Full & Part Time Study

Study options include full-time, part-time, and even week long short courses.

Our Full Time curriculum is broken into 4 levels with each exercise being completed at the students own pace. All students are given one to one tuition and each level is studied fully and mastered before progressing to the next. This way we are sure that every student is not rushed through the content too quickly and they are able to achieve their personal goals. This also allows for flexible study options. courses.

Our Part Time curriculum is the same as our full time but with fewer hours. It may take longer to complete the program but the same high standards of work will be achieved. Our flexible approach to study schedules means that whatever your time limitations or other commitments are, we can find a schedule to suit you.

From the very first week, you will work from live models. The human figure demands an understanding of gesture, proportion, design, and subtle colour. Throughout the course, students consistently work from the live model, first in dry medium and then in paint, applying the skills learned from the core program.

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

Study options include full-time, part-time, and even week long shortcourses.

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

Drawing from the live models is done alongside the Bargue studies.

Bargue 1

Fully rendered Bargue drawing in graphite (a simple hand or foot study)

Bargue 2

Fully rendered Bargue drawing in graphite (slightly more complex)

Bargue 3

Fully rendered Bargue drawing in graphite (building your own construct)

Bargue 4

Fully rendered Bargue drawing in graphite (using comparative measurement)

Comparative Measurement Figure Drawing Assignments

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

Additional Projects

• Introduction to portraiture

Acquire an understanding of shape, proportion, value, and form.

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

cast 1

Fully rendered charcoal cast drawing (simple)

Cast 2

Fully rendered charcoal cast drawing (more complex)

Comparative Measurement Figure Assignments

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

Additional Projects

• Portraiture in carbon pencil

Understand how controlled light falls across a three dimensional form.

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

Figure painting is begun with a limited palette.

Cast Painting 1

Monochrome painting

Cast Painting 2

Limited palette painting

Cast Painting 3

Full palette painting

Comparative Measurement Figure Assignments

• Grisaille figure painting
• Limited palette figure painting

Additional Projects

• Master copy painted in oil

Learn the characteristics of the oil medium.

These skills culminate in the final level of the program, where students begin to explore composition through the arrangement of colour, lights and spatial relationships. Students are introduced to both direct and indirect painting methods to achieve realistic textures, colours, forms and depth. Figure painting is done in a full colour palette.

Still Life Painting 1

Red, white and green and of varying textures and surfaces

Still Life Painting 2

‘Tenebrist’ (high contrast between light and dark zones of illumination) painting with a theme

Still Life Painting 3

Painting’s composition incorporates a perishable object (fruits, flowers etc.)

Graduation Piece

The culmination of the techniques and skills gathered by the student thus far. This final painting may be a still-life, figure painting, portrait, or self-portrait, painted in oils.

Comparative Measurement Figure Assignments

Classical figure palette painting, working from the model.

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

Explore composition through the arrangement of colour, lights and spatial relationships.