MICHAEL AZGOUR
   

Art Instruction: Bay Area Courses

Art Instruction   |   Michael Azgour Art Studio   |   Bay Area Courses   |   www.azgour.com

On this page, you'll find information about courses in the San Francisco Bay Area taught by Michael Azgour, MFA.

These classes are open to students of all levels and ages. Courses which are part of a degree program are not listed here.

Links to sample syllabi and materials lists for each course--as well as any other relevant information--appears below. Please note that course outlines and content are subject to change. You will receive an updated syllabi on the first day of class.

If you have any questions or would like to contact Michael for any reason, please email him at:   

Stanford University, Continuing Studies
   Expressive Drawing

STANFORD UNIVERSITY, CONTINUING STUDIES
482 Galvez Mall, Stanford, CA 94305, (650) 725-2650
email: continuingstudies@stanford.edu
http://continuingstudies.stanford.edu/

ART 234
Thursdays, 6:30 – 9:00 pm
10 weeks, January 13 – March 17
2 units

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INSTRUCTOR: MICHAEL AZGOUR
web site: www.azgour.com | Email:  

Instructor availability: immediately prior to and following class meetings, by appointment, and via email

Course Description

Expressive drawing is all about taking subjects from life and translating them into something original on the page. Experimenting with charcoal varieties and ink, students will practice interpreting the subject in unique ways, offering their own aesthetic values to develop their drawings. Exercises from still life, photographs, and live models will give students an opportunity to practice the concepts discussed and build proficiency with wet and dry media. Demonstrations will feature a variety of observational drawing techniques that combine realistic and abstract sensibilities. We will discuss light, form, gesture, movement, line, and composition and how these affect the mood of the drawing. In addition, we will look at slides of modernist and contemporary artwork as students build a greater understanding of expressive approaches to the subject. This course is open to students of all levels.

Process for Evaluation

Grading options are selected by the student upon course registration and can be changed until the last day of class. There are three grading options: letter grade, credit/no credit, and no grade requested. For students who are taking the course for a letter grade or credit/no credit, the following criteria will be used for evaluation:

Assignment 1 15%
Assignment 2 15%
Assignment 3 15%
Assignment 4 15%
Attendance & Participation 40%

Suggested Reading List There are no required texts for this course

•  Free Play: Improvisation in Life & Art , by S.Nachmanovitch
•  Art & Fear: Observations on the Perils (and Rewards) of Artmaking , by David Bayles & Ted Orland
•  Concerning the Spiritual in Art , by Wassily Kandinsky
•  Working Space , by Frank Stella
•  The Artists' Way , by Julia Cameron
•  Artists' Handbook , by Ralph Mayer

Materials Please bring all your materials to class on the first day.

Course Outline

Week 1 January 13 Introduction, Still Life
Introduction to course: objectives, syllabus, and materials
Exercise: abstract compositions based on still life in mixed media
Homework Assignment 1: still life value studies in charcoal on paper (due week 3)

Week 2 January 20 Modern Art History, Still Life
Meet at Wallenberg Hall (Building 160), Room 325 at the beginning of class
Lecture: slide show of expressive drawings from the modern art movements (late 1800's – mid 1900's)
Exercise: drawing from different perspectives in charcoal on paper

Week 3 January 27 Observational Drawing Fundamentals, Still Life
Critique Assignment 1
Demonstration: introduction to observational drawing – form under light, cast and form shadows, value, and edge
Exercise: observational drawing from still life in charcoal on paper
Homework Assignment 2: extended drawing from a still life in charcoal on paper (due week 5)

Week 4 February 3 Contemporary Art History, Abstract Expressive Drawings
Meet at Wallenberg Hall (Building 160), Room 325 at the beginning of class
Lecture: slide show of contemporary drawings (mid 1900's – present)
Demonstration: introduction to ink media – ink quill, toned washes, line, value, edge, and expressive methods of translating form
Exercise: large abstract expressions in ink on paper
Homework: find photographic references and bring them to class next week

Week 5 February 10 Composition, Photographic References
Critique Assignment 2
Discussion: expression through light, mood, and visual ambiguity
Exercise: observational drawing from a photographic reference in choice of media on paper
Homework Assignment 3: extended drawing from a photographic reference (due week 7)

Week 6 February 17 Representational Figure Drawing Fundamentals, Live Model
Demonstration: introduction to figure drawing – gesture, line, weight, proportions, shadow shapes, value, and edge
Exercise: observational drawing from the live model in charcoal on paper
Homework: prepare 5 drawing surfaces for next week's class. Cut small, medium, and large geometric shapes of white drawing paper. Glue these onto black drawing paper, covering at least 70% of the surface with white paper, but leaving some of the black surface showing in-between. 

