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Join Ukrainian-born artist Iliya Mirochnik as he passes on a 250-year-old academic method preserved at the Repin Academy in Saint Petersburg, Russia and seldom taught outside of the Academy and never before on camera.
The Russian Academic drawing and painting approaches were uninterrupted by the modern art movements that transformed representational art in the West, and as a result, they provide a unique and clear lineage to the greater art traditions of the past. As a powerful approach that is both constructive and depictive, it combines the two methods that prevail in contemporary representational art.
In these three drawing Courses, we have set out to condense the entire program, spanning over eight years into a logical, step-by-step procedure. We have made improvements and added resources and exercises to explicitly drive home the concepts that are required to work in this approach.
We have also structured the course so that it is not only useful for professional and experienced artists but also artists with no drawing experience whatsoever.
The first course: the Fundamentals is our most comprehensive beginner-level course to date, including everything you need to get started.
In the final lesson in the Fundamentals course, you will be combining all of the concepts and training you have learned thus far. Using the stretched canvas that you made at the beginning of this course you will draw John Asaro’s planes of the head sculpture from the photos provided. You will focus on turning form, establishing clear planes, clearly showing your light source and developing proper values and value relationships.
The New Masters Academy Coaching Program directly supports this Course. If you enroll in the coaching program, you can request an artist trained in the Russian Academic Method including Iliya Mirochnik himself. Click here to enroll in the Coaching Program.
Materials
- Graphite pencils
- Kneaded and Hard Erasers
- Sanding Block
- Utility Knife
- Roll of Paper, Smooth Sketchbook paper
- Staples
- Staple gun
- Easel
- Light source
I’ve been with NMA for a couple years and this is the best course I’ve taken to date.
I hope to see more courses like this and more topics from the instructor, Iliya Mirochnik. Job well done!
Hello,
I just wanted to say that I have been really enjoying this course. Watching Iliya Mirochnik go through his process of construction, shadows and halftones has been very rewarding. I love that with the Russian Academic Approach mistakes are all part of the process. Get something down, step back, analyze and continue. While you progress from shadows to halftones, really start analyzing the relationship between them and don’t be scared to go back over other sections. This sort of building up as you go to create the end result is just the sort of instruction I was looking for.
I can’t wait to go through the other sections in this course. Great work, Mr. Mirochnik!
Regards,
Colton
p.s.
Here is my attempt
Did anyone else miss the part about stretching the paper onto the panel?? He skips that completely in the instruction so far…??!
This was in the first section of the foundations of drawing course (Russian). I think it was in he section on materials.
Does anyone know if there is a preferred way to remove the stretched paper from the panel? Love this course! Thank you so much, Iliya!
Cut it out with a razor. You can also pull the staples with pliers but cutting is the typical way.
(Chapter 4, 20:37) Based on his shading at the right eye hole just above the right eye (of the model), how do you distinguish a cast shadow from a dark midtone? I thought that plane was all blocked by cast shadow since it was cast by the brow area at the top of eye hole.
Cast shadows will have sharper edges. Also cast shadows can be mentally raytraced. In other words if you know where the light source is coming from and what the form is, you can predict where the cast shadows should fall even without reference. Imagine a “ray” traveling from your light source. If it hits a part of the subject, say the tip of the nose, then whichever surface falls along that same ray (if it were to continue traveling through the nose) will have it’s light “blocked” or in other words a cast shadow. So determining if something is a cast shadow or a core shadow or anything else can’t be done purely visually. You need to think about the 3d environment and that will help you identify the clues and put that clarity of understanding into your drawing.
Trying out the head drawing. Complex but fun and relaxing. Hope i got it right 😀
Great Course
Love the systematic/methodical approach – certainly learned a huge amount.
Currently on portraiture course – but will get back to Russian Drawing course
I am looking fwd to large scale figure drawings.
From above looks like people are producing some quality work
PS forgot to put shadow at base -ooops!
Hello Iliya & NMA members,
I just suscribribed a few weeks ago after seeing some of your videos on Youtube.
I’m now starting the lesson 7. I just want to thank you so much Iliya, for providing such a clear and step by step technique, I learnd so much by now!Hope I had NMA as my online-teacher back then in University, early 2000..
Anyway, thank you so much you all, NMA is just a great Academy !Best regards,
AC.
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