- Lesson details
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 prepared in the Fundamentals section of this course, join Iliya in the execution of a long-pose figure drawing from life. Premium subscribers can download the hi-res reference images to follow Iliya’s every stroke and create their own drawing of Mark. On such a big canvas, getting accurate proportions is crucial. Iliya Mirochnik gives you a generous vocalization of his inner monologue, a running descriptor of his every decision. He gives you excellent tips for completing such a large piece, for working with a live model, and for preparing yourself for the challenge.
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 a result, they provide a unique and clear lineage to the greater art traditions of the past. As a powerful approach that is both constructive and depictive, it combines the two methods that prevail in contemporary representational art.
In this course, we have set out to condense the entire program, spanning over eight years into a logical, step-by-step procedure. We have made improvements and added resources and exercises to explicitly drive home the concepts that are required to work in this approach.
We have also structured the course so that it is not only useful for professional and experienced artists but also artists with no drawing experience whatsoever.
The New Masters Academy Coaching Program directly supports this Course. If you enroll in the coaching program, you can request an artist trained in the Russian Academic Method including Iliya Mirochnik himself. Click here to enroll in the Coaching Program.
- Graphite pencils
- Kneaded and Hard Erasers
- Sanding Block
- Utility Knife
- Roll of Paper, Smooth Sketchbook paper
- Light source
* Reference material is only available for premium subscriptions. If you don’t have premium access to the reference, you can pause the video when the reference is shown.
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a fully completed academic drawing of a nude model.
24 by 48 inch board and let's say hello
again to our model Mark.
And so if you
are working as large as this
keep in mind you're going to have to step away quite often
and in general sort of be looking at the
at least like an average of five or six
feet away. And of course if you're
working on specific
parts you can come up to it and spend some time over there but you are going to need
to step back off. And this is an excellent
opportunity to get into the habit of stepping away
even when you're working smaller. So
I guess we can begin.
So I'm going to use
the big piece of chalk
to just lay everything in. And the pose
we have here is a classic contrapposto
so we're going to have a rather standard
orientation of all of the major parts.
So I'm going to
set our timer.
Okay so I want to begin
by making sure I have at least at the beginning
a general idea of where the top is and where the bottom is. And I wanna use as much of the page as possible
to really compose within
the space that I have. And just quickly, right at the beginning
and I know I'm going to
just see where the halfway point is. And the halfway point
is almost perfectly - and I'm
taking it off the heel. Off the heel to the top
of the head is almost perfectly in the
area of the pubic symphasis. And it usually is
in that area. And so what I want to
begin with, as soon as
I've gotten that proportion is
just the overall movement here.
Because this is a contrapposto
keep in mind that
the orientation angle of the pelvis is going to
slant away from the leg here that's carrying
all of the weight. And then the angle of the
ribcage is going in the opposite -
opposite direction. So
just gonna quickly get some of that in place. And the other thing
to think about when we're talking about a contrapposto
is the distribution of
balance. Because the most important thing here in putting everything together
all that stuff that we spend so much
time covering piece by piece
certain alignments along a vertical so
so from my angle
the alignments are basically that the opening of
the pelvis, the first rib,
and essentially the heel
all have to align. And in order to -
in order to
make this a little more believable
there is of course - it's not - the weight is not
it's moved over a tiny bit so simply to get
that line from things that we can see, it's rather
clear that from the sternal notch up here
if we take a vertical
it will get the medial malleolus.
Now as you see I'm not worried about the head
just yet. So now that I've established
a few of those points
I'm just going to continue.
And the head might actually be a bit higher than
that and so
we'll have to make some adjustments as
I'm not worried about the arms either.
And the eraser's going to come in quite handy. And so here, once again,
I'm using the sanguine chalk.
And I highly
recommend when you're working as large
as I am here
primarily because it's easier to move around and
so it's just a sort of a medium that's a little quicker.
we can already begin to kind of get into some of the
these things that are a little more specific like the ribcage itself,
The ASIS. We're not gonna worry too much about
that leg over there just yet.
The axis of the pectoralis,
the axis of the clavicles.
all these things that we were talking about
earlier where the knee -
and keep in mind things are gonna move.
And so you also want to keep stepping back
mainly to have
a clearer view of
your piece of paper without the distortion which happens when you're up close to it.
I'm gonna go all the way to the bottom of the page there.
So this is still pretty rough.
It's gonna remain rough for quite some time but I'm already beginning
to try to see where the
ribcage is, here we have the external oblique,
placement of the hand, this arm.
I'm going to
make the more important one.
So see there's a fair amount that's going to be
going to do with the eraser. And we're going to just actually - we're going to place
half tones kind of at the same time as our shadows
we're gonna begin the curve, that sort of
curving of the
abdomen towards that slant of the pelvis.
See at the moment this approach, for lack of a better term, is rather painterly.
You're just thinking, you're keeping all these constructive
elements in place in your mind much more
than on paper but you're just sort of working with areas
of tone. So where you see a light
you make sure it's a light but then like in your head you should
be asking yourself why do I see a light there, because that's the front plane
of the obliques? And here we have
the opening of the ribcage, the top portion of the
rectus abdominis. We even see a little bit of xiphoid
process and then you can continue
attachment of the pectoralis here and take it up
to the clavicles, make sure you have the
infraclavicular fossa and move it
into the deltoid right here. But we're not focusing on the
arms. After we get everything in
place more or less
we're going to spend a large portion of time, at least
at the beginning, focusing on the
torso and the
weight - and the
leg that's carrying the weight.
Let's not forget our
major changes in plane.
The arm here is clearly
closer so see I'm sort of
open to everything being wrong because
it means that as soon
as I see something on the page and I know that it's wrong,
that's just an opportunity to make the right corrections.
And see things are getting a little bit clearer
I'm getting a little more clarity on where the shadows are.
And now beginning to utilize a little bit
of an outline, though it might be totally wrong,
to make sure we have the placement
of all these important elements. So here we have
the advantage of seeing -
ribs number eight, nine, and ten.
Ribs number eight, nine, and ten, but we're not gonna place them just yet.
And see so
slowly to lines you can
a little more concrete and they're beginning to signify
important elements. So here we have the
pubic symphasis so why don't we take a look and see
if that's really our halfway point. We saw that it's our halfway point
that should be the head there. So in terms of
taking the proportions I don't advise you count heads,
I would actually advise you count
the proportion of the head down to the
And see how many times and where exactly
these things will fit.
So I like what I see so far,
it does seem like from the sternal -
from the sternal notch to
this protruding portion of the ribcage
about that, is the same as from the sternal notch to the
top of the head and I think I have that right.
The distance again
I think is okay. It's somewhere here, it's not very
concrete in terms of like a clear point
to use, then the distance again hits
the tibia and then that same distance again, which just happens
to be my hand here, should hit the -
should hit the medial malleoli so the proportions seem okay.
And you see how I'm just working, I work primarily
by eye and then you establish what these proportions
I would even begin to get
something specific happening on
the ribcage already.
I think it's at a point
where that could
begin to happen. But
I'm still going to move around a bit. I'm going to
be getting a little more specific in some of these areas
but not going to
commit to anything just yet. Though I am
okay with some of our proportional
But there's still a bit more to do here so
let's sort of take the form of the pectoralis across,
let's establish the end of the pectoralis even though it's
in shadow, let's get one armpit
to the other,
to that area
where we see the points of connection, right
between the biceps right here,
pectoralis in there, and the
But keep in mind that I'm not sure if anything is in the right place.
Not yet, except for some of our proportions, the ones I've
So I'm going to try to establish our main areas
of tone, kind of as
quickly as possible and as loosely as possible really
and here it's time to see
where our ASIS is.
And it's hidden in there, it's in that shadow
but it's right there. Oh, and there
it comes out of shadow. So see a lot begins to
happen when there are small movements
inhale can give you a lot of information.
And I'm just going to kind of push
some of these shadows
in there to help with the general movement, also know
I simply call it that but also sort of more commonly know as the
know is usually covered
and spoken about rather early in classes,
even sort of before there's a concrete understanding
of anatomy. I actually think that the gesture
is rather an advanced concept that comes into play once there's
a pretty good grasp of anatomy. So
we're not gonna talk about it
that much but of course it's inevitable. There is -
we don't have all of our
parts hanging here individually the way that we
had with our écorché,
we have all of these
parts interacting and sort of here
to one another.
going to get a little bit of placement on that sternal notch,
that strong light here, strong light there.
You kind of wanna be thinking about the -
not just the interaction
of all these anatomical elements but also the movement of the
of our terminator, so the
origin of the shadow but also the movement of
the highlights and sort of larger areas of light.
And that's a break.
So I'm just going to keep
working here, even though it is a break, which I like to do
at the beginning. At the end
not only am I
tired and kind of want to take a break but at the end I'm sort of
just relying a bit more
on these tiny changes that I'm actually - that I'm trying
to observe and so I sort of, I need
the model a bit more but now, in the meantime,
we can actually go into our construction. So here we have
the sternal angle,
pectoralis, that front, these
we want to show
a little bit of what's happening with the
abdomen. And see at times you can even
kind of exaggerate that movement of the contrapposto.
The gesture of the contrapposto.
I wouldn't get too caught up with the terminology here. But here
remember what we spoke about. You're thinking of the pelvis
along with the
trochanter as part of the sort of
the box of the pelvis.
And then you start
the leg kinda halfway -
halfway into the pelvis
from that sort of point
where you see the rectus femoris.
Here we can begin to place
the anterior portion of the deltoid and even
get - even hint at the
even hint at the -
at the accromial
that we're going to need the clavicles as well. However,
let's in fact take a small
break because we do have a lot ahead of us and we don't wanna get
exhausted sooner than we need to.
approximation going on
you - the whole point here is to just put
something on the page that's sort of
close enough to what you need and then begin to
That's the basic idea of this approach
and I think it's important because it
kind of gets you working a little more organically.
You're not - especially after we've spent
all that time on those écorchés that
are just kind of endlessly hanging
for indefinite amounts of time in front
of you so you can take your time and, you know, carefully outline
everything and apply -
apple a tone and
so on but we need to get
all of those things we covered
internalized so that we can use them in a bit more of an
improvisational manner. So this is why
I think it'd be good for you to try out an approach like the one I have here
and also it is - it sort of moves in rather seamlessly
into painting alla prima.
