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Creating a Finished Figure Drawing
SOLD OUT
$500
USD
$500
USD
10 Wednesdays (Oct-Dec)
Oct 7, 14, 21, 28, Nov 4, 11, 18, Dec 2, 9, 16
DATES
Oct 7, 14, 21, 28, Nov 4, 11, 18, Dec 2, 9, 16
5:30-8:30PM
TIME
Tyler Berry
INSTRUCTOR
All levels/ages
LEVELS/AGES
The human figure has captivated artists for centuries — a rich puzzle of proportion, structure, and light. This 10-week course spends the entirety of class sessions with a single model in one continuous pose, tracing the full arc from first mark to a complete and finished drawing.
OPEN TO ALL SKILL LEVELS – beginners as well as advanced students are welcome!
While our long pose classes typically run six weeks, students have consistently asked for an extended format that allows more time to develop a drawing or painting to a significantly higher level of finish/completion. The additional weeks will allow for a deeper level of study at each stage — more time to refine proportion and structure, more time in the modeling stage — resulting in a resolved, fully realized drawing.
We will begin with the block-in, developing and deepening skills in proportion, structure, and mapping light and shadow. From there, we'll shift from thinking in flat shapes (two-dimensional framework) to thinking in volume (three-dimensional framework) — considering how forms actually turn and sit in space. Building on this strong foundation, students will then move into the modeling stage, rendering their drawings with a careful study of light and form.
Throughout the class we will discuss a conceptual approach to light and form, structure and anatomy with an emphasis on proportion and the skeleton, as well as lessons found in Old Master drawings.
By the end of the class, students will have honed their observational skills, deepened their understanding of light, form, structure, perspective, and anatomy, as well as have transformed their sensitivity and control in light, line, and form. We will also references lessons found in Old Master drawings.
Tyler will guide participants through the drawing process with daily individual critiques and demonstrations.
Drawing board
Multiple Sheets of 18x24” paper - Strathmore 400 series, Arches or Stonehenge Hot Press 140 lb. watercolor paper, or Fabriano Artistico Hot Press (any 18x24 drawing pad will do)
Graphite Pencils (a range from 4B-2H)
Tombow HB 2H, 4H (staedtler, faber castell are fine but have a harder graphite than tombow)
Blackwing 602 (optional)
Kneaded eraser
Tombo MONO zero round eraser
Sandpaper pad for sharpening pencils
Exacto Knife
Plumb line (any weight on a string will do)
Knitting needle (for measuring)
Soft brush for flattening shadows
If you'd like to work on toned paper with graphite and white chalk (rather than standard sheet of white drawing paper), you have two options – you can buy pre-toned paper, or tone paper yourself. The list below includes recommended pre-toned paper, as well as instructions on how it do it yourself if you're interested. Paper toning instruction/demoing is NOT included in the class curriculum, though questions regarding the process are welcome.
White charcoal (recommend brand: General's Series 558)
Paper
Strathmore Series 400 Drawing Toned Grey Paper
Stonehenge Toned Paper (Preferred colors are Kraft or Pearl Gray)
Canson Mi Teintes pre toned paper (Preferred colors are Eggshell Grey, Flannel Grey, Lily, Moonstone, Moon Grey, Pearl, Sky Grey, Cloud White, White)
Other fun/useful drawing materials (NOT REQUIRED)
Vine, compressed charcoal, charcoal powder
White gouache with detailing sable round brush
__________________________________________________________
DIY PAPER TONING INSTRUCTIONS:
Materials:
Arches Hot Press Watercolor Papter 140 lb. or heavier
Sennelier Shellac based ink (sepia, walnut, olive green, black)
Large flat Bristle brush (3-6" width)
Instructions:
Dilute several drops of sennelier shellac-based ink in a bowl, test color on a separate sheet and adjust as you like. Anticipate 2 coats
Tone with a large (3-6”) bristle brush semi-liberally, using vertical then horizontal strokes. The larger the brush the more even the tone will be.
When paper is completely toned, continue brushing ink off vertically/horizontally, wiping brush dry on a rag between strokes
1-3 light layers, touch-dry between layers. Stack under cardboard and books overnight to flatten paper
Tyler’s work holds a personal sophistication honed through a lifelong dedication to truthful observation, restraint and harmony, and fidelity to nature. His work is both an exploration and expression of humanity, pathos, and the natural world. The language of drawing, form, and light maintains in him a dialogue with the Old Masters. His paintings are a search for balance between the universal and particular, an attempt at
humble authenticity.
Tyler Berry (b. 1994) was raised in rural Connecticut. Upon receiving his BFA in 2016 from the University of Hartford, he would work as an animator in Greece and then Poland on the feature film Loving Vincent. During this formative years, he immersed himself in the work of the Old Masters, studying and copying in the museums of Europe.
A graduate and former core instructor of Grand Central Atelier’s four-year core program, Tyler lived and worked in New York City for many years before recently moving to New Salem, MA to be an instructor and artist-in-residence at the New Salem Museum and Academy of Fine Art. His work hangs in collections internationally, throughout the US, Europe, Japan, and China. He is the recipient of numerous awards and has participated in group shows throughout New England, New York City, and Europe, notably at Salmagundi Club and Sotheby’s in NYC, and the MEAM in Barcelona.
Creating a Finished Figure Drawing
$500
USD
SOLD OUT
$500
USD
The human figure has captivated artists for centuries — a rich puzzle of proportion, structure, and light. This 10-week course spends the entirety of class sessions with a single model in one continuous pose, tracing the full arc from first mark to a complete and finished drawing.
OPEN TO ALL SKILL LEVELS – beginners as well as advanced students are welcome!
