SummerSchool

2017

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 of-fers two distinguished types of artistic and professional training courses. The Basic Design deals with the steps of planning a picture book concentrating on individual issues, providing the basis for a pro-fessional methodology. On the painting techni-cal side the training offer includes traditional techniques such as watercolor, acrylic, mixed techniques and modern digital contamina-tion. These courses are addressed to all those who intend to approach the publishing indu-stry with professional aspirations, with no li-mits about age and educational qualification. 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 desig-ned for those who have already embarked on their own path in the illustration (Ars in Fa-

The picture book into two full-im-mersion paths of illustration

bula Entry-Level and Master, academies and illustration courses), as deepening and specific improvement. 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 entran-ce to the Master in Illustration Ars in Fabula. In addition at Ars in Fabula every day is Open-day! 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.

SummerSchool

On the cover a picture of Anna Forlati for “Le renard et l’aviateur”, Èditions Notari

2017

Stop-motionStefano Bessoni10/14 July Character designMarco Somà17/21 July

Story-board designSimone Rea 24/28 July

Illustration designAnna Forlati31 July/4 August

Visual style by:Carll Cneut 17/21 July

Visual style by: Pablo Auladell24/28 July

Visual style by:Roger Olmos 31 July/4 August

SummerSchool

Basic design Visual design

Ars in Fabula Summer School10 july / 4 august 2017

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 manufactu-re 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 ma-terials for the construction of the pup-pets, from modeling to the mold, to replicas in series. The various types of clay, foams, resins and latex (projec-tion of photographs from the topics). Third day: Design of an articu-lated character to animate. Gui-ded manufacturing of skeletons and puppets: each member can de-sign and set up his own puppet. Fourth day: Guided manufacturing of puppets. Fifth day: guided finalization

of puppets. Deepening of the softwa-re to make films in stop-motion, espe-cially 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. Stop-motion, 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 pro-cess you can then create cartoons with articulated puppets.

Stefano Bessoni, film-maker and illustrator, will reveal the secrets of ani-mation, 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.

Stefano Bessoni

motionStop

10/14 July

MATERIALS Special aluminum wire for stop-motion animation, and rub-ber 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 cut-ters. Various tools for drawing and mo-deling. Laptop computer and a digital camera.

Characterdesign

This course is dedicated to issues related to the characterization of the cha-racters. 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 Somà17/21 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 pain-ting techniques to get to the final reali-zation of the characters.

TECHNIQUES Watercolor, pencils, di-gital coloring.

MATERIALS Paper sketch, pencils or micromine of different hardness, kne-

aded eraser, for final sheets (smooth white sheets and tracing papers), wa-tercolors, watercolor brushes of various sizes, watercolor satin paper brand Ar-ches 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

designSimone Rea24/28 July

MODALITY The initial work will fo-cus on the text, with the aim of brin-ging 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 practi-cal design phase: the study of the cha-racters, 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 techni-que is basic to the illustrator’s work. The course will also deal with the expe-riments 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 re-presentation 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, measu-ring about 30), adhesive tape, crayons, copy paper A3 or A4, glossy paper, ace-tate, tissue paper, sandpaper, drypoint , smooth paper of basis weight of not less than 320 gr. and max 600 gr. (Ex. Qua-drex), chalcographic roller medium sized (15 cm. approximately), chalco-graphic water-dilutable ink tube (color of your choice).

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.

Illustration

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 illustra-tion 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.

MODALITY Initial analysis of a selec-tion 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 crea-tive release, a sequence of story-board will be faced. We will work to the rea-lization 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.

Anna Forlati

design

31 July/4 August TECHNIQUES Acrylic, pastel pencils, oil pastels.

MATERIALS Scissors, utility knife, glue sticks, whites and blacks A4 cardbo-ards, flat and pointed brushes in diffe-rent sizes, pencils of different grades. Sketch paper, satin paper Fabriano Ar-tistico 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.

One of the most important sectors of the illustrated publishing is un-doubtedly 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 contem-porary style will be the theme of this course conducted by one of the great masters of the field.

Facing a text whose iconography is well-established 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.

Carll Cneut

MODALITY We will work trying dif-ferent formulations for the treated text starting from the more adherent to the text to arrive at alternatives and origi-nal hypothesis.

TECHNIQUES Personal technique. The student will be followed in the de-velopment of ones own technique or of the preferred technique.

MATERIALS Each student will bring the materials with which he/she nor-mally works. NB: It is required by the teacher the work’s portfolio of the student.

17/21 JulyCarll Cneut

Visual style

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 conti-nuing with individual work on the il-lustrations; 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).

24/28 JulyPablo Auladell

This course will face a particularly delicate issue, that is to convey myste-ry 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.

Visual style

31 July/4 August

MODALITY The activity will alterna-te theoretical moments of reflection on the meaning of the text and the mea-ning of the image: the analysis of the subject and its interpretation, the life drawing and its reinterpretation, ca-mera angles and points of view to con-struct 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.

