Natalie Italiano . Young Woman - Profile . Charcoal on paper . 24 x 18 . 2004
Snehal Page . Still Life . Charcoal on paper . 26 x 20 . 2009
Jeff Allon . Standing Figure . Charcoal on paper . 25 x 19 . 2007
Diane Rappisi . Amy (detail) . Pencil on paper . 2008
Leona Shanks . Figure Drawing . Charcoal on paper . 24 x 18 . 2003
Peter Kelsey . Saxophone . Charcoal on paper . 25.5 x 19.5 . 2008
Robin Frey . Emilia . Charcoal on paper . 25 x 19 . 2003
Natalie Italiano . Bonnie Anne . Charcoal on paper . 24 x 18 . 2002
John Flavin . Boots . Charcoal on paper . 25 x 19 . 2009
Lea Colie Wight . Erma . Charcoal on paper . 17 x 22 . 2004
Diane Rappisi . Sam (detail) . Charcoal on paper . 2007
Caroline Weitzman . Still Life with Decanter . Charcoal on paper . 13.5 x 13 . 2009
Erin McGrath . Chris Seated . Charcoal on paper . 25 x 19.5 . 2006
Christina Rose . Chirp! Chirp! . Charcoal on paper . 25 x 19.5 . 2009
Adelbert Yupari . The Movement . Charcoal on paper . 25.5 x 19.5 . 2011
Christina Rose . Fresh Produce . Charcoal on paper . 20 x 25 . 2009
Liora Seltzer . Figure Study 2 . Charcoal on paper . 24 x 18 . 2006
Rob Goodman . Rose . Charcoal on paper . 19 x 25 . 2008
Christina Rose . David I . Charcoal on paper . 25.5 x 19.5 . 2009
Mitsuno Reedy . Standing Female with Pole . Charcoal on paper . 24 x 19 . 2011
Rachel Pierson . Rachel and the Real Skull . Charcoal on paper . 24 x 18 . 2011
Darren Kingsley . Tree . Pencil on paper . 18 x 18 . 2005
Kerry Dunn . Mark Reclining . Charcoal on paper . 18 x 24 . 2004
Drawing
The progressive nature of the curriculum demands that all Studio Incamminati artists master foundational proportions of lights and darks and blocking-in shapes before mastering the next levels of Grisaille, Color Studies and Paintings. Artists begin by learning how to see the basic human figure and by using drawing to capture the figure in a series of poses that evolve from short to longer duration. Similarly, artists work from still life to develop the ability to see graphic shapes in terms of light and shadow. Still life offers the advantage of a variety of forms, shapes, surfaces, texture, placement in space, and relation to background - all vital issues in realism. Charcoal often is used because it has a sensitivity that makes it very painterly and the ideal bridge to using brushes and oil. The strokes – though strictly straight lines and angles with no curves allowed - are taught to be fluid, driven by the kinetic energy of the pose. These lines best capture the basic “armature” foundation of the figure or object, with more complex curves and detail added later.All artwork is the property of the respective artist. Reproduction is strictly prohibited.