Summer School 2017
Summer School 2017
The picture book into two full-immersion 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 offers two distinguished types of artistic and professional training courses.
bula Entry-Level and Master, academies and illustration courses), as deepening and specific improvement.
The Basic Design deals with the steps of planning a picture book concentrating on individual issues, providing the basis for a professional methodology. On the painting technical side the training offer includes traditional techniques such as watercolor, acrylic, mixed techniques and modern digital contamination. These courses are addressed to all those who intend to approach the publishing industry with professional aspirations, with no limits about age and educational qualification.
The courses shall be attended individually or in the formula complete path. The certificate issued by the two courses Basic Design and Visual Design guarantees the recognition of 5 points of 5 as Specific Education for entrance to the Master in Illustration Ars in Fabula. In addition at Ars in Fabula every day is Openday! You can request an appointment with the school tutor for your port-folio rewiev and to plan the course of your study or entry to the 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 painting technical side, the teachers will guide our students in a program aimed at developing a personal technique. These courses are designed for those who have already embarked on their own path in the illustration (Ars in Fa-
On the cover a picture of Anna Forlati for “Le renard et l’aviateur”, Èditions Notari
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 Marco SomĂ 17/21 July
Visual style by: Carll Cneut 17/21 July
Story-board design Simone Rea 24/28 July
Visual style by: Pablo Auladell 24/28 July
Illustration design Anna Forlati 31 July/4 August
Visual style by: Roger Olmos 31 July/4 August
Stop motion Stefano Bessoni
10/14 July
Stefano Bessoni, film-maker and illustrator, will reveal the secrets of animation, 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 the stopmotion technique, with the analysis of some of the most important animators of art films and commercial cinema. Second day: The manufacture of skeletons, from the simple ones in braided iron wire to the complex ones with ball joints and micro screw adjustments. The various types of materials for the construction of the puppets, from modeling to the mold, to replicas in series. The various types of clay, foams, resins and latex (projection of photographs from the topics). Third day: Design of an articulated character to animate. Guided manufacturing of skeletons and puppets: each member can design and set up his own puppet. Fourth day: Guided manufacturing of puppets. Fifth day: guided finalization
of puppets. Deepening of the software to make films in stop-motion, especially Dragonframe (projection of the program interface and analysis of some realized animations). Of short shots in stop-motion. Realization of short shots in stop-motion.. TECHNIQUES Stop-motion. Stopmotion, also called shooting in step one or motion animation is a filmmaking and animation technique. Step one uses a particular software that allows to capture one frame at a time, driven by the operator / animator. With this process you can then create cartoons with articulated puppets.
MATERIALS Special aluminum wire for stop-motion animation, and rubber 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 cutters. Various tools for drawing and modeling. Laptop computer and a digital camera.
Character design This course is dedicated to issues related to the characterization of the characters. 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 SomĂ
17/21 July
MODALITY From the observation of the real to the sketches in pencil until the final synthesis of the chosen story. We will then pass to the study of painting techniques to get to the final realization of the characters. TECHNIQUES Watercolor, pencils, digital coloring. MATERIALS Paper sketch, pencils or micromine of different hardness, kne-
aded eraser, for final sheets (smooth white sheets and tracing papers), watercolors, watercolor brushes of various sizes, watercolor satin paper brand Arches or Fabriano Artistico 300 gr., Pc Photoshop CS4 or later, graphics tablet, collage cards, for example: rice paper, textured papers, (for convenience and to save time it is preferable to bring the material already digitized and stored in a single folder).
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 focus on the text, with the aim of bringing out various interpretations. An analysis of the technical characteristics of the various picture books will follow: paper, sizes, pages, print sheet, passage from the original to the printing. Great importance will be given to the practical design phase: the study of the characters, the settings, the rhythm of the pages, up to the creation of storyboard which is the real project of the book. Knowledge of the storyboard technique is basic to the illustrator’s work. The course will also deal with the experiments on color for the realization of the definitive tables.
