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Trimester Programme Guide
The following is a breakdown of the difficulty setting of our current Trimester Courses, and their respective programmes. This is just an estimate; higher modules within lower level courses may be more challenging than starting modules in more difficult courses, for instance.
Where should I start?
All new students at DARA are strongly encouraged to complete at least Module 1 of Introduction to Classical Drawing, even if you are not a beginner. This is our foundational course which introduces core academic drawing principles, vocabulary, and methods that will prepare you for all our other courses.
It is not required to follow courses in order and/or start at lower tiers if your application meets the necessary entrance criteria for a more advanced class.
What are Modules? Is it the same thing as Trimesters?
Most courses are broken up into modules, or different phases of the programme that become progressively more challenging as students attain greater levels of competency. Each module takes a minimum of one trimester to complete.
There are certain passing criteria that must be met in order for students to advance from one module to the next. If a student does not meet the passing criteria, he or she will be instructed to repeat the module again in the next trimester, or will be redirected to a more foundational course to improve on any skills which need further development.
Do I choose which module I will take?
No. All new students in a class start with Module 1 (except for Constructive Anatomy.) Advancing to the next module is dependent on passing.
Do I start with Module 1 even if I don't start classes at DARA during the Fall Trimester?
Yes. Within any given trimester, there will be students in all different modules taking the course together.
Why are there no painting courses in the lower difficulty levels?
We only recommend painting to students who have a strong grasp of academic drawing foundations.
Where should I start?
All new students at DARA are strongly encouraged to complete at least Module 1 of Introduction to Classical Drawing, even if you are not a beginner. This is our foundational course which introduces core academic drawing principles, vocabulary, and methods that will prepare you for all our other courses.
It is not required to follow courses in order and/or start at lower tiers if your application meets the necessary entrance criteria for a more advanced class.
What are Modules? Is it the same thing as Trimesters?
Most courses are broken up into modules, or different phases of the programme that become progressively more challenging as students attain greater levels of competency. Each module takes a minimum of one trimester to complete.
There are certain passing criteria that must be met in order for students to advance from one module to the next. If a student does not meet the passing criteria, he or she will be instructed to repeat the module again in the next trimester, or will be redirected to a more foundational course to improve on any skills which need further development.
Do I choose which module I will take?
No. All new students in a class start with Module 1 (except for Constructive Anatomy.) Advancing to the next module is dependent on passing.
Do I start with Module 1 even if I don't start classes at DARA during the Fall Trimester?
Yes. Within any given trimester, there will be students in all different modules taking the course together.
Why are there no painting courses in the lower difficulty levels?
We only recommend painting to students who have a strong grasp of academic drawing foundations.
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Expressive Drawing: Short Poses
Students are introduced to drawing from a live model, sketching short poses only. This class is largely centred around exploration of different drawing techniques and starting methods. *Please note that models in this course pose fully nude. Number of Modules: Not applicable |
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Syllabus
Study Load: 33 hours
This is a self-contained course that consists of one module. Each week, students experiment with different drawing media and sketching techniques, building confidence in capturing the essence of a dynamic range of poses. This course is accessible for beginners, but also great for artists who excel in refined academic work and are seeking strategies to improve their quick sketches and build a repertoire of reference poses for their figurative work.
This is a self-contained course that consists of one module. Each week, students experiment with different drawing media and sketching techniques, building confidence in capturing the essence of a dynamic range of poses. This course is accessible for beginners, but also great for artists who excel in refined academic work and are seeking strategies to improve their quick sketches and build a repertoire of reference poses for their figurative work.
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Introduction to Classical Drawing
Our comprehensive foundational drawing course, which all students in DARA's Trimester Programme are strongly encouraged to complete. Number of Modules: 2 |
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Syllabus
Estimated Study Load: 132 hours (66 hours minimum per module)
Module 1: Still Life Drawing
This module introduces students to fundamental principles of observational drawing including line control, hatching techniques, proportion, linear perspective, light logic, and application of tonal values. Students will first complete a series of studies of geometric forms (prism, cylinder, sphere, etc.) and then apply this knowledge towards drawing simple objects. All studies are made fully from life.
