Art & Design Courses - Online & in London  

For students who have attended our ceramics courses, this is an opportunity to return and glaze your bisquit fired work. Basic glazing techniques will be taught, with advice on which glazes to use.

An introduction to this specialised craft where you will be taken through the process to make a small mosaic piece.

In this fun, 1-day workshop you will be taught how to print onto t-shirts, tote bags and other fabrics. Students will learn basic screenprinting techniques, including how to put your own designs onto screens, correct inks and printing methods and how to clean and prepare screens.

This workshop provides a forum for exploring and discussing the process (and sometimes challenges) of working with clients over a commercial design brief or commission. While some design briefs are relatively straightforward, and perhaps require a simple rendering of the client's vision, at other times the client can be unsure of what they actually want, and it can be a frustrating, uncertain and time-consuming process for the designer to identify and produce a solution to what is, sometimes, a poorly-defined question. Referring to real-life examples and case-studies, this workshop will take learners through the process of making a pitch, deconstructing a brief to be certain of what the client wants and needs (and whether these are same thing), presenting proposals, and working within time, resource and financial constraints. These are invaluable skills for the design professional that are equally applicable, for the student, to project briefs and coursework.



For this workshop, you will need to have access to A3 or A4 plain paper, and a range of coloured marker pens, as well as a notebook. Basic materials will be provided, but you are welcome to bring and use your own as well.

Does every creative act have meaning? Is there a statement – conscious or unconscious – inherent in everything we do as artists? Should we interpret or analyse what we see, what we do, what we’ve done? In this one-day workshop, we will examine a range of specific works, considering the question of whether and how meaning has been embedded (intentionally or otherwise) and can be identified and interpreted. This will, to some degree, touch on how individuals and societies make and ascribe meaning, perhaps as an attempt to process and come to terms with, for example, otherwise seemingly arbitrary events like a natural catastrophe or suffering. We will discuss and workshop these themes in the larger group, draw on examples presented, and the experiences of the members in the group. Other questions that may be considered include: discerning meaning as an attempt to find order in chaos, and whether or what we might lose by attempting to impose meaning, by attempting to explain within the confines of critical analysis, that which may, in fact, be critical to the character or intention of a work of art.

As artists and designers, we generally tend to observe a number of fundamental 'rules' when working with digital media for print-based or other forms of 2D output. These relate to steps or settings for proceses such as scanning, saving, resolution, image or data format, colour modes, compression... To a certain extent, much of this is received knowledge, and we don't necessarily know why we follow these rules. Knowing what they are based on, and why, is, however, fundamental to technical proficiency, and expertise, and knowing what these principles are based on allows us not only to produce work to professional standard, but also to exploit them to their full creative potential. This workshop will be of value to any visual artist who uses digital technology in their creative practice, from painters and printmakers to photographers and graphic designers. Coverage includes: principles and concepts underpinning digital imaging for print/static delivery: pixel/vector; resolution, scalability, application; acquisition, modes, formats and real-world constraints; file sizes/compression/data integrity; relation to physical output (size, resolution, process).

What is a creative community? What does it mean to be part of a group of artists, designers or creative people? Communities maintain viability and relevance in ways that individuals can often struggle to achieve. Remaining a relevant part of the art world and engaging with issues with wider social significance is often easier as a collective, and arts organisations of all sizes increasingly emphasise the importance of groups, and their social relevance. This workshop, led by City Lit’s print area coordinator, examines experience gained working within the printmaking world, and establishing communities that have a life extending beyond the end of studies, exhibitions or projects. The workshop is relevant, however, to artists and designers of all kinds. In it, we examine what a community of practice is, how it might work, and what it means to be part of such a group. We consider and share insights of how artistic practice can have greater impact through group activity, how group activity can be relevant to your own personal practice, and, through it, how you engage with society. We also look at case studies, and consider the social and potential economic impact of each as an ‘artistic community’.

The term ‘design thinking’ describes an adaptive and reflective approach to problem-solving that is, in many ways, the same as the kinds of processes that underpin creative practice generally, and is fundamental to the development of many of the systems on which the world’s current production, logistics, communications and supply depend. Although generally considered largely in relation to system design, information and interaction design, and product design, it is a way of thinking through and deconstructing creative and/or technical challenges that is equally valuable as a lens through which to examine creative processes and problems in any discipline. In this professional practice workshop, we examine the 5 classic stages of Design Thinking, and look at how we can use them to refine our thinking processes, apply our insight and focus our imagination, to solve both creative and practical problems.



For this workshop, you will need to have access to A3 or A4 plain paper, and a range of coloured marker pens, as well as a notebook. Basic materials will be provided, but you're welcome to bring your own as well.