Week 7 February 24 Abstracting the Figure, Live Model
Critique Assignment 3
Exercise: abstract compositions based on the live model in mixed media on prepared surfaces
Homework Assignment 4: expressive figure drawings in your choice of media on paper (due week 10)

Week 8 March 3 Contemporary Figurative Art, Live Model
Discussion: contemporary figurative art, namely that from the Bay Area Figurative Movement (mid 1900's – present)
Exercise: TBD
Homework: prepare a variety of surfaces for next week (optional)

Week 9 March 10 Expressive Use of Color, Live Model
Demonstration: abstracting through color using soft color pastels on toned paper
Exercise: drawing from the live model using soft color pastels or your choice of media on paper
Homework: prepare a variety of surfaces for next week (optional)

Week 10 March 17 Quick Studies, Live Model
Critique Assignment 4
Exercise: quick studies based on the live model
Discussion: closing discussion

Course outline is subject to change. Students will receive an updated syllabus on the first day of class.

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Stanford University, Continuing Studies
   Introduction to Life Drawing

STANFORD UNIVERSITY, CONTINUING STUDIES
482 Galvez Mall, Stanford, CA 94305, (650) 725-2650
email: continuingstudies@stanford.edu
http://continuingstudies.stanford.edu/

Course Syllabus: ART 09
Thursdays, 6:30 – 9:00 pm, Cummings Art Building, Room #205
Fall 2011: Sep 29 – Dec 8 (no class Nov 24)
10 Weeks, 2 units

Instructor: Michael Azgour, MFA
Email: mazgour@gmail.com
Tel: 415-425-1693
Instructor availability: immediately prior to and following class meetings, by appointment, and via email 

Course Description
Drawing realistically has been a revered art ever since the ancients used mark-making to create the illusion of depth on a two-dimensional surface. This course is designed for beginners who want to learn the basics of drawing from life. Students will develop their representational drawing skills using a variety of charcoal media. As the course progresses, students will draw from still lifes, photographic references, and finally live models. Through a series of demonstrations, in-class drawing, group critiques, and individual assistance from the instructor, students will develop their ability to draw convincingly from life. Focus topics include composition, proportion, value relationships, edge relationships, modeling, materials, and stylization. In-class drawing exercises and assignments will focus on subjects exposed to one-source lighting and will vary in length from quick studies to more developed compositions.

Process for Evaluation
Grading options are selected by the student upon course registration and can be changed until the last day of class. There are three grading options: letter grade, credit/no credit, and no grade requested. For students who are taking the course for a letter grade or credit/no credit, the following criteria will be used for evaluation:

PROJECT 1 20%
PROJECT 2 20%
PROJECT 3 20%
Attendance & Participation 40%

Suggested Reading List There are no required texts for this course
•  Drawing: Mastering the Language of Visual Expression , by Keith Micklewright
•  Free Play: Improvisation in Life & Art , by S.Nachmanovitch
•  Art & Fear: Observations on the Perils (and Rewards) of Artmaking , by David Bayles & Ted Orland
•  Concerning the Spiritual in Art , by Wassily Kandinsky\
•  Working Space , by Frank Stella
•  Artists' Handbook , by Ralph Mayer

Materials Please bring all your materials to class on the first day.
•  a variety of graphite pencils ranging in density
•  a variety of charcoal pencils ranging in density
•  several sticks of compressed charcoal
•  several sticks of vine or willow charcoal
•  white drawing paper pad (18”x24”)
•  rough newsprint pad (18”x24”)
•  drawing clipboard for supporting paper
•  straight-edge ruler (12” minimum)
•  kneaded eraser
•  x-acto knife with blades\
•  hand pencil sharpener
•  chamois cloth
•  sketchbook

