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David dives head first into developing and refining the head, beginning with checking the angles and widths, then continuing down from the head to resolve and refine the relationships and transitions into the back. David then works up and down the model, pushing the forms and relationships to greater sense of balance, before refining the hands and breasts. David ends with an overview of his sculpting tools and leaves us with some final thoughts on his sculpture.
David begins by reevaluating the model as a whole. He then revisits the lower body, dealing with the knee, lower legs, upper legs, and blocking in the feet. He also spends some time blocking in the head. With the exception of the hands and some awkward transitions in the arms, David brings the sculpture to a better sense of balance in form.
The skull was a critical part of the learning process at the Repin academy. In this lesson, Iliya will break down the construction and anatomical features of the skull.
In this lesson, we are going to bring together all of the structure and anatomy of the head and neck we’ve been studying in order to create a fully rendered portrait drawing from a live model.
In this lesson, you will learn the skeletal structure of the neck, clavicles and scapulae, and how they articulate to create the shoulder girdle.
In this lesson, you will be putting together all of the skills you have learned thus far. Your project will be to draw a still life, consisting of geometric forms arranged in an interesting group. Your skills at construction, measuring, and building up value in order to create the illusion of three-dimensional form will all be put to the test. Iliya will demonstrate the project first and you will then work on your version from home.
Now that you’ve internalized the fundamental techniques and concepts related to Frank Reilley’s rhythmic abstraction of the head, Mark encourages you to tackle more nuanced angles, poses, and expressions of the portrait in the final lesson in his series. He demonstrates various approaches using toned paper and colored pencils, as well as a technique for […]
In the third lesson of David Simon’s figure sculpting series, he moves forward from blocking in the pose and begins focusing on the accuracy of the silhouette of the sculpture. He checks and rechecks the volumes of each major form of the body, adding small amounts of clay to each part as needed (in particular, […]
In this third charcoal drawing session, Steve Huston creates a beautiful rendering of model Brant. He gives you a couple chapters on preparing materials and tips for mark-making before showing you how to work with the model to find a pose that’s both pleasing to the eye and comfortable enough to hold for multiple hours. […]
In the fifth lesson of the series, Mark diverges from the curvilinear rhythmic approach and shows you how to conceptualize the head by using planes and connecting lines. Many art teachers harp on the need to focus on construction, without pointing directly to what they mean by construction. In this lesson, Mark takes direct aim […]