13 Courses Are Open For Registration

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Soroush Dabiri
Home
Online Store
  • Studio Sale
Collections
  • Symbiosis (2021-22)
  • Biophilia (2020-21)
  • Houseplants (2019-21)
  • Gardens of Shiraz (2019)
  • Remembrance (2019)
  • Relevance (2018)
  • Femininity (2014-15)
  • Quadri (2013)
  • Sustain (2012)
  • Windows (2010-11)
  • Close to Me (2009)
  • Sheykh e San-An (2008)
  • Shadows (2007)
  • Flowers (2006)
Online Art Classes
  • About The Courses
  • Drawing
  • Composition & Collage
  • Color Theory
  • Watercolor
  • Portraits Drawing
  • Acrylics
  • Oil
  • Mixed Media
About Me
CV
Photo Adventure
More
  • Home
  • Online Store
    • Studio Sale
  • Collections
    • Symbiosis (2021-22)
    • Biophilia (2020-21)
    • Houseplants (2019-21)
    • Gardens of Shiraz (2019)
    • Remembrance (2019)
    • Relevance (2018)
    • Femininity (2014-15)
    • Quadri (2013)
    • Sustain (2012)
    • Windows (2010-11)
    • Close to Me (2009)
    • Sheykh e San-An (2008)
    • Shadows (2007)
    • Flowers (2006)
  • Online Art Classes
    • About The Courses
    • Drawing
    • Composition & Collage
    • Color Theory
    • Watercolor
    • Portraits Drawing
    • Acrylics
    • Oil
    • Mixed Media
  • About Me
  • CV
  • Photo Adventure
  • Home
  • Online Store
    • Studio Sale
  • Collections
    • Symbiosis (2021-22)
    • Biophilia (2020-21)
    • Houseplants (2019-21)
    • Gardens of Shiraz (2019)
    • Remembrance (2019)
    • Relevance (2018)
    • Femininity (2014-15)
    • Quadri (2013)
    • Sustain (2012)
    • Windows (2010-11)
    • Close to Me (2009)
    • Sheykh e San-An (2008)
    • Shadows (2007)
    • Flowers (2006)
  • Online Art Classes
    • About The Courses
    • Drawing
    • Composition & Collage
    • Color Theory
    • Watercolor
    • Portraits Drawing
    • Acrylics
    • Oil
    • Mixed Media
  • About Me
  • CV
  • Photo Adventure

Graphite & Charcoal Techniques - Fundamentals of Visual Arts

Course 1: Types and Characteristics of Lines and Textures

Course 2: Line and Visual Perception, Lumograph Techniques

Course 2: Line and Visual Perception, Lumograph Techniques

In this course, through 9 different practices you will learn how to observe varied quality of lines and textures in nature transferring them into your art practices via using variety of applicators in order to recreating those lines and textures. 

Find out more

Course 2: Line and Visual Perception, Lumograph Techniques

Course 2: Line and Visual Perception, Lumograph Techniques

Course 2: Line and Visual Perception, Lumograph Techniques

In course 2, you will practice on one the main principals of visual arts; visual perception. Through considering different aspects of visual perception, you will gain the ability to interpret the surrounding environment into lines and tonal values. All practices have designed to structure drawing skill set, helps you to draw what you see. 

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Course 3: Form and Visual Perception

Course 4: Controlling Values, Charcoal Techniques

Course 4: Controlling Values, Charcoal Techniques

The approach in this course is morphological study of simple elements of nature. Through series of practices, you will learn how to simplify and analyze the forms that are most frequently found in living nature and manipulates them as well as their relationship in order to develop the idea through applying charcoal techniques.  

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Course 4: Controlling Values, Charcoal Techniques

Course 4: Controlling Values, Charcoal Techniques

Course 4: Controlling Values, Charcoal Techniques

Charcoal is on of the highly reversible drawing medium. In a same drawing you can use different forms of charcoal together. Whether they are applying directly or indirectly, very different effects can be achieved. Drawing lines, outlines, shapes, essential points, tones manipulation, and creating textures in addition to blending techniques and creating highlights are the main charcoal drawing characteristics you will learn in this course. Throughout the practices we’re going to use several different types of charcoal. 

