THE DANIEL DOMINGUEZ
SCHOOL OF DRAWING
Next cohort leaving...FRIDAY DAY CLASS 9:15-2:45 (full or half day available)
As the course is run along a syllabus (one of the only drawing school that operates along the rails of a guided course) each term sees the start of a new cohort of learners.
Scroll down for more information.
Where: Hunters Hill Croquet Club
Cnr Gladesville Road and Matthew St
How much: $500 per term, $200 Kids’ Club *All materials included
All Enquiries: Call Daniel 0407228742
*Numbers are limited, so first in best dressed
Places confirmed only with upfront payment of term fee.
Course 1: Learning to see. Establishing a sense of simple forms and relationships, working toward the most revered simple form of all, the human head.
Course 2: Places and spaces. Bringing it all together to create moods, feelings and patterns of meaning, focusing on trees, hills, clouds and perspective drawing.
Course 3: The Figure. Developing skills to analyse and imagine objects to a complex degree, focusing on the ultimate object, the human figure: making good use of artistic anatomy, the great masters and the live model.
When (courses run concurrently throughout each term): Term 1: 27 April - 1 Jul. Term 2: 20 July - 23 Sept.
Term 3: 12 October - 16 December
Drawing has been described as ‘the mother of the Arts”, the foundation behind not only painting, sculpture and architecture but also fashion, textiles, graphic/interior/industrial design, digital media, film, photography...etc (Leonardo even extended it the sciences). Drawing also provides one of the most comprehensive experiences of reality; providing the means to cultivate a greater sense of reality and to imaginatively recreate the essence of reality.
For most people, however, drawing is assumed to be a talent reserved for the selective few, not something you do but something you are. And yet, drawing is a verb not a noun and if you can write your name you have proven yourself worthy of the most dexterous challenges that lie ahead.
For most people have little idea of the challenges involved in the drawing process. Most people get caught up in the details without noticing the big shapes. Most only notice what is light, overlooking the shadows, most can only copy the literal rather than recreate the abstract and are led by the hand rather than the eye.
And yet for all, if they choose to follow, there is a clear path forward, a path that is available to anyone who pleases to take it, regardless of what “talent” they my be born with. It is worth noting that Van Gogh was poor of ‘talent’ when he started. The quality of his work comes more from his genuine struggle and resilience to stick with it than any handed down aptitude.
It is along this path that this drawing course is run. Designed as 4 x 10 week terms, this course provides a definitive overview of the drawing process, from where the path starts to where it ends. Building from the simple to the complex, students are guided on a journey of discovery, from the foundational skills of drawing through to the ability to finish works with resolution and pride.
Term one focuses on establishing a sense of perception through drawing, simplifying phenomena down to the basic elements of design: line, shape tone, texture, size and direction (sorry, colour comes next year). This term focuses attention on simple forms and relationships working toward the most revered simple form of all, the human head.
Term two moves on to the art of conceiving ideas, bringing the elements of perception together to create something new. This term introduces the student to the composition: the arrangement of the picture plane and in doing so looks at the greater arrangement of nature and the landscape (including perspective drawing), expressed through the abstract relationships of the principles of design.
Term three develops drawing skills and understanding from the simple to the complex: doing so with the object of nature we are most familiar with, the human figure. Starting with the perception of the figure, through artistic anatomy, the study of the great masters and the live model. This is followed by the conception of the figure, looking at the development of a visual narrative, the process of abstraction, the cultivation of personal style and the identification with the symbolic qualities of the figurative object.
Term four consists of the creation of the major work. This includes one or more major works (or a body of work similar to the HSC). Starting with the collection of references (using the sketch rather than the camera), the composition of the design, the formation and fabrication of the structure and, most importantly, the establishment of objectives and the achievement of outcomes.
What lies at the end of the path, on paper, is a collection of studies and sketches, leading to the composition of a complex major work with multiple layers of meaning. Though more importantly, what is also established is a drawer, with an expansive sense of nature and the ability to articulate ideas visually in a tangible, resolute style.
Apart from 25 years making every mistake conceivable as a sculptor, my credentials as a teacher comes from my standing on the shoulders of a multitude of great teachers, with a heritage going back to Manet and the Académie Julian of Paris (and who knows before that). This comes on top of many hours experience as a student and teacher of atelier art schools, plus countless hours evangelising to conscripts in the classroom as a Visual Arts high school teacher. However, it is as a facilitator and a guide that I play my most important part in this school, letting the ultimate masters take the lead: using the best drawing examples, the sublime beauty of mother nature and the “fruit that grows within” us all, human creativity.
Daniel Dominguez Principal