Module 2: Master Copies & Continued Still Life Drawing
Students will apply their knowledge of academic drawing basics towards the completion of a master copy after a historical academic work, such as a plate from Charles Bargue's Cours de dessin or other contemporaneous work. This study occupies half of the students' coursework; the remaining time is dedicated to further still life drawing, working from more challenging objects.
Module 1: Still Life Drawing
This module introduces students to fundamental principles of observational drawing including line control, hatching techniques, proportion, linear perspective, light logic, and application of tonal values. Students will first complete a series of studies of geometric forms (prism, cylinder, sphere, etc.) and then apply this knowledge towards drawing simple objects. All studies are made fully from life.
Module 2: Master Copies & Continued Still Life Drawing
Students will apply their knowledge of academic drawing basics towards the completion of a master copy after a historical academic work, such as a plate from Charles Bargue's Cours de dessin or other contemporaneous work. This study occupies half of the students' coursework; the remaining time is dedicated to further still life drawing, working from more challenging objects.
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Cast Drawing
Students hone their academic drawing skills by working from plaster casts and classical sculptures, a centuries-old tradition of fine arts education that serves as an excellent foundation to working from a live model. Number of Modules: 3 |
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Syllabus
Estimated Study Load: 198 hours (66 hours minimum per module)
Module 1: Block-ins & Planar Constructions
In this module, students work from a variety of plaster casts in both graphite and charcoal, building up a repertoire of block-in sketches and planar studies. This balanced approach combines visual perception of shapes and tonal value relationships with a conceptual understanding of geometric structure.
Module 2: Charcoal Rendering (Basic)
In Module 2, students primarily work from a single plaster cast towards the completion of a highly resolved drawing in charcoal. This study takes the student through the entirety of the academic drawing process, from preparatory studies to finished rendering. Alongside this main project, students will continue weekly sketching assignments from other casts.
Module 3: Charcoal & Chalk Rendering (Advanced)
In the final module, students are challenged to work from a large and complex sculpture, from which they will develop a highly resolved academic drawing in charcoal and chalk on toned paper. This difficult project is supported with a variety of preparatory studies.
Module 1: Block-ins & Planar Constructions
In this module, students work from a variety of plaster casts in both graphite and charcoal, building up a repertoire of block-in sketches and planar studies. This balanced approach combines visual perception of shapes and tonal value relationships with a conceptual understanding of geometric structure.
Module 2: Charcoal Rendering (Basic)
In Module 2, students primarily work from a single plaster cast towards the completion of a highly resolved drawing in charcoal. This study takes the student through the entirety of the academic drawing process, from preparatory studies to finished rendering. Alongside this main project, students will continue weekly sketching assignments from other casts.
Module 3: Charcoal & Chalk Rendering (Advanced)
In the final module, students are challenged to work from a large and complex sculpture, from which they will develop a highly resolved academic drawing in charcoal and chalk on toned paper. This difficult project is supported with a variety of preparatory studies.
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Academic Figure Drawing
In this advanced drawing course, students apply their foundational drawing skills towards study from the live model. Extended poses of over 30 hours allow for the careful study of anatomy, form, gesture, and design. *Please note that models in this course pose fully nude. Number of Modules: 3 |
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Syllabus
Estimated Study Load: 198 hours (66 hours minimum per module)
Module 1: Block-ins & Structural Analyses
Two models each hold a sustained pose over the duration of every trimester. In Module 1, students consider gesture, anatomical construction, and design to develop competent tonal block-ins of the figure. Supporting preparatory studies help to better understand the body's structure, and how some variations of movement that can be observed within the pose can contribute to a stronger presence in the resulting drawing.
Module 2: Graphite Rendering of the Figure
In Module 2, students develop two highly resolved drawings from live models (one male, one female.) These studies take the student through the entirety of the academic drawing process, from the tonal block-in to finished rendering. Supporting preparatory studies help to develop a concept of the pose, enabling students to maintain a strong sense of gesture and movement in their finished works.
Module 3: Charcoal Rendering of the Figure
In the final module, students develop two highly resolved academic drawings from live models, now working in charcoal on a larger scale. To support these projects, students complete preparatory poster studies to develop a strong composition and tonal value scheme.
Module 1: Block-ins & Structural Analyses
Two models each hold a sustained pose over the duration of every trimester. In Module 1, students consider gesture, anatomical construction, and design to develop competent tonal block-ins of the figure. Supporting preparatory studies help to better understand the body's structure, and how some variations of movement that can be observed within the pose can contribute to a stronger presence in the resulting drawing.