Find out more

Course 1: Types And Characteristics Of lines

About the Course

Drawing is learning to see. As we look more closely, we began to recognize shapes and relationships accurately; we engaged with the subject and we began to read and interpret the marks at the drawing itself, then we allow the subject and the marks of the drawing to guide us through the process. This is the beginning of drawing and learning to see. A line is not really important because it records what you have seen, but because of it will lead you on to see.


 In visual arts lines have highest descriptive potential, and they can indicate forms as well as movement. You will learn to create textures, light, weight, and space reflecting your sensation through applying many different kinds of lines in drawing in order to make a better connection between your artistic talent and viewer’s feeling.  


In course one in addition to cover basic drawing media; graphite, you will explore different methods using drawing materials in order to experiment combination of alternative media creating textures and gestures with lines.Gesture and texture are two main characteristics of line. Gestural lines concentrate their energy around specific points or areas. At this level, gestural movements can be descriptive, precise, and direct, or capable of defining the objects characteristically soft, blended, and airy, able to convey faint atmosphere. 


Gestural lines can be actual lines you see when looking closely, or using darker or thicker lines where there are more shades, or you can add in extra lines to represent any observed texture in nature. Perceiving textures remind us of a tactile feeling and experiences such as heavy-light, coarse-smooth, soft-hard, rigid-flexible, flat- rugged, broken, folded, cut, porous, wrinkled, pierced, sharp, striated, crackled, col-warm, dry-wet, even-uneven, consistent-inconsistent, liquid-viscous, solid-misty.  In this course, through 9 different practices you will learn how to observe varied quality of lines and textures in nature transferring them into your art practices via using variety of applicators in order to recreating those lines and textures. 


COURSE 1 MATERIALS AND EQUIPMENT
 

Course Outcomes

 

  • Deeper understanding of creating a visual analogue of what you are seeing
  • Adjusting the body with new language over an engagement of drawing practices
  • Building up drawing muscles and hand-eye coordination through guiding your drawing instrument
  • Gaining skill set, confidence, and an understanding of how to translate the three-dimensional visual world you know into two dimensional representation of how it appears
  • Better understanding of how to observe nature 
  • Improving visual sensitivity being able to use memory for drawing 
  • Drawing techniques and principles
  • Being able to create variety of lines, textures, and tonal values through different applicators

Registration

Course 1 Practices

Session 1: Descriptive line. Seeing, remembering, and drawing a plant

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

How does the structure of anything alive relate to the variety of lines? 


Materials: 

  • Graphite; 8B drawing pencil
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Bamboo reed pens
  • Steel pen and various nibs
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board
  • Tray
  • Jar
  • Paper towel   

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

 Creating lines by modifying a pressure on applicator


 Materials: 

  • Graphite; 8B drawing pencil
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Common nail
  • Masking tape
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board
  • Tray
  • Jar
  • Paper towel  

Session 3: Experimenting with Lines through Frottage. Observing lines in variety

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 3: Experimenting with Lines through Frottage. Observing lines in variety

Transferring patterns and textures into paper

  

Materials: 

  • Graphite; 4B and 8B drawing pencil
  • Charcoal stick, medium hardness 
  • Masking tape
  • Newsprint paper 
  • Drawing Board

Session 4: Airy, blended, and defused lines. Reflecting a sensation of the model

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 3: Experimenting with Lines through Frottage. Observing lines in variety

Creating lines through modifying pressure on applicator desaturating the paint

  

Materials: 

  • Charcoal stick, soft hardness 
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Smudge blender
  • Foam brush & roll
  • Kneaded rubber eraser
  • Masking tape
  • Newsprint paper 
  • Bristol paper
  • Watercolor paper 
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel  