Optional Materials
•  several sticks of soft color pastel
•  waterproof black India ink
•  ink quills and nibs
•  a variety of watercolor brushes
•  several sheets of black drawing paper
•  several sheets of archival pastel paper in varieties of gray
•  several sheets of watercolor or bristol paper

About the Instructor
Michael Azgour is an actively exhibiting fine artist living in San Francisco. Specializing in abstract figurative painting, his recent work focuses o n expressive and geometric abstractions of the figure . His work has been shown in galleries across the country and his paintings are part of a number of public and private collections in the United States and Europe. Azgour received an MFA in studio art from the Academy of Art University in San Francisco and is represented by several galleries in the western states. Thirty of his recent paintings were exhibited in a solo show at the Art Museum of Los Gatos in the first quarter of 2011. www.azgour.com

“ Success is dependent on effort”- Sophicles

Course Outline
Week 1 Sep 29 Still Life: Drawing Basics
· Introduction to course: objectives, syllabus, and materials
· Lecture/Demonstration: the basics of drawing from life using the still life as a subject
· Exercise: drawing from different perspectives in charcoal on paper
· Exercise: observational drawing from still life in charcoal on paper
· Homework: still life value studies in your sketchbook in charcoal on paper

Week 2 Oct 6 Still Life: Observational Drawing Fundamentals
· Demonstration: more on observational drawing – focus on form under light, cast and form shadows, value relationships, and edge relationships
· Exercise: observational drawing from still life in charcoal on paper – focus on extended poses
· Homework: find photographic references and bring them to class next week
· PROJECT 1: Extended drawing from a still life in charcoal on paper (due week 4) 

Week 3 Oct 13 Photographic References: Composition
· Demonstration: introduction to drawing from photographic references – focus on composition, selection, scaling, techniques, simplification, composition, and aesthetic adaptation
· Exercise: observational drawing from a photographic reference in charcoal on paper – focus on one extended pose
· Homework: find photographic references and bring them to class next week

Week 4 Oct 20 Photographic References: Technique
· Critique Project 1
· Discussion: using different techniques to vary the focus, mood, and message of the drawing
· Exercise: several quick studies based on one photographic reference – focus on implementing different techniques in each composition
· Exercise: observational drawing from a photographic reference in charcoal on paper
· PROJECT 2: Extended drawing from a photographic reference (due week 6) 

Week 5 Oct 27 Live Model: Figure Drawing Fundamentals
· Demonstration: introduction to figure drawing – focus on gesture, line, weight, proportions, shadow shapes, value relationships, and edge relationships
· Exercise: observational drawing from the live model in charcoal on paper – focus on shorter poses 

Week 6 Nov 3 Live Model: Figure Drawing Fundamentals
· Critique Project 2
· Demonstration: more on figure drawing – focus on form under light, cast and form shadows, proportions, and differentiating value and edge relationships
· Exercise: observational drawing from the live model in charcoal on paper

 Week 7 Nov 10 Live Model: Figure Drawing Fundamentals
· Discussion: methods of emphasis and de-emphasis; examples of notable figurative drawings from art history will be used to communicate these concepts – focus on traditional works
· Exercise: observational drawing from the live model in charcoal on paper – focus on extended poses
· PROJECT 3: Several figure drawings in your choice of media on paper (due week 9) 

Week 8 Nov 17 Live Model: Introduction to Ink and Color
· Demonstration: introduction to ink media – ink quill, toned washes, line, value, edge, and expressive methods of translating form
· Demonstration: using color to abstract – focus on soft color pastels on toned paper
· Exercise: observational drawing from the live model using your choice of media
· Homework: prepare a variety of surfaces for next week's class using: (a) ink washes on watercolor or bristol paper; or (2) newspaper collage on paper (optional)

Nov 24 No Class

Week 9 Dec 1 Live Model: Abstracting the Figure
· Critique Project 3
· Discussion: methods of expression through the use of light, mood, visual ambiguity, mark-making, and overt abstraction; notes on figure-ground relationship; examples of notable figurative drawings from art history will be used to communicate these concepts – focus on contemporary works
· Exercise: pushing and pulling using charcoal and acrylic paint (materials provided)

Week 10 Dec 8 Live Model: Quick Studies
· Demonstration: quick studies from the live model – focus on gesture, weight and expression
· Exercise: quick studies based on the live model
· Discussion: closing discussion

Course outline is subject to change. Students will receive an updated syllabus on the first day of class.