TECHNICAL acrylic, monotype and mixed media, story-board (story-board is an English term for the graphical representation in the form of sequences designed in chronological order, of the shots of a picture book, a comic book or a cinematographic work ). MATERIALS Acrylic, round and flat brushes of various sizes (important to bring at least a large flat brush, measuring about 30), adhesive tape, crayons, copy paper A3 or A4, glossy paper, acetate, tissue paper, sandpaper, drypoint , smooth paper of basis weight of not less than 320 gr. and max 600 gr. (Ex. Quadrex), chalcographic roller medium sized (15 cm. approximately), chalcographic 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 illustration 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 selection of books with particular attention to rhythm, structure, and the image-text relationship. Theoretical and practical insights into the structure and rules of the picture book, color, composition, the yield of detail and technique. After a series of warm-up exercises for creative release, a sequence of story-board will be faced. We will work to the realization of one or more tables, thinking about how not to lose in the definitive table the freshness and strength of the black and white sketch.
TECHNIQUES Acrylic, pastel pencils, oil pastels. MATERIALS Scissors, utility knife, glue sticks, whites and blacks A4 cardboards, flat and pointed brushes in different sizes, pencils of different grades. Sketch paper, satin paper Fabriano Artistico 300 gr. A fine tip marker. Acrylic of the following colors: titanium white, gray of Paynes, natural umber. Pastel pencils and oil pastels. Modeling paste Liquitex or or something. Cotton cloth, fine sandpaper. A drypoint.
Visual style
Carll Cneut 17/21 July
One of the most important sectors of the illustrated publishing is undoubtedly 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 contemporary style will be the theme of this course conducted by one of the great masters of the field. Facing a text whose iconography is wellestablished in the popular imagination as in the case of the classics, requires great narrative skills to an illustrator as well as the ability to innovate while remaining close to the text. For this you need to acquire critical sense to figure out which section in ones own stylistic sample is more faithful to the text that you are facing.
MODALITY We will work trying different formulations for the treated text starting from the more adherent to the text to arrive at alternatives and original hypothesis.
Carll Cneut
MATERIALS Each student will bring the materials with which he/she normally works. NB: It is required by the teacher the work’s portfolio of the student.
TECHNIQUES Personal technique. The student will be followed in the development of ones own technique or of the preferred technique.
Visual style
Pablo Auladell 24/28 July
This course will face a particularly delicate issue, that is to convey mystery 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 illustrations? Like Alice we must cross the mirror and look at the text from there, or immersing ourselves in the deep lake of the text to return with an image and give it life. As always I will share with you the process of elaboration of my new picture books, as well as the problems, thoughts and achievements of a year’s work. Pablo Auladell
MODALITY In the morning we will start with audiovisual lessons continuing with individual work on the illustrations; at the end of the day there will be a comparison to comment and share progress and difficulties. MATERIALS Base material for drawing (pencil, paper, etc.) and everything with which students prefer to work to 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 authors. Styles blend together creating unusual and sophisticated imaginary. 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 assumptions bringing out your traits, your operating mode, your color palette by creating images for very different texts. Each text is an experience, and our universe emerges through the experiences we have made and the answers that we have been able to give to the many questions of the various texts. You will find the essential ingredients to begin to mature your way to see the world. Roger Olmos
MODALITY The activity will alternate theoretical moments of reflection on the meaning of the text and the meaning of the image: the analysis of the subject and its interpretation, the life drawing and its reinterpretation, camera angles and points of view to construct a narrative and a personal look. TECHNIQUES The teacher will follow the development of the technique used by the student. MATERIALS Each participant can bring the materials with which he/she habitually works.
Teachers of the Summer School 2017
Stefano BESSONI
Stefano Bessoni is a film-maker, illustrator and animator. 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 documentary films, attracting the attention of critics and receiving many awards at national and international festivals. In 2015, on the occasion of the sesquicentennial of the first edition of Alice in Wonderland, the Luzzati Museum of Genoa has dedicated to him an important exhibition, where all the original illustrations 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 Wunderkammern and old rhymes led him to the creation of several books, all published by publishing house Logos, inspired by this universe: Homunculus 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 SOMÀ
Simone REA
Marco Somà was born in Cuneo in 1983. After studying painting at the Academy of Fine Arts, he attended the Master in Illustration for Publishing Ars in Fabula. His illustrations have been selected for the Annual 2011 of Illustrators (Milan), at the 31st edition of Le immagini della fantasia in Sarmede, for the Biennial of Illustration in Bratislava (Slovakia) in 2013 and for the Bologna Illustrators Exhibition in 2011, 2013, 2014 and 2016. In 2015 he received the “Premio Emanuele Luzzati - Gigante delle Langhe - XIII Edition” for illustrations of the picture book La Regina delle rane non può bagnarsi i piedi (the Queen of the frogs) Kite Edition and “Giovanni Arpino Award - XV° Edition” for illustrations of the picture book Robot Publisher Rizzoli.