Module 2: Graphite Rendering of the Figure
In Module 2, students develop two highly resolved drawings from live models (one male, one female.) These studies take the student through the entirety of the academic drawing process, from the tonal block-in to finished rendering. Supporting preparatory studies help to develop a concept of the pose, enabling students to maintain a strong sense of gesture and movement in their finished works.
Module 3: Charcoal Rendering of the Figure
In the final module, students develop two highly resolved academic drawings from live models, now working in charcoal on a larger scale. To support these projects, students complete preparatory poster studies to develop a strong composition and tonal value scheme.
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Academic Portrait Drawing
In this advanced drawing course, students apply their foundational drawing skills towards portrait drawing from the live model. A strong emphasis of the class is to not rely on copying shapes, but to design a coherent likeness to the model based on an understanding of the skeletal structure and soft tissues that comprise the forms of the head and neck. Number of Modules: 3 |
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Syllabus
Estimated Study Load: 198 hours (66 hours minimum per module)
Module 1: Block-ins & Constructive Analyses of the Head & Neck
Two models each hold a sustained pose over the duration of every trimester. In Module 1, students complete 8 studies of each model's portrait from various angles around the stage, working in graphite. These studies are focused on competently sketching the tonal block-in, and developing corresponding anatomical analyses that solidify the student's understanding of the structure of the portrait.
Module 2: Graphite Rendering of the Portrait & Invented Skull
In Module 2, students develop two highly resolved drawings from live models (one male, one female.) These studies take the student through the entirety of the academic drawing process, from the tonal block-in to finished rendering. Alongside each portrait, the student must also fully render a corresponding skull, drawn at the same size, proportions, and with corresponding landmarks to the model.
Module 3: Charcoal & Chalk Rendering - Half-Figure Portrait
In the final module, students develop two highly resolved academic drawings from live models, now working in charcoal and chalk. To support these projects, students complete preparatory poster studies to develop a strong composition and tonal value scheme. These works must include the head, upper body, and hands, and must be drawn at (or near) life size. Additionally, students in this module complete a self-portrait drawing in graphite from a mirror.
Module 1: Block-ins & Constructive Analyses of the Head & Neck
Two models each hold a sustained pose over the duration of every trimester. In Module 1, students complete 8 studies of each model's portrait from various angles around the stage, working in graphite. These studies are focused on competently sketching the tonal block-in, and developing corresponding anatomical analyses that solidify the student's understanding of the structure of the portrait.
Module 2: Graphite Rendering of the Portrait & Invented Skull
In Module 2, students develop two highly resolved drawings from live models (one male, one female.) These studies take the student through the entirety of the academic drawing process, from the tonal block-in to finished rendering. Alongside each portrait, the student must also fully render a corresponding skull, drawn at the same size, proportions, and with corresponding landmarks to the model.
Module 3: Charcoal & Chalk Rendering - Half-Figure Portrait
In the final module, students develop two highly resolved academic drawings from live models, now working in charcoal and chalk. To support these projects, students complete preparatory poster studies to develop a strong composition and tonal value scheme. These works must include the head, upper body, and hands, and must be drawn at (or near) life size. Additionally, students in this module complete a self-portrait drawing in graphite from a mirror.
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Constructive Anatomy
In this advanced drawing course, students devote extensive study to the morphology of the human figure. In addition to learning to identify and draw anatomical structures from a live model, students develop strategies to imagine the forms of the body from any perspective. * Please note that models in this course pose fully or partially nude. Number of Modules: 2 |
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Syllabus
Estimated Study Load: 132 hours (66 hours minimum per module)
Module 1: Skeletal Anatomy - Offered during Fall Trimesters
This module is centred around the skeleton, with lesson time divided evenly between theory and practice. Students learn the body's underlying skeletal armature, considering the proportions, form, and range of movement of each part of the body. In addition to learning to identify skeletal landmarks evidenced on the surface of the body, students learn how to place the skeleton into any perspective.
Module 2: Muscular Anatomy - Offered during Winter Trimesters
This module is centred around the muscles of the body, with lesson time divided evenly between theory and practice. Students study the proportions, attachments, and form of the skeletal muscles, with models holding a variety of poses that allow students to study each muscle's full range of motion. Although it is not strictly required to have completed the Skeletal Module, some prior familiarity with skeletal anatomy is important.
