Drawing Level 1: Characteristics of Line and Texture
About the Course
Through the series of practices, students explore different methods of using drawing materials such as graphite, charcoal, inks, markers, and pen creating textures and gestures reflecting natural forms and figures into their art practice. This course is an appropriate intro for anyone who love to experience creativity. Lessons are helpful for improving two fundamental aspects of creativity that play a crucial role in the daily practice of artists and art students; observation and expression.
Observation and expression are intertwined aspects of creativity that form the backbone of an artist's daily practice. Observation sharpens the artist's perception and technical skills, while expression allows them to bring their unique perspective and emotions to life through their art. These two elements work together to create meaningful, compelling, and deeply personal artworks. For art students, the development of these skills is essential for their artistic growth and development.
Course Outcomes
- Developing a Keen Eye
- Developing Inspiration Muscles
- Improving Technical Skills
- Developing Observation Skills
- Better Understanding of Dimensions
- Developing Personal Voice
- Emotional Release
- Creativity Enhancement
- Self-Exploration and Growth
lessons
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 reticulated texture. Explaining values of grey through crosshatching
Creating rough texture by transferring texture from aluminum into the base
Materials:
- Black acrylic paint
- Aluminum roll
- Masking tape
- Bristol paper
- White Bristol board sheet
- Newsprint paper
- Drawing board
- Tray
- Jar of water
- Paper towel
Session 8: Hatched and reticulated 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 reticulated 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
Drawing Level 2: Proportion And Visual Perception
About the Course
By considering the perception of line, edges, angles and axes, and comparing the relationship between spaces and the proportions of viewed objects, students practice on sighting and measuring techniques through still life and landscape drawing.
These practices will help to structure drawing skill set by improving the ability of interpretation the surrounding environment into the simple forms and tonal values. It means that, by the end of the course students are expected to draw what they see by following the method of measurement and visual comparison that helps them to improve the accuracy of what they draw.
Considering circular movements in the subject/model, is the best way to analyze the chaos into simple forms, which helps learners having better perception in relationship between the components in a picture/drawing. Correspondingly, simplifying complicated forms is the most proper technique to consider lightness and darkness to find a proper position for applying relevant values of grey tones into each unit of the composition.
In this course, trough applying graphite/lumograph techniques students learn how to convey the concept of light and shadow into drawing.
The ability to analyze proportion and knowledge of visual perception are foundational skills for anyone learning drawing fundamentals and techniques. They enable artists to create realistic and visually appealing artwork, understand what they see, and make creative choices that bring their unique vision to life on paper. Mastery of these skills is essential for artists at all levels, from beginners to experienced professionals.
Course Outcomes
- Accuracy and Realism
- Anatomical and Object Rendering Skill-set
- Harmonic Consistency in Drawing
- Fundamental Skill Improvement
- Understanding What You See
- Understanding Values and Shading
- Understanding Composition and Perspective
- Considering Detail and Texture
- Strengthens Line and Contour Skills
- Artistic Interpretation Improvement
lessons
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 analyzing 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
Drawing Level 3: Form, Proportion, And Visual Perception
About the Course
One of the main outcomes in this course is the ability of simplifying complex living forms into basic shapes and structures, having deeper understanding of how those forms are constructed. This knowledge provides a solid foundation for accurate and realistic representation in drawings, which we will cover through the next course. The advantage of simplifying complex forms is becoming more versatile in the capability to tackle a wide range of subjects. This versatility is essential for artists working in different styles and genres.
The other aspect of practices in this course, is creating a well-balanced composition in a drawing. Simplifying and analyzing forms allows students to manipulate the arrangement and placement of elements within a composition. This skill is crucial for creating balanced, visually appealing drawings.
Simplifying the natural forms is an excellent starting point for experiencing charcoal techniques too. Charcoal is often considered as one of the best drawing mediums for rendering and shading over a solid framework. The benefits of charcoal's tonal range, expressive qualities, and versatility make it a preferred medium for many artists, particularly when working with a strong structural foundation in their drawings.
Course Outcomes
- Enhanced Observation Skills
- Understanding Basic Structures
- Aids in Proportion and Scale
- Facilitates Composition
- Encourages Abstraction
- Improves Memory Recall
- Boosts Problem-Solving Skills
- Fosters Versatility
- Supports Mastery of Mediums
Lessons
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
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
Drawing Level 4: Values and visual perception, Charcoal Tech
About the Course
In this course students practice on blending techniques applying smooth transitions between light and shadow areas. It's an essential feature for creating realistic shading, soft transitions, and textures.
The other technique covers in his course is layering. Charcoal can be layered to build up depth and opacity. Layering is essential for developing complex shading and rendering realistic features and volume. The unique characteristics of charcoal makes it a favoured choice for students looking to create expressive and dynamic drawings.
Through the practices students will be encourage to use different types of paper, toned paper, and even textured surfaces like watercolor paper or canvas. This adaptability allows them to choose the most suitable background for their artistic goals.
Course Outcomes
- Become skilled at using different types of charcoal
- Become skilled at controlling tonal values
- Become skilled at rendering and shading
- Become skilled at three-dimensional and highly textured drawings
- Become skilled at Creating dynamic and intricate textures and details
- Become skilled at layering technique
- Become skilled at using different types of paper
lessons
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 and Contrast
Session 2: Tree trunk at forest
Session 3: Light and Contrast
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 and Contrast
Session 5: Drawing of Half Dome in Yosemite National Park
Session 3: Light and Contrast
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: Glasses and Reflection
Session 8: Glasses and Reflection
Session 8: Glasses and Reflection
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: Glasses and Reflection
Session 8: Glasses and Reflection
Session 8: Glasses and Reflection
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
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For more information please visit the course calendar