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The Southern Atelier Core Program
Instructor: Charles Miano
Summer Core Program Schedule
Click Here for Atelier Class Descriptions
“An artist must always be in search of an absolute truth which can reveal a universal way of seeing.”- Charles Miano
 The curriculum of The Southern Atelier advocates an in- depth study of nature leading the student to identify with fundamental artistic principles or truths. This endeavor was of utmost importance in the historical context of the visual arts and was aspired to by many of the Old Masters. The core program systematically provides an understanding in the most important aspects of picture making. The skill enhancing course embodies the principle that drawing is a necessary foundation for painting. With that in mind, our work from the live model is split up into progressive stages of development. Students will focus on Mass drawing, which is a natural prerequisite for Grisaille Painting and ultimately Full Color Painting in oil. As a student advances to a new stage of development, the previous stages are still consistently practiced.
 The Curriculum of the atelier is a well rounded and balanced course of study which incorporates the best aspects of traditional studio practice with progressive innovation. The primary advantage of the course is the emphasis on learning to “see”. This is achieved by means of repetitive exercises designed to develop and enhance hand- eye coordination. Students immediately begin to study the personification of the natural world working directly from the live model using comparative measurement. In addition to accuracy and refinement, guidance toward imparting life, energy and feeling is also stressed. Naturally lit studio conditions highlight instruction based on the sun’s exposure of color through prismatic light allowing for refined color study and a comprehension of an array of light keys.
“A painter is only great when he is a master workman”- Alfred Stevens
 It takes many years to develop ones eye as an artist. With that in mind the core program does not advocate a set number of years to study. Students are encouraged to become a part of the atelier family and grow foundational skills slowly and thoroughly. Artists are encouraged to stay as long as they possibly can and through consistent hard work acquire competence. The longer one stays the greater the development of ones abilities. A student who is unable to take advantage of the core program consistently with the added benefits of open studio sessions for instance, cannot expect to progress as fast as one who devotes more of their time in the studio. 5 to 10 years of full time study was not uncommon in the great academies and ateliers of the past, yielding some of histories greatest artists. Leonardo da Vinci for example, apprenticed 10 years in the atelier of artist Andrea di Cione known as Verroccio (1466-1476). However, the Southern Atelier Core Program allows for those with varying circumstances to acquire the skills that they desire.
The program is divided into 4 weekly instructed sessions. In addition, students are strongly urged to attend the available atelier open life sessions. It is recommended that students who sign up for the program make the commitment of attending at least 2 sessions a week. Part time students in the program must attend the drawing and or tonal sessions for at least 2 years before they are permitted to attend the color study classes. Students with prior atelier experience may be admitted to these advanced class sessions on a case by case basis. 2nd level apprentices may attend the color study sessions. Artists, who take advantage of the Full time Apprenticeship, are expected to fully immerse themselves in the program as well as their long term project assignments under the tutelage of Charles Miano. .
Atelier Class Session Schedule:
Click Here for Atelier Class Descriptions
Tuesday 10am - Old Master Studies (Available to Apprentices)
Wednesday, 6:30-9pm-Drawing Studies
Thursday, 9:30am-12:30pm- Color Studies
Saturday, 1-4pm- Tonal Studies
Class Fees*
Individual Sessions: $30
8 ticket sessions: $185
Apprentices: 8 sessions $165
*The model fee is split among all students
 Master Class at the Ringling Museum
Ringling Museum (We meet at the visitor center)
Tuesdays, 10 a.m.
“…it is at the museums where one learns to draw and paint.”- Degas
“Drawing from the flat” or master copy work was common practice among students in Old Master’s studios. Charles Miano’s students have access to the galleries of the John and Mable Ringling Museum of Art where artists spend months copying real Old Master paintings and ancient statuary. Carrying out John Ringling’s original intention for his vast collection of European art, students are learning many principles directly from the Old Masters themselves. Fundamentals such as communicating an idea effectively, composition, blocking-in, understanding light and value and modeling form effectively all contribute to an artists understanding of the principles of Realism. Moreover, this class develops ones ability to see accurately and ultimately expands an artist’s visual vocabulary.
Atelier Master Apprenticeship: FULL
Please contact us for portfolio review and wait-list
 All Open Live Model sessions per week- no model fee
$20 discount per pack of 8 Core program class tickets
Discount on Atelier workshops - including international excursions
Free admittance to demos and lectures
Opportunity to exhibit artwork in Southern Atelier Member shows
Opportunity to exhibit artwork online
In addition, the Master Apprenticeship Residency includes:
A key to the atelier with anytime access
An assigned working station at the atelier
Individual project assignments such as cast and still life drawing and painting under the tutelage of Southern Atelier Director Charles Miano
*Once purchased all memberships, ticket sales and model fees are non-refundable. The atelier maintains the right to discontinue memberships as it deems necessary.
Atelier Class Descriptions
Class Fees*
Individual Sessions: $30
8 ticket sessions: $185
Apprentices: 8 sessions $165
*The model fee is split among all students
Atelier Class Session Schedule:
Tuesday 10am - Old Master Studies (Available to Apprentices)
Wednesday, 6:30-9pm-Drawing Studies
Thursday, 9:30am-12:30pm- Color Studies
Saturday, 1-4pm- Tonal Studies
“It is austere and profound studies that make great painters…one lives all one’s life on this foundation and if it is lacking one will only be mediocre.” - J. L. Gerome
 The Southern Atelier is fully committed to giving students the training they need for life as a painter. By studying the fundamental principles of painting independently, progressing students are given the opportunity to build their confidence as they master each progressing stage. The program seeks to impart the knowledge at the right time when a student is capable of fully grasping it. Mastery is the culmination of combining all the truths inherent in our craft.