Session 5: Thick and Thin Line Emphasis. Comparing two types of line

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Combining graphite and inks creating lines 

  

Materials: 

  • Graphite; 8B drawing pencil
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Bamboo reed pens
  • Steel pen and various nibs
  • Newsprint paper 
  • Bristol paper
  • Drawing board
  • Tray
  • Jar
  • Paper towel 

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Creating rough texture by overlapping lines through transmitting inks of sewing thread

  

Materials: 

  • Black Indian Ink 
  • Twine string
  • Kneaded rubber eraser
  • Masking tape
  • Bristol paper
  • White Bristol board sheet 
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel 

Session 7: Rough and coarse texture, Practice 2 Simulating natural rough surfaces

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 8: Hatched and reticular texture. Explaining values of grey through crosshatching

Creating rough texture by transferring texture from aluminium into the base  

  

Materials: 

  • Black acrylic paint 
  • Aluminium roll 
  • Masking tape
  • Bristol paper
  • White Bristol board sheet
  • Newsprint paper 
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel

Session 8: Hatched and reticular texture. Explaining values of grey through crosshatching

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 8: Hatched and reticular texture. Explaining values of grey through crosshatching

Overlapping hatched textures 

  

Materials: 

  • Black pen 
  • Graphite, HB drawing pencil 
  • Black marker
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Bamboo reed pens
  • Steel pen and various nibs
  • Newsprint paper 
  • Masking tape
  • White Bristol board sheet
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Mixing and overlapping graphite, charcoal, candle, and glue

   

Materials: 

  • Graphite, 8B drawing pencil 
  • Charcoal stick, soft hardness 
  • Smudge blender
  • Kneaded rubber eraser
  • Masking tape
  • Candle
  • Liquid school glue
  • Glue stick
  • Newsprint paper 
  • Bristol paper
  • Drawing board
  • Paper towel 

Course 1 Materials And Equipment

Mediums

Applicators

Applicators

  • Graphite, 4B drawing pencil 
  • Graphite, 8B drawing pencil 
  • Charcoal stick, soft hardness
  • Black Indian Ink 
  • Black acrylic paint 

Applicators

Applicators

Applicators

  • Bamboo reed pens
  • Steel pen and various nibs
  • Sable brush for Ink #8
  • Smudge blender
  • Foam brush and roll
  • Kneaded rubber eraser

Supports

Applicators

Equipment

  • White Bristol board sheet
  • Watercolor paper 
  • Newsprint paper 
  • Bristol paper

Equipment

Equipment

Equipment

  • Masking tape
  • Liquid school glue
  • Glue stick
  • Candle
  • Paper towel
  • Aluminium Foil
  • Twine string 

Accesories

Equipment

Accesories

  • Drawing board
  • Tray
  • Glass jar

Equipment

Accesories

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Course 2: Line, Proportion, And Visual Perception

About the Course

In this course, the practices are offered through 8 sessions/weeks in order to cover 5 main aspects of perception in drawing; the perception of edge, the perception of space, the perception of relationship, the perception of light and shadow, and the perception of whole.  


By considering the perception of edges you will practice on sighting and measuring techniques studying on measuring proportions through still life drawing. Then you can compare the angles and axes of viewed objects with those of your drawing.   


Seeing the line dynamics and following the main direction of each object will help you to create a space in drawing. Particularly, this is a perfect method of measurement that helps you to improve the accuracy of what you draw. 


Through considering circular movements in the subject/model, you will practice to analyse a model into oval forms, which helps you having better perception in relationship between the components forming a picture/drawing. You will learn how to use your drawing pencil to compare and record the size of the object on your drawing surface. 


One of the main lessons in this course is introduction to light and shadow in drawing. Considering the light and shadow will help you to find a proper position for applying relevant values of grey tones into each unit of the composition based on the viewed object. Then you will find how this notion is strongly related to the elements of movement you can recognize in any piece of art. 


Trough the final practice in this course, you will combine all sighting techniques together shaping the entire composition. By following all those rules, you are able to apply your own perception of the whole to create a landscape scenery applying lumograph graphite techniques.     