Special Note
Please note that this class is a little different from the others, in that specific modules are only taught during certain times of the year. This course is currently not offered during the spring season.
Module 1: Skeletal Anatomy - Offered during Fall Trimesters
This module is centred around the skeleton, with lesson time divided evenly between theory and practice. Students learn the body's underlying skeletal armature, considering the proportions, form, and range of movement of each part of the body. In addition to learning to identify skeletal landmarks evidenced on the surface of the body, students learn how to place the skeleton into any perspective.
Module 2: Muscular Anatomy - Offered during Winter Trimesters
This module is centred around the muscles of the body, with lesson time divided evenly between theory and practice. Students study the proportions, attachments, and form of the skeletal muscles, with models holding a variety of poses that allow students to study each muscle's full range of motion. Although it is not strictly required to have completed the Skeletal Module, some prior familiarity with skeletal anatomy is important.
Special Note
Please note that this class is a little different from the others, in that specific modules are only taught during certain times of the year. This course is currently not offered during the spring season.
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Cast Painting
The follow-up to Cast Drawing, students in this course learn the fundamental principles of oil painting through the study of plaster casts and classical sculptures. Number of Modules: 3 |
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Syllabus
Estimated Study Load: 198 hours (66 hours minimum per module)
Module 1: Planar Studies, Grisaille Palette
In this module, students are introduced to the fundamentals of oil painting by sketching plaster casts from direct observation. Using a monochrome grisaille palette, students focus on conveying form and tonal value relationships with strong palette organisation and mixing of 'colour strings.' Over the course of the term, students build up a large repertoire of small painting studies.
Module 2: Indirect Painting, Grisaille Palette
In Module 2, students primarily work from a single plaster cast towards the completion of a highly resolved academic painting with a grisaille palette. This study takes the student through the entirety of the indirect painting process, from preparatory poster studies, to the underpainting layer, to the final rendering layers. Alongside this main project, students will continue weekly sketching assignments from other casts.
Module 3: Indirect Cast Painting with Still Life Elements, Colour Palette
In the final module, students are challenged to work from a more complex cast, set up in combination with still life elements such as drapery or other props. This presents a controlled setting under which to begin adding more pigments to the palette, and to learn the basics of colour theory and accurate colour mixing. This difficult project is supported with a variety of preparatory studies.
Module 1: Planar Studies, Grisaille Palette
In this module, students are introduced to the fundamentals of oil painting by sketching plaster casts from direct observation. Using a monochrome grisaille palette, students focus on conveying form and tonal value relationships with strong palette organisation and mixing of 'colour strings.' Over the course of the term, students build up a large repertoire of small painting studies.
Module 2: Indirect Painting, Grisaille Palette
In Module 2, students primarily work from a single plaster cast towards the completion of a highly resolved academic painting with a grisaille palette. This study takes the student through the entirety of the indirect painting process, from preparatory poster studies, to the underpainting layer, to the final rendering layers. Alongside this main project, students will continue weekly sketching assignments from other casts.
Module 3: Indirect Cast Painting with Still Life Elements, Colour Palette
In the final module, students are challenged to work from a more complex cast, set up in combination with still life elements such as drapery or other props. This presents a controlled setting under which to begin adding more pigments to the palette, and to learn the basics of colour theory and accurate colour mixing. This difficult project is supported with a variety of preparatory studies.
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Techniques of the Early Impressionists
Students in this course study the traditional palettes, aesthetics, and working methods of historical painters, with a particular focus on studying the various schools of painting that emerged in the latter half of the nineteenth century. (* Although this course is listed as Tier 3, it can also be made accessible to students whose drawing ability is somewhat lower.) Number of Modules: Not Applicable |
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Syllabus
Study Load: 50 hours minimum per historical period
This course does not consist of modules. Instead, a different historical painter or school of painting is featured for two trimesters at a time. A selection of paintings from this artist/period are provided for students to choose to copy, working from high-quality reproductions.
Students complete a series of preparatory colour and tonal studies of their selected paintings, learning about the techniques, palettes, and brushwork typical of the featured painter and/or school. Students then execute a full-size copy of their selected work, gaining insights into the original painter's methods, paint application, and colour mixing process.
