Alex Horne

What you will do

Using Sight-Size, replicate a simple Bargue plate

What you will learn.

You will be introduced to proportion, gesture, structure and edge through careful reproduction of the separate stages of a Bargue.

You will be introduced to the basic initial order of steps to arrive at a well proportioned drawing.

You will also learn possible uses of line weight variation and basic handling of graphite (e.g how to flatten shadows, that graphite must be layered soft to hard).

Assessment Criteria | Weighting

• Drawing 50% –Accurate shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 15% –Tone, keying, light/darkness range, relative values, over modelling, compression in the shadows
• Edges 25% –Sharp v soft.
• Material use and application 10% –Flattening, pencil sharpening, sight size, using the right grade pencil

After this exercise you will have

• An understanding of basic proportions
• An understanding of a limited value range
• An ability to draw a basic, solid block in
• An understanding of line weight 

Materials

• Range of pencils (2B/HB/2H)
• Half sheet of Canson Paper
• Clear mirror
• Drawing board

Set up

Alex Horne

What you will do

Using Sight-Size, replicate a simple Bargue plate

What you will learn.

Principles of proportion, gesture, structure and edge from the Exercise 1 will be re-enforced. An additional challenge will be added with a more complex subject to copy.

Assessment Criteria | Weighting

• Drawing 45% –Accurate shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 15% –Tone, keying, light/darkness range, relative values, over modelling, compression in the shadows
• Edges 30% –Sharp v soft.
• Material use and application 10% –Flattening, pencil sharpening, sight size, using the right grade pencil

After this exercise you will have

• An understanding of basic proportions and values
• An understanding of gesture
• An ability to draw a basic, solid block in
• An understanding of basic shape design

Materials

• Range of pencils (2B/HB/2H)
• Half sheet of Canson Paper
• Clear mirror
• Drawing board

Set up

Cast drawing in pencil of the eye of Michelangelo's 'David' by LARA student Ben Eden

Cast drawing in pencil of a simple feature by LARA student Eve Harris

What you will do

Copy from life in sight-size a simple cast feature with as close to one light source as possible in full value.

What you will learn.

You will begin to learn how to apply the lessons learnt in Bargue plates into the more difficult task of translating 3D forms into 2D drawings. You will learn how to set up a cast drawing in sight size.

Proportion, gesture, structure and edge will continue to be re-enforced. And you will learn about the classical order of light, and what categories of light on form they will be expected to reproduce. You will also learn to use variation in line weight to express form in the cast.

Assessment Criteria | Weighting

• Drawing 45% – accurate shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 15% – tone, keying, light/darkness range, relative values, over modelling, compression in the shadows
• Edges 30% – hierarchy of edges
  sharp v soft, clear focal point
• Material use 10% – application
  Flattening, pencil sharpening, sight size, using the right grade pencil

After this exercise you will have

• An understanding of basic proportions and values
• How to translate 3D form to 2D form
• Learn to set up sight-size for the cast
• Classical order of light
• Variation of line weight

Materials

• Range of pencils (2B/HB/2H)
• Half sheet of Canson Paper
• Clear mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Simple Cast (feature) 
• Shadow box 
• Easel

Set up

What you will do

Using sight-size, replicate a simple cast from life to the fullest value range allowed for by charcoal.

What you will learn.

Lessons of proportion, gesture, structure and edge will continue to be re-enforced.You will be introduced to the concept of flattened planes and how to design their values to properly represent these planes.

You will be introduced to drawing with mass and at this point be introduced to the full concept of value. You will also be taught how to key a drawing and how to work up the values in a drawing from the bottom of the range up.

The drawing will be expected to be keyed at the fullest value range possible and you will also learn how to handle charcoal (how to get a deep dark, how to flatten values)

Assessment Criteria | Weighting

• Drawing 40% – accurate
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 30% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 20% – sharp v soft
• Material use application 10% – 
  Flattening, charcoal sharpening, sight size, using the right grade of charcoal

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Range of charcoals (2B/HB/H)
• Roma or Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Simple Cast (feature) 
• Shadow box 
• Easel

Set up

What you will do

Using sight-size, replicate a moderate cast from life to the fullest value range allowed for by charcoal.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced. Additional difficulty in applying these concepts will be introduced through more complexity in subject

Assessment Criteria | Weighting

• Drawing 40%- accurate
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 30% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 20% – hierarchy of edges
  sharp v soft, clear focal point
• Material use – application 10% –
  Flattening, charcoal sharpening, sight size, using the right grade of charcoal

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Range of charcoals (2B/HB/H)
• Roma or Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Moderate Cast 
• Shadow box 
• Easel

Set up

Max Dension-Pender

Daniel Sequeira

What you will do

Using sight-size, replicate a complex cast from life to the fullest value range allowed for by charcoal.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced.

