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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.


Second Year

Advanced Cast Drawing at our institution builds upon the skills and knowledge gained in Beginning Cast Drawing by challenging students to create more complex drawings. This includes completing two cast drawings, one of lesser complexity and one of greater complexity. As the drawings near completion, students are expected to demonstrate an advanced ability to see, organize, group values, and understand structure in a more refined manner. The instructor places a significant emphasis on compressing subtle half-tone shapes and creating large, unified field tones for less busy areas of the work, all of which contribute to a structured and atmospheric final piece. To progress, the instructor looks for accuracy in eye-made measurements and the correct application of value structure to create the illusion of three-dimensionality. The main goal of the course is to create a believable impression of a three-dimensional object on a two-dimensional surface, using charcoal. Additionally, students will learn the importance of placement of a focal point, the generation of a sense of distance, form, and atmosphere within the composition, and the effective use of eye-made measurements to accurately and aesthetically reproduce the cast. Furthermore, the students are expected to accurately use the value-key techniques to their cast drawings.



2nd and 3rd Year

In Advanced Figure Drawing at our institution, students utilize their newly acquired knowledge of anatomy to arrange shapes, values, and edges in their drawings. Working under similar lighting conditions, students draw directly from the model, pose to pose, and are challenged to complete the work within a suitable time frame, as professional practice often involves minimizing the amount of time spent with the model and relying on one's knowledge of anatomy as much as possible.

The use of charcoal in figure drawing serves as excellent preparation for working with oils in the next phase of the course, as it allows for a wider range of tones and the implication of greater depth. Students are encouraged to adopt a more information-dense approach to their value structures and relationships and to strategize and utilize their new tools in a manner similar to how they would use paint.

The advanced Riley Method builds upon the foundations of proportion, anatomy, and gesture that students learned in their first year of figure drawing. In this advanced course, students will explore more complex aspects of the human figure, such as foreshortening, drapery, and lighting.

Foreshortening is the technique of drawing an object or body part that is angled towards the viewer, resulting in a distorted or compressed appearance. This technique can be challenging to master, but it is an essential skill for creating dynamic and engaging figure drawings. In the advanced Riley Method course, students will learn how to use foreshortening to create dramatic poses and to emphasize the three-dimensional nature of the figure.

Drapery refers to the clothing and fabric that is often present in figure drawings. Drawing realistic drapery requires an understanding of how different fabrics behave and interact with the human form. Students in the advanced level will learn how to create the illusion of different types of fabric, such as silk, wool, or denim, and how to incorporate these elements into their figure drawings.

Lighting is another key aspect of creating realistic and expressive figure drawings. In the advanced Riley Method course, students will learn how to use light and shadow to create depth, contrast, and mood in their drawings. They will explore different lighting scenarios, such as natural light, artificial light, and dramatic lighting, and learn how to use these elements to enhance the visual impact of their drawings.

Throughout the course, students will also have the opportunity to experiment with different materials and techniques. They will learn how to use these materials to create different textures and effects, and how to combine them with the principles of the Riley Method to create truly unique and expressive figure drawings.

Overall, the advanced Riley Method is a challenging and rewarding course that builds upon the foundations of the first-year curriculum. By mastering the techniques of foreshortening, drapery, and lighting, students will be able to create figure drawings that are dynamic, expressive, and visually engaging. If you are ready to take your figure drawing skills to the next level,

Key learning objectives in Advanced Figure Drawing include: the application of knowledge in representing the anatomy of the human figure, the use of a complex "shadow map" to illustrate the casting of light across the form of the figure, the ability to depict a realistically proportioned human figure, skill in representing the subtle variations in forms from pose to pose, knowledge of edge quality and its range of sharpness to softness, the creation of a sense of form turning, and the ability to record gesture, structure, anatomy, balance, and weight.



2nd Year

In Introduction to Figure Painting at SSCA, students learn to create figurative paintings using a limited palette. They start by using a technique called Grisaille, which involves creating a monochromatic painting or drawing. This helps students to focus on tone and value before adding color to the painting. Students apply a pigment such as raw or burnt umber to a toned canvas, using thicker layers for darker areas and thinner layers for lighter areas. They then add denser pigment, such as titanium white, for the brightest areas. The use of Grisaille helps students to logically progress from charcoal drawing and understand the importance of effective modeling before adding color.
After completing a Grisaille, students progress to using a small number of colored pigments to facilitate easier mixing. The use of a limited palette helps students to understand how to control hue, chroma, and temperature. A small number of pigments can produce an incredibly wide range of hues, allowing students to explore the complex nature of painting with a limited set of tools.
At SSCA, students begin working with paint as soon as possible through their master-study projects. They are introduced to painting techniques, the properties of pigments, oils, varnishes, and the proper use of mediums, as well as how to build and prepare their own canvases and grounds. Throughout the program, students are given ample time to study with the live model and to experiment and gather knowledge to inform their practice.
Key learning objectives in Introduction to Figure Painting include: proficiency in the use of materials, the creation of a realistic and believable impression of the figure in space, effective use of values, hues, chroma, and temperature while working in Grisaille and a limited palette, the ability to combine knowledge of painting processes with drawing processes, and a sense of accuracy in color and value and the creation of a realistic environment.



2nd Year, 1st Year

As students continue their studies, they begin to delve deeper into the world of painting. Having familiarized themselves to some extent with their master-study projects, they attend detailed lectures on how to structure a palette and apply paint. Starting with grisaille-style paintings, students work on replicas of statuary in paint, beginning with a limited palette and eventually expanding to the full palette used by our instructors.
To gain mastery in working with temperature, students render plaster casts in two dimensions using different shades of greyish hues. This allows them to subtly work with temperature before applying it in their figure painting projects. As with Grisaille, the use of a limited palette tonal paintings helps students to understand how to control hue and color, and a small number of pigments can produce an incredibly wide range of hues.
At SSCA, students begin working with paint as soon as possible through their master-study projects, as we believe that control of the paint and working with chroma do not become any easier the longer one waits to use it. Students are introduced to painting techniques, the properties of pigments, oils, varnishes, and the proper use of mediums, as well as how to build and prepare their own canvases and grounds.
Key learning objectives in Introduction to Painting include: the unification of drawing skills with the painting of Grisaille, the accurate replication of the outline, proportions, and shadow map of the subject being painted, fluency in the use of materials, the successful control of edge, hue, chroma, and temperature to create focal points, the effective use of both the limited and extended palette, the creation of a sense of reality through the use of correct hues, structure, and atmosphere, and the implication of a sense of orientation through the use of edge.

Year Two Curriculum: News
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