Academy of Realist Art

The Academy of Realist Art in Toronto teaches its students the skills of careful observation based on classical methods.


One of the principal instructors, Fernando Freitas, recently took me through the building to explain the course of study.

The curriculum is based on the book by Charles Bargue and Jean Leon Gerome, which was originally produced in the mid-nineteenth century for the Ecole des Beaux Arts in Paris.

There is no portfolio entrance requirement. Students come from all different backgrounds and ages. Each student follows the same series of steps or levels. They move ahead to the next step whenever they’re ready.

The first skill to master is to reproduce a two-dimensional drawing. The goal is to learn to capture shapes and to understand the division of light and shadow.

The next stage is a vine charcoal or carbon pencil study to understand the effect of light and shade on a plaster cast. The drawing and the cast are set up side by side in the same light and checked until they match perfectly.

This so-called “sight size method” takes a lot of floor space because you have to back up from the subject and see the drawing and the model in one view. Two students generally work side by side from the same cast.

They then move to painted studies of casts, still life studies, and painted studies from the nude model. Some studies can take 30 to 60 hours of work.

Mr. Freitas also encourages students to learn from the classic texts on drawing and painting by Harold Speed. He has produced an instructional DVD called Drawing the Figure, which follows the process of creating a tonal drawing of a standing figure from start to finish.

“We’re more an academy than an atelier,” Mr. Freitas said, “because we are based on an objective, classical approach rather than the working methods of one individual master.”

The atmosphere of the school is focused, energetic, and collaborative, more like a martial arts academy than a free-form art school. It feels like entering the dojo with a clear mind, focused on the task at hand, leaving behind your worldly concerns. One easel was emblazoned with a sign “I SEEK EXCELLENCE.”

The way of learning art at ARA is very different from other schools, and I know that not everyone agrees with it. I’ve heard the criticism that the sight-size academic method it leads to uniform results, or that it amounts to passive copying.

I think those views misunderstand the objectives of classical training. The purpose is not to teach style or personal expression, but rather to give each growing artist a solid foundation to build on, and to offer them a deep familiarity with classical models and timeless standards. Drawing and painting at that level of sensitivity is a very active process indeed. It deeply engages every fiber of a student’s being.

The ARA is not trying to be everything to everyone, and I believe that is their strength. The results that are framed up in the hallway are nothing short of breathtaking, and the sense of shared purpose among the students is palpable.

There is much every art school can learn from the example of the ARA. I believe that every art student should have the chance to go far beyond the 20 or 30 minute poses that are common in many art schools and to see how finely they can tune their response to the visual world.
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Official Website for the Toronto school (with a new campus just opened in Boston, MA), link.
Freitas video on drawing the figure, link.
Bargue book on Amazon, link.
More about the sight size method, link.

Demo Portrait of Fernando Freitas

On Monday I shared a lecture and demo to a full house at the Academy of Realist Art in Toronto. 

(Video link) The model for the demo was Mr. Fernando Freitas, co-founder of the Academy. Since I only had 25 minutes to do the drawing, I used the same technique that I like to use for sketching people "in the wild"— in restaurants, subways, or concert halls.


Materials: Caran D'Ache watercolor pencils and a Niji Waterbrush on a smooth Fabriano Watercolor Pads.
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I'd like to thank Fernando, and everyone who came to the talk at the Academy of Realist Art in Toronto, especially the folks who came all the way from Ottawa. And thanks to Lenny Dass, for shooting the video.

Previously on GurneyJourney: First visit to ARA in April 2009

The Angel Academy of Art

The three great domes of Florence were shining in the morning light yesterday.

On the left of the picture is Jay Blums and on the right is Martinho Isidro Correia. Both instructors are originally from Canada. We're standing in the Angel Academy of Art, one of the world’s leading centers for academic training.


The school was founded by Michael John Angel, known as “Il Maestro” by his students. Mr. Angel was a student of portrait painter and muralist Pietro Annigoni (1910-1988).


The school consists of two buildings near the center of Florence, where 60 students from 29 countries follow a focused curriculum. The method is based on traditional realistic painting methods that Mr. Angel has painstakingly researched.

Students begin by carefully copying plates from Charles Bargue’s 19th-century drawing course. Then they proceed to portraying the plaster cast under artificial light, using "sight-size" procedures, first in charcoal, and then in oil.

They graduate to working from still life subjects and to drawing and painting the living figure.