Because this is pretty much the same way that I would
And also, this of course gives you
a bit more of an insight into how I did the drawings that
you see at the back of
the studio. The ones I did in school.
So here we have our
core shadow on the pectoralis, cast -
a cast shadow on the abdominals in there and there's gonna be
a lot of small stuff
to do there to really show the opening of the ribcage. You can see at the -
just the inhale, keep your eye out
for the inhales because they're going
to give you the opening of the ribcage.
Let's take that ribcage all the way in, it's gonna be covered by
the arm but we need to have a grasp of it there.
And here on Mark it's so easy to
see where the ribcage is, we can
imagine where it ends in there but it's important to then -
so not get too carried away and still establish some sort of integration
with the rest of the abdomen.
Because it is happening over there but it's very easy to
kind of overemphasize the
ribcage. And see I still don't have any of the
specifics in there. Not yet
And I'm not - as I erase
and all that, I do tend to lose some of those
initial half tones
that I kind of
have laid in.
I've sort of switched to the
pencil and my hand.
And here remember we're establishing that part of the
ribcage around the eighth rib where you can really see -
where that shadow
is because that's that bit of a gap
between the rectus abdominis
and the external oblique.
And here, even if that's not too much of a shadow
we're gonna make one, at least for now.
Right, we're always emphasizing the anatomy. We're making it clearer
than it even is.
And when I say that
I'm kind of implying that for the purposes of education.
I'm not saying that that's the only way that you should be approaching it.
I don't say that about anything really.
I'm not particularly
Maybe in some things, but who isn't? So
and here, this particular
medium allows you to really get
some of those soft terminators and harder
cast shadows almost right away.
So even here
you're kind of analyzing these things according to the edge. And we've
spoken about that that a lot of times the edge can kind of explain
what's happening, you just have to know why it's happening precisely
the way that it is.
I want to sort of place that half tone on that.
we've been working down here on the ribcage,
let's move this up.
We're gonna worry about the ribs a little bit later but right now we just need to establish where our manubrium
is and we've already
worked on all these parts,
in our portrait.
See here I'm almost outlining the -
see there's no head yet but I
think we could begin to place it. We know that this is the ellipse
coming off of the first rib, up to here.
the reason I don't want that head is because
of how large the head
is and like to really control that
proportion, you really want to
work the head with the
body and keep comparing it. Like as long you've established how
tall these things are,
it's nice to leave the head for later.
And also -
and of course this is kind of
a thing that's rather particular to the Academy but
the idea is that you don't spend that much time on the head
in the nude mainly because you're not interested - unless
you might be - in an academic sort of approach ,
you're not as interested in
the portrait because if you spend too much time on the head and that becomes an important
accent then essentially
you're not working on the nude anymore but you're working on a portrait of a person
who happens to be nude. And that is something that you might want.
But just keep in mind that
academically a nude is about
the body so more emphasis should
be placed on the body than the head.
Now I'm beginning to get into some of these
elements in the ribs
So this right here, that highlight
and highlight I would say
because we can see it right here.
So we know that this is the opening of
the ribcage, this is
rib number seven is here,
eight is right here, then we'd have
the nine and ten underneath there.
And then you can see
a little bit I think of
rib number eleven if I step
we'll get to counting the ribs eventually.
I'm more concerned with that larger eggshape
and allowing it to dip here into the
And where you can
see the ribcage here, accent it with a
sharper edge, a line almost.
Anything that can really provide that clarity.
Okay so I'm gonna keep going here. I still want to find that
of the pectoralis there. Here
we actually can see the mass of the
latissimus dorsi, which we saw in the back,
but here it is coming out
into our front view.
And a light on that oblique
needs to be a little bit calmer. So there is a light
there and we will get into it but it needs to be
a little bit calmer so that we still have our strongest areas of light up there.
Now let's explore what's happening up here.
We have our sternocleidomastoid nice and
clear, we need to establish where
sternal notch is and keep it in place.
Clavicles up there.
Rib number two, three,
number four, and rib number
five right there. We're not gonna get
too specific on them just yet. Now I would like
to get a little bit more of a mass on some of these
individual parts of the pectoralis here
the part coming out of the -
its attachment there.
placing some of these half tones.
See so I'm spending a lot of time making
sure we've got things happening in the ribcage. And I'm sort of taking it
a few steps ahead because it is sort of the area that
is going to be the most important.
But on top of this
you can only really begin to pick out sort of proportional
areas and constructive areas once you start.
Like you can only correct
the step that you're maybe currently working on by
going ahead and moving past it.
So this is why I'm taking the ribcage a few steps ahead
to make sure we have enough in here
that we can then kind of begin to -
build up everything else in relation to it.
But it would be good to get a
little bit of information on the abdominals. That center
line, remember to place it once you lose it
we have those pretty crisp
cast shadows from
the external oblique so they're going to help us
accent the area of the ASIS.
Anterior superior iliac spine.
And from that point
we're not gonna worry about the obliques
that much but just keep in mind that due to the
pose, this oblique here is stretched out
while the one here is compressed. So we need to
show that but we have time to do it.
Look at that slant right there. So
a lot like we go back to our center line, we also
have to keep going to the proper
tilts of the
important internal skeletal structures.
And here we have our
external oblique as well, kind of giving us
an idea of where we have our inguinal ligament.
See so I hope your getting an understanding of sort of
how quick the sort of the process
of anatomical analysis has to take place.
At the same time when you'll be
all of the stuff we're working on, don't sort of
purposefully speed yourself up. Take your time.
I think if you sort of follow the approach and follow the technique
you'll see that you will speed up over time.
And right here we're already beginning to see
our sartorius coming
in right there.
Just placing it rather
broadly. We know that our
tensor fascia latae is right there.
And we also, because of that, know
our rectus femoris is somewhere here,
which can give us our
center line for the leg and orientation
of the knee.
And we have - ah there we go. And so just use those movements
if something opens up in a way it catches a bit of
light in a way that gives you a better view
of something or
gives you a cleaner understand of what's happening.
Then use it, erase it, and
and get it in place.
correcting your angles, keep correcting your proportions, the whole time.
Now the important thing here is to try to imagine
what's happening inside here. So
we have our adductor group,
it begins sort of
comes from the pubic
part of the -
pubic part of the pelvis and so kind of
begin to imagine where we have the
pelvis so that you can see
all of it inside.
And then we see that line coming out
which we know is our
sartorius and gracilis.
And see so I'm focusing
on the most important elements, which happen
our ribcage, our pelvis, and our
the one that's carrying the weight.
And sort of just, at least at the moment,
just place the overall area of the knee,
and remember where it is, essentially think of it
from that common tendon on the quadriceps to the
common tendon of the quadriceps to the -
to the tibial tuberosity.
sort of just follow the line of the tibia where it's uncovered
with that sharp edge to the medial
malleolus. We can get the gastrocnemius on top there
later. Not as
important right now. And see - and as of course -
model, regardless of who it is, is going to
obviously move a tiny bit which is
the importance of really establishing at the
beginning and we still have that alignment from
our sternal notch to the medial malleolus.
we can continue with our
around the malleolus,
just establish a general placement of the foot.
But here what we can use
is that we can have a sharpness, a
cleaner edge right there on the iliac
We're gonna need it.
And then down here we can
see now and we don't have that much room for the
arm but you also not so sure we need. So we're gonna move it around
a little bit and see where it goes.
I'm more concerned with the arm right here.
Now I'm going to just
basically see where the other
leg is. And keep in mind that if you've established properly the weight
and the main leg,
this leg here can kinda be anywhere.
You can almost play around with composing it so that
you get a more
in there. But
just gonna take a few proportions again. I'm going to go and take
the proportion from the heel to the greater trochanter on the weight bearing leg.
And I'm going to go from the great trochanter, it's
about the same and in order to
and then you essentially take the same proportion off of your piece
of paper and if it's small enough it's easier
to do, if it's larger we have a harder time so we actually have to just
kind of compare the proportions the same way. So we're going to bring
down a notch.
And I'm going to have to squeeze the pectoralis in a little bit,
I want to emphasize that movement a little bit more.
And so everytime this happens you kind of get closer and closer to
a more -
a more kind of a
Now the arm here
just gonna want it in a half tone
and we see it it's kind of - it's in quite a
lot of pronation right there
so we can see a lot - it's not entirely
pronated but we can see quite a lot of the back of the hand there.
So we can begin to slightly place it and we have that bicep
right there. See you can't really
see where the brachialis is but we do get the long head
triceps. And then we have
quite a lot of clarity on the brachial radialis
A shadow from it and we can see as a group with the
extensor carpi radialis longus
and then we have the extensor
digitorum right there.
the head of the ulna
and that bit of a tendon, you can see it
coming from the extensor ulnaris.
And then in here we need to see where
we can place our medial epicondyle
and show the group of flexors.
They're gonna sweep under
with a little bit of
light right there on the group and the
pronator teres right there.
And we'll get into more specifics there eventually.
So I want to get that a little bit softer
and the other arm I'm particularly
concerned with, you can see the action there of the
with the medial head.
And even though it's hard to see, there's actually a little bit
Right here is the medial
head and then right there we can see a bit of
the long head.
So this right here would be
our lateral head. So
keep that in mind.
But that's all I would
do here. We don't need to overemphasize it, we just need
the internal structures to get a little more
on what's happening there.
we do need to get enough but I'm going to slightly
alter this arm.
We're gonna ask Mark to change it for us when we
arrive at it but at the moment
I think we could fit in to our
We'll have to
make some changes. But it's kind of part of the
importance of composing.
Now this is all
in shadow but I'm just clearing out that
area for now. So we're up here. Here we have our
deltoid and now we can get a little bit of information on the head I think.
Which I'm doing
to do primarily with the
Remember you don't want too much going on up there.
At the same time keep thinking about what's creating the form
you're observing right here.
Keep coming back to the forms of the skull.
And then step back and
assess how large is it. Seems more or less
alright but that's not to say that it's not
it's not open
to changing. So right here
I'm actually going to bring this up a bit.