Additional difficulty in applying these concepts will be introduced through more complexity in subject

Assessment Criteria | Weighting

• Drawing 40% – accurate
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 30% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 20% – hierarchy of edges
  sharp v soft, clear focal point
• Material use application 10% –
  Flattening, charcoal sharpening, sight size, using the right grade of charcoal

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Range of charcoals (2B/HB/H)
• Roma or Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Complex cast
• Shadow box 
• Easel

Set up

What you will do

Using sight-size, replicate a moderate cast from life to the fullest value range allowed for by charcoal.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced.

Additional difficulty in applying these concepts will be introduced through more complexity in subject

Assessment Criteria | Weighting

• Drawing 40% – accurate
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 20% – hierarchy of edges sharp v soft, clear focal point
• Material use application 20% –
  Flattening, charcoal sharpening, sight size, using the right grade of charcoal

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Range of charcoals (2B/HB/H)
• Pitt pastel white pencil
• Roma or Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Complex cast
• Shadow box 
• Easel

Set up

Svetlana Semenova

Charlie Pickard

What you will do

Using sight-size, replicate a complex cast from life to the fullest value range allowed for by charcoal.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced.

Additional difficulty in applying these concepts will be introduced through more complexity in subject

Assessment Criteria | Weighting

• Drawing 40% – accurate
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 20% – hierarchy of edges sharp v soft, clear focal point
• Material use application 20% –
  Flattening, charcoal sharpening, sight size, using the right grade of charcoal

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Range of charcoals (2B/HB/H)
• Pitt pastel white pencil
• Roma or Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Complex cast
• Shadow box 
• Easel

Set up

Secondary task

Students wanting to do an extra exercise can do a range of quick charcoal value studies, to further enhance their understanding of value, and understanding how to make things “glow”.

Lydia Cecil

Alistair Brown

Lucy Fyffe | Royal Society of Portrait Painters Exhibition

What you will do

Using sight-size, replicate a portrait from life to the fullest value range allowed for by charcoal.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced.

Additional difficulty in applying these concepts will be introduced through more complexity in subject

Assessment Criteria | Weighting

• Drawing 40% – accurate
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 20% – hierarchy of edges sharp v soft, clear focal point
• Material use application 20% –
  Flattening, charcoal sharpening, sight size, using the right grade of charcoal

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Range of charcoals (2B/HB/H)
• Pitt pastel white pencil
• Roma or Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Complex cast
• Shadow box 
• Easel

Set up

What you will do

Using sight size, replicate a simple cast from life to the fullest value range allowed for by paint. 

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced.

You will learn how to handle the medium and the principle of fat over lean and the proper procedure for keeping materials clean and well kept.

You will learn proper paint application (avoid dabbing, as few strokes as possible, mix transition on palette not the canvas).

You will learn what an imprematura is and how to apply and use it as well as the concept of colour temperature. You will learn how to transfer a drawing onto a canvas

Assessment Criteria | Weighting

• Drawing 40% – accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Temperature 20% – warm/cold and variations between them

  Edges 10%- sharp v soft 

  Material use 10% – application, sight size, good handling of the paints, oiling out. (bonus points: brush economy) fat over lean

After this exercise you will have

Materials

• Canvas
  Weighted Palette
  Ivory black
  Raw umber
  Titanium white
  Sansodor
  Linseed Oil
  Palette knife
  Kitchen paper
  Brushes

Set up

Right side of the canvas
Plumb line
Easel upright
canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

Alistair Brown

What you will do

You will continue to reinforce the skills obtained in Exercise 9 and replicate a moderate cast from life to the fullest value range necessary within your medium.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and safety, planar thinking and colour temperature will continue to be re-enforced.

You will, at this point, learn about effects of paint thickness on the value range of paint and learn of the qualities of transparency and opacity and how this can be explore through thick and thin application of the paint.