The entire regimen has taken as little as two years for a few very precocious students. More typically it takes three or four years. A single oil or charcoal can take several months. People move to succeeding steps in the curriculum depending purely on their readiness.
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Angel Academy of Art
Michael John Angel
Cast drawing at left is by Dorian Iten
Charles Bargue Painting Course (Book from Amazon)
Pietro Annigoni on Wikipedia
Wikipedia on the Atelier Method & Sight-Size Drawing
Related GurneyJourney posts:
    Academy of Realist Art, Toronto
    Grand Central Academy, New York
   En Loge (Prix de Rome) Competition

Academic Methods, Part 1: John Michael Angel

The teaching methods of the ateliers and academies of the 19th century are undergoing something of a revival around the world. Various teachers have sought to recapture or preserve some of the classic approaches to drawing the figure and composing pictures.


The approach varies from school to school, and the methods are hotly contested among their aficionados. For the next two posts, I thought I would share two different approaches in the words of the teachers themselves.

First is Michael John Angel, whose studio in Florence I visited late last year. In a series of three short videos, he lays out his principles of academic pedagogy:






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Here are a bunch of links if you'd like to learn more:
Direct link to YouTube videos:Part 1: , Part 2:,  Part 3:
Angel Academy of Art
Michael John Angel
Charles Bargue Painting Course (Book from Amazon)
Pietro Annigoni on Wikipedia
Wikipedia on the Atelier Method & Sight-Size Drawing
Off the Coast of Utopia, http://offthecoastofutopia.blogspot.com/ fascinating blog by Martinho Isidro Correia, an instructor at Angel. Note in particular his post on Bouguereau deviating from a pure sight-size method.
Related GurneyJourney posts:
Angel Academy
    Academy of Realist Art, Toronto
    Grand Central Academy, New York

Russell Flint in Action

AN ARTIST aka SIR WILLIAM RUSSELL FLINT, RA

(Video link) Here's a film from 1956 of British artist Sir William Russell Flint, RA (1880-1969).

The film shows him laying out his watercolor palette, posing his model, and applying his wet washes. Flint typically worked from live models in his studio.


More about Sir William Russell Flint on Wikipedia
Flint bio on Jim Vadeboncoeur's website
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On Monday I'll be giving a talk on composition at the Academy of Realist Art in Toronto. July 30, 2012 @ 6:30 pm.

Big Ben in Scaffolding

Congratulations to all the people who prepared London for the successful opening ceremonies of the summer olympics.

Here’s a sketch I did of Big Ben back in 1985, when it was covered in scaffolding. (I’m a huge fan of scaffolding.)


Here’s a close-up detail. When I’m drawing a subject like this, which is infinitely complex, I try to be accurate but impressionistic, suggesting detail with somewhat abstract strokes drawn in perspective.

I used two hardnesses of graphite pencil, HB and 2B, as well as a little bit of light gray ink wash.
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On Monday I'll be giving a talk on composition at the Academy of Realist Art in Toronto. July 30, 2012 @ 6:30 pm.

More reviews of "How I Paint Dinosaurs"

Illustration magazine has published a review of my video "How I Paint Dinosaurs" in its first issue of 2014.

DIY Lego-powered motion control camera dolly, running on dollar-store broomsticks, used for tracking shots

"If you've ever wondered how a master illustrator creates a painting from start to finish, James Gurney's new DVD is a wonderful demonstration of the process. Filmed over the course of a few months as Gurney worked on two assignments for Scientific American magazine, this lovingly edited and beautifully photographed film follows Gurney every step of the way as he conducts research, makes thumbnail sketches, constructs maquettes, prepares line drawings, and paints his final pictures in oil."

"Rather than work with an outside film crew to produce his DVD, the artist took it upon himself to helm the entire production, and I think it shows in the intimacy and clarity of the final presentation. You really feel like you're there with the artist as he's showing you his methods, and it's fascinating to watch over his shoulder as the paintings take shape. I don't think a film crew could have captured everything in nearly as much detail as Gurney himself has been able to achieve. Extras on the DVD include a slideshow of Gurney's dinosaur art, an insert print of one of the paintings, and a bonus feature on brushwork."


Other reviews
"Presented in a clear and thoughtful manner, James Gurney reveals that there is no mystery to bringing the prehistoric back to life! The process of research, drawing, and maquette building by a master who has great knowledge and passion for his subject matter will be especially invaluable to any artist aspiring to raise their work to a higher level."
—Jerry LoFaro, Illustrator and teacher, New Hampshire Institute of the Arts

“James Gurney is a modern-day Meissonier and the techniques he shows in 'How I Paint Dinosaurs' closely follow those of the earlier master. The creation and use of maquettes is clearly presented, as is James' discussion of materials, lighting and color. Whether you are interested in painting dinosaurs or not, there is much to learn from this wonderful DVD.”
—Darren R. Rousar, Artist, author and teacher.