I'm going to elongate the leg just a tiny bit.
I'll start at the hip.
And then right here
I can kinda squeeze this in a little bit more.
So I'm kinda back to thinking about proportions a little bit
Because I don't want to
start really polishing anything off and
until I'm convinced that it's more or less
in the right place.
Yeah I feel like why not move
the pelvis up even more. The legs are feeling shorter
than they need to be,
this area is in light.
It's going - I mean underneath the cast shadow.
Okay so moving it up was good. Elongated the legs a bit.
Make sure that cast shadow reads.
Get in there.
Here we actually see tiny bits of shadow right now that are -
there's this cast shadow which is great and this core shadow
on one of the parts of the pectoralis which is going to give us
And just to get an idea of where the proportions are and what's
happening with them, I think we just need a little bit more of a
tonal structure to the leg here
to the shadow under the knee, gonna place rather
broadly and remember the knee is our main accent down here.
So - but at the same time you can see how I'm kind of reducing
the amount of texture
in some of these areas. I don't want them
taking away from the torso
there are times when you will
but usually it's in a pose -
it's sort of
utilizing these other areas a bit
more. But I thought that it'd be good to
do a contrapposto here to really -
kind of lock in a lot of these
things that we are covering.
Now I'm gonna bring down the knee a little bit as well.
Bring down the knee a little
and I'm going to push
that oblique in more, have it
a little more compressed.
So here we have our knee
right there and you can see that movement of the
make sure to have the tibias
done kind of at the same time, be thinking of them at the same time.
Just to have a
then the angle between them
a little clearer.
you can see that even though a proportion,
that sort of drastic like how long
the legs are in relation to the
torso is only something I'm worrying about right now.
So right now is a -
in general - is about the time that I really begin to
think about proportions and correct them.
Now is when I take
And I think we're getting closer.
And so you can see that
working on a board as large as the one I have
here is rather
active and requires you to move
quite a lot and step away quite often.
Now I don't want any of that in there
and I'm okay with
and here I'm going to want a bit of tone
in that area anyway so
can kind of really establish that stuff using the eraser.
And see like I can move all this around and it becomes
rather loose but
it still kind of holds together enough
and it doesn't all fall apart mainly because I have
like I said before kind of have taken the
the upper torso to
a bit more completion.
So that'll be smaller as well.
Squinting a lot to really begin to see what's
going on in terms of just general areas
of light and shadow.
But I think right now
would be a time to start
piece by piece to
focusing on specific areas.
So why don't we take a break and when we come back
we'll start on that.
we have returned
and we should just keep seeing
what's going on with our proportions, I'm just going to -
I want to see the height of the pectoralis
compared to something.
It seems to fall quite -
it seems to be just a little bit longer
so we can bring down the pectoralis
a tiny bit but also bring down the
clavicle but we have a little bit more room up here.
And bring down the trapezius as well.
really establish that
cylindrical form of the
bring a light into here.
So I'm just gonna - and this might have
been slightly different when we started but I like that we're getting a little bit
of a twist. So we get our ribcage slightly turning
this way and our pelvis
sort of rotating the other way. So it's nice to have that -
just gonna push that and I'll probably keep my eye out -
keep my eye out for things like that happening
in order to emphasize them as I go.
So okay. So let's do
some work on
deltoid up there,
all these sort of insertions,
that open up the
open up the
the ribcage a bit even though it's not gonna be too obvious
mainly because of the shadow but
start to work in
those half tones.
Now keep in mind a lot of it is going
to kind of integrate into the texture of the
paper with your hands. We're not doing
everything with a hatch this whole time.
And some of these areas we're really gonna
need a proper, clean
terminator, core shadow on that lower
edge of the pectoralis,
and cast shadow underneath it. Some of it is a bit
sharper and defining a crease. Other
parts of it not so much.
And then need an eraser with a little bit more of a
sharpness. A lot of this is just
small work. Small modeling.
So I'm working up here on the opening of the
ribcage, we can see it very clearly, but it's not catching too much light
because the part of the ribcage that's protruding
the most is down here and we can really see it so
I'm gonna have to be quite
precise about it. So now
the plan is to sort of push
the ribcage even closer to completion.
So it's basically what we already
Pretty much that same principle that if you take
sort of a single element, your most important element, and
sort of keep it ahead of the game,
it'll keep all your other
important elements in check
because you're working on establishing that hierarchy.
And so here another point of alignment is
the nipple right here, which we can
place and immediately establish the one on the other side.
just another way to help with our alignments.
Here we have rib number one and that sort of
important area we can begin to get a little bit
softer. Which is a lot to do here
you'll see that I'm gonna be spending most of my time on the
ribcage and then you'll see
how much easier it will be to make sure everything else is in place.
So a lot of the
stuff up here should be
easier in its own right because we've already practiced it
with Mark as our model. So
so this isn't like we're viewing this area for the first time.
So just take your time.
One area at a time. And try to
analyze and remember what we covered.
And see and you can use the flat edge of your
in order to
kind of remove some of the texture but also
remove some of the tone,
giving you essentially
a new way to model.
See so we're getting more and more specific. Now
follow the form of the ribs there and we don't want to
push this too much, we just need to establish it
and remember that you're focusing on
the rib itself but also the intercostals.
And here, one of our important areas of light
I'm gonna pull this out a bit more
really sort of here a lot of the
modeling is done with the eraser
because you're really concerned with kinda the movement of the highlight.
We have our cast shadow here which is of great help
because it's going to give us the structures here,
allowing us to wrap around some of these
Giving even more definition to the ribs.
And make sure to
turn them. Like even here, this whole area
right now is lighter than it needs to be. We'll tone it down but
remember that major change in plane.
And then here we can see the rib
right there but we also see the one underneath it. Not a sharp edge
but an edge nonetheless.
And then here there's actually a bit of light though
it is a dark half tone but we can
from the rest of the shadows in this area.
Those great shadows are really - yeah, especially on
an inhale you can really see them.
And I think clearly we need more
of these shadows and
we can follow with the half tone into
abdominal region, onto the
Now I'm going
work a little bit more on the
pectoralis here and think I have a little bit too even of a shadow
So I'm going to carve into some of these areas with
but things are beginning to be a little
clearer so I'm gonna keep going.
And remember the tonal properties of the medium
we're using. it doesn't give you
the entirety of your tonal range.
So at times you're just gonna have to
sort of transpose into it.
You're going to have to keep
kind of thinking how
much you want push a half tone and
the shadow that's right next to it. How
distinct you want to make them.
And here we have some -
little more clarity right now on that sort of
top portion of the
And there are parts that are observed.
A light in some places. You just need to
see it happen in front of you.
But see I do want to push
in this area of the ribs here
so that what we have right there
along the eighth rib is
And see I kind of -
I pushed in
the shadows around the xiphoid process
because at times I see them that way
and I feel like that is quite effective.
So you move when the model moves.
Allow it to make things clearer for you.
Gotta go and follow along this rib right here, which has become a little
I did make it a little too dark but I'm gonna keep it because
I'm going to allow it to kind of influence how I treat this
And a little bit of a hatch to kind of
to get a tone in there. It'll only allow us to bring up this
highlight even more.
what I do want to do here is we can see the various
parts of the oblique. And you have this part that comes
down right there almost sort of continuing these lines of the
of the ribcage. But then
remember I spoke about how you want to sort of cut it
portion that connects to the ribs
and the one that
is connecting to the iliac
And then we can try
really integrate the ribcage with our
But in general
this whole area will probably
need to be in kind of tone of its own.
And the important thing is that we do have our center
line but you don't ever really remove it.
You just kind of establish what's happening on either side of it.
So you kind of transform it into -
sort of a change in plane.
Now we're back up here, we need
a little more light
in these areas and
as well as we're going to have to go back and reinstate
our shadows here to make them clear so that they can
define the other
the other side of the ribcage.
So I like where things are moving right now.
Maybe it's time to get
a little bit more information on the acromion and kind of
just take a look at the whole thing
probably, even though I've pushed this area
down a bit we still need to establish the highest points of these
And to try to see the entirety of
the ribcage every chance we get, especially on the
sides here. But alright.
Here we have a little more clarity and
these places the softness
terminator still needs to be accentuated. So a way to try to
pull it out of there - out of that general
tonal mass is to -
is to hatch along the terminator without really changing
the tonality of it in relation
to the core shadow.
Our cast shadows are going to be a bit
sharper. So in these areas we can really
hatch along the terminator to get it turn out into those
darker half tones.
We have our cast shadows in this area
and so the interesting thing about
the medium is due to the lack of tonal
range you can
sort of place all those main
components of a shadow or a half tone with just
variations in texture and then occasional -
occasional sort of
movement into a line.
And here we need to see -
make sure we have our point
of the ribcage on that
to show the abdominals up top here
use your core
shadows from the pectoralis.
So all the stuff that we've covered but just everything is a little
bit more obscure.
Even though it's still remarkably clear
but we still need to find
how to unify a lot of these areas so
the eraser comes
And then our accents can be also sort of
placed with areas of the
background. And we'll explore that
not right away but
I think all that
does need to be a bit softer and here we can
place the naval along
the center line.
Just establish where it is.
And make sure the
pelvis there is in shadow. Here these
lines I think need to be cleaner.
And as well we can have that edge
of the iliac crest.
It's not exactly the iliac crest but as I said before
you know you take what you can get in a given area.
See and occasionally you just want to -
just approach an entire element
like a -
from the perspective of just a flat half tone
that you then sort of carve with your eraser.
But all right let's take a break and keep going afterwards.
comes back to us, now is the time to
maybe do a couple of quick corrections and
I feel like making the head just a little bit smaller
might be good.
Just a little bit - and not even so much the
head but just bringing down the eye sockets a little bit.
We're not doing too
much just yet but yeah I think that was helpful so
we worked a little bit down here.
We're gonna keep coming back to this area but I'd like to
work on the lower abdomen
in tandem with the shoulder girdle
so I'm gonna be going
in between them a little bit.
I'm going to be moving
Now here we need - I'm gonna add a little
bit of reflected light into this area with the
eraser and I'm gonna clean it up and maybe introduce
a contour in some of those areas eventually but right now..