Additional difficulty will be added through the complexity of subject

Assessment Criteria | Weighting

• Drawing 40% – accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly), hierarchy of value, compression in the shadows, thick lights v thin shadows, planes

  Temperature 10% – warm/cold and variations between them

  Edges 20% -sharp v soft 

  Material use 10% – application, sight size, good handling of the paints, oiling out. brush economy, clean application, fat over lean, varying thicknesses

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Canvas
  Weighted Palette
  Ivory black
  Raw umber
  Titanium white
  Sansodor
  Linseed Oil
  Palette knife
  Kitchen paper
  Brushes

Set up

Right side of the canvas
Plumb line
Easel upright
canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

Charlie Pickard

Lydia Cecil

What you will do

You will continue to reinforce the skills obtained in Exercise 10 and replicate a complex cast with a more advanced palette, accounting for more subtle shifts in temperature and hue on a white subject.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use, planar thinking, temperature and thickness of paint will continue to be re-enforced.

You will, at this point be introduced to the Zorn palette and the concept of hue, value and chroma as understood in the munsell colour system.

Additional challenge will be added through further complexity of subject

Assessment Criteria | Weighting

• Drawing 40% – accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring
• Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly), hierarchy of value, compression in the shadows, thick lights v thin shadows, planes
• Temperature 10% – warm/cold and variations between them
• Edges 20% -sharp v soft 
• Material use 10% – application, sight size, good handling of the paints, oiling out. brush economy, clean application, fat over lean, varying thicknesses

After this exercise you will have

• How to handle charcoal
• Full concept of value
• How to key a drawing 
• Drawing with mass

Materials

• Canvas
• Weighted Palette
• Ivory black
• Raw umber
• Titanium white
• Cadmuim red
• Yellow Orchre
• Sansodor
• Linseed Oil
• Palette knife
• Kitchen paper
• Brushes

Set up

Right side of the canvas
Plumb line
Easel upright
canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

Edith Dormandy

Max West

Michael Harding Award for her drawing ‘Joachim

Arvid Antonsen

What you will do

Using sight-size, replicate a portrait from life to the fullest value range allowed for by charcoal and chalk.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use and planar thinking will continue to be re-enforced.

Assessment Criteria | Weighting

• Drawing 40% – accurate shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring, good likeness
• Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes
• Edges 30% – hierarchy of edges sharp v soft, clear focal point 
• Material use application 10% – flattening, charcoal sharpening, sight size, using the right grade of charcoal, never mix charcoal and chalk. 

Materials

• Range of charcoals (2B/HB/H)
• Pitt pastel white pencil
• Roma or toned Arches paper
• Clear mirror
• Black mirror
• Drawing board
• Putty rubber
• Masking tape
• Plumb-line
• Complex cast
• Shadow box 
• Easel

Set up

What you will do

From life using sight-size paint a green and red pear to the highest colour and drawing accuracy as possible, with the focus on capturing the “glow” using colour.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, material use, planar thinking, temperature and thickness of paint will continue to be re-enforced. 

At this point the you will be introduced to a full colour palette and colour theory using a full colour palette and how to approach colour mixing for a specific subject.

You will learning to adjust your mix to replicate the chroma/value and hue in nature. Capturing subtle hue shifts e.g. red to green in preparation for the full palette in figure painting.

You will use colour (chroma) to create a glow and sense of light and clean/thicker paint application to indicate the plaines of the pear to maintain a sense of structure. You will also be taught about colour accents at the end of the exercise to set off colours.

Assessment Criteria | Weighting

• Drawing 40% – accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, line weight measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Temperature 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them,

  Edges 10%- sharp v soft 

  Material use 10% – application, sight size, good handling of the paints, oiling out, brush economy, clean application, fat over lean and varying thicknesses. 

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Cadmium yellow
• Yellow ochre
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ivory black
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

What you will do

From life you will be using sight size to paint a pear in one three hour session only.

What you will learn.

Using the skills you learnt in Exercise 12 you will condense them into a shorter amount of time increasing your speed and the rapidity of decision making.

You will also focus on mixing and your brushwork should be more natural and intuitive, showing increased confidence. Paint can be applied more thickly to understand the process of quicker alla prima painting style.