While our long pose classes typically run six weeks, students have consistently asked for an extended format that allows more time to develop a drawing or painting to a significantly higher level of finish/completion. The additional weeks will allow for a deeper level of study at each stage — more time to refine proportion and structure, more time in the modeling stage — resulting in a resolved, fully realized drawing.
We will begin with the block-in, developing and deepening skills in proportion, structure, and mapping light and shadow. From there, we'll shift from thinking in flat shapes (two-dimensional framework) to thinking in volume (three-dimensional framework) — considering how forms actually turn and sit in space. Building on this strong foundation, students will then move into the modeling stage, rendering their drawings with a careful study of light and form.
Throughout the class we will discuss a conceptual approach to light and form, structure and anatomy with an emphasis on proportion and the skeleton, as well as lessons found in Old Master drawings.
By the end of the class, students will have honed their observational skills, deepened their understanding of light, form, structure, perspective, and anatomy, as well as have transformed their sensitivity and control in light, line, and form. We will also references lessons found in Old Master drawings.
Tyler will guide participants through the drawing process with daily individual critiques and demonstrations.
Drawing board
Multiple Sheets of 18x24” paper - Strathmore 400 series, Arches or Stonehenge Hot Press 140 lb. watercolor paper, or Fabriano Artistico Hot Press (any 18x24 drawing pad will do)
Graphite Pencils (a range from 4B-2H)
Tombow HB 2H, 4H (staedtler, faber castell are fine but have a harder graphite than tombow)
Blackwing 602 (optional)
Kneaded eraser
Tombo MONO zero round eraser
Sandpaper pad for sharpening pencils
Exacto Knife
Plumb line (any weight on a string will do)
Knitting needle (for measuring)
Soft brush for flattening shadows
If you'd like to work on toned paper with graphite and white chalk (rather than standard sheet of white drawing paper), you have two options – you can buy pre-toned paper, or tone paper yourself. The list below includes recommended pre-toned paper, as well as instructions on how it do it yourself if you're interested. Paper toning instruction/demoing is NOT included in the class curriculum, though questions regarding the process are welcome.
White charcoal (recommend brand: General's Series 558)
Paper
Strathmore Series 400 Drawing Toned Grey Paper
Stonehenge Toned Paper (Preferred colors are Kraft or Pearl Gray)
Canson Mi Teintes pre toned paper (Preferred colors are Eggshell Grey, Flannel Grey, Lily, Moonstone, Moon Grey, Pearl, Sky Grey, Cloud White, White)
Other fun/useful drawing materials (NOT REQUIRED)
Vine, compressed charcoal, charcoal powder
White gouache with detailing sable round brush
__________________________________________________________
DIY PAPER TONING INSTRUCTIONS:
Materials:
Arches Hot Press Watercolor Papter 140 lb. or heavier
Sennelier Shellac based ink (sepia, walnut, olive green, black)
Large flat Bristle brush (3-6" width)
Instructions:
Dilute several drops of sennelier shellac-based ink in a bowl, test color on a separate sheet and adjust as you like. Anticipate 2 coats
Tone with a large (3-6”) bristle brush semi-liberally, using vertical then horizontal strokes. The larger the brush the more even the tone will be.
When paper is completely toned, continue brushing ink off vertically/horizontally, wiping brush dry on a rag between strokes
1-3 light layers, touch-dry between layers. Stack under cardboard and books overnight to flatten paper
Meet your Instructor
Tyler Berry
Tyler’s work holds a personal sophistication honed through a lifelong dedication to truthful observation, restraint and harmony, and fidelity to nature. His work is both an exploration and expression of humanity, pathos, and the natural world. The language of drawing, form, and light maintains in him a dialogue with the Old Masters. His paintings are a search for balance between the universal and particular, an attempt at
humble authenticity.
Tyler Berry (b. 1994) was raised in rural Connecticut. Upon receiving his BFA in 2016 from the University of Hartford, he would work as an animator in Greece and then Poland on the feature film Loving Vincent. During this formative years, he immersed himself in the work of the Old Masters, studying and copying in the museums of Europe.
A graduate and former core instructor of Grand Central Atelier’s four-year core program, Tyler lived and worked in New York City for many years before recently moving to New Salem, MA to be an instructor and artist-in-residence at the New Salem Museum and Academy of Fine Art. His work hangs in collections internationally, throughout the US, Europe, Japan, and China. He is the recipient of numerous awards and has participated in group shows throughout New England, New York City, and Europe, notably at Salmagundi Club and Sotheby’s in NYC, and the MEAM in Barcelona.
Tyler’s work holds a personal sophistication honed through a lifelong dedication to truthful observation, restraint and harmony, and fidelity to nature. His work is both an exploration and expression of humanity, pathos, and the natural world. The language of drawing, form, and light maintains in him a dialogue with the Old Masters. His paintings are a search for balance between the universal and particular, an attempt at
humble authenticity.
Tyler Berry (b. 1994) was raised in rural Connecticut. Upon receiving his BFA in 2016 from the University of Hartford, he would work as an animator in Greece and then Poland on the feature film Loving Vincent. During this formative years, he immersed himself in the work of the Old Masters, studying and copying in the museums of Europe.
A graduate and former core instructor of Grand Central Atelier’s four-year core program, Tyler lived and worked in New York City for many years before recently moving to New Salem, MA to be an instructor and artist-in-residence at the New Salem Museum and Academy of Fine Art. His work hangs in collections internationally, throughout the US, Europe, Japan, and China. He is the recipient of numerous awards and has participated in group shows throughout New England, New York City, and Europe, notably at Salmagundi Club and Sotheby’s in NYC, and the MEAM in Barcelona.