We will create a range of stylistic as-sumptions bringing out your traits, your operating mode, your color palette by creating images for very different texts. Each text is an experience, and our uni-verse emerges through the experiences we have made and the answers that we have been able to give to the many que-stions of the various texts. You will find the essential ingredients to begin to ma-ture your way to see the world.

Roger Olmos

Very special problems arise in dealing with texts by contemporary au-thors. Styles blend together creating unusual and sophisticated imagina-ry. Olmos will guide us during this course in an attempt to overcome the barriers of conventional in a play of contamination and cross-references.

Roger Olmos

Visual style

Stefano Bessoni is a film-maker, illustrator and ani-mator. 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 documen-tary films, attracting the attention of critics and re-ceiving many awards at national and international festivals. In 2015, on the occasion of the sesquicen-tennial of the first edition of Alice in Wonderland, the Luzzati Museum of Genoa has dedicated to him an important exhibition, where all the original il-lustrations 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 Wun-derkammern and old rhymes led him to the crea-tion of several books, all published by publishing house Logos, inspired by this universe: Homun-culus 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.

StefanoBESSONI

Teachers of theSummer School 2017

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 Sar-mede, 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 - Gi-gante 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 Edi-tion 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 Exhi-bition 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), Topipit-tori (Italy), A buen paso (Spain), Vanvere (Italy).

Anna Forlati was born in 1980 in Venice. In 2012 she graduated at the Master in Illustration for Pu-blishing 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 Bo-logna. 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 Cor-sare, Settenove, Bulles de Savon (France), Kalimat (UAE) , édition Notari (Switzerland).

Carll Cneut was born in 1969 in Roeselare (Flan-ders). 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 inter-national 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 ori-ginal tables from The Golden cage and How to draw birds has had 50,000 visitors in six months.

AnnaFORLATI

CarllCNEUT

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 Institu-te) in 2000. In his publications he has revisited the classics and illustrated contemporary texts develo-ping his narrative territory. His work has been reco-gnized 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 Revela-ción 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 beca-me interested in the world of design and illustration from an very young age, spending time in his fa-ther’s studio. After completing his studies, he star-ted 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, Ka-landraka. The following year he published his first book, Tío Lobo, which in 2002 is inserted into the selection White Ravens Internationale Jugendbi-bliothek of Monaco. He has illustrated over sixty titles for many Spanish and international publi-shers 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.

PabloAULADELL

RogerOLMOS

La scuola Ars in Fabula

The School was born in 2001 in Mace-rata and is hosted in the rooms of Palaz-zo 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 gra-duates. Many, indeed, are the professio-nal illustrators who have trained here and who today work internationally, consecrated by the most important tra-de exhibitions such as the prestigious

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 il-lustrator who deals with this area is a professional who must have specific knowledge and skills. Narrative, organizational and management skills must combine with cre-ativity and stylistic originality. Ars in Fabula is the school of illustration specialized in this area.

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 vocatio-nal training, and has been the real en-trance 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 Mare-foschi. Above the facade of the palace and the garden in front of the school. Following the classrooms and some moments during the lessons.

RULE

S

SummerSchool

2017

Send it compiled to: info@arsinfabula.com

Date and signature

To suscribe tick individual courses or the entire path.

Stefano Bessoni Marco Somà Simone Rea Anna Forlati

Carll Cneut Pablo Auladell Roger Olmos

10/14 Luglio 17/21 Luglio 24/28 Luglio 31 Lug/4 Ago

17/21 Luglio 24/28 Luglio 31 Lug/4 Ago Visual style

Basic design

Name

Surname

Street

City

Telephon

Mail

DURATION AND PLACEThe 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, Palaz-zo Marefoschi via Don Minzoni 11, 62100 Macerata (Italy).

CERTIFICATEFor each course students will be issued with a Cer-tificate 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 ILLUSTRATIONThese 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.

PRICESThe 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 settle-ment within 30 days.

REGISTRATION Basic Design: Send by mail the completed entry form together with a short curriculum to the secre-tariat 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.

PAYMENTSPayments must be made within five working days of confirmation by the secretariat about the availabili-ty of places for the Basic Design courses or admis-sion for Visual Style courses. The registration shall be effective upon receipt of payment.

METHOD OF PAYMENTBank transfer on checking account registered to Ars in FabulaIban: IT91Y0605513401000000021974As 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 FABULAArs 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 abo-ve 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 IllustrazionePalazzo Marefoschi, Via Don Minzoni n° 11,62100 Macerata. Tel+ 39 0733 231740www.arsinfabula.cominfo@arsinfabula.com

The picture book academy

Ars in FabulaScuola di Illustrazione

Palazzo MarefoschiVia Don Minzoni 1162100 Macerata, ItalyTel 0733 231740info@arsinfabula.comwww.arsinfabula.com

SummerSchool

Ars in FabulaScuola di Illustrazione

Palazzo MarefoschiVia Don Minzoni 11

62100 Macerata, ItalyTel 0733 231740

info@arsinfabula.comwww.arsinfabula.com

2017