The summer Studio Residency programs take place in both Boston and Bar Harbor, Maine with instruction from leading Lesley faculty. Courses offered include printmaking, digital photography, and landscape painting.
This intensive residency offers artists a comprehensive residency experience in a
shorter period of time. From Monday to Saturday, museum visits, studio
work, workshops and demonstrations combine to provide a total immersion
experience in an urban setting of contemporary art. Artists choose one
of three disciplines that are offered. Demonstrations will provide a
base for learning new techniques to deepen personal studio work and may
also be developed for classroom experiences. Participants will produce a
portfolio of work that will be presented for a final critique/seminar
at the end of this week-long studio intensive. Graduate students will
be required to produce a greater quantity of work.
Monotype Printmaking will provide a brief
overview of the history of monotype and show examples of historical and
contemporary monotypes, as well as prints from the Lesley student
archive. The first demonstration, An Introduction to Monotype, will
introduce subtractive and additive monotype techniques in black and
white oil-based inks. In subtractive monotypes the ink is rolled on to
cover the plate completely (creating a solid black) and then ink is
removed with a variety of tools (brushes,rags, q-tips) to create the
image. In additive monotypes the use of solvents and mediums to create
ink washes will also be introduced. The concept of the cognate or
"ghost" print will be explored, as will issues of paper preparation,
press use and plate registration. The second demonstration, Techniques
in Color Monotype, will introduce a range of techniques that can achieve
multi-colored prints including stencil and water-based monotypes.
Participants will learn to create stencils using mylar that can be
re-inked and used in a variety of ways to create series of related
monotypes. Then the use of watercolor paints and Caran d'Ache watercolor
pencils to create monotypes in a non-toxic environment will be
explored. In this technique images can be created in water-based media
at home and brought in to print in the studio, since the damp paper
reactivates the image when it is printed.
Faculty: Bryan SmithLocation: Lesley University College of Art and Design, Boston, MA
Artists' books exist at the unique intersection of sculptural objects, text, image, and sequence. Books can be dynamic and engaging art objects for artists who work in all mediums including painters, designers, printmakers, and writers. Write, Print, Bind will explore the structure and the content of handmade artists' books.
A field to trip to the collections at Houghton Library at Harvard University will offer an overview of the rich history of artists' books from the medieval to the modern era.
An introduction to book making techniques will cover traditional sewn structures such as signatures and Japanese stab binding, as well as folded and non-traditional sculptural structures. These book forms and techniques can be adapted for the studio and classroom. An active discussion of materials will examine paper types and usage, cover and binding choices, adhesives, and tools.
The content of the books will explore the relationship between text, image, sequence, and narrative. Participants will create examples of the various book forms and work with the instructor to develop a final project based on a personal narrative.
A workshop in papermaking will allow participants to craft paper that can be used in book projects and in the letterpress studio. An introduction to letterpress printing will explore the fundamentals of setting, printing, and actively incorporating text and image on the page. Further demonstrations in collage, experimental printmaking, and mixed media will help participants develop the rich interior content of books.
Faculty: Kate CastelliLocation: Lesley University College of Art and Design, Boston, MA
Jewelry and Metalsmithing with Hand Tools will explore various techniques, tools, materials, and historical and contemporary works. We will do this through demonstrations, exercises, discussions and critiques and studio time.
We will first look at the works of historical and contemporary jewelry and metalsmith artists. Participants will then develop an awareness of different types of metal and their uses. Many hand techniques will be explored including sawing, which allows you to cut shapes and openings in your work, cutting straight and curved lines and angles, drilling and piercing for intricate detail work, and sanding and finishing techniques for completion and presentation. Participants will be amazed at how they can translate their image making sensibility to working in metals and mixed media.
Through demonstrations, participants will learn proper use of various tools and how to care for them including saws, shaped files, hammers, dapping blocks and punches, wire brushes and sand papers. Finishing and texturing techniques can distinguish metal pieces in a full range of pattern and design. Metal forming techniques can transform a flat piece of metal to 3-dimensional form. Participants will also learn different types of joining through cold connections like rivets and tabs. Riveting and cold connection allow us to connect metal to metal or metal to different mediums without the use of a torch. We will also learn to fabricate different types of links, connections and chains that can be used for various applications.
The emphasis of this workshop is on basic metalsmithing techniques that lend themselves to incorporating various mediums and applications without the need for torch work. Using basic hand tools that are readily available, we will work with techniques that are very accessible for both studio and classroom work. With all of these techniques it is possible to incorporate various materials such as paper, fiber, beads and found objects. Participants will create technical pieces based on demonstrations as well as create pieces that they design and that incorporate other mediums of their interest.
Faculty: Samantha ArmstrongLocation: Lesley University College of Art and Design, Boston, MA
This intensive is designed for artists
and art educators who are interested in infusing and informing their
individual practice with a variety of expressive mediums that expand
their existing repertoire of techniques. Demonstrations will include Pen
and Ink, Monotype Printing, Photo Transfer Process, Watercolor and
Assemblage/Collage. Participants may choose one or more new techniques
to incorporate into their professional work while they expand and
strengthen their skills as teachers.
Each day will begin with a morning
session that introduces new materials, methods and demonstrations. Works
by contemporary artists challenge participants to develop their
personal artist vision in ways that demonstrate a deeper understanding
of the relationship between art and meaning. Afternoon sessions will
provide an opportunity for participants to select from and apply
processes within their own professional work. Exploration of new
practices will provide the means to further explore ideas and develop a
unique body of work. Participants may choose to work from life,
imagination or previously established content. Evening sessions will be
group critiques and prompted discussions where participants show work
from the day and discuss concepts, discoveries, challenges and contexts
within the contemporary art world. Faculty: Joan RyanLocation: College of the Atlantic campus which overlooks Frenchman Bay and Bar Island in Bar Harbor, Maine.
Landscape and seascape painting are too often ill understood and dismissed as decorative. In this residency, we will examine the formal, iconographic, and emotional qualities that motivate the depiction of landscape and seascape, and that condition viewer's responses to these depictions. Topics to be considered: historical questions of when, why, and how landscape and seascape arose; the tension between space and the particulars in it; the dialogue between the medium and the image; genres of landscape and seascape.
Landscape Seascape; Outdoor Painting will take advantage of the varied environment on the coast of Maine. Participants will paint directly from nature to explore the landscape from the macro to the micro in its richness of flora, geology and ever changing light utilizing a variety of painterly approaches. Students will focus on plein air painting but will also consider the use of photographic reference. As well as working in the field and studio, classes will include slide lectures, demonstrations, plus one-on-one and group critiques.
This course is designed to expand the student's skills as a painter while deepening her understanding and appreciation of the natural landscape, to develop their personal artist vision in ways that demonstrates a deeper understanding of the relationship between art and meaning.
Faculty: Tony ApesosLocation: College of the Atlantic campus which overlooks Frenchman Bay and Bar Island in Bar Harbor, Maine. Tuition (2014 rates) *2015 rates coming soon$500: Non-credit tuition for Teachers Only or$1,575: 3 Undergraduate credits or$2,775: 3 Graduate creditsRegistration Fee: $30PDPs available upon request Additional FeesBar Harbor, Maine $575/Single; $485 Shared (Meals included) Boston/Cambridge $558/Single + air conditioning (No Meals included)Refund Policy Participants
must withdraw 1 week prior to the start of the class in order to
receive a full tuition refund (less registration fee).
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