Please ensure you have enrolled in the workshop course in enrolment online before proceeding with preferencing.

(Note: There is a separate page for Fine Art Studio classes and a separate page for ART: History+Theory+Cultures classes.)

The workshops will be for both first and second year students and will be offered under the following course codes:

Workshop 2 VART 3650 (1st year students)
Workshop 4 VART 3652 (2nd year students)

These Workshop classes are 12 credit point courses and will require 3 contact hours per week plus associated learner directed hours.

For more information about a course, please contact the Studio Lead of the offering studio or course coordinator.

Preferencing will be through RMIT MyTimetable:

  • 10am Friday 10 June 2022: Preference entry opens.
  • 5pm Friday 24 June 2022: Preference entry closes.
  • 5pm 24 June - Monday 4 July 2022: myTimetable closed while RMIT allocates students to classes.
  • 10am Monday 4 July 2022: myTimetable opens for review and allocation adjustment, on a first-in, best-served basis.

You must not repeat any class in your preference lists. Every effort will be made to place you in your first preference classes.

IMPORTANT PLEASE NOTE: Although we would like to offer all of the workshop options below, classes are subject to viability and may not run if numbers are too low. 


Course Information

  • Course Coordinator
  • Teacher
  • Contact hours
  • Location
  • Open to all students
Offering Studio & Studio Lead/Coordinator

  • Art History – Clare McCracken
  • Ceramics – Kris Coad
  • Drawing – Greg Creek
  • Gold & Silversmithing – Mark Edgoose
  • Painting – Peter Ellis
  • Photography (BP117) – Alan Hill & Rebeca Najdowski
  • Print – Richard Harding
  • Sculpture – Fleur Summers
  • Video – Greg Creek
  • Program Option – Refer to Course

Seala Lokollo Evans

Alternative Clay Forming

  • Kris Coad
  • TBC
  • Friday 9:30am – 12:30pm
  • 04.01.01
  • Open to all students

This course is an explorative approach to alternative methods of clay forming. Investigating influences and techniques, you will explore non-conventional sculptural methods to manipulate and develop form and surface qualities using a variety of differing clay bodies. Projects will encourage material experimentation with a focus on practice and enquiry. In response to your own work, you will research and document a series of artists, works and ideas and begin to build an archive of research material to draw on in the future. 

Joan Ross, The Claiming of Things, 2012 (Detail)

Art and the Natural World

  • Peter Ellis
  • Kylie Stillman & TBC
  • Friday 1:30pm-4:30pm
  • 02.04.04
  • Open to all students

In this practical workshop class, you will develop a variety art works that respond to the way the natural world is both experienced and conceived in the contemporary context of the Age of Anthropocene.1  

This workshop will introduce you to contemporary art practices that engage with landscape, natural history and ecology. You will explore how visual artists have engaged historically with the natural world, reflecting cultural attitudes to nature and how multiple forms of contemporary art making have evolved in response to changing understandings of ecology and our place within it.  

In this class you may experience a diverse range of media – exploring how ecological issues, site specific, ephemeral and interactive projects may be experienced through your individual practice.  

Individual and group tutorials, discussion and feedback sessions, studio demonstrations, student presentations and studio health and safety complement this painting workshop. 

(1) The period of time during which human activities have had an environmental impact on the Earth regarded as constituting a distinct geological age 


Trans Baltic-Tasman Crossing, 2018. Jazmina Cininas

Book Art As Object

  • Jazmina Cininas
  • Jazmina Cininas
  • Friday 1:30pm – 4:30pm
  • 95.01.03
  • Open to all students
The Book as Art Object Workshop has been designed to provide Fine Art students with an expanded understanding of the book as a vehicle for artistic expression. In this class, you will explore the possibilities offered by the artist book for the presentation of visual information and ideas through exploring the relationship between book binding methods and content. A broad range of book binding techniques incorporating both adhesive and non-adhesive book binding methods will be introduced in this hands-on workshop, as you create your own original book-based art objects. Supplementary lectures, excursions and peer-to-peer learning will help to advance notions of narrative and the page.   

