The Realistic Figure – From Charcoal Drawing to Oil Painting
This course is divided into two parts:
The first part, is divided into three lessons, and is dedicated to drawing the model with charcoal, a medium very similar to painting in that it will allow us to quickly distinguish the light from the shadows.
The result will be a preparatory drawing which we will transfer to the canvas. To create the drawing we will make use of sight-size and a black mirror, a technique also used by the macchiaioli.
The second part, divided into seven lessons, is dedicated to oil painting. We will focus on the colors of the palette and the pittorical effects needed to create a realistic depiction of a human figure.
The objective is to create a painting less dependent on detail and more focused on the optical effects and the illusionary possibilities of oil paint.
- Canson, light grey or beige paper, 220 grams, 50 x 70 cm
Alternatives are fine, but paper weight must be greater than 160 grams and a size larger than 30 x 50 cm.
- Nitram charcoal, various types of hardness and sizes (blue, red, green and yellow, from 5 mm to 6 mm in diameter).
Sand paper to sharpen the charcoal
- Medium: Linseed oil (75 ml or greater)
- Tintorsetto, an odorless solvent (da 75ml in su) NO TURPENTINE
- Ivory Black
- Raw Umber
- Alizarin Crimson
- Cadmium Red*
- Yellow Ochre Light
- Titanium White
- Other recommended colors:
- Mars Yellow
- Transparent Oxide Brown
- Terre Verte
- Lemon Yellow
- Cobalt Blue*
- Canvas: 40 x 60 cm
- Brushes: hog bristle, filberts, numbers 4, 8, 12, 16, 20. At least one of each.
- Medium tin
- Palette knife
- Palette (lager size is best, 40 x 50 cm )
- Rags (cut up some old t-shirts!)
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Alessandro Dupré was born in Latina, Lazio, Italy, in 1987.
He became interested in painting at the age of 12 and attended the extra-curricular courses of the artist Giuseppe Conte.
After completing his high school studies, he continued in the artistic field, first attending the Academy of Rome and then the Florence Academy of Art.
In the period preceding his attendance at the FAA, he settled for a few years in Paris, a city that influenced him in his artistic taste, finding interest in French painting of the 18th and 19th centuries.
He obtained a scholarship from the FAA to support art history lectures, contributing to the research of historiographical material.
He has participated in several collective exibitions including Rome Art Salon and some solo exhibitions.
He returned to his hometown after his studies, where he currently lives and works in his studio-atelier.