YEAR TWO CURRICULUM

Students are challenged to develop works of increasing complexity,  they use their value structures to organise and group forms and create works in a more sophisticated manner.

ADVANCED CAST DRAWING

Second Year

Advanced cast drawing builds on the knowledge and skills gained in Beginning Cast Drawing. Students are required to create drawings with more complexity - students finish two cast drawings, one less complex, one more so.

As the drawing comes to completion, students have to see, organise, group values and understand structure in a more complete style. The instructor places particular emphasis on compressing subtle half tone shapes, and creating large, complete field tones for less busy areas of the work. All these processes contribute to a unified, structured and atmospheric finalised piece. 

To progress the instructor looks for accuracy in eye-made measurements. The correct value structure must be applied and the illusion of three dimension must feel complete and realised.

Key learning objectives in Beginning Cast Drawing:

Create a believable impression of a three dimensional object on a two-dimensional surface using charcoal

Place a focal point 

Within the composition generate a sense of distance, form and atmosphere

Apply eye-made measurements effectively, reproduce the cast accurately and in an aesthetically pleasing fashion

Value-key correctly

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ADVANCED FIGURE DRAWING

2nd and 3rd Year

Students now arrange their shapes, values and edges in tandem with their new knowledge of anatomy. 

Under similar lighting conditions pose, pose to pose, student draw directly from the model. Equipped with enough knowledge to suitably draw from life, the challenge is to complete the work in a suitable time frame - the best professional practice is to minimise the amount of time you need with the model and draw from your knowledge of anatomy as much as possible.

Drawing the figure in charcoal works similarly to paint, this makes using the medium excellent preparation for using oils in the next phase of the course. Charcoal has a wider value range or range of tones and can be used to imply more depth. It allows the student to use a more information-dense approach to their value structures and relationships. They strategise and learn how to incorporate their new tools, much like how they would use paint. Students specifically are pushed to see their subjects in more depth, they learn how to achieve a greater sense of unification in every form.


Key learning objectives in Advanced Figure Drawing:

The application of knowledge in representing the anatomy of the human figure

How to use a complex “shadow map”, illustrating how light is cast across the form of the figure

How to illustrate a realistically proportioned human figure

Skill in representing the subtle variation in forms from pose to pose

How to apply a knowledge of edge quality, its range of sharpness to softness

Create a sense of form turning

Record gesture, structure, anatomy, balance and weight

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INTRODUCTION TO FIGURE PAINTING

2nd Year

From now on, students begin with a limited palette to approach a figurative painting from the live model. This allows them a more expansive set of tools, including hue, chroma and value.

Students focus on tone initially, they use a form of underpainting called “Grisaille” which is essentially a monochromatic painting - a painted drawing. Figurative paintings are at their most successful when they properly use all of the previously gained knowledge, methods and concepts. The student uses a pigment such a raw or burnt umber on a toned canvas, they use the pigment almost like watercolour - using the pigment thicker for darker areas, thinner for light. The student then applies denser pigment - titanium white - for the very brightest areas. With a limited palette it’s easier for the student to find the correct value structure without dealing with colour or colour intensity, effective modelling comes first before any other element in painting. Students progress to a small number of coloured pigments after this, they simplify the number of hues found in nature which helps the student to mix more easily.

Grisaille separates colour and colour intensity from the process of painting, it helps the student progress logically from charcoal drawing. It’s a common misconception that it needs to be in black and white, students can use a variety of warm or cool pigments to finish a grisaille. Students, through using a variety of pigments are introduced to working with temperature. Post-grisaille, limited palette tonal paintings help the student absorb how to control hue or colour. A small number of pigments produce and incredibly with range of hues, it allows students to explore just how complex a painting can be with a limited set of tools.

Students at SSCA begin working with paint as soon as possible through their master-study projects. Controlling the paint and working with chroma, we find, does not become any easier the longer you are required to wait to use it. Because of this we find our students are better equipped to handle the transition from working with dry mediums to paint when this stage is introduced. Students are introduced to painting techniques, the properties of pigments, oils, vanishes and the proper use of mediums. Students are also instructed in how to build and prepare their own canvases and grounds. 

During all of these processes students are given ample time to study with the live model, they may experiment and gather knowledge to inform their practice.



Key leaning objectives in Introduction to Figure painting:

A proficiency in using their materials

A realistic, believable impression of the figure in space

Effective use of values, hues, chroma and temperature whilst working in grisaille and limited palette

An ability to combine their knowledge of processes in painting with their processes in drawing

A sense of accuracy in colour and value, the impression of a realistic environment


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INTRODUCTION TO PAINTING

2nd Year, 1st Year

Students now begin to study painting in-depth. They have familiarised themselves to a degree with their master-study projects, now they attend detailed lectures on how to structure a palette and how to apply paint.

Beginning with a form of grisaille-stye paintings, students work through replicas of statuary in paint. They begin with a limited palette and eventually this expands to the full palette our instructors use.

Students render plaster casts in two dimensions in a near-monochromatic style, they use different temperatures of greyish hues. This allows them to subtly work with temperature and master it before using it in their figure painting projects.

Grisaille separates colour and colour intensity from the process of painting, it helps the student progress logically from charcoal drawing. It’s a common misconception that it needs to be in black and white, students can use a variety of warm or cool pigments to finish a grisaille. Students, through using a variety of pigments are introduced to working with temperature. Post-grisaille, limited palette tonal paintings help the student absorb how to control hue or colour. A small number of pigments produce and incredibly with range of hues, it allows students to explore just how complex a painting can be with a limited set of tools.


Students at SSCA begin working with paint as soon as possible through their master-study projects. Controlling the paint and working with chroma, we find, does not become any easier the longer you are required to wait to use it. Because of this we find our students are better equipped to handle the transition from working with dry mediums to paint when this stage is introduced. Students are introduced to painting techniques, the properties of pigments, oils, vanishes and the proper use of mediums. Students are also instructed in how to build and prepare their own canvases and grounds. 


Key learning objectives in Introduction to Painting:

Unify skills in drawing with painting the grisaille

Correctly replicate the outline of the subject being painted, record their proportions and shadow map

Use their materials with fluency

Successfully control edge, hue, chroma and temperature to create focal points

Use the limited and extended palette effectively

Create a sense of reality through using the correct hues, structure and atmosphere

Use edge to imply a sense of orientarion

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