Lucas Bononi:
Figure Drawing & Painting: Academic Expressionism
COURSE DESCRIPTION
In this unique course with New York City–based artist Lucas Bononi, students will explore how an academic approach to modeling form, combined with dynamic symmetry in composition, can enhance their ability to work from a live model in an expressive style.
The traditional concept of form is the central theme, focusing on how painters and draftsmen sculpt volume in relation to a light source. Lucas will lecture on the properties of form, the physics of light, optics, and dynamic symmetry—an essential design principle that harmonizes proportion and composition. This structured framework allows students to depict convincing three dimensional volumes within balanced, visually compelling designs.
Students will apply these principles to create expressive, stylized works that blend structural clarity with personal creativity. The course offers a balance between academic rigor and artistic freedom, encouraging contemporary experimentation while maintaining a strong foundation. Lucas provides personalized guidance throughout, helping each student develop a deeper understanding of their artistic voice.
Regarding his approach to Form Expressionism, Lucas explains:
The balance between realism and expression has always been central to my work. My academic training in naturalism gave me a deep understanding of structure, form, and the behavior of light, while years of exploring abstraction expanded my visual language and sense of freedom. Rather than existing as opposites, these two forces strengthen one another, much like the harmonies found in dynamic symmetry. I am equally drawn to disciplined observation and intuitive expression, because it is in their coexistence that the work becomes most alive.
Key Concepts & Skills in this Course
Develop personal voice and style through a basis in academic drawing & painting principles
Design a visually compelling composition while working from the live model
Explore strategies to balance technical knowledge of anatomy and form, with working in a loose and expressive manner
One-on-one guidance from Lucas in order to gain greater understanding of what you wish to say with your art, and how to achieve this vision
Supply List
DRAWING MEDIA
Drawing Pencils (Tombow MONO professional HB)
SandPaper 180 grit (used as Pencil Sharpener)
Pencil Eraser (Tombow MONO Zero Refillable Eraser - Round or Rectangular)
Large Kneaded Eraser
X-Acto Knife or any blade for sharpening pencils
X-Acto Clips for holding drawing paper on your board
Knitting Needles or Metal Barbeque Skewers or bicycle spoke (for comparative measuring)
Richeson & Co Hardboard (14 x 18 in. to 18 x 24 in.) — sturdy support surface or substrate for mounting watercolor paper
Raymar Oil Painting Panels 58A, Arches Oil Paper Panels - 1/8" MDF, Masterpiece Mixed Media Panels, Chartapanel Tan Strathmore 400 Series (14 x 18 to 18 x 24 inches)
Artists’ Acrylic Matte Medium (Utrecht) - to seal drawing for painting
HEAVY WATERCOLOR PAPERS (Smooth / Slight Tooth) - optional only if mounting yourself
Magnani Italia Fine Grain – 100% cotton, mould-made, natural white, archival, up to 640 gsm. Smooth with slight tooth, very durable.
Arches Cold Press (Aquarelle) – 100% cotton, mould-made, 356 gsm & 640 gsm, classic fine grain cold press, stable and archival.
Fabriano Artistico Extra White Cold Press / Fine Grain – 100% cotton, acid-free, 640 gsm, smooth CP surface, slight tooth, excellent for expressive work.
Hahnemühle Collection Cold Press / Fine Grain – 100% cotton, archival, » 550–600 gsm, smoother CP surface, ideal for detailed expressive work.
Canson Heritage Cold Press Fine Grain – 100% cotton, 300 lb / 640 gsm, balanced surface between HP and CP, great for controlled washes.
PALETTE
Glass Palette: An 1/8 inch sheet of glass cut to fit snug into the 12 x 16 in. Masterson Artist Palette Seal (Red lid). Place a 12 x 16 in. grey palette paper sheet underneath. This box is great for storage, transport and keeping paint wet.
MEDIUMS & SOLVENTS
Brush Tank or Washer (with grate/mesh). Use safflower oil (Rublev) or thinner (Sennelier #Green for Oils). If Sennelier #Green is not available, a professional substitute is a mixture of 50% Gamsol and 50% Walnut Oil, which provides a safe and balanced alternative. You will also need a small jar (1–2 oz) for medium.
BRUSHES (Silver Silk 88 – Purple Handle Series)
Silver Silk 88 Flats – Sizes 6, 8, 12
Silver Silk 88 Filberts – Sizes 6, 8, 12
Silver Silk 88 Rounds – Sizes 6, 8
Silver Silk 88 Brights – Sizes 6, 8, 10
Silver Silk 88 Large Wash/Glaze Brushes – 1 inch, 2 inch
RECOMMENDED OIL Paints
Ivory Black (Michael Harding)
Vine Black (Michael Harding)
Raw Umber (Gamblin)
Burnt Umber (Michael Harding)
Burnt Sienna (Michael Harding)
Ultramarine Blue (Cranfield)
Phthalo Green (Winsor & Newton)
Neutral Tint (Old Holland)
Alizarin Claret (Michael Harding)
Transparent Red Ochre (Winsor & Newton)
Transparent Oxide Yellow (Rublev)
Cad-Free Scarlett (Winsor & Newton)
Cad-Free Orange (Winsor & Newton)
Blue Ridge Yellow Ochre (Rublev)
Cad-Free Lemon (Winsor & Newton)
Transparent Marble White (Richeson & Co)
Permalba White (PW6 & PW4: Permalba OIL)
Note: If you are unable to mount the paper for any reason, painting directly on top of the watercolor paper is fine as long as the paper is heavier than 500 gsm. All other materials — including brushes, mediums, and paints — are optional. The only requirement is that the substrate be paper. I encourage you to use the materials you feel most comfortable with. Even the paint list is flexible: thanks to the Munsell color system, we are able to maintain a high level of adaptability while still achieving accurate and expressive results.
INSTRUCTOR BIO
Lucas Bononi (b. 1991, Los Angeles) is a contemporary painter based in New York. Trained in expressionism at the Academy of Art University San Francisco, where he earned his BFA in painting, and in naturalism at Grand Central Atelier, he now teaches its core program. Bononi’s paintings intricately weave the human form with elements of nature, using nuanced color and light to create a marbling effect that blends flesh with natural landscapes such as rivers, forests, and fire. This interplay seeks to reconnect viewers with primal perception through sensation rather than symbolism, inviting a renewed attentiveness to the physical world. His work challenges conventions in contemporary figurative painting by exploring the tension between figuration and abstraction, where forms emerge, dissolve, and reconfigure within the same visual field.
ATELIER DOJO WORKSHOP POLICIES
No refunds can be issued within 45 days of workshop date, unless canceled by Atelier Dojo.