Unique Forms of Continuity in Space, 1913 bronze by Umberto Boccioni

Bronze Foundry

  • Simon Perry
  • Simon Perry
  • Friday 9:30am – 12:30pm
  • 37.01
  • Open to all students
In this course you will develop practical skills across a range of processes and materials which are commonly used in sculpture practice. You will be introduced to particular methods and materials through specific projects, with an emphasis on the relation to individual concepts in art making. Some of these include; lost wax casting (bronze and aluminium), fabrication in metal and timber, pattern making. You will be given practical instruction and experience in the use of workshop equipment together with relevant health and safety training. The course is mainly practical but with appropriate tutorial presentations covering theoretical and relevant historical background.

Leila Baptist. Photographer: Janelle Low

Clay and Print: Experimental Process

  • Kris Coad & Richard Harding
  • Jennifer Conroy Smith, Andrew Clapham & TBC
  • Friday 9:30am – 12:30pm
  • 6.02.01 & 95.01.03
  • Open to all students
In this course you will engage with both the print and ceramic studios to transform ideas from your current practice into 2D and 3D forms. You will investigate how low-tech stencils and screen print methods can be employed in a range of ways on clay, vitreous surfaces and substrates other than paper. This course privileges experimentation and exploration of surface qualities and processes to enable practice led discoveries or thinking by making. 


Casting and Metal Alloying

  • Kirsten Haydon
  • TBC
  • Friday 9:30am – 12:30pm or 1:30pm – 4:30pm
  • 02.01.03
  • Open to all students
In this course, you will explore the transformative properties of a range of metals and processes used in small scale casting. Processes covered will include lost wax, mould making for multiples and metal alloying. There is a considered focus on creating original models from a wide range of wax processes. You will also experiment with creating metal alloys and understand how these alloys give colour. These processes will be used to develop strategies for the integration of cast objects into the building of new object forms and jewellery. This course will assist you to develop conceptual, perceptual, formal and aesthetic concerns related to the casting of small metal objects. You will participate in interactive discussions in tutorials to help you develop informed perspectives.

Glitch by Liaizon Wakest 

Glitch – interruption disturbance & malfunction 

  • Ian Haig
  • Xanthe Dobbie
  • Friday 9:30 – 12:30
  • TBC
  • Open to all students

What is a glitch? The glitch is a gap, failure, interruption or a ‘spanner in the works'. The glitch disrupts and in doing so poses a threat to order, becoming a radical opportunity for (as Legacy Russell argues) redirection, remix, and rebirth. This course encourages and prompts you to look for malfunction as an opportunity for creativity. You will explore this via digital tools as well as an exercise in thinking through non-digital studio methodologies and cultural gestures. A broad range of experimental techniques incorporating both digital and non-digital methods and media will be introduced in this hands-on workshop as you create and explore your own original glitch methodologies. Individual and group tutorials, discussions, lectures, demonstrations, screenings, and feedback sessions will complement this workshop.   

 Embrace your mistakes, celebrate accidents, and revel in the unexpected! 

Jorge Julian Aristizabal ‘Honeymoon’ 2013 Mixed media: gouache, string, graphite on paper, paper bag

Hybrid 2D Drawing

  • Greg Creek
  • Rei Delange
  • Friday 1:30pm – 4:30pm
  • 4.5.05
  • Open to all students
In this course you will develop skills in combining drawing, visual research, composite materials and the object-body as a way of generating new knowledge and ideas for your studio practice. The 2-dimensional ground is a place or body informing play and experimentation; to bring new ideas together, to translate and recombine public and personal meanings. This course provides strategies and methods for you to transform your thoughts and perceptions into autonomous artworks formed around cycles of making and principles of assemblage, collage, montage, unmaking and reworking the visual image and experiential object through drawing and graphic means. Objectives are to frame Drawing as a stand-alone practice that can be further articulated through individual practice. You will gain skills in iterative strategies that generate artistic departure points for complex and resolved art works. You will examine how knowledge and making are linked through ways of seeing and thinking and investigate pictorial languages and conceptual approaches to communication through the making of creative works in your studio production. 

From Hand to Machine: authored & unauthored drawing 

  • Ben Sheppard
  • Ben Sheppard
  • Friday 9:30am – 1:30pm
  • 4.5.05
  • Open to all students
In this course you will develop skills of illustrating, translating and transforming objects [your subjects] through drawing.  Based in an understanding of drawing as an essential generative activity that integrates perception, cognition and action you will engage drawing as a primary means of describing forms, ideas and experiences across a range of modes. You will you learn aspects of drawing including rendering by hand, technical drawing as translation between 3d and 2d, and collaborative drawing machines. Objectives are to extend your skills to transform ideas across mediums and to support and complement your specialisation area. You will examine concepts of communication and authorship within art practice leading to a deeper understanding of relations between making and meaning. 