"James Gurney once again shares his masterful knowledge and creative imagination, giving us a glimpse into his own dinosaur kingdom."
—Jason Dowd, Professor, Laguna College of Art

"For any art student or beginning illustrator wanting to learn how to create realistic scenes from one's imagination this inexpensive DVD is a gold mine of information and learning!"
—Christopher Leith Evans, Head of Matte Painting Department, Star Wars: Return of the Jedi

"James Gurney's 'How I Paint Dinosaurs' is not only a fascinating look into a master-illustrator's creative and technical process, it outlines fundamental techniques useful to any artist interested in infusing their work with life-like authenticity."
—John-Paul Balmet, Concept Designer

"James Gurney has the ability to create rich and vivid imagery of creatures and environments long lost to us. He is nothing short of inspirational and humbling."
—Le Tang, Story artist at Dreamworks Animation Studios & co-author of the Battlemilk book series

"This has to be one of the most informative and imaginative approaches to bringing painting instruction to students and professionals alike I have ever seen! The narrative is clear, concise and inspiring. The academic methods as seen from the “over-the-shoulder” cinematography provide us all with instruction which would otherwise require a trip back to the nineteenth century and a class with Les Animaliers. This video will certainly be viewed by all my Constructive Anatomy and Scientific Illustration students!"

—Paul Hudson, formerly SCAD, Accademia della Natura

"What a privilege to have the man himself show us how he works, with demos and time-lapse and close-ups and as many bits of wisdom on one DVD as you'd get in a week-long workshop."

—Marshall Vandruff

“If ever there was going to be an instruction DVD for art students on how to draw/paint from your imagination, this is it! Mr. Gurney’s “How I Paint Dinosaurs” (never mind that it’s dinosaurs) is a must for any young artist who needs a process for putting their ideas on paper or canvas.”
—Fernando Freitas, Director, Academy of Realist Art, Toronto

"James Gurney’s blog, books, and videos are probably the best art education available anywhere. The lessons, tips, and insights he provides to artists are as useful for digital media as they are for traditional media."

—Patrick O’Brien, painter and teacher, MICA

“Two big thumbs up.”
—C. F. Payne, illustrator and professor, Columbus College of Art and Design

“Who needs a time machine to see life in the Mesozoic? Just let Jim paint it for you. Here is how True Magic is done. Now it is your turn to learn to make magic.”
—Michael K. Brett-Surman, PhD., co-editor of The Complete Dinosaur (Life of the Past)

"Gurney’s approach is comprehensive and understandable. Painters of all stripes will glean valuable insights not found elsewhere. This DVD will occupy a prime spot in my library."
—Brad Teare, Thick Paint Blog

“‘How I Paint Dinosaurs’ is a dynamic look inside of the techniques and mind of a modern-day master of light and form. In this video, James demystifies the steps he takes towards completion of two illustrations utilizing, thumbnails, maquettes, drawing and a great deal of research to achieve gorgeous and a scientifically accurate oil painted pieces. He manages to compress and distill the steps into a dense 56 minute video for enjoyment and perusal by all in a proficiently precise manner. Anyone interested in making or observing better images should make it a purchase.”
—Sidebar Nation

"Saw the DVD and loved it. He takes you through his whole process from concept to final. I liked seeing how he built his maquette and used it as part of the creative process. Great to see how free he is in every stage to experiment with ideas and make changes. Makes me want to go paint dinosaurs.”
—Stan Prokopenko

"Gurney not only knows dinosaurs but is a master painter of light and shadow, and he shares his techniques in an easily understandable and informal way. I learned much from watching this.”
—Mark Hallett, paleoartist

"’How I Paint Dinosaurs’ by James Gurney is a superb adventure into the world of hands-on professional illustration; using dinosaurs as the vehicle, it packs an entire art school into one engaging, thoroughly entertaining package."
—Terryl Whitlatch, creature designer and concept artist

"Even though it's called 'How I Paint Dinosaurs', it should really be called 'How I Paint Stuff', as all the techniques are applicable to any form of fantasy art."
—Dan Dos Santos, illustrator and contributor to the Muddy Colors blog

"In this day and age of speed paintings and photo bashed images, ‘How I Paint Dinosaurs’ is a refreshing reminder of the value of a well researched, studied, and executed piece of art. I highly recommend any artist, be they dinosaur lovers or no, to watch this DVD and replenish their artistic soul."
—Jackson Sze, Senior Concept Illustrator at Marvel Studios

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Wow! Thanks to all my respected colleagues for your generous words, and to my customers for supporting my work in video.  --J. G.

More info about the DVD ($32)
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Illustration is the leading magazine about the history of American illustration, and the new issue has features on Henry Patrick Raleigh and Victor Kalin.