This course does not consist of modules. Instead, a different historical painter or school of painting is featured for two trimesters at a time. A selection of paintings from this artist/period are provided for students to choose to copy, working from high-quality reproductions.
Students complete a series of preparatory colour and tonal studies of their selected paintings, learning about the techniques, palettes, and brushwork typical of the featured painter and/or school. Students then execute a full-size copy of their selected work, gaining insights into the original painter's methods, paint application, and colour mixing process.
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Academic Portrait Painting
The follow-up to Portrait Drawing, this two-year programme offers comprehensive study into the discipline of portrait painting from life using traditional methods. Number of Modules: 5 |
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Syllabus Details
Estimated Study Load: 330 hours (66 hours minimum per module)
Module 1: Indirect Painting, Grisaille Palette - Head & Neck
Two models each hold a sustained pose over the duration of every trimester. In Module 1, students complete a highly resolved portrait of each model using a monochrome grisaille palette. Students follow an academic approach that begins with preparatory poster studies, a preliminary drawing, and indirect painting in three layers. Paintings are made life size, and focus on the model's head and neck.
Module 2: Flesh Tone Poster Studies, Limited Colour Palette
In Module 2, students work with the 'Zorn Palette,' a traditional limited colour palette of only four colours. The emphasis of this module is to develop strong painting practices pertaining to palette organisation, harmonious colour mixing, and understanding of flesh tones. Students paint a variety of small studies, about 4-5 per model, that focus on the accurate mixing of flesh tones.
Module 3: Indirect Painting, Limited Colour Palette - Head & Neck
This is the final module in which students work with a limited palette. To put their understanding and control of the palette to the test, students complete two indirect portrait paintings over the course of the term, following the same academic process as in module 1 - only now in full colour. To support these projects, students complete preparatory poster studies to develop a strong composition and colour scheme.
Module 4: Compositional Poster Studies, Extended Palette
In this module, students gain familiarity with an extended colour palette. This module focuses more heavily on composition, as students complete a series of poster studies (about 4-5 per model) that depict the upper half of the figure, background elements and props, and explore a variety of different value and colour schemes.
Module 5: Indirect Painting, Extended Palette - Half Figure Portrait & Hands
In the final module of the programme, students have the difficult task of executing two life-size portraits from life, which must include the upper half of the model's figure, hands, and some background elements. To support these projects, students complete preparatory poster studies to develop a strong concept, considering the tonal value and colour scheme that matches the narrative theme of their paintings.
Module 1: Indirect Painting, Grisaille Palette - Head & Neck
Two models each hold a sustained pose over the duration of every trimester. In Module 1, students complete a highly resolved portrait of each model using a monochrome grisaille palette. Students follow an academic approach that begins with preparatory poster studies, a preliminary drawing, and indirect painting in three layers. Paintings are made life size, and focus on the model's head and neck.
Module 2: Flesh Tone Poster Studies, Limited Colour Palette
In Module 2, students work with the 'Zorn Palette,' a traditional limited colour palette of only four colours. The emphasis of this module is to develop strong painting practices pertaining to palette organisation, harmonious colour mixing, and understanding of flesh tones. Students paint a variety of small studies, about 4-5 per model, that focus on the accurate mixing of flesh tones.
Module 3: Indirect Painting, Limited Colour Palette - Head & Neck
This is the final module in which students work with a limited palette. To put their understanding and control of the palette to the test, students complete two indirect portrait paintings over the course of the term, following the same academic process as in module 1 - only now in full colour. To support these projects, students complete preparatory poster studies to develop a strong composition and colour scheme.
Module 4: Compositional Poster Studies, Extended Palette
In this module, students gain familiarity with an extended colour palette. This module focuses more heavily on composition, as students complete a series of poster studies (about 4-5 per model) that depict the upper half of the figure, background elements and props, and explore a variety of different value and colour schemes.
Module 5: Indirect Painting, Extended Palette - Half Figure Portrait & Hands
In the final module of the programme, students have the difficult task of executing two life-size portraits from life, which must include the upper half of the model's figure, hands, and some background elements. To support these projects, students complete preparatory poster studies to develop a strong concept, considering the tonal value and colour scheme that matches the narrative theme of their paintings.
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