Click a term or class to read detailed information
Click a term or class to read detailed information
Click a term or class to read detailed information
Total Program Length: minimum 18 months
CDC (Classical Drawing Certificate): 9 months (30 weeks)
CPC (Classical Painting Certificate): 9 months (30 weeks)
Each Certificate: 3 Terms
Each Term Length: 10 Weeks
Number of studio classes/term: 2 (must take both at once)
Meets: Tues/Thurs 3 hours each day
Cost: $550 per 10 Week Term
*See schedule for term start dates
As with students wishing to pass, a portfolio review would be required that demonstrates a mastery of techniques and materials utilized in the program. A sufficient example would be a submission of two works in charcoal: 1. A master copy demonstrating accurate shape, value, and edge, as well as the superficial qualities of the original (cracks, brushwork, etc.). This can be smaller than the size of the original, but must be the accurate proportional dimensions. It should be a painting familiar enough for the general public to recognize, and be made available to hang on display at the school to promote the program. 2. A completed figure drawing from life demonstrating believable shape, value, and edge, as well as an understanding of anatomy.
An additional requirement is prior teaching experience, and participation (at least during lecture days) of the mentorship program, to acclimate to the climate and teaching/lecture style of the Academy. Prospective teachers should also have a thorough understanding of the superficial anatomy presented in the second term.
Contact Tim Rees for more info or to submit.
I'm a complete beginner- can I be successful at the Academy?
The academic program has been designed in such a way to allow students of all skill levels to achieve success. It begins with fundamental concepts and quickly progresses to the concepts and techniques necessary to achieve an accurate finished drawing. While no initial skill level is required, students that are most successful are those who commit substantial amounts of time outside of class to drawing and study, and those who are willing to adhere to the advice and techniques presented in class. The students who face the largest opposition are those who have established set patterns and habits of drawing, and those who are unwilling or unable, for whatever reason, to work in the manner presented.
I'm a fairly experienced artist/student. Can I skip ahead to the advanced levels? or I don’t like to draw, I just want to paint. Can I skip ahead to the painting year?
Because of the manner in which the program is designed and information is presented, it is not advisable to skip ahead in the program. However, if the prospective student does wish to skip a level, he or she is welcome to submit a drawing of the subject intended to skip (analogous to the final project of that skill level), as well as complete an administered written exam. Provided the prospective student has met the requirements demanded of the students in the program (listed in the course competency sections of the textbook) as well as a final exam score exceeding 85%, the prospective student is permitted to skip that level. Those who wish to advance directly to the painting program may do so by successfully completing the 3 final assignments of the drawing program and scoring 85% or higher on the written exams.
Doesn't all of that measuring produce '"stiff" or "static" un-lifelike work?
The academic process has the potential to produce drawings and paintings that are very precise, which some people may interpret as stiff or static. The requirements demanded of the students suggest a 95% accuracy of shape faithful to the reference, which, in the early terms of the program, will create something very precise and photographic. The later terms of the program encourage the student to combine accurate perception with anatomical knowledge and theoretical concepts, affording a certain amount of gestural quality. This integration will depend largely on the student. An ideal historical example is the figurative works of Solomon J. Solomon.
Will everyone graduate the Academy with the same style?
This depends entirely on the student, but the short answer is unlikely. The beginning of the program will see all students working very similarly and precisely, and individual variations will be introduced and encouraged as the program proceeds from there, largely depending on the student’s likes and dislikes. The Academy will instead focus on 4 common measuring techniques (mechanical and estimated), a skillful handling of the charcoal medium, and a solid working method (which can ultimately be modified as the year progresses depending on the comfort and skill level of the student).
Will I get the chance to be creative?
The first term, focusing on the development of technical skill via copying, will involve no creativity, other than the selection of work to be copied. Following this term, students will be granted creative liberty in selection and arrangement of subjects and composition to make something unique to them, clear in the visual language of art.
I travel a lot and will probably miss a couple weeks at the beginning and some occasional weeks throughout the quarter- can I make it up?
With little exception, the Academy has a policy of no more than 4 absences per term (out of 20 sessions), especially if those absences occur at the beginning of the term (particularly the first term). If other absences are expected, it is advisable to view the weekly schedule to ensure you will not be missing a lecture or demonstration. It depends on the class size, but it is usually possible to get a repeated small demonstration/lecture if a day must be missed, though needed attention will be provided first to those who have attended all classes and are working forward at the expected pace. One-on-one lecture/demonstration will not be provided outside of class, though occasionally the instructor may attend an open studio or provide additional demonstrations on off days to the group.
I want to be an abstract artist- will I still get use out of the Academy?
We have had several abstract artists enrolled in the program who have found it very useful. Topics most focused on are mastering of materials, strong design with planned composition, and an understanding of the figure in order to integrate it into abstract works.
I'm enthusiastic about learning this approach to drawing and painting but don't have much time out of class- can I still do well in the Academy?
Students who have devoted little studio (non-studying) hours outside of class have progressed through some terms of the program, but do not achieve the same success and growth as those who have committed many hours. It should be expected the total amount of time required for the Academy grows each term. It begins with a minimum of usually 4 outside hours per week (10 total hours a week including class time), and progresses to an additional 15 per week in the last term (20 total a week including class time). Any less time devoted will most likely be insufficient to pass. This should be considered a minimum estimate, as most students will spend far longer to achieve the necessary results required to progress with the program.