Assessment Criteria | Weighting

• Drawing 20% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Temperature 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them,

  Edges 20%- sharp v soft 

  Material use 20% – application, sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed.

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Cadmium yellow
• Yellow ochre
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ivory black
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

What you will do

Paint the previous alla prima pear completely from memory, aiming to replicate as accurately as possible the colour and specific shape of the pear.

What you will learn.

Learning to mix specific colours from memory helps solidify the basics of colour theory and everything learned in the two previous exercises.

Trying to replicate accurately the drawing and specific gesture/shape of the pear from memory helps build toward using memory as a drawing tool in future projects.

Assessment Criteria | Weighting

• Drawing 20% – accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, 

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Temperature 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them,

  Edges 20%- sharp v soft 

  Material use 20% – application, sight size, good handling of the paints, oiling out, brush economy, clean application, varying thicknesses and loading the brush properly. 

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Cadmium yellow
• Yellow ochre
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ivory black
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

What you will do

From life using sight-size paint 3 fruit and aim for as much variety size/colour/shape. 

What you will learn.

Dealing with varying local colours of differing fruits increases experience and understanding of colour mixing.

Mixing time should be much faster at this stage. Students should have a stronger understanding of composition from this exercise having spent arranging their set ups.

Assessment Criteria | Weighting

• Drawing 20% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Temperature 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them,

  Edges 20%- sharp v soft 

  Material use 20% – application, sight size, good handling of the paints, oiling out, brush economy, clean application, varying thicknesses and loading the brush properly. 

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Cadmium yellow
• Yellow ochre
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ivory black
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

Alistair Brown

What you will do

Paint from life using sight-size a three object still life. The objects must be varying in size, texture, shape and colour. The more variety the better. e.g., fabric/metal/wood/paper.

You may only begin the large piece after 10 compositional sketches have been made and a mini colour study.

What you will learn.

You will learn how to competently experiment with different compositions of a simple three object still life.

How to paint the varying textures between the objects and using different paint application techniques for visual effect. Finishing technique and rendering surface textures. Broken colour/colour accents.

Assessment Criteria | Weighting

• Drawing 30% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Colour 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them,

  Edges 20%- sharp v soft 

  Material use 10% – application, sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed.

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Cadmium yellow
• Yellow ochre
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ivory black
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

What you will do

From a high quality print, as close to the original size paint to completion a head study, replicating every last detail as closely as possible including, brushwork, texture, colour, shape design, edges, transitions, colour palette.

Some examples of 19th century artists to copy…

Anders Zorn
Sargent
Repin

What you will learn.

You will learn by replicating new skills in brushwork, colour combinations, shape design and edges. Finishing styles can be explored by expanding your  opportunity to develop stylistic choices in their own work.

Assessment Criteria | Weighting

• Drawing 30% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Colour 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them, equal to original

  Edges 20%-  sharp v soft, equal to original

  Material application use 10% -sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed, needs to be handled similarly as to the old master original

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Titanium nickel
• Cadmium yellow
• Yellow ochre or Raw sienna
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ivory black
• OR if possible a specific palette to the piece if information is avaliable
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

Rado Topalov

Luca Indraccola | Royal Society of Portrait Painters Exhibition

Jon Gidlow | Royal Society of Portrait Painters

Elena Van Hasslet

Sofia Welch

Luca Indraccolo

What you will do

Using sight size, you will replicate a portrait from life to the fullest value range allowed for using a full colour palette.

In this final painting project choice of portrait you will need to display a clear understanding of the key concepts of painting and composition, as well as individual creativity.

What you will learn.

You will learn by replicating new skills in brushwork, colour combinations, shape design and edges.

If you are working from life finishing styles can be explored by expanding your opportunity to develop stylistic choices in your own work.

Assessment Criteria | Weighting

• Drawing 30% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

• Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

• Colour 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them, equal to original*

• Edges 20%-  sharp v soft, equal to original*

• Material use 10% -sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed.

• If you have chosen a master copy the paint needs to be handled in a similar fashion.

Materials

• Palette
• Canvas boards
• Medium or large stretched canvas
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Titanium nickel
• Cadmium yellow
• Yellow ochre or Raw sienna
• Cadmium red
• Alizarin crimson 
• Raw umber
• Ultramarine or Prussian Blue
• Cobalt blue
• Ivory black
• OR if possible a specific palette to the piece if information is available
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

*If copying from a master’s painting 

What you will do

You will paint from life using sight size a complex multiple object still life with a well planned theme or idea behind the chosen objects.

