The first class focuses on techniques for achieving fast and accurate proportions using simple objects, then takes students through observing values and defining edges through brushwork. It’s a deceptively tricky exercise as inorganic objects must be rendered accurately and with great care in order to achieve the illusion of structure and dimension.

Student work by Laurent

The second week begins our focus on accurately depicting planes, values and color temperature: Warm lights are contrasted with cool shadows to bring life to the painting and entrench the importance of temperature control.

Student work by Julia

We continue with honing our eye using planes and color temperature. Cute but brutally challenging, the bear is a more complex task that usually takes students 2 classes to complete.

Student work by Renata

Continuing to work with planes to hone in on accuracy of sizes proportions, angles and values, we now begin tackling the facial features in their simplified form.

Student work by Hessam

As students complete our series of planar studies, the complexity reaches its peak with the most challenging subject—the eye. By this stage, they will have refined their eye–hand coordination considerably and are ready to progress to rendering classical sculptures.

Student work by Hessam

Students now advance to the full complexity of rounded forms. Rendering a cast of a male or female torso is particularly challenging, demanding thoughtful simplification and interpretation when painting in oils using the alla prima technique.

Student work by Jonathan

Building on their earlier planar face feature studies, students now progress to classical cast studies of Michelangelo’s David, focusing on the iconic eye, mouth, or nose. These exercises introduce greater complexity, moving from flat planes to the subtleties of rounded forms.

Student work by Laurent

The intermediate course begins with introducing colour and anatomy via the human skull. Fabric folds are contrasted with the bony forms of the skull, providing a variety of edges and complex forms that will serve as the basis for future portrait works.

Student work by Laurent

A 3D printed scan of a real human face provides an excellent model - perfectly still and patient. Colour is further introduced via fabric providing contrasting and complimentary bounced light.

Student work by laurent

Our students are busy working on new assignments, check back to see more soon!