“The rapid response to occasions and public events require from the young artist high professional knowledge and skills, and the drawing is an illustration of the first quirk, the first idea. In order to be decisive and believable any picture needs its artist’s strong and decisive qualities.

Assoc. Alexander Stanev, doctor of pedagogical sciences

The training includes graphics and painting. Minimum age: 12+ years.

Objectives of the training:

  • Systematic training in drawing.
  • Giving knowledge of the complex, contradictory, solo/group creation and shaping the young artist.
  • Improvement of children/students’ intellect and ability.
  • Satisfaction of a job well done.
  • Practical application and implementation of the training system – exhibitions, contests; organizing an art gallery. Performance.
  • Exhibitions, galleries and workshops visitations. Introduction to the work of famous artists.
  • In the mutual effort of teachers and students, in the deep understanding of the drawing training, successes and satisfaction are rooted  for a job well done.
  • Ourtraining system claims finality and completion.

1. Exercise one
Task: General introduction to the basic rules of perspective construction in space of simple geometrical shapes – a cube, sphere and cylinder- white plaster models.

2. Exercise two
Task: Mastering the four basic elements of chiaroscuro – lit part, column, shadow reflex and shade. Composition: a cube, a sphere and a cylinder.

3. Exercise three
Task: Chiaroscuro for complex geometric objects in space and a clay pot. Understanding perspective, horizon and shapes.

4. Exercise four
Task: Design and construction of high lighted forms in space. Creating a composition including a simple gypsum ornament.
Lecturer’s feedback

5. Exercise five
Task: composition and structure of complex objects in space–below and above the horizon. Complex tonal contrast between building complex objects (dark clay pot and white gypsum) and their differentiation with the aid of the graphic materials of various shapes and textures.

6. Exercise six
Task: Constructing objects in space and creating a composition in the borders of the cardboard. Finding the exact proportions of the objects, the right silhouette of a bird and a gypsum ornament. Proper use of graphic materials in differentiation of various shapes and textures and convincing chiaroscuro.

7. Exercise seven
Task: Construction of a gypsum capital in space, proportions and beauty. Creating a contrast of gypsum’s whiteness and the dark drapes fabric. Recommending a variety of drawing materials.

8. Exercise eight
Task: Mastery composing of a group objects and a bird. Creation a center and space of each object and the entire composition. Differentiation of materials and highlighting details. Their proper placement in space. Building a tonal contrast between dark and bright objects (gypsum, ornament, etc.).

Lecturer’s feedback

9. Exercise nine
Task: Drawing a nose- gypsum detail of the head of the “David”, a work by Michelangelo. Attention is drawn to the structural and anatomical clarity of the detail. The detail should be created on a neutral background and embossed with a strong contrast and lighting, allowing you to see clearly the forms.

10. Exercise ten
Task: Drawing an ear-gypsum detail of the head of the “David”, a work by Michelangelo. Attention is drawn to the structural and anatomical clarity of the detail. The detail should be created embossed with a strong contrast and lighting, allowing you to see clearly the forms and the texture of the material. Background – a drapery.

11. Exercise eleven
Task: Drawing a mouth with a piece of the bottom of the nose and the whole chin-the head of the “David”, a work by Michelangelo. Lighting which allows you to see clearly the forms which shape the detail. Construction and ratio of the separate details. Chiaroscuro characteristics in the cast.

12. Exercise twelve
Task: A cast of an eye-the head of the “David”, a work by Michelangelo. Calm lighting allowing you to trace the shapes and details of the drawing. Anatomical and physiological structure of an eye, as well as its gypsum cast’s shape and structure. The eye we leave to be the last part of this series of human face in order to be able to go deeper in its characteristics. If one’s able to master the mechanics of the vision, they will be able convincingly to draw human feelings and conditions.
Lecturer’s feedback.

13. Exercise thirteen
Task: A plaster mask of a thin man who has distinctive anatomical structure affixed to a gray, not very dark background. The locations of the details, painted in the previous tasks, their proportions, and the physical connection between them. Carefully compose the front part of the head. Ratio of proportions.