After graduating at the Academy of Fine Arts in Rome he began to focus on editorial illustration for children and teenagers. He begins to be known with the selection of the exhibition ‘Figures Futur’ in Montreuil (Paris) in 2006. Consecrated then with the selection to the Bologna Illustrators Exhibition in 2008, 2011, 2015, 2016. He was awarded with The Plaque of the BIB in 2011 during the Biennial of Illustration in Bratislava (Slovakia). He publishes with publishers: Rizzoli (Italy), Topipittori (Italy), A buen paso (Spain), Vanvere (Italy).
Anna FORLATI
Carll CNEUT
Anna Forlati was born in 1980 in Venice. In 2012 she graduated at the Master in Illustration for Publishing Ars in Fabula publishing her thesis I libri di Maliq with the publishing house Rizzoli (Italy) and the following year the book tables have been displayed at the library Giannino Stoppani in Bologna. She has participated in various international exhibitions of illustration, including the Illustrators Exhibition, Bologna Children’s Book Fair in 2014. He publishes in Italy with Rizzoli , Edizioni Corsare, Settenove, Bulles de Savon (France), Kalimat (UAE) , édition Notari (Switzerland).
Carll Cneut was born in 1969 in Roeselare (Flanders). He studied Graphic Design at Saint-Lucas Institute in Ghent and began his working career in an advertising agency. In 1996, he illustrated his first poetry volume: Varkentjes van marsepein. Since then, Carll has illustrated more than twenty books, which have been translated into just as many foreign languages and have received several international prizes, including the Flemish prize for the best illustrated book of the year, 2000 (Belgium); the Honourable Mention of the Bologna Children’s Book Fair, 2001; Prix Octogone (France); Eselsohr (Germany); Zilveren Penseel (Netherlands) etc. In 2015 his exhibition In my head, in Gand, with original tables from The Golden cage and How to draw birds has had 50,000 visitors in six months.
Pablo AULADELL
Roger OLMOS
Graduated in English Philology at the University of Alicante (Spain), he is an illustrator and cartoonist. After collaborating with the collective La Taberna del Ñú Azul, he began his professional career by getting the Premio de Cómic Injuve (Youth Institute) in 2000. In his publications he has revisited the classics and illustrated contemporary texts developing his narrative territory. His work has been recognized with the Award of the Ministerio de Cultura a las Mejores Ilustraciones de Libros Infantiles y Juveniles in 2005 for “Peiter, Peter y Peer y otros cuentos of Andersen, the Award to Autor Revelación at the Saló of Cómic in Barcelona in 2006 for The white Tower (ed. De Ponent / ed. Actes Sud the An2) and the National Comic Award in 2016 for Paradise Lost (ed. Sixth Floor, 2015). His recent publications include La feira abandonada (Barbara Fiore, 2013), The Legend of the Holy Drinker (Red Fox, 2014) and Adventures of Huckleberry Finn (Sixth Floor, 2016).