Yi Jen Chu, 2021, Excess production line series, Brass, Copper, Gilding metal, Tin Plating, Photographer: Fred Kroh 

Model & Scale: Sculpture / G+S

  • Fleur Summers & Nicholas Bastin
  • TBC
  • Friday 1:30pm – 4:30pm
  • 06.02.01 & 91.01.03
  • Open to all students

This course brings together the conceptual and technical skills required for model making.  The consideration of scale, from the very large to the very small will provide alternate spaces for you to experiment with different methodologies in relation to your work. You will research historical and contemporary models and marquettes that have been used to visualise ideas, plan exhibitions and aid and test public and more intimate works. Models as artworks will also be explored. 

The exploratory nature of this course will extend your material and process knowledge, and skill, (and tool use) through reductive, additive and transformative technologies, including carving, sawing and fabrication methods using sheet materials such as card, wood, metal and foam core, while shaping and modelling materials such as polymer clay and casting materials such as plaster. You will also be encouraged to collect, re-use and recycle materials. To inform studio production, you will explore a conceptual and experimental approach to model and scale through collage, drawing, documentation and assemblage processes. 

Mernet Larsen, Punch, 2016. Synthetic polymer paint and mixed media on canvas. Patricia Lucille Bernard Bequest Fund, 2016, Art Gallery of New South Wales. Photo, Peter Ellis

Painting, Concepts and Practice

  • Peter Ellis
  • Saffron Newey & TBC
  • Friday 9:30am – 12:30pm
  • 02.03.04
  • Open to all students

This course extends upon the concepts, materials and process of painting and related practices of drawing, installation and the object. You will experience a wide range of materials and production processes to create artworks relating to painting with an emphasis on experimentation, conceptual development and studio research.  The course is structured through generalised thematic projects and advanced individual self-directed projects. 

You will experiment with materiality, colour, surface, scale, texture, gesture, images, chance, pattern, repetition and working in series. There will be a focus on abstraction and figurative modes of expression.  Themes in contemporary art will be investigated to demonstrate how artists initiate, expand and maximize outputs through experimentation and research. Individual and group tutorials, discussion and feedback sessions, studio demonstrations and studio health and safety complement this painting workshop. 


Gabriel Nilsen & Kirsty Macafee
For Lil, Naples, Italy, 2015 - Meta, 2018
Digital print on 100% organic cotton, cotton wadding, cotton thread
Dimensions: variable

Repurposing the Print: Exploring Digital Materiality 

  • Martine Corompt & Richard Harding
  • Kirsty Macafee and Gabriel Nilsen
  • Friday 9:30am – 12:30pm
  • 049.02.02
  • Open to all students

This course will examine how image-making can be constructed and manipulated through digital and analogue technologies. It investigates a contemporary image space and assists you in exploring ways of thinking about representation and art making using both hand and machine processes and technologies. 

You will experiment with image capture and process, create digital prints, and ultimately rework the print. You will interrogate deconstruction, reconstruction and overworking and potentially using collage, drawing, and painting techniques to apply them where appropriate, to your current studio practice. 

Photo credit: Hulton Archive / Buyenlarge / / Library of Congress / IWM) 

Sound Art - Creating in Time & Space

  • Greg Creek
  • David Chesworth
  • Friday 1:30pm – 4:30pm
  • 04.02.03
  • Open to all students

In this workshop we will close our laptops and make experimental sound work that interacts with the world and the people around us. Using sound together with visual and physical elements in ways that evolve in spaces and over time. You will creatively work with sound recording devices, exploring speaker set-ups, editing and composition to prepare content and incorporate physical elements and themes drawn from your own practice.  

Together, we will listen to important sound works, and how they create experiences that emerge over time. We will also listen to the world around us to explore its complex makeup and discover how fresh relationships are always emerging. We will work in groups and individually as we develop a range of installation artworks, sound sculptures and performances in real-world situations. 

No prior experience or expertise in sound is required – come as you are! The workshop is available to anybody, including students who took the Art & Sound workshop last year. I would do this workshop myself, if I could!