Cast Drawing

Dates:
April 15 - April 26, 2013
Hours:
Monday to Friday from 10AM - 1PM
Tuition Cost:
On request
Application Deadline:
March 15, 2013
Provided:
All students will have their own individual working space (easel with stand) and a designated cast, appropriate to their skill level. Paper, erasers, mirrors and plumb lines are provided.
Materials required:
Charcoal.
Level of Difficulty:
Students should have ideally completed all or some of the Bargues. Accessible to all levels of experience.
Location:
Atelier Canova studio

THE THEORY

This is a fantastic course. Here the Bargue students can apply the knowledge they have acquired doing their pencil copies, to rendering a three dimensional object. Charcoal is a “user friendly” medium and students have the opportunity to turn the form, not just merely copying what they have in front of them, but through the treatment of edges and the manipulation of the value scale. I can’t recommend this class enough as a prelude to painting.

Student work at the Harlem Studio

Student work at the Harlem Studio

THE PRACTICAL

I have a very nice selection of casts at the studio, but attention will be made to the skill level and the individual needs of each student, in the selection of casts they will work from. As with the Bargue drawings, the “construction” of the drawing, is the first priority and the contour and shadow shapes are fundamental. After this phase of the drawing is addressed satisfactorily, the student then shifts his attention to the study of the values. He will begin the process of modeling the form using a hierarchy of tonal relationships, and a careful use of hard or soft edges.

Cast drawing of a skull

Student work at the Harlem Studio

ADVICE

Some Bargue drawing experience is a huge advantage here but intermediate, and definitely advanced students, will profit from this class. I feel that I should stress that the final product is not important here, but an understanding of the process, is the greatest attribute to this course. To learn how to model the form well in black and white makes the eventual transition into painting with colour (or chroma) much easier.

Andrea J Smith's drawing of the Beethoven death mask

Andrea J Smith's drawing of the Beethoven death mask

Andrea J. Smith's charcoal drawing

Andrea J. Smith's charcoal drawing

Andrea J Smith's grisaille painting

Andrea J Smith's grisaille painting

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