What is the mood like at the Academy?
The general atmosphere of the Academy is typically intense, especially in the beginning of the program. It has been designed as a limited instructor interaction program, and as such time in class typically proceeds at a quick pace with copious amounts of information and high expectations. This can often translate into a stressful environment. It is advised students expect to work hard in class and arrive with materials prepared to begin working.
Do I have to bring my materials to class each day?
Students will have storage to leave drawing boards/paper and still life reference in the studio, but will be required to bring their drawing materials to class daily (charcoal, erasers, etc.)
What If I don’t pass the first term? Does that mean I won’t be a good artist and I should quit?
Although the program is well organized and condensed to allow a student to progress to painting in thirty weeks, one must consider this is under ideal circumstances for a student with strong problem solving skills and good physical condition. It is expected that a large volume of students are unable to advance immediately to the following term. Due to the volume of skills to be learned, and the required volume of time needed for homework, 10-20% of students are not able to immediately advance each term.
This does not mean a student should relent to the common myth “artists are born”. It is a learned skill that requires the dexterity of handwriting, the study of learning a new language, and the problem solving skills of a decent chess player (or at very least checkers). These activities are typically not learned quickly. That said, if a passing mark is not received, it simply signifies the required skills have not been acquired, and further practice and study is needed.
The Southwest has been void of a structured program to equip students with a strong fundamental foundation in the understanding and techniques of traditional realism. The Academy is the solution.
The Academy at Rees Atelier is a two-year training program focusing on the methods and information presented in 19th century ateliers and academies. Unlike traditional schools, however, the program is condensed and structured in a way to encourage independent study aside from instructed class time.
The first year of the program is dedicated to drawing, and students will work primarily in charcoal, as it affords the broad range of lights and darks they will be dealing with while painting. Aside from a technical proficiency in charcoal, students can expect to learn effective ways to handle other drawing mediums, such as pen, marker, and white chalk. While students may execute studies and sketches with graphite, it will not be allowed for in class/final projects. Completion of all requirements for the first year will grant students the Classical Drawing Certificate.
The second year of the program will have students painting in oil. They will begin monochromatically (one color), and advance to a limited palette. If the student can successfully manage a limited palette, working in an advanced palette may be permitted. The subject of each class will be similar to the drawing year, and students will spend the majority of their time acquiring a technical proficiency in a variety of painting methods including direct, layered, glazing, scumbling, etc, and knowledge of various painting mediums. Completion of all requirements for the second year will grant students the Classical Painting Certificate.
Each of the two years is divided into three terms. Each term is 10 weeks long, and students attend two studio classes and a lecture class per term. Students meet twice a week, one day for a three-hour studio class, and another day for a different three-hour studio class and a one-hour lecture. Because of the reduced amount of instructed class time, students are expected to cultivate their ability to work and study independently, a critical requirement for a practicing professional artist. The amount of time outside of class the student must commit will vary by the individual, but the average expectation is 5 -10 hours per week the first term, 10-15 hours per week the second term, and 10-20 hours per week the third term. This volume of time is expected to help the student develop good working habits as a transition is made into a more professional role. Those who cannot make this time commitment are far less likely to succeed with the program. Advancement to each successive term is contingent upon the completion of an at-home final assignment. The minimum passing requirements are listed later in the text.
The enrollment of each class is limited to 12 students, resulting in ample individual teacher-to-student interaction. Also, each term has 4 start dates per year. This allows the student the possibility of integrating the program into other facets of life requiring a brief sabbatical. One may leave for 3, 6, or 9 months and return to pick up the program where it was left off. The requirement upon return is to submit a final project to gain admittance into the next term.
Additionally, it is important to consider that while the program is structured for advancement into painting after 9 months of drawing, this should be considered an accelerated path. The traditional timeline to a program of similar design is one to two years, and as such many students will need to repeat one or several terms until they have gained sufficient mastery. This is not a sign of one’s inability to grasp the concept or become an artist, but a mark of the grave and challenging nature of the program. It is simply a sign that the student may require more than the brief 10 weeks to understand and use all of the information presented. Due to life events requiring a leave from the program and the high demands of skill required from the program, the statistical likelihood of a student passing all 3 terms without needing to repeat a term is a mere 16-33% (2-4 students out of a starting class size of 12).
Students will learn large amounts of relevant information throughout the two-year program, and with the requirements of advancement will create six strong portfolio pieces. The three drawings and three paintings of this portfolio will illustrate the skills gained in the course of study. While they will be admirable, one should consider them demonstrations of skill more than the Art that will define the student’s career at a later time. The Academy at Scottsdale Artists’ School is a fundamental program, intended to give the student the skills necessary to adapt and learn any of a broad range of styles and techniques. In this respect perhaps the Academy is unique. It does not make good Artists. It gives students the skills necessary to get the most out of any class, artist, or workshop. Unhindered by lack of ability to use materials and understand core concepts, Academy students can become some of the best Artists.
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