An Introductory Survey of the Techniques of Drawing and Image-Making
Sunday Afternoons in June
June 5th, 12th, 19th, & 26th
Noon - 3:00 pm
Daily Orientation - Brown Bag Lunch
Homework Assignments

Register at:

$60 course fee, payable at registration. $20 per session at the door. All initial materials will be provided, with additional media list at the first session, June 5th. Limit 12 students.

Presented by Michael Elliston Roshi, MS Design, IIT
School of the Art Institute of Chicago, and Dept. of Design, U of I Chicago

Elliston Roshi's professional background is in art and design, including extensive experience in teaching on the college level, and decades in applied design for national accounts. His research background in new product development and marketing gives him a practical perspective on the utility and application of various creative processes that find their provenance in fine art. His fine art paintings have been represented for the past four years by Kai Lin Art Gallery, named best gallery in Atlanta repeatedly during that time.

Course Description

You will be introduced to a half-dozen attitudes and approaches to creating a visual image, with emphasis on dry as well as wet media. The 4-session curriculum will be presented in printed handout, with recommended materials, at the first session. All approaches and techniques are based on Sensei's training in the "New Bauhaus" - ID +IIT, and subsequent development of curricular studies at the Art Institute and Chicago Circle Campus, where he was the youngest assistant professor during his tenure.

Homework exercises will be given to be accomplished during the three week intermissions between the four weekends, to flesh out the scope and depth of your training.

By the end of the course, you will have a working familiarity with a vocabulary of drawing and image-iteration skills that will prepare you to continue developing your eye-to-hand acuity, as well as qualify you for taking an advanced course that sensei intends to offer.

Art & Zen

The connection to Zen will be made clear in introductory remarks and closing dialog, as well as critiques of the works you produce, along with the other aspiring artists. Drawing, photography, and other visual approaches are nothing more than training the eye to see reality. The point is not really to generate a body of visual documents.

In Zen, we are training the entire mind and body. As Master Dogen tells us in Shobogenzo Bendowa, our ability to transcend the limitations of the mind depend on how far we take our development of the eye of practice.