Long-Pose Figure Painting: Blocking In the Male Figure

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  • #1804674
    New Masters AcademyNew Masters Academy
    Keymaster
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    In this lesson with Joseph Todorovich, you will learn how to block in a long-pose figure painting. Joseph will lecture on the importance of turbulence when building up a painting. You will watch him adjust the proportions on the spot and making corrections through observation and intuition. Joseph will teach you how to establish structure and refine the head.

    This lesson belongs to the course Long-Pose Figure Painting. In this 10-week course, Joseph will teach you his complete process of making long-pose figure paintings – from initial ideas and exploration, to making studies, to the final painting. You will learn how to direct and work with professional models to achieve a suitable pose. Then, you will practice creating value and color studies as the two prepping steps for a painting. Afterward, Joseph will take you through his decision-making process while painting the models from life on large-scale canvases. Since this course was filmed during a live workshop, you will get the chance to tune in to his critiques of students’ works and assignments. After this course, you will have established a skillset for figure painting and strengthened your design sensibility, which will help you create impactful figure paintings of your own.

    Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.

    #2020518
    groovehappy
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    It would be great to have the photos of the in-progress paintings Joseph did without any glare in the paint.  It’s hard to see the colors and values in those areas.

    #2063201
    Daniel DaigleDaniel Daigle
    Keymaster
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    Thank you for the feedback groovehappy, I forwarded your suggestion to my team 🙂
    If I may ask, how frequently do you think the progress shots should be taken?

    #2063208
    groovehappy
    Participant
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    Hi Daniel,

    The frequency seems fine to me personally.  To me it’s more about reducing any obscurities that hide the valuable information in the still photos.  Sometimes that can be hard given the paint is still wet, I know.  Also I noticed the colors in the photos seem different than the version in the video.  Not sure which one is closer to the original look.  Thanks for your help!

Viewing 4 posts - 1 through 4 (of 4 total)

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