College of Marin, Community Education
   Abstract Painting

COLLEGE OF MARIN, COMMUNITY EDUCATION
Kentfield Campus, Marin County
835 College Ave., Kentfield, CA 94904, (415) 457-8811
http://www.marincommunityed.org/

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INSTRUCTOR: MICHAEL AZGOUR
web site: www.azgour.com | Email:  

“In a successful painting everything is integral…all the parts belong to the whole. If you remove an aspect or element you are removing its wholeness.” Richard Diebenkorn .

COURSE DESCRIPTION (28 hours)
This course is designed for students of all experience levels who wish to strengthen their skills in abstract painting in any medium. Through lectures, demonstrations, discussions, critiques, and in class painting, we will deconstruct modern and contemporary themes as students work to develop a unique voice in their paintings. Topics include: materials, color theory, composition, depth, form, movement, and paint application. New students are welcome.

COURSE OUTLINE

1) Mar 28 Introduction | class overview, syllabus, goals, course project, and materials
Exercise | expressive drawings beginning with observation and developed through aesthetic adaptation
Bring a sketchbook and drawing media to class on the first day

2) Apr 4 Lecture: Color Theory | lecture on color theory, temperature, split complements, analogous color scheme, tints, shades, tones, grays and value
Demonstration: The Palette | focus on issues related to putting color theory to practice, such as: mixing colors, the properties of oil paint, oil mediums, and archival practices; application to other mediums
Exercise | small compositions applying color theory
Bring painting materials on the second class and all remaining classes

Apr 11 No Class

3) Apr 18 Lecture: Shapes, Form and Depth | means and methods of articulating and contradicting depth and space on a two-dimensional surface; shape relationships; form and modeling
Demonstration: Abstract Composition | focus on issues related to beginning a painting using acrylics, such as: composition, value pattern, shape relationships, balance, acrylic mediums, and paint application; discussion on the influence of process to develop a composition
Exercise | begin several paintings by focusing on shape relationships and depth

4) Apr 25 Discussion: Abstracting from Life | focus on contemporary abstract-figurative artists (bring examples)
Demonstration: Abstract-Figurative Painting | focus on issued related to a painting in progress using a photographic reference and oils, such as: movement, focal point(s), color sensitivity, working in layers, aesthetic adaptation, simplification, subtraction, form and light, edges, transparency, glazing and scumbling; discussion on the influence of life and/or photo references to develop a composition
Exercise | begin a painting from a photographic reference
Bring several photographic references

5) May 2 Demonstration: Subtraction | reducing complexity in a composition using acrylics; focus on subtraction,
simplification, positive and negative shapes, transparency, texture, history, pushing and pulling, edge control
Exercise | develop a painting in progress by using subtraction
Bring several paintings in progress which could benefit from simplification

6) May 9 Group Critique – 3-5 completed painting due
Closing Discussion – application of course material, practical issues, professional opportunities as time

This syllabus and course outline are subject to change.

MATERIALS (please bring all materials to class on the first day)

• Basic Oil or Acrylic Paint: alizarin crimson, cadmium red light, cadmium yellow light, lemon/zinc yellow, prussian/pthalo blue, cerulean blue, ultramarine blue, yellow ochre, burnt sienna, burnt umber, titanium white, ivory black
• Additional Colors: naples yellow, permanent green light, viridian, magenta, raw sienna, raw umber, zinc white, mars black
• Brushes & Palette Knives: an assortment of bright, flat, filbert, and round brushes in various sizes, including larger brushes
• palette knife – long blade, for mixing paint
• Mediums & Solvents: oils: linseed oil, stand oil, etc. | mineral spirits (pref. Gamsol by Gamblin)
• Painting Surfaces: canvas and/or other surfaces – always have several primed in various sizes with you
• Other Materials: palette – recommend using a large disposable wax-based palette (12x16” or larger)
• cups/cans – for mineral spirits and mediums | dry media – sketch book, charcoal, pencils, pens, etc.
   

