sol LeWitt coined the term “conceptual art”, the work based on text has represented a substantial and fundamental theme in the research of contemporary art.
This year’s course activities will thus focus on that area of the practice of painting in which written text loses its identity as a set of words and becomes “textual painting”.

Description
Each participant in creating a bridge between writing and image will be able to experiment with materials and techniques of painting, writing, photography and collage made with different techniques and materials, creating with these images complex effects of texture.
When the work is finished each participant will collect all the intermediate stages of their creations: the drafts, sketches, quotes from texts, the various tests, ideas, etc. , thus demonstrating the work process followed.

Topics covered:
– Raising awareness of the written sign as expression.
– Transition from the text to the text image.
– Reproducibility and modularity of signs through the various textures.

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2013 Courses programme - Weaving rhythms

2013 Courses programme

Weaving courses
Weaving rhythms
The fabric between process and creation: materials, inspiration, patterns


The general concept of rhythm is based on the division of time and space into variable forms and measures. Therefore, we can consider rhythm as a sensitive peculiarity that all arts have in common: from handicrafts to visual arts, poetry, music and architecture.
In the specific sector of textile craft production, the rhythm paces practical actions like gestures, movements, beats and pauses.
The endless design and planning variables of gesture and graphic and chromatic rhythms on the fabric surface will be studied in depth during our course. Together with lab activities, the students will reflect on the different methods to use time and space in the textile craftsmanlike activity since these aspects evoke rhythms, sounds, repetitions, pauses that combine the sense of sight, touch and hearing.

Topics discussed:
Inspiration sources drawn from local nature, culture and architecture.
Textile design of live graphic and chromatic rhythms.
Realisation of projects using suitable materials, weaves and techniques.

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Art Courses
Art rhythms
Painting between process and creation
Design, acrylic painting, water colours, digital photography

The general concept of rhythm is based on the division of time and space into variable forms and measures. Therefore, we can consider rhythm as a sensitive peculiarity that all arts have in common: from handicrafts to visual arts, poetry, music and architecture.
In the visual perception of the landscape, shadows and chiaroscuro characterise a large variety of images and unexpected visual rhythms and hidden details that the light brings out.
Moreover, when painting, brush strokes and repeated colour marks can create paced surfaces with different peculiarities: surfaces in relief, repetitions of regular, irregular marks, chromatic rhythms, drips and spots. All matter effects that underscore how the pictorial language is in constant evolution and is expanding its communication range.
In this course, each student can conceive his own visual story, tracking rhythmic marks on the paper representing the movement of his body in space.

Topics discussed:
Art practice in relation to the surrounding live space.
Visual perception of chromatic rhythms and different aesthetic harmonization techniques of a surface.

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