Roger Olmos, born in Barcelona in 1975, he became interested in the world of design and illustration from an very young age, spending time in his father’s studio. After completing his studies, he started an apprenticeship at the Institut Dexeus as a scientific illustrator. Later he enrolled in the Llotja Avinyo School of Arts and Crafts in Barcelona. In 1999 he was selected at the Bologna Children’s Book Fair, where he met his first publisher, Kalandraka. The following year he published his first book, Tío Lobo, which in 2002 is inserted into the selection White Ravens Internationale Jugendbibliothek of Monaco. He has illustrated over sixty titles for many Spanish and international publishers such as Edelvives, Penguin Random House, Macmillan, Kalandraka, Oqo Editora, Ediciones B, La Galera, Teide, Anaya, Edebé, Planeta, Baula, Melhoramentos, Bromera, Editions 62, Pirouette, Nubeocho, The Fragatina, Valentina editions, Pastel 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 illustrator who deals with this area is a professional who must have specific knowledge and skills. Narrative, organizational and management skills must combine with creativity and stylistic originality. Ars in Fabula is the school of illustration specialized in this area. The School was born in 2001 in Macerata and is hosted in the rooms of Palazzo Compagnoni Marefoschi, one of the most important buildings of the city, work of Luigi Vanvitelli. Ars in Fabula was always concerned with publishing and is acknowledged in this sector for the high level of preparedness of its graduates. Many, indeed, are the professional illustrators who have trained here and who today work internationally, consecrated by the most important trade exhibitions such as the prestigious
Illustrators Exhibition of the Bologna Children’s Book Fair. The school has several training offers : the Master in Publishing Illustration is the focal point of the high artistic and vocational training, and has been the real entrance into the labour market for many students with the publication of their first book. Ars in Fabula received the Andersen Award in 2011 for training.
To the left the interiors of Palazzo Compagnoni Marefoschi. Above the facade of the palace and the garden in front of the school. Following the classrooms and some moments during the lessons.
RULES
DURATION AND PLACE The courses have all a weekly duration (Mon-Fri schedule 09:00-13:00/14:30-18:30) and take place at the headquarters of the school Ars in Fabula, Palazzo Marefoschi via Don Minzoni 11, 62100 Macerata (Italy). CERTIFICATE For each course students will be issued with a Certificate of Attendance. The title for the attendance of the entire paths (Basic Design and Visual Design) is recognized, with 5 points in Specific Training for entrance to the Master Ars in Fabula. BASIC DESIGN ILLUSTRATION These courses are open to all and are intended to provide students with the basic elements of storytelling through images, of picture book design, of painting techniques both traditional and digital, and of animation. VISUAL STYLE ILLUSTRATION Courses with selection, aimed at the technical and stylistic refinement, but also at the deepening of topics related to the publishing sector. Candidates from artistic studies, Master and the Entry-Level students do not require selection. PRICES The cost of each course is 360 €. It’s possible to pay by bank transfer of 360 euro in one solution or, for those registering before May 31, by transfer of 160 euro in advance and a transfer of 200 euro in settlement within 30 days. REGISTRATION Basic Design: Send by mail the completed entry form together with a short curriculum to the secretariat at info@arsinfabula.com
Visual Style: Send by mail the completed entry form to the secretariat at info@arsinfabula.com together with 2/3 copies of your drawings and a short curriculum. All courses have a limited number and inscriptions will be inspected by order of arrival with priority for students enrolled on the entire paths.
PAYMENTS Payments must be made within five working days of confirmation by the secretariat about the availability of places for the Basic Design courses or admission for Visual Style courses. The registration shall be effective upon receipt of payment. METHOD OF PAYMENT Bank transfer on checking account registered to Ars in Fabula Iban: IT91Y0605513401000000021974 As purpose only specify the student’s name and the name of the teacher or the chosen path. Then send the payment record by mail to the secretariat. MEMBERSHIP CARD ARS IN FABULA Ars in Fabula-Summer School is a service provided by the cultural association Ars in Fabula. In order to take part you must be associated with the above mentioned and be in good standing with the payment of membership card. The cost of the card as an ordinary member is 15 euro; it lasts one year and entitles you to participate in all the initiatives of the association. For membership card or renew contact the secretariat. SEGRETERIAT Ars in Fabula - Scuola di Illustrazione Palazzo Marefoschi, Via Don Minzoni n° 11, 62100 Macerata. Tel+ 39 0733 231740 www.arsinfabula.com info@arsinfabula.com
Name Surname
Summer School 2017
Street City Telephon Mail
To suscribe tick individual courses or the entire path.
Basic design
10/14 Luglio
17/21 Luglio
24/28 Luglio
31 Lug/4 Ago
Stefano Bessoni
Marco Somà
Simone Rea
Anna Forlati
17/21 Luglio
24/28 Luglio
31 Lug/4 Ago
Carll Cneut
Pablo Auladell
Roger Olmos
Visual style Date and signature
Send it compiled to: info@arsinfabula.com
The 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.com
Summer 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.com