14. Exercise fourteen
Task: A gypsum skull- contrast artificial lightening on a dark background. Memorization of the anatomical parts of the skull and its anchor points, which you should always have in mind when you draw. The goal is to get to know the main parts of the skull, their place, proportions and part in the construction of the physical appearance of the person.

15. Exercise fifteen
Task: A man’s plaster head in a slight movement. Relief and contrast lighting, allowing you to see clearly the forms and texture of the cast. Strongly highlighting the anatomical structure
which will give character and the similarity with the original subject of the drawing.

16. Exercise sixteen
Task: A female plaster head in a slight movement. Relief and contrast lighting, allowing you to see clearly the forms and texture of the cast. Strongly highlighting the anatomical structure which will give character and the similarity to the original subject of the drawing. Composition, structure of the movement of the head and its physical connection to the neck, and the neck with the shoulders.

Lecturer’s feedback.

17. Exercise seventeen
Task: A volumetric plaster head with part of the shoulder girdle and an open neck. Connection of the neck to the upper torso. Relief and contrast lighting, allowing you to see clearly the forms and texture of the cast. Looking for the type of the subject and trying to achieve similarity of it. Construction of the movement of the head and its connection to the neck and the neck to the shoulders.

18. Exercise eighteen
Task: A plaster head with bare shoulders. A thorough search of the anatomical connections of the head with the neck and the neck with the shoulder girdle. Finding out the type and proportions of the model.

19. Exercise nineteen
Task: A plaster head with pleated garment, covering the shoulders. Composing and constructing of the drawing. Proportions and type. Based on lessons learned from previous tasks, the garment must lie down tightly on the body and to highlight its anatomical structure. A thorough search of the details.

20. Exercise twenty
Task: A gypsum head or other gypsum shape in a highly distinctive state. Lighting – highlighting the situation and  the cast material itself. Changing of graphic material with chalk or charcoal. Brighter and plastic expression. Allows greater persuasiveness and artistry.
Lecturer’s feedback

21. Exercise twenty-one
Task: A gypsum skull. Basic differentiation and exploring of the parts of the skull and underscore their role in the structure of the head. A good understanding of the skull, allows mastering the density and relief of the form.Building from the inside out, constructive persuasiveness.

22. Exercise twenty-two
Task: Drawing a real human head(from a model)– a thin man with bare shoulders. Lighting-contrast. The model is placed above the horizon. Composition and structure of the head. Analysis of the anatomy of the skull, neck, and shoulder girdle.

23. Exercise twenty-three
Task: : Drawing a real human head(from a model) – a woman with an open neck. Lighting-contrast. Composition and structure – to find the differences in interpretation of the shapes of the female head. Differentiation of materials. To find a graphical ‘language’ for the softer woman’s form. Not forgetting the construction on the skull and facial bones. Drawing of the skin of a curvy woman or the pale flesh of an old man.

24. Exercise twenty-four
Task: Drawing a real human head(from a model) – an elderly man or woman, open neck and more clothes. The head is in motion relative to the shoulders. Lighting-contrast. Creating a composition, structure and obtaining similarity of the model. Strengthening the knowledge of the anatomy of the head. The joy of meeting with the new model, the new pose of the old model, with search and the pleasure of drawing something new all of that should flow down on the piece of paper with any single touch or stroke.

Lecturer’s feedback.


Call in advance to GSM: 0882/10 40 48 (to check for training spots availability).


Sessions during the academic school year 12th Sept 2016 – 31st May 2017

Day Morning Session Afternoon Session
Monday 08.30 – 12.30 18.00 – 21.00
Friday 08.30 – 12.30 18.00 – 21.00


Visits Classes First Term
12.09.16 – 31.01.17
Second Term
01.02.17 – 31.05.17
2 a week 4 hours (240 min) 1480 BGN 1160 BGN
2 a week 3 hours (180 min) 1110 BGN 870 BGN

* Prices for a single visit – 45 BGN/4 hours.

* Prices for a single visit – 35 BGN/3 hours.

Payment by installments is a possibility.


Start: 12 September 2016 г.

End: 31 May 2017 г.