Full-time/Part-time Program

A breakdown of the EAFA full-time or part-time program from day one to graduation

Sight-size and Comparative Measurement

In order to ensure a high level of accuracy, EAFA uses both the sight-size and comparative techniques for drawing and painting. Sight size allows the student to view a model or object from a selected position and execute it so that both visually appear the same size to the artist. Comparative measure uses a system of units to enlarge or decrease an image as perceived by the student. We recognize the benefits of learning both so we teach both methods.

Level 1

Sight-size Bargue drawing:
Prud'hon copyStudents begin the program by copying a series of prepared lithographs from the Charles Bargue Drawing Course developed in the mid 19th century. These copies, executed in graphite (pencil), help the student to acquire an understanding of shape, proportion, value, and form. Attention is given to the natural behaviour of light over form and how we can replicate this in drawing.

– Bargue 1: Fully rendered Bargue drawing in graphite (a simple hand or foot study)
– Bargue 2: Fully rendered Bargue drawing in graphite (slightly more complex)
– Bargue 3: Fully rendered Bargue drawing in graphite (building your own construct)
– Bargue 4: Fully rendered Bargue drawing in graphite (using comparative measurement)

Comparative Measurement Figure Drawing Assignments: 

– Introduction to Comparative Measurement and beginning stages of figure drawing
– Introduction to carbon and charcoal pencil
– Fully rendered figure drawing from a sustained (60 hour) pose

Additional Projects

– Introduction to portraiture

 

Level 2

Sight-size Cast Drawing assignments:

charcoal-cast-drawingThe student progresses to working from a three-dimensional plaster cast, which is also referred to as
working “in the round”. Using vine charcoal, the student will begin to understand how controlled light falls across a three-dimensional form. In addition,
it enables the student to translate a three-dimensional object to a two dimensional picture plane, while maintaining the illusion of space. Students are also introduced to the use of sight size-measurement and the concept of “big form modelling.”

– Cast 1: Fully rendered charcoal cast drawing (simple)
– Cast 2: Fully rendered charcoal cast drawing (more complex)

Comparative Measurement Figure Requirements: 

– Fully rendered 1/2 figure drawing or limb study in carbon
– Fully rendered figure drawing in carbon or charcoal

Additional Projects

– Portraiture in carbon pencil

 

Level 3

Sight-size Cast Painting Assignments:

cast-paintingThe student continues to work from the cast, starting with a monochromatic painting in oils in order to learn the
characteristics of the medium, and the stages of an academic painting. The element of color is introduced for the second painted cast.

– Cast Painting 1: Monochrome painting
– Cast Painting 2: Limited palette painting
– Cast Painting 3: Full palette painting

Comparative Measurement Figure Assignments: 

– Grisaille figure painting
– Limited palette figure painting

Additional Projects

Master copy painted in oil

Level 4

Sight-size Still Life Painting Assignments:

These skills culminate in the final level of the program, where students begin to explore composition through the arrangement of color, lights and spatial relationships. Students are introduced to both direct and indirect painting methods to achieve realistic textures, colors, forms and depth.

– Still Life Painting 1: red, white and green and of varying textures and surfaces
– Still Life Painting 2: ‘Tenebrist’ (high contrast between light and dark zones of illumination) painting with a theme
– Still Life Painting 3: painting’s composition incorporates a perishable object (fruits, flowers etc.).
– Graduation piece: the culmination of the techniques and skills gathered by the student thus far. This final painting may be a still-life, figure painting, portrait, or self-portrait, painted in oils.

Comparative Measurement Figure Assignments: 

– Classical Figure Palette Painting
WORKING FROM THE MODEL
From the very first week, students begin to work from the nude
model. The human figure demands an understanding of gesture,
proportion, design, and subtle colour. Throughout the course, students consistently work from the live model, first in dry medium and then in paint, applying the skills learned from the program.

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