COURSE 2 MATERIALS AND EQUIPMENT
 

Course Outcomes

 

  • Having better visual perception 
  • Ability to interpret the surrounding environment into lines and tonal values  
  • Better understanding of scales and measures functions of in a composition 
  • Ability to draw what you see 
  • Ability to analyze a masterpiece into its main components   
  • Better understanding of tonal value configuration in a composition 
  • Ability to create a space in drawing 
  • Having better perception in relationship among the picture components  
  • Ability to follow light and shadow of the object you see  
  • Ability to compare and record the size of the object you see 
  • Ability to apply proper effects through lumograph graphite techniques  

Registration

Course 2 Practices

Session 1: The perception of edge, Sighting / Measuring

Session 3: The perception of space, Drawing from memory

Session 2: The perception of space, Direction and Movement

Combination of three object; considering proportions through still life drawing 


Materials: 

  • Lumograph Graphite set
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 2: The perception of space, Direction and Movement

Session 3: The perception of space, Drawing from memory

Session 2: The perception of space, Direction and Movement

Considering lines dynamics depicting movement in the subject through still life drawing 


 Materials: 

  • Lumograph Graphite set 
  • Newsprint paper  
  • White Bristol board sheet 
  • Drawing Board 

Session 3: The perception of space, Drawing from memory

Session 3: The perception of space, Drawing from memory

Session 4: The perception of relationship – Practice 1, The function of oval forms

Considering the main line of movement

  

Materials: 

  • Lumograph Graphite set 
  • Newsprint paper  
  • White Bristol board sheet 
  • Drawing Board

Session 4: The perception of relationship – Practice 1, The function of oval forms

Session 5: The perception of relationship – Practice 2, The importance of sighting

Session 4: The perception of relationship – Practice 1, The function of oval forms

Considering circular movements in the subject analysing a model into oval forms 

  

Materials: 

  • Lumograph Graphite set 
  • Newsprint paper  
  • White Bristol board sheet 
  • Drawing Board  

Session 5: The perception of relationship – Practice 2, The importance of sighting

Session 5: The perception of relationship – Practice 2, The importance of sighting

Session 5: The perception of relationship – Practice 2, The importance of sighting

Drawing from memory

  

Materials: 

  • Lumograph Graphite set 
  • Newsprint paper  
  • White Bristol board sheet 
  • Drawing Board

Session 6: The Perception of Light and Shadow, Practice 1

Session 5: The perception of relationship – Practice 2, The importance of sighting

Session 5: The perception of relationship – Practice 2, The importance of sighting

Practice on the line weight through cardboard model making. The function of values creating the illusion of a third dimension 

  

Materials: 

  • Lumograph Graphite set 
  • Newsprint paper  
  • White Bristol board sheet 
  • Drawing Board

Session 7: The Perception of Light and Shadow, Practice 2

Session 8: The Perception of the Whole – Landscape Drawing

Session 8: The Perception of the Whole – Landscape Drawing

Practice on shading through compositing 

  

Materials: 

  • Lumograph Graphite set 
  • Newsprint paper 
  •  White Bristol board sheet 
  • Drawing Board

Session 8: The Perception of the Whole – Landscape Drawing

Session 8: The Perception of the Whole – Landscape Drawing

Session 8: The Perception of the Whole – Landscape Drawing

Practice on overlapping random lines forming shapes in drawing based on viewed scenery   

  

Materials: 

  • Lumograph Graphite set 
  • Newsprint paper  
  • White Bristol board sheet 
  • Drawing Board

Course 2 Materials And Equipment

Mediums

Applicators

Applicators

  • Lumograph Graphite Set 

Applicators

Applicators

Applicators

  • Smudge blender
  • Kneaded rubber eraser

Supports

Applicators

Equipment

  •  Newsprint paper 
  • Bristol paper

Equipment

Equipment

Equipment

  • Masking tape

Accesories

Equipment

Accesories

  • Drawing board

Equipment

Accesories

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Course 3: Form And Visual Perception

About the Course

When you analyze any picture or any natural scenery into simple forms, potentially each form expresses different feeling and you will learn how to transmit that experience from what you see into drawing using charcoal sticks.


