with Giulia Caruso

Learn to draw the figure from the inside out! During this workshop you will learn the basics of anatomy, body structure and muscle dynamic that make up a traditional figure drawing foundation. By developing our technique, we open the possibility to really capture on paper the specific gestures and emotions expressed by the model. Figure drawing has always been the primary focus of artist Giulia Caruso and she is ready to share with you her trade secrets.

Working from a live model, as well as from historical examples and live demonstrations, we will cover a range of traditional mediums including: graphite sticks, white and red chalks on toned paper and inks. We will focus on gesture drawing, negative space and relative proportions to achieve an expressive result.  We will learn simple ground rules to manage foreshortening, avoid graphic symbolizations and other common issues.

During a Saturday field trip  to the Altes Museum we will see how the portrayal of the human body has developed in classic times and make drawings on site from the classical statues.

  • Course Schedule: October 24 - November 21, 2017
    • 5 x on Tuesday in the studio from 6-9 pm
    • 1 x Field-Trip (Saturday, November 18, 12-2pm)
  • Anatomy Drawing Supply List
  • Cost: 150 Euros (includes some supplies)
  • Sign up: contact@berlindrawingroom.com
the Berlin Drawing Room in action
I really recommend this classes to open minded people. Here you will learn basics or enhance your already established skills in a non academic way. You can alwais grab a book and learn about how you “should” draw lights and shadows, but this is different. This is about approaching reality, breaking through your “standards” and creating something that, sometimes surprisingly, is always definitely interesting. If you are not afraid of what can get out of your pencil when you let it go, just come to this workshop: it is the right place for you!
— Simone Brizzi (Drawing Workshop, 2013)
I am an academic in my early forties who took the drawing course as a free-time activity to balance my language-driven day job. Prior to this I had not drawn anything since elementary school and do not consider myself talented in that respect. In six weeks I went from scratch to achieving a recognizable likeness of still-life arrangements, portraits, nudes, and objects from nature in a variety of different techniques including blind sketches, contour-line and gesture drawings, and tonality drawings in pencil and charcoal. Other members of the class who also entered with no prior experience or practice achieved more striking results than mine. Apart from gaining a new and more profound appreciation of artworks involving drawing, I have benefited from the perceptual shift that goes along with close observation and manual rendering of a subject; I have also been surprised to note intriguing analogies between the cognitive aspects of drawing and the scholarly work I do for a living. The class includes some discussion of exemplary work by Sargent, Matisse, Morandi, Hockney and others, but the focus is on practice and technique. There’s no pressure to perform, but the three hours are intense and go by fast. I now find myself practicing drawing even when I’m supposed to be doing other things, so be forewarned: it can be habit-forming.
— Brady Bowman (Drawing Workshop, 2014)
I took the Spring 2013 Drawing Workshop and can highly recommend it. This is a great class for learning to observe and draw in a structured, yet playful and creative way. I was familiar with some of the ideas from Betty Edwards ‘Drawing on the Right Side of the Brain’, and I also met many new exercises and ways of approaching drawing. Mira is a gentle and supportive teacher, at the same time she is always stretching her students to try different methods and get beyond their self-imposed limits. By the end of the class, I noticed that my drawing had improved in ways that I hadn’t even realised!
— Catherine Lupton (Drawing Workshop, 2013)