Just feel we don't need too much
tonality in there, especially because there are
certain parts that need to
sort of appear and stand out even if they're in shadow.
So working right here
will be good but I am going to go up
and do some work on the pectoralis.
and approach the shoulder girdle. So here we have
sort of the upper portions including the clavicular
portion of the
pectoralis so it'd be nice to get some of that in place.
And here we have that sort of
conglomeration, a little bit of all of the
parts as they approach
their insertion on the humerus.
So remember that we
do spend a good amount of time really making sure
that those areas of insertion really read.
And just a quick note on the -
just a quick note on my pencil
as you see it's not - I'm not - I'm keeping it
because I need to be thinking
sort of larger areas of tone without too many
like getting caught up in specifics
so to kind of help that I'm just not - I mean I'm sharpening it enough
but I'm really going to
worry about that when I do want some specific
details. So here we have a little bit of the sort of
the tendon off of the
origin of the deltoid.
And we're gonna need to be very crisp and clear
with the clavicles but we already have a fair amount
of experience with them.
So here they come, including the
portion of the clavicle right there.
And you can see
the sternal head of the sternocleidomastoid
in this area.
And then we can't forget about the
These are all parts that we've already covered in the head.
So they should be a little easier.
So simply because of our
And then we can kind of just take a light off of the
clavicle and pull it into the manubrium and
rib number one.
The first rib.
And add a little bit of information
on the manubrium itself.
And here we can see some darker
half tones, practically shadows -
practically shadows on
rib number two.
And then we can move into
third rib right here which we can see and it's sort of
a combination of
the third rib and of course the -
and some of those -
no it's pretty much the third rib. We can see the
pectoralis as it sort of moves off of the ribcage
Right here - and there's a light there right now which is so
clean, so nice, and allowing us to
kind of to show that there is a bit of
that abduction happening
with the arm. And then we have that
clean movement accentuated by our
shadow, our cast shadow, from the head onto
onto the clavicular
Onto the clavicular portion of the pectoralis major.
But at the same time all of this is in a half tone
so I'm going to make
sure it reads as though it's in there. And of course I'm going to back in with the
eraser and carve more and stuff like that but
meantime, I want to reestablish
overall half tone in this area.
And really almost pursue it to its
insertion on the humerus.
And make the end of this whole area
very, very clear. Add some reflected light
onto the pectoralis itself and push the armpit
into this occlusion shadow.
Good. I like what's
beginning to happen there.
I feel to get a little bit more out of this
I know I lowered the clavicle but now I'm gonna raise it.
And you'll see how this begins to happen. All the time in school
our instructors would come in and
move the entire arm or leg so that you are constantly,
constantly changing things due to
like always aiming to improve the
overall movement, the composition
as well as just your sort of
old standard proportional issues.
Everything's in a state of flux right until the end. As soon as
then you've completed the drawing. That's kind of how
I recommend you think about it.
Okay so we still have our
sort of larger areas of light here and
I'm going to use the eraser there
but let's return to sort of our major changes in plane. And right here
we can see this happening because this arm is pulled back slightly.
Here we have the top
sort of plane of that side of the
pectoralis and then it begins to turn under and then
your highlight moves down into there.
So that's what I want to establish
as clearly as
Of course there are other areas of light but
it would be nice to consider them a little more whole,
as in there. So
I see that on -
just gotta keep my eye
out for the movement happening right there, due to the
breathing that's giving us a little more clarity
in these areas and tying some of these things
in a little bit more.
And I want a little more light, a little more
specific light on the
plane of the
You almost want, I mean,
you can't see it by any means, but you almost want to
try to see the humerus
inside. But you also want to try to see the
parts, individual parts. And you remember that
we kind of split of the accromial
portion of the
deltoid into a few segments,
kind of an upper one
that's a little more anterior and the
one underneath that's a little more lateral.
And then here you
can clearly see the anterior portion
ending. Now we'll be
getting into these things
as we move
there but now there's a bit of a light on the
deltoid right here so I feel
that that would hurt if we don't include it. But we can't make it
So we'll have to think about how to handle that.
So let's move on and here we have -
here we have our
clavicular portion, right, of the sternocleidomastoid
and the omohyoid right there
and the superclavicular fossa
above the clavicle, as its name suggests.
So I feel like some changes need to be made to the
head because I like the current movement
and that particular turn of the head there.
so slowly just sort of
building up the structure of the head.
Going a little more clear on some of these
cast shadows in the area of the rib cage.
and so this would be the angle
of our ribcage so we need to have a
point that we use to establish
its end and tilt, always keep coming back to that.
So I would
leave the shoulder girdle for a while
as well as the ribcage even though some of these stronger
highlights are interesting and
we can see maybe a little bit more of
planes in the head but I'm not
doing too much of that. So
what we're going to do here
is get to work on some of these areas
in the pelvis. And remember
we need to really place an emphasis
on the ASIS,
even if it's in shadow.
Even if it's in shadow.
But I keep wanting to squeeze this side in
a little bit more, it keeps seeming a little bit large to me.
kind of doing some proportion control.
raise these areas up a little bit and
so I'm kind of jumping around right now
to make sure things are in place
continuing down here on the pelvis.
Here we get a little bit of the side plane so we're going to get
that side plane, which we know
is part of that sort of change
in plane coming off of the ASIS and
is found sort of along the tensor. Tensor fascia latae
and then onto the gluteus medius
that we don't see here. And there's a mass
here we don't actually see the trochanter but
behind it - behind that area.
So we still need to
show that it's in there somehow.
And so let's see what's
happening with our little areas of light there.
And here we can almost clearly
see the separation -
the separation between our
femoris right there and the
sartorius sweeping around there.
At the same time - I mean
we could spend a fair amount of time
in this area
and we should but we have to keep in mind
tonal situation taking place there. Now I'm
actually going to slightly reduce the size of the ribcage here
and see how I keep coming, once again I just keep coming back to the whole thing,
thinking about it all at once after spending
even just a tiny amount of time on a detail
just slightly. Just slightly.
So then here we
area to be sort of clearly in a
half tone. Though with specifics.
our leg right there is going to be catching
a lot more light.
Here we can see the entirety of the pelvis
and kind of
follow along with our
inguinal ligament and
lower edge of the
Whereas here we have a chance to have our tensor
in this area
and then we can see the change in plane caused
by the sartorius.
You can see the separation between the quadriceps group there
And to make sure to push the abdomen
in a bit more here.
I mean you can move up.
And we can move up
to here and establish the end of
the oblique. Now keep in mind the oblique -
though it kind of can give you
the iliac crest - actually
hangs down a little bit beneath it.
So the iliac crest itself is a rather
hidden. You can see the iliac spine, the
ASIS but you can't really see the crest
that easily. It's possible
but it's not sort of that obvious.
Okay so here we
have a lot happening and I'm beginning to notice we're losing some of our accents but
And then we can have a cast
shadow here under the leg, onto the leg. And then
kind of move - now see the hard part here is the cast -
the cast shadow on this medial portion of the leg because
it follows along the leg
and there might - like I can see the tendency
and the sort of interest in using it to give you the form there
but this contrast just feels
a little too sharp. So we're gonna have to be careful with that.
Now keep in mind
we still haven't addressed our
outer edges really. We've made
some - we've made a few
but that's not enough. And you'll see that
I'm also kind of keeping them towards the end because a lot of completion
sort of comes to how you hand the outer
Overall I'm kind of okay with how this is moving
and we're gonna need to go down and work on the knee soon enough
but I'm gonna keep away from it for still a little bit
Still more to do here and
I'm - right now most of this area's in shadow so I'm just keeping it
in this sort of general half tone because
I know that I'm going to be able to use some of the light that hits it
when it happens to do so.
So you can see actually here a little bit of the
external oblique coming over where the crest is.
but it is in there.
I'm working of course on a stretched piece of
paper on a board and I think right now sort of
self explanatory why I choose to do that
especially for the drawings that are larger.
So at the moment
there's a lot that's
happening here that
there's sort of
a lack of variation and a
lack of a stronger feeling of height here but
keep in mind I'm not focusing on this
right away though ideally you would kind of
keep that in mind the entire time
you're working but tonally it's a little even. So we are
going to go into that eventually after we establish
all of our parts. It does help
for educational purposes to kind of split things up into
into steps at least some of the time.
So right now
we're just concerned about making sure there's sort of an order to
the way that you approach
all of these anatomical elements.
And also this is the first time we've
attempted to do something longer and completed.
at the same time pulling together all of the information
that we have been covering
when we were working from the écorchés. So here, I advise
you to remember what happens with
the knee and all of the component parts.
Remember that we need the head of
the - or the condyles of the
of the tibia, the condyles of the
femur, the patella,
the tibial tuberosity. We need to see
the sartorius wrapping around right there.
All of that needs to appear
but there's a larger structure here and there is -
there are areas of fat
as well as padding of different kinds that
is going to kind of alter what the
knee looks like and
obscure some of those specific things we were talking about but still
try to make it
look like a knee by
picking out those areas that are
giving you the largest amount of
information about those
points - those important points. So here -
and even like use some of the creases in the skin
to point to those elements. Because here we can really see
the tibial tuberosity
and the patellar ligament is
above it. In here you can see a part of the
medial condyle of the tibia. So you kind of have to
find your way around. Here we have
the sartorius, the gracilis,
all in that area. But also right here
it's very important to use these contours to
establish, especially if the leg is in shadow here, and I'm working on the leg here because
it is more - in some
ways - more important because it's carrying the weight.
Though probably the other knee might be the
focus of our attention but we'll see about that.
And then that light on the tibia.
And then to some degree the end - see so there's -
you can begin to see those elements of the knee appearing
while still thinking of it as a larger shape. And then from here we have
coming up on the inside
and then we have the soleus. And then right here
we even have a little bit of light which will fall on that tiny plane of the tibialus anterior.
And remember that we're gonna need
to find those tendons.
The tendon of the tibialus anterior and
tendon of the extensor digitorum
longus to establish that plane. But I think we can take
a break and then we'll continue.
beginning to see
where I can make a couple of changes.
