SYLLABUS

CL ASSICAL ART ATELIER with LESLIE LIENAU

          A 16 week intensive classical study course

            Saturdays, beginning January 9 – May 1, 2010

            9:00 a.m. – 12:00 p.m. – Atelier class hours

            8:00 a.m. – 9:00 a.m. – optional critique hour

Week 1 – 3

DRAWING ~ Using graphite, charcoal or conte students will draw from the cast or drapery still-life during the first three weeks. A strong emphasis will be placed on drawing with accuracy using the block-in method of direct observation.

Week 4 – 6

MONO-CHROMATIC PAINTING ~ Drawing the cast or drapery still-life during the first three weeks will lead into the process of mono-chromatic painting of the cast or drapery still-life. The student may choose their preferred media, whether it be oil paint, watercolor, acrylic paint or pastels.

Week 7 – 10

DRAWING & PAINTING THE STILL LIFE ~ Students will draw and paint from the still-life set up.  The emphasis will be on designing the set up, drawing accurately, completing color poster studies, value studies and finally, painting the still-life.  Students may choose to set up their own still life, or work from the instructor’s set up.  Students may choose their preferred media.

Week 11 – 13

DRAWING THE PORTRAIT ~ Using graphite, charcoal and conte crayon, students will draw the portrait from a live model.  A strong emphasis will be placed on drawing accurately using the block-in method of direct observation. 

Week 14 – 16

DRAWING/PAINTING THE FIGURE ~ Students will draw the figure from the live model.  Emphasis will be on drawing accuracy using the block-in method, gesture drawings & tonal drawings.  Painting the figure will be introduced with tonal studies and color poster studies. Students may choose their preferred media whether it be oil, watercolor, acrylic paint or pastels.

HOMEWORK

While homework is not a requirement, it is STRONGLY recommended.  The consistent practice of the methods and techniques of this course of study is critical to your success.  I will open the studio at 8:00 a.m. each Saturday morning for critique and discussion of your homework.  My suggestion is that you work from life – a still life in your home studio for example.  I also suggest that you do master copies of drawings and/or paintings from the Masters.  The process of copying from the Masters is an essential part of an artist’s study and is a process you can do as often as you wish throughout your artistic career.  The practice of copying enhances the artist’s ability to understand process, methods and ways to solve drawing and painting problems.

Recommended reading:

Classical Drawing Atelier, A Contemporary Guide to Traditional Studio Practice, by Juliette Aristedes

Classical Painting Atelier, A Contemporary Guide to Traditional Studio Practice, by Juliette Artistedes

The Artist’s Complete Guide to Figure Drawing, A Contemporary Perspective on the Traditional Practice, by Anthony Ryder

CLASSICAL ATELIER SUPPLY LIST

We will spend the first 3 weeks drawing, so the supplies you will initially need are minimal. 

DRAWING SUPPLIES:

French easel or other portable easel

Good quality (acid free) drawing paper (a medium to large size)
Good quality pencils - an assortment of graphite (i.e., 2B, 3B, etc)
Eraser - kneaded rubber works well
Drawing board (a piece of 1/2 foam core works nicely as it is ridgid, but    lightweight and easy to transport)

PAINTING SUPPLIES:  We will discuss painting supplies well before the 4th week of the course so that you will have time to obtain them. 

Suggested Brushes: Synthetic  (not hog bristle)

            #0 round

            #2 round

            #4 round

            #2 flat

            #6 filbert

            small palette knife (metal with a rounded point & a wooden handle)

Paint:  please purchase the best quality paint you can afford.  Student grade paints do not perform as well as professional grade.  You may purchase a limited palette to start - an asterick is next to the limited palette colors.

            *White (zinc or titanium or cremnintz or flake)

            *Ivory Black

            Raw Umber

            Burnt Sienna

            *Violet

            *Ultramarine Blue

            Viridian

            *Cadmium Yellow Lemon

            Raw Sienna      

            *Grumbacher Red or Cadmium Red medium

             *Alizarin Crimson

(Note: any color with heavy metals such as cadmium, cobalt or lead will be more costly - but the tubes will last awhile, so don't skimp!)

Support: The surface you will paint on, i.e., canvas or board. 

    Oil primed linen is the preferred painting surface with this method of study. We will discuss sizes and sources before the 4th week of the course.

Odorless Turpenoid (brand) or odorless mineral spirits (paint thinner)

Glass jar with lid (for turp)

Paper towels

Glass palette (this palette should be no smaller than 9X12). You can buy a simple inexpensive glass frame, place a neutral colored paper (brown craft paper) under the glass – not white.  Wrap masking tape around the edges.

Scraper (retractable single edge razor blade tool obtained at Home Depot or Lowe's in the paint department)

Plastic trash bags - i.e. recycled walmart grocery bags, etc.

Apron and, some painters like to use gloves to protect their hands from the toxic paints.

There is a store called Porch School and Art Supply in Oklahoma City where you can get all of these supplies at a considerable discount (up to 30% off retail).  They are located off the Broadway Extension at 50th & Santa Fe.  Address: 5200 North Santa Fe.  Phone:  524-3309

Online sources for art supplies:

www.dickblick.com

www.fineartstore.com

www.jerrysartarama.com

www.raymar.com (fine oil-primed artist panels)

www.utrechtart.com