ARA Curriculum
In order to ensure a high level of accuracy, ARA 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.
LEVEL 1
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.
Requirement: Three copied plates in graphite using one-to-one ratio and one using comparative measure.
LEVEL 2
The student progresses to working from a three-dimensional
plaster cast, 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 modeling.”
Requirement: Two drawings from the cast in vine charcoal using
the sight-size method.
LEVEL 3
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 color is introduced for the second painted cast.
Requirement: Three paintings in oil from the cast, beginning with
a monochrome study and progressing to subtle color studies using the sight-size method.
LEVEL 4
These skills culminate in the final level of the program, where students begin to explore composition through the arrangement of color, lights and spatial relationships. Students are introduced to both direct and indirect painting methods to achieve realistic textures, colors, forms and depth.
Requirement: Three still-life paintings based on distinct criteria
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. In the last stage of the program, students are introduced to portraiture.
FINE ART MATERIALS AND TECHNIQUES
Artists can be limited by their tools and techniques so this area is
explored throughout the curriculum. The techniques
covered include:
• Proper preparation and maintenance of materials
• A proper drawing point
• Ideal grounds for oil paint
• Treating papers (hotpress and coldpress)
• Working with media (graphite, charcoal, chalks, oils)
• Layers of painting processes:
'fat over lean', 'thick over thin', 'wet over dry'
• Direct painting
• Glazing
• Achieving archival results
• Pigment properties
• Varnishes
• etc.
THE BUSINESS SIDE OF ART
The business side of art is regarded by ARA as an integral aspect
in the development of an aspiring artist. Through the instructors provide students with hands-on assistance on how an artist exhibits and sells their work.
ARA also arranges for yearly exhibits that are open to the public,
providing students with a venue to display and sell their work.
LEVEL 1 - BARGUE DRAWINGS
LEVEL 2 - DRAWING FROM
THE CAST
LEVEL 3 - PAINTING FROM
THE CAST
LEVEL 1-3 - DRAWING FROM
A LIVE MODEL
LEVEL 4 - STILL LIFE PAINTING
LEVEL 4 - PAINTING FROM
A LIVE MODEL