And see I'm doing most of them with the eraser. I think you've seen by now
the immense amount of work is done with the eraser.
Very large amount
of work. And
you also remember that I spoke to you about my
proportional bias to elongate the torso
so that has I think, to some
degree, been happening here. So I'm
I'm going to keep
minimizing of that.
Keep working on minimizing that. So
just kinda squeezing the torso both
from the top half, pulling it down a bit
as well as bringing up
the torso from the pelvis. So see
the hunt for proportions does not
Now here I'm beginning to get a little bit of
a light on the sartorius again.
So I'm gonna place it back in
as well as kind of introduce a little bit of a
light onto the
rectus femoris there.
I'm sort of - I'm liking how that's looking.
Now here I find that this - the value
I have here, I like what's happening here where the value of this arm is coming closer to the
value of the paper and I feel like a similar thing needs to happen right here, so
helping me out a little bit of that right here
but we still need to
lock the form in place. And see and then once that happens the knee
begins to get more attention.
I think this angle
is a little bit -
a little bit sharper so
it's not just the hunt for proportion but it's also the hunt for character.
we're still kind of at this point
of laying everything in. Even though we are kinda slowly
building it up. And I still haven't
worked on the arms. And
you can - I'll come down here to work on the knee a little bit
and I'm gonna use just enough of that cast shadow to
give us the structure
and the protrusion of the knee. Remember the knee,
I think I've
done it here but didn't talk about it so I hope you haven't
forgotten that the knee is thought of as a separate element.
A separate element
so it has its own
So I think we could do
a little bit of work on the other leg.
The other knee.
Now so I kinda
of recommend that
this entire area of the knee and the feet as well.
Regardless of how large the drawing is, you approach from
a lower angle, so you're changing your horizon a bit.
Before I do that though
I see some clarity in this area, there's some light hitting it
even a little bit on the sartorius down here.
So yeah so, this might in essence seem
slightly counterintuitive and you don't - and this isn't a rule that's
hard and fast but I do -
I would like to bring it to your attention that it's, especially
when our drawing is
smaller and you're standing rather close to
the model, you don't - you wanna
be careful to avoid these elements of kind of this
like extreme perspective in the plane of
the ground. And working on these
areas from a lower angle is a way to avoid
this issue. So let's
have the knee here,
let's find it. We'll find it from this lower angle
and here we have the patella. I've already kind of moved along
with our sartorius, wrapping around. And here
we have our vastus medialus. All old
friends. Remember that here you can actually see the
is a tiny bit of light here
and that will be the condyle
and then we see this mass behind it of
that group of muscles all moving in and
Now a little bit of a
a little bit of a half tone in these areas will not hurt
because they'll allow us to place that highlight
onto, if you remember, the top plane of the patella
and that protrusion of the common tendon of
And I'm not thinking too much about which knee is
going to be more important right now but I'm leaning towards
the one right here because it is closer.
we're going to move out from there by following the tibia
figuring out where the leg is.
We can see right here
up top here. And
right here we're getting the tibialus anterior and possibly just a little bit
of the peroneus longus. We should be getting
the peroneus longus there.
I'm not worried too much about
what's happening with the feet at the moment.
We'll have them when the time comes. Now
here we can kind of begin to move along
that light along the
rectus femoris but we do see that turn of the plane on
vastus lateralis as well.
And then a nice change
of plane along here.
Which we know to be the adductor
longus and the gracilis.
I feel like I can bring this
up even more.
Which means that I can bring up the ASIS just a little bit
see so even
even an element of such importance like the ASIS
can be moved. As long as you think of it
alongside its pair on the other side.
clavicular is right here. Remember to structure
the foot at least somewhat going off of that
tendon right behind
So let's continue just a bit and
so we've kind of placed that knee just enough. Still don't have the feet.
But we don't have the hands either or
the head so I do recommend for the
purposes of your studies to ignore
them when working on the nude for as long as
possible, mainly to
learn to draw all those other
parts of the human body.
There of course will come a time when you realize that
you haven't done any hands
in a very long time
and you also realize that you will tend to run out of time and never have time
for the hands.
So that might happen but that's okay.
So why don't we do some work on the arm here because we're gonna
need it. So I keep moving
but right here we can see the acromion right.
See the acromion, we can see the end of the - we can at least see it
in outline. So let's make sure it's clearly in place.
I don't think I'm going to
move it too much more.
And then let's just make sure to have all the proper overlaps
of the arm.
here we have the lateral head
of the triceps and it's going to have -
catching a little more light right behind that
deltoid but you remember how the
deltoid almost attaches into
brachialis so the mass here is not
just the long head but it's inclusive
of the brachialis.
But then right here we're gonna need that
strong light on the upper parts
of the biceps.
This line seems a little strong.
We can move towards -
we can see it a little bit that sort of tendon
of the triceps
as well as what we saw before
brachioradialis, which is that major change in plane in that
area. So we're just gonna get that in there.
So see so I'm doing a thing here that I kinda don't like
and I keep looking at it and I've mentioned once or twice
overmodeling. And so the idea in general is
is that you kinda keep - like you
always focus on at least some elements and they become
the elements of greatest importance
and those are the ones that you really complete and focus on and everything else can be kept a little bit flatter.
Because you don't really want to overmodel everything.
In terms of how that works in conjunction with education is
that when you're working a lot of
poses and you're spending hours and hours drawing you end up
sort of piecing together and understanding.
Now here this is the
kind of the only example of something completed that I have here
and so I
am trying to include as much as I can
of all the things that we've covered. So at least...
at the moment it does seem a little
even and overmodeled. So
let's keep this so we can talk about and include all these
elements that we've covered. At the same time keep in mind that you don't really want
that. You don't want to have -
the importance here is kind of understanding it over
time through quantity
while also kind of developing
an aesthetic that incorporates
an understanding of the importance of hierarchy
in completion of the elements.
But I will unify everything
But here in the meantime we have our ulna.
It's gonna be catching light and it's also going to be a bit sharper.
And we need to get that side plane
and we can't see them too well here though but we know that
this sort of like change in plane, that kind
of movement outwards is in part caused
abductor pollicis longus
on top and the extensor pollicis brevis below it.
Now see you don't step
back and you end up
making the hand too large
and too long, so that's gonna happen.
So keep stepping back, we got caught up
and we just
see the overall sort of understanding
of that proportion is that the hand - how the hand goes
halfway into the thigh.
And think of it like a block.
At least for now. Now I'm going to step away
quite a lot, off camera,
because I'd like to take sort of an overall look.
I'm gonna keep
talking and with the arm I see that it is
long and wide so we can start to
carve it in a little bit.
And we want more of this movement outwards.
still quite wide.
So that's the thing when you're working on something large
just gotta keep stepping away
from it. Even here I think we can sort of
squeeze in that head of the
And carve in
the wrist on this side.
that's closer. That's closer. I like how that's beginning to look.
So we're kind of
slowly arriving at every part here.
It's in there.
It's placed in there. Now
let's see what we can do with
that other arm before we figure out what's happening
with the feet and finally move onto the
head. So as you see I saved the head for last. So Mark are you able to bring
the staff in more a little bit. Yes, okay.
So yeah so if we move
the staff in a
bit right there, we can place it
on the page. But it
does make this arm -
it just places that arm into perspective a little more.
So it won't appear as long
It'll be somewhere here.
Now the question is how much of it do we want to
be able to pick up and I do not know.
This is a
composition more than anything else.
Okay I'm okay with that placement for now.
So why don't we take a break and then go back
to the hands and the feet and finally the head.
we take another break
and let's just make
sure to place at least somewhat the hands
And we start by just isolating
that head of the ulna
and we'll have to step away quite often here
just to take a look that I don't make things too
large but here look at
that. You can really see
I'm going to say is
of the abductor pollicis longus.
And it's nice to have there because
it kind of creates that plane right there, that
side plane of the wrist.
Remember the wrist, much like the knee, has its own
In general I want this arm in a
half tone so
there goes all the work but we can always get it back.
And then right here that opening up
and we see it and it's coming to that
metacarpal of the thumb that we were talking about
briefly. And remember
that all these tendons are going to come and you're going to see the
tendon right here
of the extensor
carpi ulnaris longus.
a lot like with the tendons of the tibialus anterior
and the extensor digitorum longus
use those tendons to give you
structure to establish
all of those planes
on those extremely important elements
of the ankle and the wrist.
And then we're going to have a little bit more
there. So I know I'm sort of
kind of approaching it too correctly, I'm not
working the larger sort of
angles of these things
without having it in place.
already working on details so -
but sometimes that just seems like
the right thing to do.
And that establishes
that side plane.
And I'm going to
actually raise up the head
of the ulna just a bit more. So once again there goes all my work.
And then just going to put that shadow
on the end of the metacarpals
so that I can get an idea of where the hand is.
Alright there are a number of overlaps there and
we're gonna go over all of our overlaps and talk about what they
represent just a little bit later.
ideally you'll be thinking of all this kind of at the same time.
anatomy. So you can even
lay everything in
with only outline and the proper overlaps.
But I thought that
this slightly more
impulsive approach might be more interesting
to observe and honestly also easier.
So I once again
have to step away.
Kind of off camera. Take a look. I'm actually -
we have the form of the radius there,
that plane up here.
Just gonna keep inching it upwards a little bit, i think.
I just noticed I might wanna do a little bit of a
highlight right there,
seems okay to me
and then just
keep working on some of these parts.
So I'm essentially
just trying to get the planes of the back of
the hand. This kind of intermediary
plane right here, that side plane, and then the plane of the
heads of the metacarpals
and then the phalanges after that.
Now I almost want to
leave it as is but the arm does seem long to me
so let's raise it
So - but
the other thing that I assure you about this approach is that you'll see how
alla prima painting becomes. Because you'll see
how a lot of what
we do here,
that that kind of
moving around and constantly
changing everything and repainting it
or drawing it rather,
you'll see how
that is for the most part the process of alla prima painting.
And so at least of the
Academy. And so
the strange thing is is that
from the outside people generally
sort of think of this approach as a more
sculptural one. As
a kind of focusing a lot on the structures of
anatomical elements and where they are in space
and so on.
