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In this part of the Russian Academic Drawing Course, we take everything we’ve learned about light and shadow and apply it to an organic element, figuring out where to establish our major changes in plane. In this lesson, we will analyze and render a plaster cast of a Proto-Renaissance bust.
Students are encouraged to work from the NMA reference images and 3D viewer included on this page*.
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 this series of 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.
In the last part of our Russian Academic Drawing Course, Iliya brought together the knowledge we learned about Anatomy in order to complete a fully rendered figure drawing. In this next part, Casts of the Face, you use your understanding of the technique to explore these important and organic forms.
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
- Roll of Paper, Smooth Sketchbook paper
- Easel
- Light source
* Reference material is only available for premium subscriptions. If you don’t have premium access to the reference, you can pause the video when the reference is shown.
Question:
Pre-Renaissance Bust with Iliya Mirochnik,
chapter, 10, 11, 12, 13 and 14 there is no transcript!
Please inform me in case you will do it.
Thank you a lot, KarlHi Karl, we are working on the transcripts now. They should be posted in the next 24 hours 🙂
Hi,
How do you suggest to divide the course into months, as in how many months for Level 1, Level 2 etc?
Thanks,
Kavish
Hi Kavish, a basic rule of thumb could be 1 video lesson per week. We are currently working on a track system that will give a more detailed time line
This was an excellent course and I did all drawings 😀 and learn a lot. Thank you!!!
Hi there, before I start the video course on the Pre Renaissance bust can you please advise what you mean specifically by Pre Renaissance?
Might be a silly question, just curious if this particular bust is attached to a specific time?
Hi Stephen, its simply a statement about the style in which it was sculpted. Even though it was probably sculpted during the renaissance, an older approach was employed
you can read more about it here.
https://collections.vam.ac.uk/item/O41563/portrait-of-a-young-woman-plaster-cast-dellaquila-andrea/
Hi there,
Just viewing the video ‘Studying and Blocking in the Forms of the Face’ in Iliya’s Pre Renaissance Bust and at approx the 5 minute mark he is using something to smudge the lines, (not his fingers this time).
It looks grey and triangular in shape, can you tell me what it is he is using?
Kind regards
Steve P
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