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In this lesson, you will learn the essential elements of light and shadow. You will learn the components of light theory including light, shadow, halftone, the terminator line, cast shadow, and highlight. You will learn how to group your values correctly and how to turn your forms with tone. You will also learn how to describe curved and planed surfaced, and you will also practice rendering techniques to describe structure clearly and efficiently.
In this lesson, Iliya will train you on one of the most important elements in the Russian drawing approach: form. Using simple geometric forms, you will learn how to correctly describe three-dimensional volume in your work. You will learn how to draw the cube, cylinder, and cone from observation as well as how to construct these forms from imagination. Then you will combine both approaches and construct the forms from observation.
In this lesson, Iliya will break down one of the most vital skills in this method: measuring. Using a pair of knitting needles, you will learn how to take accurate angles from life and then apply it to your work. You will also learn how to use proportional measurement and how to work from flat photos.
In this second lesson, Iliya shows you the necessary marks that you will need to master for drawing. You will learn how to create straight and curved lines, point-to-point lines, flat tones, hatch marks, and a combination. Special attention is given to assignments that reinforce hand and eye as well as pressure control.
Join Ukrainian-born artist Iliya Mirochnik as he passes on a 250-year-old academic method preserved at the Repin Academy in Saint Petersburg, Russia and seldom taught outside of the Academy and never before on camera. The Russian Academic drawing and painting approaches were uninterrupted by the modern art movements that transformed representational art in the West, and […]
As David Simon begins his fourth lesson in his figure sculpting series, he is determined to address issues like the articulation of the hips and “rubbery” qualities of the legs. For the most part, he’s done adding and subtracting volumes of clay and no longer will be “futzing around” with that sort of minutiae. He […]
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 […]