And I guess that is correct. But I would also like to highlight that this
approach is also a painterly one.
So perhaps it has the best of both worlds.
But I don't wanna -
I don't wanna be arrogant here.
So I like the general
placement of that hand, I like where it is.
There's clearly more to do but there's more to do
everywhere really. So why don't we
get some placement on the other arm
And here right away I'm going ot actually be a little bit lighter. And you can see the -
you can see the brachialis in there
which is lovely that we get to
see it right underneath the biceps.
You remember that we can see
the medial head of the triceps as well as the
So that's good.
And we changed the position of the
arm though so it's gonna be covered a little bit more.
Mark could you
move that arm - yes, thank you. So - and we just have to see
where we are here. What we do see - and I marked it before -
is quite clearly the medial epicondyle, followed by
the olecranon right in there. And then
begin to kind of turn the form of the
the form on there and this group of flexors.
Most of it's in shadow, we don't see too much of it.
And we don't want to define it too much
So in terms of that placement I'm
more or less alright. But we still need to find where the wrist is
and here we have the advantage of kind of being able to see the
the carpals right here. The - and you
can just take the size of everything from the hand that
we've already established. You can see the block
right there of the metacarpals
then that change in plane at the
end of the metacarpals and then the phalanges
up here. Phalanges.
I have no idea really
how to say it.
Probably end up moving the
pole just a
tiny bit and then we can extend the whole area of the
metacarpals over to there to get a more clear
wrist. And that
movement in, you know you want that sort of bulging at the
the joints and we do have this
cast shadow onto the
arm here but we just - we need it but we need it soft.
We can't have that be too
hard. In general I'm keeping this a bit lighter.
And the other things I'm going to keep quite light
I'll keep it for now. I like kind of where it is
and clearly there needs to be work
done on the feet before we move onto the head.
Okay so I remember telling you guys
to work on the feet from a lower angle.
So that's what we're going to do
here. Let's start with the foot of
sort of primary importance, which is going to be our -
the foot of the leg that's carrying the weight. And here, to our advantage
you can already see that plane.
that kind of imitates that
movement of the tibia
itself but also is amplified
by that tendon
of the tibialus anterior.
Now, our medial malleolus
is quite heavily placed in shadow which is only
mildly problematic. Oops, sorry.
remember that there's almost like a side plane
between the medial malleolus
and the tendon. And so this right here
we can establish as the tendon - oh there it is
and in between we have the tendon of the
But the most important thing in the
foot is to understand
kind of geometric structure almost independent of
the anatomical particulars.
So we have spoken
briefly about the side plane. We have the tarsals in here,
metatarsals ending with the head of the metatarsal of the
big toe, which I'm sure you've all -
you're all aware of.
And here too, I need
to step away a lot, take a look at how large the foot is. And it's about -
it should be about as large as the head.
Now I am planning to make the head a little smaller.
The kind of overall structures here, ignoring
the toes themselves really.
Not that interested in them just yet.
But then there's that sloping movement
the form there.
And we can see the metatarsal on the big toe
as well as that arching - we're gonna get right to the bottom
of the page with the big toe
itself. And then with all the other ones.
let's see. I also, once again, will need to step away a little bit to
take a good look.
I think it's a little bit high
in terms of the arch. And I think it could be a little bit
I'm going to take a look - yes. The toes
themselves can be longer and thus elongating the whole foot.
and I've also rotated it slightly
though maybe I shouldn't
rotate it. There we go.
So let's change that.
And that way it's longer
perspective it's slightly more foreshortened.
which is nice.
We can clean up right there, underneath,
making sure to get a good amount of clarity and
placement of that head of the
metatarsal of the big toe.
And then the big toe itself.
Now let me take a look from afar as always.
And I'm okay with it for now. I'm okay with it.
Got up too fast, got a little lightheaded, that's good too.
Working on something as large as this is
kind of a workout. Okay.
So we're gonna go into that and clean that up I just
wanted its outlines pretty much equivalent to how we have the hands.
And then right
here we can begin to get a
the tibia right here but we don't want it
we don't want it too -
want it too contrasting. And -
and the idea behind that is that - I can show you even immediately
if we make sure that our contrasts are on the knee
and I'm doing this kind of
without paying too much attention to what these contrasts
are, we're gonna get into those, but the key is right if you can
focus on the knee there then it'll help push the leg
in a little bit by not emphasizing those contrasts down there. So -
and that's kind of -
and that's kind of what's happening.
We do have our main contrasts there on the knee
and here we have
a little bit of a part belonging to the...
And this also will be quite on the
There's a bit of a turn there
but we don't need it too much.
And see I kinda feel my way around it
And then we can clean stuff up with the eraser.
Occasionally take a look
upside down, it make some things clear,
but I'm kind of okay with where that is.
This foot is not of
prime importance. I mean it'll have enough when we complete these things
but at the moment
it doesn't need to be overstated because
the idea at the end is going to be that this knee
takes the attention. You don't wanna have two
elements that are essentially the same element. So the two knees
here, one of them has to be more important. So there's gonna be
a kind of a general S curve of importance following the
sort of S curve of the figure itself.
So accent here, accent here, accent here.
Right now everything's a little even but
we'll get there. Okay.
Now let's get a little bit of work done on the head.
it's time to get a little bit more work done on the head
and in a sense complete all
of our placement here. Now
before I move onto the head I'm just going to make sure
to plant the heel slightly below
the other one.
From my angle the feet are kind of
practically in the same place so
I might actually pull back
the ankle there too. But we're gonna
get back to all that because it's
subject to change at all points in time. So why don't we
do a little work on the portrait. And see
what happens here. So
here we already have a certain amount of experience
but primarily right now we could work
with just areas of
tone, making sure
have all of our
anatomical landmarks on the head in place. And also
just kind of stepping away and seeing the general size of
the head. But why don't we begin of course with our orbits.
And the tone on the glabella.
And then I kinda place this entire area into a tone
but we're going to need a light to show the
margin of the orbit at the
there is a chance that I will overwork the head.
But then I'm just going to sort of erase it away.
This won't happen now, this'll probably happen at the end
but there is a change because that does tend to
And the head
does tend to
move slightly as well so.
So here establishing our temporal line,
And see the process here is relatively
messy. But actually I'm going to
raise the chin up just
a bit so we can get the plane underneath the mandible.
Angle of the
jaw right there, the masseter
and in general that sort of side plane
that we are well familiar with.
And here I have the placement of the ear
from a long time ago so that's not in the right place.
Ear will be here some where, opening up a little bit more of the cranium which
is exactly what it needed. But
with every single mark I make
I have to make sure
of the proportions. I don't - like an arm
or a hand you can easily kind of move into
place, even if there's a lot going on there already and you've sort of taken it
to a certain amount of completion. But
you really can't do it that easily with a head
you end up having to redraw the whole head so.
So you see I'm sort of -
I'm not putting in too - I'm not putting
in a lot right now, I'm just kind of inching towards it.
Kind of thinking of it as
sort of slightly more -
of simply just a part of a part along with
the other parts it has to look
convincing enough on its own,
not necessarily from the
sort of the critique of
And here we have the
Right there. And still
I want more of a light on the
Over here I'm going to begin to hint at
the obicularis oris and the
lips - cast shadow from the nose
onto the obicularis oris. And then even closer now. So tiny
little steps. You don't make - they're not
Just wanna get close enough.
Even though that's not
entirely where I placed it, that sort of highlight
on the -
highlight on the sternocleidomastoid.
the particular element I'm looking at
the approach I take -
the approach I take changes.
approach is a little more optical.
Just a little more optical.
I'm just analyzing
where our halftones are, where the shadows are. It's helping me
with some of the placement. Keep in mind the end result is going to
identical to any other
approach that I might take because
even if I'm relying
more on one kind of approach at
a given moment in time than another,
they all merge into one after a while.
going back and correcting some
of these elements that we already have.
So here I'm just gonna try and align
the neck with the
Finding a little bit more cranium there.
we need to establish where the hyoid is to really get that sort of
outward tilt of
the neck coming off of the ribcage
as you see the paper can take quite a
lot - it's taking a lot of erasing.
And though it'll only keep
taking more as we
I felt like that could be added
and here gonna just move this center line just
a tiny amount.
And it wasn't here but there's a slight rotation
happening there that I can't avoid.
I think it's interesting and we might even just take a proportion
that we can kinda
squeeze this in a little bit
to get that rotation. Might have to move the arm even
I just - I like the way it looks
so if we just kinda
squeeze that in just a bit
and then move our center line here a little bit.
So I've moved off the head for just a second to make sure we -
so we can
sort of just move the sternum slightly
and then the ribcage in.
And obviously we're
gonna go back and integrate all these things.
But I think there's beginning to be a little bit of a twist there so
slight but it's nice to have.
Now all of this is sort of twisted
as well but I'm not going to change that.
Remember to get that front plane there.
And kind of move from one element to the other. So see
already kind of moving into constructive thinking
a little bit.
Yeah so a few minor
proportional changes. I'm gonna step away once again
to take a look at the size of the head. It's
still okay but it runs the risk of being a little bit small here.
Just a tiny bit small.
But I think I could kind of elongate it a little bit.
Elongate it upwards. But once again I
don't want to do a lot on the head here.
Just wanna make sure to get some of the
primary placing - primary placement rather.
to just make sure the ear's in the right place.
And then getting a little bit more information here.
Why don't we take a break and
get started on polishing some of this off.
a break we know the first thing that we need to do and that is to check
our proportions once again. So I'm still -
I feel like I could
make some of these areas a little bit larger.
I can pull
up the inguinal
ligament just a tad there,
elongating the leg.
I see a nice amount of light on that
adductors right there.
so just going over everything and making sure
and right now after the break I
see a more interesting line here
where you can see the
ribcage and the compression of the external
oblique. And remember I'm keeping the
external oblique a bit
softer. I'm giving it a little bit of a softer edge there.