In visual art form is referred to two realities: the external appearance of objects; their “body”, and the mental model that we have of them; their “soul”. These two realities always go together like two sides of a coin. 


All practices are designed encouraging you to dedicate hours to observation and analysis of the world that surrounds you. Then you will strive to capture that which is hidden behind every form, modifying your perception your environment, making a better connection with nature enriching the culture of this relationship. 


COURSE 3 MATERIALS AND EQUIPMENT
 

Course Outcomes

 

  • Having better visual perception 
  • Ability to interpret the surrounding environment into shape and tonal values  
  • Ability to analyze any picture into its main components   
  • Better understanding of tonal value configuration in a composition 
  • Having better perception in relationship among the composition components  
  • Ability to follow light and shadow of the object you see  
  • Ability to manipulate the object you see 
  • Ability create artworks  through applying charcoal and lumograph graphite   

Registration

Course 3 Practices

Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

Draw the silhouette; the Mass, to define the spatial limits of objects 


Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 2: Represent the Structure of Form

Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

Draw not only the outside edge of the form but also internal the characteristics, so that a few well drawn inside outlines can explain the whole form as well as expressing the volume  


 Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 3: Volumetric, Organic, and Curvilinear Forms

Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

Session 3: Volumetric, Organic, and Curvilinear Forms

Composition with fruits, following the main structure of the model. Depicting nature using cylinder, the sphere, and the cone

  

Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 4: Linear, Twisted, and Sinuous Forms

Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

Session 3: Volumetric, Organic, and Curvilinear Forms

Composition with Trunks, Branches, and Roots, following the main structure of the model. Focusing on the gesture and the rhythm of their lines

  

Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board  

Session 5: Dynamic and Living Forms of galloping animals

Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

Composition with structural organic forms based on arcs and ellipses to communicate their movement. Animals moves in different ways. It is necessary to observe the model very attentively, making an effort to capture their volumes and gesture

  

Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

Converting three dimensions to two dimensions offering an opportunity to create new forms

  

Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 7: Creative Approach to the Model. Creating a Model Map

Session 7: Creative Approach to the Model. Creating a Model Map

Session 7: Creative Approach to the Model. Creating a Model Map

Creating flat cutouts from the last drawing; session 6, rearranging those new forms to create a new composition   

  

Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Session 8: The Final Drawing

Session 7: Creative Approach to the Model. Creating a Model Map

Session 7: Creative Approach to the Model. Creating a Model Map

Transmitting outlines into drawing. Extracting forms through manipulating light and shadows by referring to the source image; session 6, creating an atmospheric drawing    

  

Materials: 

  • Lumograph Graphite set
  • Charcoal stick, soft hardness
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board

Course 3 Materials And Equipment

Mediums

Applicators

Applicators

  • Lumograph Graphite Set
  • Charcoal stick, soft hardness 

Applicators

Applicators

Applicators

  • Smudge blender
  • Kneaded rubber eraser

Supports

Applicators

Equipment

  •  Newsprint paper 
  • Bristol paper

Equipment

Equipment

Equipment

  • Masking tape

Accesories

Equipment

Accesories

  • Drawing board

Equipment

Accesories

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Course 4: Controlling Values, Charcoal Techniques

About the Course

  

Willow and Vine charcoal are the most basic form of drawing charcoal purely natural. They are carbonized wooden sticks without any binder that can be very brittle and powdery to use for drawing. This means that the charcoal can be easily smoothed out and erased, which is one of the main advantages of this kind as a drawing medium. 


Charcoal powder is grinned substance made from willow or vine charcoal. You can apply it with a brush or all kinds of other tools, to create a beautiful soft look or to tone larger areas of your drawing.


