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You’ve arrived at a pivotal moment in your curriculum. This project is the culmination of everything you’ve learned in Parts 1-3, as well as the shorter pose projects you completed in Part 4. Approach it with a confident and newfound understanding of anatomy, a keen eye for form, and mark-making proficiency. Using the large paper […]
The next step in preparation for the long-pose figure drawing project is to draw a medium long-pose. Iliya considers this to be any pose that’s worked on for 2-4 hours– enough time to introduce some anatomical elements and to bring the drawing to relative completion. This slow build toward your long pose figure project is […]
It’s time to address a vital element of preparation for the final project: quick-pose drawings. Iliya works with his model to draw 13 short poses from various angles. First, he works with simplified construction, then contour, line, and direct tone. Drawing shorter poses from your live model or from reference will train your mind and […]
In this lesson, we will identify and draw the skeleton and muscles of the arm.
In this lesson, we will identify and draw the skeleton and muscles of the leg.
Now that we’ve studied the skeletal pelvis and ribcage, it’s time to see how they come together with the musculature of the torso. In this lesson, we will identify and draw the superficial and deep muscles of the front and rear torso.
In this lesson, we’re going to begin with two components of the torso: The pelvis and ribcage.
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.
David Simon resolves the forms and relationships of the shoulders, breasts and ribcage. He begins to put in some of the elements of the face, then ends by moving down to the pelvis and adjusting those large forms.