Drawing is fundamentally the most important part of an artist’s progress as it is fully called upon during the painting process. Advancing students are expected to attend the drawing class sessions all throughout their studies at the Southern Atelier.
The Southern Atelier advocates a painterly way to draw. Mass drawing is an essential prerequisite for tonal painting. It is an atmospheric way to draw dependant more on tone than line. Painting throughout the ages has progressed away from the idea of a colored in outline. A focus on large masses of tone and edges conceptually working in layers eases an artist’s progress into painting. With that in mind students of the atelier are moving ahead with the help of 2 main classes which focus primarily on this aspect of the craft.
Old Master Studies Available to Apprentices (Charcoal)
 “Drawing from the flat” or master copy work was common practice among students in Old Master’s studios and often lasted long into an artist’s career. By following in the masters footsteps students learn to solve problems and acquire the technical skills of their predecessors. Students of the atelier have access to the galleries and grounds of the John and Mable Ringling Museum of Art where they spend months copying real Old Master paintings and ancient statuary. Carrying out John Ringling’s original intention for his vast collection of European art, artists are learning many universal truths directly from the Old Masters.
The Ringling Drawing session gives students the opportunity to spend the time necessary working in charcoal to develop a highly finished work of art. All technical aspects of the drawing process are covered from blocking in the frame work of the composition to developing and organizing tone masses and fully modeling form. Students will also learn comparative measuring and the proper use of their materials.
One on one instruction and critique is a highlight of this course as well as regular constructive demonstrations. Discussion of the theoretical intention of the masters is also covered as one learns how great artists of the past turned life into art. This compliments the drawing class session at the atelier which highlights shorter term studies and exercises.
 
Drawing Studies Wednesday 6:30-9:00pm (Charcoal)
 This session remains the most important part of the program for progressing painters. It revolves around the simple fact that consistent practice in the right direction yields fruitful results. After all, it takes time for the cerebellum, the part of our brain involved in motor control and sensory perception to develop, to build a memory in our muscles and allow our hand to accurately render what we see. Through specially designed exercises over time, students are improving their ability to see as an artist and translate what they see onto a 2 dimensional plane. Many principles of painting are learned through the consistent practice of Mass Drawing including: shape, tone, edge, form, proportion, rhythm, balance, gesture, anatomy, design and composition. All of these ideas are more readily grasped when a student does not have the added complication of color and paint handling. This cannot be overstressed. By improving ones skills in charcoal one is improving their skills as a painter. Painting is Mass Drawing. Recognition of this will ultimately save an individual much time and frustration.
Students will learn a comprehensive visual vocabulary revealing the complexities of how light works. They learn to accurately portray big shapes by means of a block-in, and how to organize tone masses and edges. Comparative measuring will be one of the many tools acquired in working from the live model. There are regular lectures, demonstrations and critiques throughout the course.
Progressing students are also working with the Bargue-Gerome Drawing Course (Cours Des Dessins). The Bargue drawings reinforce many of the principles of the core program. Miano encourages his students to move through the whole set of plates as each lesson progressively pushes an artist’s abilities ever forward. There is regular Bargue instruction and critique.
Tonal Studies Saturday 1-4pm (Charcoal, grisaille, limited palette)
 Tonal study reinforces all the ideas of mass drawing and blurs the line between working in charcoal and working in paint. In this class artists may work in charcoal or in a prescribed limited oil paint palette. A grisaille or monochromatic approach allows an artist to consider paint handling along with reducing a subject to simple mass relationships. Ultimately our goal is to translate the world around us by means of light. It takes an artist consistent practice to develop their ability to see and translate shapes of tone representing values of light in our pictures.
An understanding of a system of value reinforces an artist’s capability to depict reality and will ultimately aid in the transition to full color. Beauty of tone is like a sustained melody in music. Excellence in tone relies on the sustained nature and distinctness of each tone relationship. Longer exercises from the live model emphasize this principle as students strive to simplify what they see. Blocking in, tone masses, and form modeling all play a role as an artist acquires skill handling a brush. Consideration to the organization of edges also allows one to create pictures of substance and beauty. Through training students learn that enhanced visual perception is developmental
Color Studies Thursday 9:30am-12:30pm (Full palette)
“Color studies must be made until the color that best expresses visual truth is evident…Paint the proper light key and nearly all things can be beautiful… Give your viewers something more than decoration. Give them something that will raise their level of vision. Let them see a new beauty through your eyes.” - Henry Hensche
Students working in full color must demonstrate a solid understanding of shape and tone before they are admitted to this class.
 All of the artists training prepares one to begin a full exploration into the lyrical expression of full color painting. Instead of mimicking past artists palettes, The Southern Atelier advocates a spectral way of observing and translating color. Using principles of nature to recreate nature permits an artist to come closer to capturing the suns revelation of the light key in subtropical Florida. In this regard, The Southern Atelier is building on the progression of both European and American impressionism, in addition to strengthening the value of classical practice.
Block studies, round form studies, outdoor still life, live mode ls and painting en plein air are all essential avenues of fully understanding the light key and grasping the intrinsic atmosphere of visual perception. Naturally lit studio conditions allow artists to comprehend the full range in the prismatic scale and ultimately create color studies of significant balance and harmony.
Students are learning to understand masses of color as a property of light impacted on the retina of the eye. As tone is an element of color, artists also learn to relate and identify the hue, intensity and the all important temperature of colors. Open palette painting also allows artists to learn to bridge color notes and create pictorial color vibration. Demonstrations are frequent as well as discussions and critiques as artists investigate the truth about prismatic light and color in the natural world.
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