Compressed charcoal is darker than regular willow and vine charcoal. The ranges from hard to soft, depending on the ratio of charcoal powder to binder: the harder the charcoal stick, the less charcoal powder and hence the lighter the tonal value. Compressed charcoal adheres better to the paper than regular willow or vine charcoal.


Charcoal pencils are thinner than the other types of charcoal ideally you can have more control working on details. They are comparable to compressed charcoal, and just like compressed charcoal they usually come in a range from hard to soft. 


COURSE 4 MATERIALS AND EQUIPMENT
 

Course Outcomes

 

  

  • Having better control over charcoal drawing techniques
  • Better understanding of how to apply different kinds of charcoal
  • Being experienced with applying techniques on varied bases
  • Ability to manipulate charcoal and blending techniques 
  • Better understanding of tonal value configuration in a composition  
  • Ability to follow light and shadow of the object you see  

Registration

Course 4 Practices

Session 1: A wheat field

Session 2: Tree trunk at forest

Session 2: Tree trunk at forest

Shading with Charcoal Powder, manipulating the grey values by applying blending tools 


Materials: 

  • Charcoal powder
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 2: Tree trunk at forest

Session 2: Tree trunk at forest

Session 2: Tree trunk at forest

Drawing with vine charcoal, shading with Charcoal Powder, manipulating the grey values by applying blending tools 


 Materials: 

  • Charcoal powder
  • Vine Charcoal
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 3: Light over the leaf

Session 2: Tree trunk at forest

Session 3: Light over the leaf

week 1: Adjusting proportions and tonal values referring to a source image

  

Materials: 

  • Charcoal powder
  • Vine Charcoal
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 4: Light over the leaf

Session 5: Drawing of Half Dome in Yosemite National Park

Session 3: Light over the leaf

 Week 2: Compressed charcoal and blending techniques 

  

Materials: 

  • Charcoal powder
  • Vine charcoal
  • Compressed charcoal
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 5: Drawing of Half Dome in Yosemite National Park

Session 5: Drawing of Half Dome in Yosemite National Park

Session 5: Drawing of Half Dome in Yosemite National Park

Week 1: Adjusting proportions and tonal values referring to a source image 

  

Materials: 

  • Charcoal powder
  • Vine charcoal
  • Compressed charcoal
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 6: Drawing of Half Dome in Yosemite National Park

Session 5: Drawing of Half Dome in Yosemite National Park

Session 5: Drawing of Half Dome in Yosemite National Park

Week 2: Creating texture, extracting light and shadows applying compressed charcoal and blending techniques 

  

Materials: 

  • Charcoal powder
  • Vine charcoal
  • Compressed charcoal
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 7: Still Life Drawing: Glasses and Potatoes

Session 7: Still Life Drawing: Glasses and Potatoes

Session 7: Still Life Drawing: Glasses and Potatoes

Week 1: Modelling, Study on outlines, forms, proportions, and tonal values 

  

Materials: 

  • Charcoal powder
  • Vine charcoal
  • Compressed charcoal
  • Charcoal pencile
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Session 8: The Final Drawing

Session 7: Still Life Drawing: Glasses and Potatoes

Session 7: Still Life Drawing: Glasses and Potatoes

Week 2: Applying realistic shading and effects making the drawing accurate toward the model   

  

Materials: 

  • Charcoal powder
  • Vine charcoal
  • Compressed charcoal
  • Charcoal pencil
  • Mixed-media paper 
  • Painter tape
  • Drawing Board

Course 4 Materials And Equipment

Mediums

Applicators

Applicators

  • Charcoal powder
  • Vine or Willow charcoal stick
  • Compressed charcoal stick
  • Charcoal pencil

Applicators

Applicators

Applicators

  • Smudge blender
  • Kneaded rubber eraser

Supports

Applicators

Equipment

  • Canson mixed-media paper
  • Canson Mi-Teintes

Equipment

Equipment

Equipment

  • Masking tape

Accesories

Equipment

Accesories

  • Drawing board

Equipment

Accesories

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