Course of Study
SORA strives for excellence by demanding the best from its students. Through group and individualized instruction, personalized critiques, and a series of integrated individual projects, SORA students are thoroughly trained in all aspects of representational drawing and painting.
General Overview and Expectations
The full SORA program replicates the same course of artistic training developed in the 19th century European Ateliers. It is an integrated four year program, with each level and set of tasks building on the prior, giving the student the foundation of skill necessary to produce art on a professional level.
SORA follows a traditional academic calendar with two semesters per year, a fall and spring semester. Full time students attend the school Monday through Friday 8:30 a.m. to 5:00 p.m. Tuesday through Friday mornings are dedicated to life drawing from the live model. The afternoons and Mondays are devoted to individual projects. Each student is assigned their own personal work space to set up projects and work on individual assignments. SORA teachers attend the school on a regular schedule and individually critique and advise each student on all assignments. Additionally, throughout the academic year, lectures in anatomy, perspective, and composition round out the student's education. Off-hour studio access is available. Part time student admissions to the day program are available under special circumstances after admission interview.
Level One
Figure Studies - A core element of SORA training, and something that lasts the entire four years is a focus on the study of the human figure. In the first year, the students learn the Sight-size method and apply it to figure drawing. The poses that students work from will last two or three days. A semester-long pose will be scheduled and the first level student will be assigned to draw this in charcoal. The comparative drawing method and gesture drawing will also be introduced, all as means to begin the students development in mass, line, and memory drawing.
Cast Drawing - -
The study of the plaster cast is a time-honored method for training the painter's eye. It offers the student the chance to focus on developing the ability to render form and value under controlled conditions. Students are assigned short cast drawing assignments in charcoal and further introduced to the the Sight-size method. Once these are completed the student is assigned to take several cast drawings to a high degree of refinement in black charcoal on white paper. In doing this, the student is instructed on how to accurately render value and shape relationships. A student's ability to model form correctly is strengthened and perfected. By the time the students have mastered cast drawing, they will have laid the foundation for their further artistic development.
Level Two
Figure Studies -
Figure Studies - Students continue to work in life drawing with both comparative and sight size methods using charcoal and graphite. Students continue to work from short and semester-long poses.
Geometric solids and cast painting -
Black and white painting . Here the student is introduced to the rudiments of painting in oil. The student is introduced to the basic materials, methods, and procedures for painting in oil. To emphasize mastery of materials and procedure, the assignments are limited to a monochromatic palette. The student applies the Sight-size method and the drawing skills cultivated in the first level to painting simple geometric forms. Once a series of short studies of simple geometric forms are produced in black and white oil paint, the student is assigned several cast paintings in black and white. These are taken to an equally high degree of refinement using the drawing, mass, and value rendering skills developed in the first level.
Portraiture - In the second level the student is also introduced to bust portraiture. Students work with the live model on each study. Special attention is given to developing accuracy with angles, shapes and value relationships. The student is taught to accurately place anatomical landmarks and the arrange the model in space. Each student spends many hours to complete a portrait study, as they familiarize themselves with the facial features and the basic structure of the head. Beginning portrait studies are done in charcoal. After mastering the portrait in charcoal, students execute oil paintings in black and white. Experimentation with color in pastel is also introduced.
Level Three
Figure Studies -
Figure Studies - Students continue to work in life drawing with both comparative and sight size methods using charcoal, graphite, and pastel. The student is assigned to paint the semester-long pose in monochromatic skill. This builds on the skill developed in the previous levels as applied to a cast in a controlled environment. The student now possesses and understanding and facility in rendering form in black and white paint and applies this to the live figure.
Still Life -
As the plaster cast provided a controlled means of studying form and value, a still life provides the student with the controlled means to begin the study of color. Still-life painting is the first opportunity for students to work in color and to develop their compositional skills. The student is introduced to color theory and painting in impressionistic color. Palette organization, color interaction, and how to paint under natural and artificial light are taught. Still life painting also inherently demands the student confront the challenge of recreating a variety of textures and forms. The process of conception to final execution of a still life in color oil also cultivates the students personal expressive and creative skills.
Portraiture -
In the third level, the student continues with portraiture assignments. At this level the student is taught and expected to incorporate more developed portrait compositions. Portrait sizes expand to three-quarter lengths and involve creating a expressive setting for the subject. The student is taught to develop further skill at placing the subject in space.
Level Four
Painted Figure - Painting the human figure, with color oil paint, under natural light conditions, is the greatest challenge at SORA. It requires a mastery of value, color, anatomical structure, and drawing and painting skills. The mastery of this challenge is the ultimate goal in the student's training. The student is assigned color sketches in oil for shorter poses. The student is assigned to paint the semester long pose in color oil paint.
Creative Portrait -
The goal with a creative portrait is to enhance a student's ability to create a mood or commentary about the subject or person being painted. Students can explore symbolism or place the model in period costume. Combining the students emotional and technical faculties is critical to propelling the student into an artistic career.
Imaginary Figurative Composition - This level is the most exciting stage for the student. Each student creates a project combining all the disciplines offered at SORA. Expressive gesture, color scheme selection, artistic anatomy, perspective, the relative proportioning of design elements, lighting and conceptual interpretation of the theme are stressed in one on one discussions between teacher and student. The student learns all the stages involved in creating a highly sophisticated work of art.
All levels- Composition
The study of visual composition is an essential component of an artist's training. At all levels, students engage in a monthly composition assignments, a program unique to SORA. Four compositions assignments are assigned each semester, which progress in difficulty as the student advances. The subject-matter is the student's choice and a chance for the student to incorporate his or her own imagery and subject matter into the curriculum.
The student begins by learning how to compose line, value patterning and three-dimensional space. Basic design principles such as unity, balance, varied proportions, focal point, repetition, harmony, contrast and integration are introduced. Students are assigned to create their own compositions using these principles with a particular subject; including portrait, still-life, landscape, wildlife and narrative figure compositions. As students advance through the composition program they are further challenged to incorporate specific geometric structures, abstract design motifs, and emotional qualities into their compositions. Through these composition exercises, students become better prepared to execute creative projects with increasing complexity.
Students are taught to begin with simple thumbnail sketches and develop ideas into larger sketches, value studies, black and white cartoons, and color sketches. Through regular composition critiques, instructors teach the student to identify weaknesses in design, suggest improvements, and direct the student to resources to amplify and strengthen the student's work.