The objects must be varying in size, texture, shape and colour. The more variety the better. e.g., fabric/metal/wood/paper.

You may only begin the large piece after 10 compositional sketches have been made and a mini colour study.

What you will learn.

You will learn how to competently experiment with different compositions of a simple three object still life.

How to paint the varying textures between the objects and using different paint application techniques for visual effect.

Finishing technique, rendering surface textures and broken colour/colour accents.

Assessment Criteria | Weighting

• Drawing 30% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

  Value 20% – design clarity of value design keying, light/darkness range, hierarchy of value.

  Colour 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them, all designed to the idea of where the focal point should be.

  Edges 20%-  sharp v soft, design. 

  Material application use 10% -sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed.

After this exercise you will have

Materials

• Palette
• Canvas boards
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Titanium Nickel (optional)
• Cadmium yellow
• Yellow ochre
• Cadmium red
• Alizarin crimson 
• Raw umber
• Cobalt blue
• Ultramarine or Prussian blue
• Ivory black
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centred)
canvas properly stretched

Jamie Coreth | Fine Art Commissions | Queen Elizabeth Scholarship Trust

Lucas Garcia | Royal Society of Portrait Painters

What you will do

Using sight size, replicate a portrait from life to the fullest value range allowed for using a full colour palette.

or

From a high quality print, as close to the original size paint to completion a head study, replicating every last detail as closely as possible including, brushwork, texture, colour, shape design, edges, transitions, colour palette.

Some examples of 19th century artists to copy…

Anders Zorn
Sargent
Repin

What you will learn.

You will learn by replicating new skills in brushwork, colour combinations, shape design and edges.

If you are working from life finishing styles can be explored by expanding your opportunity to develop stylistic choices in your own work.

Assessment Criteria | Weighting

• Drawing 20% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Colour 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them, equal to original*

  Edges 20%-  sharp v soft, equal to original*

  Material use 20% -sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed.

  If you have chosen a master copy the paint needs to be handled in a similar fashion.

After this exercise you will have

Materials

• Palette
• Canvas boards
• Medium or large stretched canvas
• Palette knife
• Sansodor
• Linseed oil
• Brushes
• Titanium white
• Titanium nickel
• Cadmium yellow
• Yellow ochre or Raw sienna
• Cadmium red
• Alizarin crimson 
• Raw umber
• Ultramarine or Prussian Blue
• Cobalt blue
• Ivory black
• OR if possible a specific palette to the piece if information is available
• Kitchen paper

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
tape on the floor and easel
standing at least 1.5 meters away
standing in between subject and painting (centered)
canvas properly stretched

*If copying from a master’s painting 

Alex Horne

What you will do

Using sight size, replicate a portrait from life to the fullest value range allowed for using a limited palette of the students choice.

What you will learn.

Lessons of proportion, gesture, structure, edge, value, hue, chroma, brush work, material use and planar thinking will continue to be re-enforced.

Assessment Criteria | Weighting

• Drawing 20% -accurate 
  shape design, structure, form, angle breaks, proportion, edge, gesture, rhythm, measuring and good likeness.

  Value 20% – tone, keying, light/darkness range, relative values, over modelling, full value range (keyed properly) , hierarchy of value, compression in the shadows, planes

  Colour 20% – Colour, hue shifts, chroma shifts (grey vs chromatic) Colour accents, Temperature, warm/cold and variations between them.

  Edges 20%- hierarchy of edges
  sharp v soft, clear focal point

• Material use 20% -sight size, good handling of the paints, brush economy, clean application, varying thicknesses, loading the brush properly, different textures expressed.

After this exercise you will have

Materials

• Canvas
• Weighted Palette
• Ivory black
• Raw umber
• Titanium white
• Cadmium red
• Yellow ochre
• Sansodor
• Linseed Oil
• Palette knife
• Kitchen paper
• Brushes
• Mirror 
• Black Mirror

Set up

Right side of the canvas
Plumb line
Easel upright
Canvas plumb 
Easel parallel to line of sight
Tape on the floor and easel
Standing at least 1.5 meters away
Standing in between subject and painting (centred)
Canvas properly stretched