But then I think it might be
even more interesting to move the cast shadow
from the arm in a bit more as well so it gives
an impression that it sort of visually looks as though
the ribcage isn't as wide but also it kind of pulls this line up
slightly more towards the head, which is nice. I think
the deltoid could be just slightly enlarged
I think we can kind of accent the
trochanter. We're going to go back into that a little bit more but
not at the moment. And then here
I actually feel like the knee could be not as wide
on this -
lateral side, allowing
me to kind of increase it inside here
which I think is preferable.
And then always helps to take a proportion
once again just sort of take that leg up to the ASIS,
move that line, starting from the head, see where it ends
up and let's say -
so I get that same line as -
and then you basically just take that proportion
off of your drawing as well. And it seems alright.
So it seems as though I'm getting from the bottom of the leg to the ASIS
here is pretty much the same as from
the sternal notch to the tibial tuberosity. So it's
sort of - from the standpoint of proportions - it might seem a bit random.
But at the same time, why not.
If it -
if it's a measurement that seems to work, I don't see why
not explore it a bit.
And I'm going to
narrow that a tiny amount.
Okay so kind of looking it over
proportions seem alright. I will go back
into those areas, like even from the standpoint of
completion. I'm going to just move over the
naval just a tiny amount.
Okay and I also think that I could possibly
elongate the neck just
a bit. And by doing this I solve a number of problems.
you end up elongating the neck and that's good
at the same time I think the facial
proportion - so basically
from the chin to the sort of the top of the orbit -
is too large. But I'm not so sure I want
to really cut down from the top. Maybe a tiny amount.
Let's try it.
And then also to carve in from
And I think we have what we need. But in order to see this
I need to get off camera again guys, I'm sorry,
to take a look. And yeah, I'm
going to lean to just
even lower here. So
let's see how that worked out.
So yeah, it seems as though - and then possibly I'll be able to bring
down the head but I'm not going to
forget that one of the options is to pull up the mandible.
So you kind of
just - you carve into the head from multiple -
from multiple places and I know I said
to take the proportion of the
the top of the head to the pit of the neck and then see where that is.
Seems about right.
And my pencil's very short so I'll just -
I'll use it for what it is. But then even -
seems about right. But then the head on its own -
and I'm not saying count heads but just
see where you can squeeze that in, that portion. Okay.
So okay I think we're alright.
So yeah. That's
kinda the interesting aspect of this. Every time you come back after you've had a moment
to take a break
and relax your eye a bit, you want to go over -
go over what your
proportions are. You want to spend
the time to make those
large corrections. Okay so I think
right now though it's time to start
to essentially, in a strange
way, to work on elements of completion.
So you can either start from the top and work your way down, you can start from
the most important elements and work your way out. As long as you've established
where your accents are
and I think by now for the most part we have - I think
it's quite alright to start
So I'm going to
start right here from
these areas that
we've decided are the most important ones.
How is that for the alignment? Probably we can bring
down a notch to establish
that line. So yeah, so
let's spend our time here. So a
lot of it is just kind of introducing a hatch,
modeling smaller half tones. Here is rib number
three. Right in there. And
we can kind of just make sure its
tonal standpoint rather soft and then we find the third rib
on the other side as well.
really spend some time on such specific and important
areas as the sternal notch, the
manubrium, the head of the
clavicle right there, the sternal portion.
using a cast shadow.
So everything that's
been kept rather rough up to this point
has sort of a larger amount of sharp angles than you might want
that - an area that has -
so we talk a lot about a hierarchy of elements
in the entirety of the drawing but I'm glad that
we went over sort of every anatomical
every part on its own because
that makes it clear that you not only need a hierarchy
overall but you need small hierarchies and side elements.
So even here you can't make
everything your accent with your hard edge and
It has to - even in here
you need to prioritize
But you see that if we really spent the time, let's say up here,
right on the clavicles and the
sternal notch and all that
cool stuff, you'll see that
once these things really kind of activate
you'll see it when they move closer to completion.
The areas around it can be left a little more
but you can't really leave the clavicles
But let's really get
into these places you can see
you can see the structure of this area, you can see the structure of the sternocleidomastoid
up and then again and then at the point where
it hits down there inside,
sternal head we have another highlight.
And then we have the half tone
on the clavicular head.
And then you have a highlight on
the clavicular head. So there's a lot going on here. But we've also
covered all this in the portrait.
And then that rising up,
caused by the omohyoid
and a highlight inside
trapezius is. So the changes in plane -
and I think it's not so much
a question of elongating the neck as it is
making it narrower. And that's a common
issue that I'd like you to keep in mind. There's a lot of times
there's a proportional sort of problems
that you're experiencing and then you're trying to
correct it but only in one direction. You're trying to correct it along
the proportions, sort of a vertical proportion or
the solution might be to take a look at both.
What might seem
like it needs to be longer
might actually need to be
narrow. So you're correct in perceiving the proportion -
you're correct in perceiving that
the sort of overall height to
with proportion is incorrect.
But you're incorrect in your analysis of
where exactly you need to
to make that alteration.
Happens all the time. As you saw
I was trying to
elongate his neck
but in reality
I did need to elongate it by making it narrower.
So it seems
at the moment I might
think that was all wrong in just a moment.
Just keep in mind that's totally alright.
That everything's in a state of flux.
And we still got a
ways to go until we get closer to
our actual completion.
And here we have just a little bit on
On the other side. But we have all of the
variations within the shadow that we need
to describe all of those anatomical
particulars. Now the issue is that
you gotta be careful that you don't sort of
overstate them in
a shadow but something needs to exist there I imagine.
Aim for a harder edge on
the neck actually -
harder edge on the
clavicles and on the neck than I would
on the - than I would on the
trapezius on that side.
The clavicles because it's
a skeletal landmark and
the neck because it's kind of an important
element of its own that needs to exist.
While the trapezius can be
kind of hinted at without
being placed too directly on that side.
see what's happening with that edge of the trapezius. And I just -
I feel like that clavicles can be - not so much the clavicles but the
acromion does need to be a little bit longer
just a little
bit longer and then we have light on the clavicle and the
acromion down here, right on the shoulder.
In there, so
at this point - so see
I'm spending quite some time here. There's a lot
to do because we don't
only have a part of the model,
écorché or something, but we have
the entirety of the model. So all these pieces have to
not just be sort of analyzed and thought about in their own right
but we need to
to make them all work together.
And I can make the
clavicle a little also just a little bit
narrower as well.
So I'm glad you're able to
witness the way that I worked when I was
in school and the way that I do still occasionally work today.
I'm going to just move
for some lines you really do need to erase -
like the one I have here which has some like
extra oomph is quite helpful.
Is quite helpful.
And I think it's used for ink
but you just don't wanna overuse it because
it actually sort of removes the outer -
the outer sort of -
the outer part of your paper itself.
So if you use it
a lot then you actually
have - you won't be able to add
onto it any more because the paper
will not be able to take the medium anymore.
So use it carefully. Do use it
if you really need it.
Alright so why don't we take a break and
continue when we get back.
important area where we have a lot
of attachments and intersections and all that stuff. And here
we can even see a little bit
of the clavicular portion
of the pectoralis major.
So a lot of
this is going to be done with the eraser but keep in mind these edges are quite soft, these
plane changes, though very clear, are not
that - are not that sharp.
work your way into them.
And a hatch
is going to help in these areas a lot.
And here we can see this
whole area - and there is
a vein there so I will put it in but later.
Right at the very end. Like one of those
details that can really add a lot but if you put it too
soon it can actually be a little more confusing than helpful.
so let's go over what we're trying to do here. We're trying to
show both the anterior portion
and the accromial portion of
the deltoid. We're trying to show
pectoralis and its component parts.
We are trying to show
the biceps as well.
That's going to be catching light, mostly up here
on that top plane
and we do have the cast shadow from the arm
but we've lost our core -
the core shadow -
on the biceps itself, which we're going to have to
make sure we see at least at its origin
and at its end
we have to see where the arm is.
And we have to do all of that on the arm
without making it
a main element.
And part of it is not because it's an arm and not something else
part of it is also dependent on where it is.
And you can see where it is here,
it's very close to another main element. So you don't want
to accent the arm right here as well as the
ribcage in the same place equally.
And I know I
said try to sort of avoid hatching with one of these erasers
if you have the option
but sometimes, you know,
you got to break the rules a little.
Not that that's really a hard and fast rule though.
I spoke about that it's not really
that important that you don't hatch with it.
In essence, use your judgment and see
where it's helping you
and where it isn't.
Okay. Okay. I like what I'm seeing
in this whole area. I like how far we've come.
Here a similar principle, up on the highest point
we got a highlight, and down here where it sweeps
back under also.
And then to get some of these
variations, these changes on the manubrium
and I think the sternum is beginning to come alive a little bit.
Alright. I like what's happening.
I like what's happening with these ribs.
I like the clarity
I'm getting. But then here
to kind of show more of the ribcage underneath and we have this advantage,
we can see
that change in plane
right there. So we have to make sure it's
aligned properly in relation to our center line.
But those changes in plane are going to
play a nice descriptive role
here. And all this I'm gonna keep a little bit softer.
Keep just a little bit softer.
And then -
but then down here also
a nice alignment. Keep thing symmetrical.
that change in plane where the end of the pectoralis onto
the muscles underneath it.
So see strangely enough I'm working on
like completion but at the
same time still thinking of alignments.
I'm making sure that this is a clear
Always wanna make a mark or two
to kind of get things back
in place. Something that you maybe just happen
You always - there's always some clarity
every time you come back from a break.
Always something that
pops out at you. So
so here we are returning to the
pelvis. And I'm
still thinking about making it a bit wider in places.
And I hope it's not annoying the amount
all the time.
You might even ask why
waste all of this
time with these corrections when you could just
take a bit longer and get it
right right away and then not have to
concern yourself with that.
in part that is a legitimate question.
Because you could.
The idea is that -
it's not that you're not - it's
part of just kind of understanding the approach.
And it's not that you
kind of purposefully get these things wrong
but the idea is that you can only
really see how wrong something is
after it's on your paper.
at that point
the idea here is to get as much as possible on the
paper as fast as you can
in order to
analyze what's wrong with it.
yeah so that's
a kind of the approach. And I assure you after sort of -
after spending some time with this approach, you'll see that you actually do
in fact get more and more accurate and you don't need to make
constant corrections that are quite major.
every time. But you also see that
you will always have to keep making corrections.