SUGGESTED READING LIST

•  Free Play: Improvisation in Life & Art , by Stephen Nachmanovitch
•  Art & Fear: Observations on the Perils (and Rewards) of Artmaking , by David Bayles & Ted Orland
•  Concerning the Spiritual in Art , by Wassily Kandinsky
•  Working Space , by Frank Stella
•  Trusting the Process: An Artist's Guide to Letting Go , by Shaun McNiff
•  The Artists' Way , by Julia Cameron
•  Artists' Handbook , by Ralph Mayer

This syllabus and course outline are subject to change.

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Pacific Art League
   Abstract Figurative Painting

PACIFIC ART LEAGUE
668 Ramona St, Palo Alto, CA 94301, (650) 321-3891
http://www.pacificartleague.org

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INSTRUCTOR: MICHAEL AZGOUR
web site: www.azgour.com | Email:  

COURSE DESCRIPTION (30 hours)
The Bay Area has a unique tradition of abstract figurative artists in the post-modern era. Each artist approaches the figure with a different vision and sensibility. In this class, we will attempt to deconstruct modern and contemporary themes as students work to develop a unique voice in their painting. Various methods of abstracting from life will be visited using the human figure as a subject. Approximately two hours per class will focus on in-class painting, either short studies from the live model or painting from photo references. These will be complimented by lectures, demonstrations, a photo shoot, a group critique, and one-on-one evaluations. Prerequisite: Some painting experience

COURSE OUTLINE - Fall 2010

1) 09/14 Introduction | course content, goals, syllabus, materials
Still Life | painting or drawing from the still life in black & white – focus on composition and value relationships
bring drawing materials to class

 2) 09/21 Photo: Demonstration | beginning a composition with simple abstract shapes, building layers
Photo: In Class Painting | painting from photo references, simplifying the figure, monochromatic studies converting detail into simple shapes
bring painting materials to class (sessions 2-9) | bring photo references of figures to class

3) 09/28 Model: Photo Shoot (1 model, 1 hour)

Model: In Class Painting | painting from a model – several short studies (20 min each)
bring a camera and the additional model fee for the photo shoot

4) 10/05 Model: Demonstration | painting from a model, methods of abstraction
Model: In Class Painting | painting from a model – several short studies (20-40 min each)

5) 10/12 Photo: Demonstration | method of painting from a photo reference, beginning a composition
Photo: In Class Painting | painting from photo references
bring photo references of figures and environments to class

6) 10/19 Photo: In Class Painting | painting from photo references
bring photo references of figures and environments to class

 7) 10/26 Model: In Class Painting | painting from a model – several short studies (40-60 min each)

8) 11/02 Model: In Class Painitng | painting from a model – two short studies (60 min each)

9) 11/09 Model: In Class Painting | painting from a model – one extended study (120 min)

10) 11/16 Final Group Critique | 3-5 completed paintings due
we will not be painting in class today

MATERIALS

• Basic Oil or Acrylic Paint: alizarin crimson, cadmium red light, cadmium yellow light, lemon/zinc yellow, prussian/pthalo blue, cerulean blue, ultramarine blue, yellow ochre, burnt sienna, burnt umber, titanium white, ivory black
• Additional Colors: naples yellow, permanent green light, viridian, magenta, raw sienna, raw umber, zinc white, mars black
• Brushes & Palette Knives: an assortment of bright, flat, filbert, and round brushes in various sizes, including larger brushes
• palette knife – long blade, for mixing paint
• Mediums & Solvents: oils: linseed oil, stand oil, etc. | mineral spirits (pref. Gamsol by Gamblin)
• acrylic: matte medium, heavy gel, etc.
• Painting Surfaces: canvas and/or other surfaces – always have several primed in various sizes with you
• Other Materials: palette – recommend using a large disposable wax-based palette (12x16” or larger)
• cups/cans – for mineral spirits and mediums | dry media – sketch book, charcoal, pencils, pens, etc.