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You will be able to book tickets from 9:30am on Monday 29th January.

Book here


Lecturers: Cameron Ferguson, Stephanie Eather  

Location: NAS Building 16 North

Description: Life drawing is a dialogue. Observation informs our drawings and the act of drawing informs how we see.  

Offering four continuous days of life drawing, this workshop will consolidate your drawing foundation and enable you to use this foundation as a launchpad to making better drawings. Prioritising focussed observation of the human body in space, students will be encouraged to use diverse materials within short and long timeframes to broaden the language and change the energy of their drawing dialogue. The workshop will be an encounter with line, form and light within the framework of pictorial space.  


Elaine de Kooning, Fairfield Porter, 1956. Ink and casein on paper


Please note, each students needs may vary. Some may need to purchase extra materials, depending on production. 

· Approx. 30 x A1 Cartridge paper (at Parkers, sheets represent better economy than a pad) 

· Approx. 20 sheets butchers paper 

 -Sketchbook (A3 size recommended) 

· 4 to 8 large sheets of watercolour paper (these can be purchased as needed through the week) 

· Approx 30cm to 40cm length of thin dowl (for measuring) 

· Willow Charcoal (a box) 

· Charcoal Pencils (hard) 

· Compressed Charcoal (a few) 

· Black Conte Pastel (a few) 

· Graphite Pencils (a range of hard and soft- from 2B to 9B) 

· Graphite sticks (optional) 

· Retractable Blade/Utility Knife 

· Bulldog clips 

  -Masking Tape 

  -Drawing Ink (Sepia preferred) 

· Black and White Acrylic Paint 

· Brushes (a variety of shapes and sizes- flat, round and calligraphic) 

· Bamboo Pens (one or two) 

· 3 jars or containers for ink and water 

· A Drying Cloth or Rag 

· Erasers (hard and kneadable) 

· Can of Spray Fixative 

Virginia Grayson, ‘No conclusions drawn – self portrait’ (2008) 

Peter Wegner, Three Days with EM, pencil and beeswax on paper, 74 x 32cm 

Euan Uglow, Room with Seated and Reclining Figures, Pencil on paper, 23.5 x 35.5 cm 

Henri Matisse, Reclining Nude, 1946, Charcoal and pencil 

Lee Krasner, Seated Nude (1940) charcoal on paper, 63.5 x 48 cm 



Stephanie Eather: Observational and life drawing are the essence of Stephanie Eather’s practice for over fifteen years. Her work encompasses expressive, gestural mark-making through the connection of the body, the eye and hand. Eather holds a Grad. Cert. in Art History from Melb. University, 2013, a BFA in Drawing from RMIT, 2009 and MFA from National Art School. Her artworks are exhibited in group and solo exhibitions in Australia and were selected for the Dobell Drawing Prize Exhibitions #21 and #22. Since 2018, Eather has taught art at Parkville Youth Detention Centre, Melbourne, National Art School and Dulwich Hill Visual Arts High School. In 2022, she was awarded the Bonner and Tonkin Drawing Award and is represented by Nanda Hobbs, Sydney. 


Stephanie Eather, Life drawing, 2022, charcoal on paper, 76 x 56cm  

Cameron Ferguson is a practicing artist who has been teaching observational and life drawing at the National Art School for several years. His drawings are primarily situated within the still life genre where he finds inspiration in the materiality of everyday objects. Often using graphite, watercolour and gouache, Cameron closely observes these objects, their forms, surfaces, and traces of their past use, all of which, he says, evoke in him a sense of time, place and memory.

Cameron Ferguson, Phone, 2015, watercolour and gouache on notepaper immersed in beeswax, 50 x 20cm