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在how to use canvas student這個產品中，有2篇Facebook貼文，粉絲數超過9,044的網紅Yim Mau-Kun Studio 冉茂芹畫室，也在其Facebook貼文中提到， 照片是我與從巴西來的學生，Arthur，合影於「雙橋畫室」。下面是Arthur分享他來台半年的學習感想。 ******* My first days in the studio were a little hard to me, my drawing skills weren't in a d...

how to use canvas student 在 Yim Mau-Kun Studio 冉茂芹畫室 Facebook 的最讚貼文

Yim Mau-Kun Studio 冉茂芹畫室 By Yim Mau-Kun Studio 冉茂芹畫室

2015-12-26 14:50:40 有 231 人按讚
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照片是我與從巴西來的學生，Arthur，合影於「雙橋畫室」。下面是Arthur分享他來台半年的學習感想。
*******
My first days in the studio were a little hard to me, my drawing skills weren't in a decent level, but Mr. Yim and some very friendly students helped me to feel comfortable about the learning process.

Mr. Yim has a particular way of teaching which makes the student go from drawing until painting in a way that he never leaves out the artistc side. The drawing or painting never gets dull or cold.

I started with portrait drawing from the model, and like I said, it was hard to beguin/construct the drawing in a way that I wasn't used to, with long straight lines first, finding the shadow areas and building the darks progressevely. It took me a while to get used to this method but drawing the plaster casts in the studio helped me to improve faster and the process became more natural.
After weeks drawing with graphite we moved to oil painting, which to me was a different game. A really hard one.

Also portrait from the model, Mr. Yim likes to paint a small version first, to study color and light/shadow. Very effective way of getting ready for a bigger piece. This small one was tricky to me because small size in my head ment small brushes, detail, carefulness. I was wrong again.

Mr. Yim emphasizes the use of big brushes in his particular way of painting and even with such nice fellow students helping me with translation and giving me advice on my work, it took me a while to paint in a way I wasn't used to.

The weeks passed by and I started getting the hang of it but Mr. Yim made sure that I was doing the right thing in every piece. He was always around giving me feedback and even correcting my mistakes painting over and showing how he mixed the colors and applied to the canvas.

He sit down to paint every class and it was magical to see the portrait emerging, stroke by stroke, with very vivid colors from the underpainting, (which it was a masterpiece by itself) class after class, with more and more colors, ending in an amazing piece of art.

I often joked with some fellow students during the model break, when everybody went to take a good look at the painting and see the colors and brushworks, that everyone had that feeling when a magician performs a good trick in front of our eyes and everybody keeps thinking "how does he do it?".

It was trully magical, and he had no problem teaching his magic, and during the period of six months, he taught me well. My fellow classmates are very lucky to have him around and study under such a master.

I intend to return to Taiwan in the future, but in the mean time, I'll keep practicing his "magic".

I have to thank his daughter Iris and his son Chris for all the support, all my fellow classmates that are too numerous to mention name by name and helped me to feel like home. And of course to my master Mr. Yim for all the patience and dedication not only to me but to all his students.

Artur Montanari

*******

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Yim Mau-Kun Studio 冉茂芹畫室

About author
Mau-Kun Yim is a Taiwan-based artist who specializes in realistic style oil paintings. 冉茂芹是位寫實畫家，擅長肖像、裸體、風景、靜物油畫。
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how to use canvas student 在 YOSHITOMO NARA Facebook 的最佳解答

YOSHITOMO NARA By YOSHITOMO NARA

2013-03-29 20:34:22 有 134 人按讚
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Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

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YOSHITOMO NARA

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You can also access the course grades page from the Course Card and Recent Activity Views by clicking the View Grades button.

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#60. UVU Canvas for Students

Canvas is the place to submit assignments, take quizzes, and discuss important topics with classmates. Go to Canvas. Student Resources. student looking at ...

#61. Canvas App v. Browser Tips

On the iPad, use Safari rather than Chrome for browser access. ... In the Canvas student app, you cannot see all modules at once; the modules navigation ...

#62. Canvas - Mt. SAC

A good starting point is this Canvas overview video on how to navigate in the system and use it to help you organize your life as a student.

#63. How to Use Canvas in the Remote Learning Environment

Communicating on Canvas · Subscribe to receive announcements via text message or email. · Engage in conversations or discussions with your teacher ...

#64. Canvas Student Access - Web & Mobile App

Canvas is a Learning Management System (LMS)​ designed to simplify teaching and learning by connecting all of the digital tools teachers and students use in ...

#65. Canvas Access for Students & Parents - Jordan School District

Canvas Access for Students & Parents ... Canvas is a course management system that supports online learning. It allows teachers to post information and ...

#66. Canvas Basics for Students - Online & Canvas Support

Canvas is the course management used at MPC. Some faculty will use Canvas to deliver courses, provide class materials, collect assignments, post grades, etc...

#67. Canvas Chat

The Chat tool in Canvas allows students and teachers to interact in real-time. Instructors can use the chat tool to allow students to contact them when ...

#68. Recording a Quick Video in Canvas | UD

These videos can coney your unique perspective the same way you'd deliver them in the classroom. Students can also use the same tools and techniques listed here ...

#69. Student How-to Guide - Canvas - Carnegie Mellon University

This page contains how-to resources for students using Canvas tools, assignments, account and user preferences.

