"There’s no
way
your
paintings can’t
improve
after
this course"
"I’ve been painting on my own for a while and thought I was doing okay. Now that I’m taking this course I see so many things I can learn from that will make my work so much better. This is the stuff you can’t get in art school anymore, sadly. There’s no way your paintings can’t improve after this course. That’s how strongly I feel about it." ... Bob Akers., Crystal Lake, IL, United States
"...really superb"
"I find your courses really superb in two ways: first they are very complete and comprehensive, and second they go straight to the point, to the essentials. Both my wife and I paint and we both agree that these art instruction courses are one of the best sources of education for people who want to learn to paint in a direct or alla prima style" Bernado Martin, Alicante, Spain.
Erika is
following
her dream
"This course is truly well run, professionally handled -- and I can only echo the great comments of other students: I am glad, I enrolled in this course!! I got so much out of it already -- lots of explanations, areas to study up on, other artists to learn from. AND I am not at the end of the course, yet. I am getting more and more confident and bold enough to follow my dream -- to become a proficient and sensitive artist.
Erika, USA, 2009
"...already noticed
improvement
in
my work"
"In my opinion, your material is the best I have found. It builds the basics, from the ground up, recognizing that there are no short cuts.....Your course puts all the right info into one package, and even more important, it gives me an organized, building block way to get these things into my head, and I have already noticed an improvement in my work," George, USA
What is included in the Visual Music and Poetry Building Block?
When you learn about how to see both the visual music in a painting and its visual poetry, you begin to see paintings in a new light. Your paintings will start to communicate much more emotion and feeling, rather than being lifeless works. It will become much clearer to you why a master painting is considered a masterpiece, and at the same time make you a much better critique of your own work, helping you to improve much faster.
In this Building Block you will learn how to take into account both the abstract and representational aspects of a painting. A painting consists of visual poetry combined with visual music. The poetry of a painting is what the artist is trying to communicate to the viewer through his or her painting, and the emotion that is elicited from the viewer. The music of a painting is its sensuous, non-intellectual part. It derives from the physiological pleasure the human brain gets from making visual order out of the visual chaos of nature. Combine the two in the right way and you have a very powerful painting.
Most of the other courses in the Painting Academy program deal with either the music side of painting (notan, design & composition, color, and brushwork), or the illusion aspect of the poetry side of painting (observation, shape, and form). These units are essential if you want your work to stand out, and also to help you better understand what makes a master painting.
Some of the things you will learn:
The five components of the visual music and poetry model - the characteristics of the best contemporary work
Pure naturalism to pure abstraction - the choice you have when depicting your subject
How to differentiate the poetry from the music in your painting and make them work together, rather than fight each other
The difference between far music and near music, and why brushwork is so important
An eight point checklist to ensure your painting has visual poetry and visual music
Jacqueline
Spain
"The material is very well presented and easy to understand - no lengthy explanations but short and condensed paragraphs with a load of very valuable information. Along with plenty of illustrations, this makes it a fun and easy study."
What is included in each course unit?
Unit 1 - The Visual Music & Poetry Model
The model described in this course is called the "Visual Music and Poetry Model". It takes into account both the abstract and representational aspects of a painting. In this model, a painting consists of visual poetry combined with visual music. The poetry of a painting is what the artist is trying to communicate to the viewer through his or her painting, and the emotion that is elicited from the viewer. The music of a painting is its sensuous, non-intellectual part. It derives from the physiological pleasure the human brain gets from making visual order out of the visual chaos of nature. This course unit will show you how to combine visual poetry and music to create a powerful painting.
You will learn:
the five components of the visual music and poetry model - the characteristics of the best contemporary work
pure naturalism to pure abstraction - the choice you have when depicting your subject
how to differentiate the poetry from the music in your painting and make them work together, rather than fight each other
the difference between far music and near music, and why brushwork is so important
an eight point checklist to ensure your painting has visual poetry
an eight point checklist to ensure your painting has visual music
how two master painters, John Singer Sargent, and Ludovico Tommasi, achieved visual music and poetry in their work
how visual music and poetry relates to the Painting Academy curriculum
Unit 2 - Creating Poetry
if you want to exaggerate one aspect of your painting to support your concept, you need to simplify all the other areas of your painting. Often, what you take out of your painting is more important than what you leave in. If you have rendered one area of the painting in some detail, you may need to leave other areas of the painting looser and less defined. If you have a high degree of contrast in one area of the painting, you may want to have less contrast in other areas and leave them more subdued. In this unit we are going to take a look at how to create a concept.
You will learn:
the six major types of concept: emotional; aesthetic; descriptive; narrative; complex idea; and message
the two types of concept that can get you in trouble, and why
the principle of subordination and how to deal with multiple subjects in your paintings without losing your focus
how to take advantage of relationships to add poetry to your work and why they are so powerful
when and how to simplify to give more focus to your concept
the most common mistake beginners make when creating poetry and music: the poetry/music mismatch
how to choose the subject matter for your work
how to develop your own individual style of painting
a five-step process for coming up with a concept for a painting
Unit 3 - Emphasis
Once you have created a concept and a design strategy for your painting, you need to focus the elements in the painting towards that concept. For example, you can emphasize key elements in your composition to bring out your concept and better communicate what you want to say about your subject. The most effective way to do this without exaggeration is to use contrast. For example, use light against dark, warm against cool, saturated against less saturated, rectangular versus diagonal, and straight versus curved.
In this course unit you will learn various techniques for emphasizing and exaggerating your concept. You will learn:
10 techniques for using contrast to visually emphasize your concept, including the use of contrast of saturation, light and dark, warm and cool, line, brushwork, texture, and size
when to use exaggeration to enhance your painting, and why it is sometimes necessary to not paint what you see
how to add energy to your paintings
how to use value changes, edges, and foregrounds to create a misty mood
how to dramatize skies and ocean scenes
how to handle moonlight effects
Unit 4 - Student Critiques 1
This course unit contains critiques of student paintings, and each critique looks at both the poetry and the music of the painting, and shows exactly where it could be improved. You will be able to learn a great deal from the problems in these paintings, as you may have the same problems in your own work.
Unit 5 - Student Critiques 2
This course unit contains a second set of critiques of student paintings, and each critique looks at both the poetry and the music of the painting, and shows exactly where it could be improved.
Unit 6 - Master Painting Critiques
This course unit contains a set of critiques of master paintings, so you can see how they used the principles of painting to create their masterpieces. You can learn a lot from looking at master paintings, it is important to spend your time going to museums and galleries and looking at the paintings to see how the masters followed the traditions of painting to create great artwork.
What does this cost?
This building block course is equivalent to a 2 week study course with a professional artist which can cost up to $3000 including travel and accommodation. Many of our students tell us this is the most comprehensive teaching they have found anywhere on the internet. Read their testimonials.
Complete Set of
'Poetry'
Course Units
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