#70. Canvas - Center for Teaching Innovation - Cornell University

Centralized assessment and grading (e.g. creating and grading online quizzes, portfolios, assignments using Canvas Gradebook tools); Personalization of student ...

#71. Canvas Student Support - Saddleback College

Important: A student should never use a mobile device as their only way to access a course. Canvas supports a limited set of features on mobile devices. Quizzes ...

#72. Canvas | Penn State

How can I use assignments/drop boxes to assess my students in Canvas? How can I grade my students' work in Canvas?/How do I use the SpeedGrader? How do I set up ...

#73. Student Introduction to InSpace + Canvas - Freshdesk

Learn how to find and use the InSpace + Canvas integration to attend your classes.

#74. Canvas Student Tutorials - Santa Barbara City College

Before starting the course material, we highly recommend that you access our tutorials on Canvas. Even if you have already used this version of Canvas, you may ...

#75. Canvas | University of Oxford

Access your course materials; Get feedback on your work; Start discussions and collaborate with other students or academics; Access your reading lists where ...

#76. Canvas LMS | Office of Information Technology - SMU

If you are using Canvas for a non-credit course, please use the following ... as does the Canvas Student app, which is also available for iOS and Android.

#77. Student Help Resources - Canvas @ UNM

To access the tutorial, visit Introduction to Canvas and Related Tools. Not all courses use Canvas and when a student can access a course depends on a couple of ...

#78. Learning in Canvas | California State University Long Beach

Toggle through them using the keywords. Canvas Basics. Just a few tips on basic interactions in Canvas that students want to know: ...

#79. Canvas Student Quickstart Guide - Delta State University

The Global Navigation menu provides you with quick access to all of your courses and groups [1], a summary page for all course grades [2], and the Canvas ...

#80. CANVAS: STUDENT FAQ'S - Santa Ana College

Canvas can be access by using the link provided on the SAC Website (www.sac.edu or www.sac.edu/Canvas), or directly by typing http://rsccd.instructure.com in ...

#81. Canvas - University of South Florida

Canvas Course Communication. The following tutorials explain some Canvas tools you can use to communicate with your students, whether you're giving information ...

#82. For Students | UVACanvas

... guides, and support for students who use UVACanvas while learning at UVA. ... Canvas has been selected as our central learning management system (LMS).

#83. Canvas Learning Management System - UW IT Connect

Students can use Canvas to access course content, ... Create your Canvas course, publish course materials, grade student work, and more.

#84. Student Learning Assessment in Canvas

Canvas offers several assessment tools you can use to track and improve student learning in your courses. Use the links below to find guides, walkthroughs, ...

#85. Canvas LMS - UNCW

From the Help button within Canvas you'll have access to: 24/7 Canvas Support via phone or chat. Faculty support number 1-833-395-9054; Student support ...

#86. Using Canvas on a personal computer - Distance Education

If you're still having trouble with Canvas on your personal computer, call the Canvas Support Hotline available 24/7 to all SRJC students. The phone number is ...

#87. Getting Started with Canvas | Emory University | Atlanta GA

See how your course appears to students before publishing it by using the Student View tool. How to know if your content is published (and if not, how to ...

#88. How do I view Canvas Studio media using the Test Student as ...

To see the student's perspective on Canvas, use Student View to view the course, post and reply to discussions, submit assignments, view grades, view people ...

#89. Getting Started for Students - Canvas at JHU

Canvas Student allows students to access their courses and groups using a mobile device. Students can submit assignments, participate in discussions, ...

#90. FAQ: Canvas for Students

For example, you can use Canvas to: Access course materials (e.g., lectures, videos, reading assignments, etc.) Check your grades; Participate in online ...

#91. Canvas Student on the App Store

Access your Canvas courses on the go and in the classroom with the Canvas Student mobile app! From any device, students can now:.

#92. Frequently Asked Questions about Canvas for Students (FAQ)

How does the app "Canvas Student" work? With the app you get updates about the course directly to your phone. You can get notifications when ...

#93. Canvas Info & Support - LACC

Students will access Canvas through the SIS PeopleSoft Portal. Login to SIS and choose the Canvas tile. If you need to reset your SIS Password, ...

#94. Using Edpuzzle With Canvas

II. How to Assign a Video Lesson on Canvas. III. How Students Can Use Edpuzzle Through Canvas. IV. Troubleshooting the Edpuzzle Integration on Canvas ...

#95. Canvas Student Android Guide - Dashboard

Canvas Student allows students to access their courses and groups using a mobile device. Students can submit assignments, participate in ...

#96. Canvas Guide for Students - CTE Resources - Boston College

If you ever encounter technical difficulties using Canvas, you can reach out to BC LMS Support through chat, email or phone.

#97. Canvas Student Support Resources - Averett University

How to Access Canvas Courses? · Click on 'Student Tools' (for Faculty/Staff, click on Faculty & Staff). · Scroll down until you see 'Canvas Login' on the left ...

#98. Canvas Student FAQs

It is software that faculty use for delivering and managing online learning, students already at Sonoma State use a similar LMS called Moodle. How do I access ...

#99. Canvas Student Guides - Diablo Valley College

Instructors use Canvas to communicate with students, share materials, post and collect assignments, provide feedback and more.