So you might as well get
started on that a bit sooner than
That's what I think.
And a lot kind of opens up
in the process.
So here we have the slight relief -
the slight relief
of muscles that you don't
you can't commonly just kind of
like right here. And I think that's
just the slight relief of the
Iliacus and the psoas.
Which I kind of
hastily dismissed when we were working on
the muscles of the leg.
So see, this
that it is important to know all of your anatomy. Here I covered
the absolutely important ones. The ones that
you will pretty much be able to spot every time.
But that does not mean that there aren't instances where you'll spot
muscle that's rather
sort of internal.
it helps to know them all.
but I think that at least with the ones that we covered
I've opened up
understanding anatomy as well as
an approach to internalizing it and putting it to use.
Hopefully that can aid you
when you continue your anatomical
And I hope you do.
Just expanding that oblique just a bit.
And then to get some work
done on the sartorius here which we can really see
or at least that sort of overall structure of the
sartorius and the rectus femoris.
And then here we begin with
wonderful part of the vastus medialus
in shadow and really giving us the form
of the leg. We don't wanna over -
we don't wanna add too much tone there.
Got a cast
shadow in that area would be quite nice because it'll
fall on the
forms of the adductor group.
On the adductor longus. And then
that beginning of that change of plane in there
on the gracilis.
So it's quite good.
It's quite good. I like what's happening. So
right here we do need to clean up some aspects of the leg there
in order to - because we do a lot of lines
which happens when you keep changing things. So we need to establish
what is the correct one.
At the same time that half tone on the vastus lateralis
will be quite nice. And here we need
clarity and sharpness on that knee.
So - but we'll
get there in time. In the meantime gotta come
back and work a little bit more on the abdomen.
I have a lot of lines that I've
put in as placeholders that might be even in the correct location
but need to be integrated
into these areas a bit more organically.
And this whole
area like cast -
I'm going to sort of
simplify the cast shadow here to make it
a little more - like add a little more atmosphere into it because
we don't need
an incredible amount going on there.
And then we're gonna always return
to not our ASIS
per se but to that area.
Make sure it reads -
reads nice and clear.
And here I'm
doing a bit of that as
well as a I move up the external oblique into
the area that's sort of
clearly the pelvis. And that's where the contour that
edge is going to be very important.
Hmmm I do like
what's happening in this area.
I think what we could do here is emphasize the
tensor fascia latae a bit more. And
there's a bit more of a twist right now, which is nice because that gives us a little more information right here
and we get a tiny
amount of the
gluteus medius there but I don't think we can put
I do want just a general area of tone here so that
I can add a stronger bit of light in
contrast to that tone on these important
elements of the pelvis, including this
top - the top
portion there of the -
the top portion there of the rectus femoris.
And then all of that can be just a little bit softer. But see I
still - I push the half tones, sometimes almost make them as
dark as a shadow, only to
emphasize - only to emphasize
those areas of the
of the pelvis
that we need so much.
And in order to really
make this area convincing,
gonna need to take a look from
and just compare the drawing to the model.
Just to make sure these things read.
I'm going to
actually bring this up even more.
Even more there. And take that measurement
from the -
the one that I was taking here was from the ASIS to the
bottom of the patella.
Should kinda be the equivalent of the pubic symphasis to the
So if I can bring up the ASIS just a bit,
bring down the patella just a bit,
bring up the pubic
symphasis a tiny bit.
And see how that
And be even more specific to
where it is.
that's about as long as I would like the legs. So
those are some changes.
And actually quite major ones. So it happens.
And it happens especially when you're working on something larger
because it's always
some sort of perspective distortion that you have
due to the fact that
piece of paper or the canvas or whatever you have is so large.
Can easily bring that up though
I think we're getting closer.
but the interesting this is that you see that when we do
in fact make a large alteration,
even after having spent some time in an area,
it's not like you're just throwing out
all of the -
all of the work that you put into that area. And
having to start from scratch. You see a lot of it remains and then can sort of easily
to suit your needs.
Can easily be adapted to
suit your needs.
And here there are some -
there are some
some cast shadows we can
And then here,
I want to make sure that we do get a little bit of this -
this change in plane here.
So I'm gonna try to show that with a reflected -
with a little bit of reflected light so we can move this up
into the -
ASIS on that side,
occasionally hint at some specifics
but make sure that this area
here is catching enough light to read.
Right here as well. Alright so we just need to make sure
that the hip -
you're getting a read on that turn of the hip
that we then can continue
and clean things up a little bit.
So I think yeah - I think we're slowly
and closer to -
closer and closer
to completion of our two
The pelvis and the ribcage.
Though of course we tend to sort of
wander around a little bit.
Because if you don't wander around then you don't ever
as a whole. The drawing in its entirety
as well as the
model in his or her entirety.
I'm going to push this even more here.
Gonna push that in even more.
So I'm going to just
jump around a bit
and make a few
a few general corrections.
time not after taking a break but this time before it.
Okay, okay, okay. I'm
liking what I'm seeing. This also can sort of
visually move up. Let's take that proportion
again, see how that
registers. I still think I need to elongate
the legs. So if you're taking a proportional measurement
it's helpful to have either a long stick or a
a cord. And so the proportion that I'm trying to
correct here is from the ASIS to the bottom of
the patella, having to equal out,
having to be even to pretty much the
entirety of the torso. So from
the pubic symphasis, which I spoke about, to the
sternal notch. So the
the idea here
is that I have mentioned that proportion before.
And having been aiming to sort of correct it by slowly inching
towards it. But I don't think
inching towards it slowly is going to solve the problem. And this is a great -
thing to be aware of that if you're
trying to solve a problem it's a problem that you think is rather
small and you're kind of, you know,
carving in and all of that and yet
it doesn't happen to be
solving that problem
it requires a more
drastic - a more drastic solution.
So I'm going to move up
that shadow on the ribcage just a bit and
clean up the area that we have underneath it
because all of these proportions will probably have to
have to change.
Okay. I'll make sure to
that there's a clear read on this area anyway and I wasn't entirely
happy with what was happening there anyway.
So I have moved that up, which I think is
looks interesting enough. Probably closer
to the truth - allowing me to
elongate the oblique
and then taking the oblique even higher
And then moving all
of this right here with the pubic symphasis
up a bit more.
So that most definitely elongates the legs.
And the interesting thing here is that because
I've composed the figure as sort of
as tightly as I have here
I am at -
I can't simply elongate
the legs. Though to tell you a story about
my days in school, I have made this mistake before
so as you see I did not learn from it. And in order to
solve it I did not - I did not
correct it within the drawing but
I added on a piece of board to the bottom
another piece of paper on top, elongating the entire board.
So that's a way to solve it.
We're not going to do this here
but I think we're good.
So that - so we kind of
so see everything is
by no means
do I get everything right straight away.
I think this is a great example of how I did not get that right
and kept it wrong for some time.
Though there was
something at the back of my mind that
I felt was wrong.
But I just kept with it. I'm just going to even
these out a little bit. So the patella here will actually
come down as well because they have to be the some location.
I'm excited that we were able to
get that cleaned up a little bit.
I'm going to make Mark here a little bit
So why don't we take a break and then go back over
some of our corrections and continue with the pelvis and the legs.
bit in here
to get that
rounding off of the
ribcage in this area and then I
might actually need to bring this up just a tiny
amount to even out with the other ASIS.
proportionally I'm okay where we are
and I'm gonna get back into this
clear shadow on the ribs that I removed.
But at the same time, now that I'm going
back into it I think there's something
interesting about how it
maybe could be kept a little bit softer than I initially
intended it and maybe that's okay.
That also needs to come up because that no longer sort of
really pertains to the ribcage as much and is more of a part of the
external oblique. Yeah, there's something about this area now that I actually prefer.
when you do have to make a change, a lot of time
what happens afterwards might actually be the thing you really
needed. So yeah there's that softness there.
It's quite nice and then we have to sort of follow the light along the
that's quite pronounced and I like what I'm seeing.
So now let's get back into
this whole area, but also a bit softer.
Just a bit softer. And I do have that light right there which is
kind of playing into
the structure of the pelvis there, that worked.
So - and also
there is something to be said for working on an area
multiple times, you know, it's extra practice
but also you just, you get familiar
with that area and so
after making those proportional changes, putting it back in
is no big deal.
At the same time, if you could avoid
that, avoid it.
So here we almost
have the ability to
really get some clarity on not
just the iliac crest but the spine.
Sorry not just the spine but the crest.
of the pelvis. Of the
And here we can
accent these areas with
a cast shadow inside.
So that I think is beginning
And we can use the cast shadow
here to really end the pelvis.
And then to maybe unify this entire area
already but we are getting some
clarity here and there's a lot that's happening.
But remember we don't want to overemphasize
the - and then there is a technique that I will
kind of introduce here
in order to establish
some accents, that's simply due to the fact that
sanguine has a
narrow tonal range you simply can't
achieve so you
could integrate - you could integrate a
darker pencil, which I will show you have to
do and still keep it kind of organic because
there are -
it can be done rather crudely and we don't
want that to happen.
But in the meantime we can try to do what we can
the tonal - the
tonal capacity of the sanguine.
And this is actually quite
a dark color.
The drawings you see in the back are
done with a sanguine that was sort of a bit more
orange. This one's got -
this one's a bit cooler
but it's the one that I prefer to use right now so that's why
I'm using it. It's -
ah so we can get some of the half tones
on all of our important elements
in the -
pelvis. And we
can see a little bit of light right here
on the tensor.
And then we also have
the tone that's coming off of -
caused by the
And so I'm glad
that right now you are very much aware
of how much this is an approach that involves
endless problem solving.
And you keep at it until you get it right.
That's the rule here.
And I think I'm going to
add a little bit of light into some of these
and a part of that involves introducing
working into some of these areas
after making the correction,
thing to to do is to not forget that you
need to make sure that those proportions are correct.
it's a bit
easier to actually use a ruler.
Now there are -
they can still be a tiny bit longer
but I am going to keep them
and that's also an interesting aspect
of it is that, you know, after
a point it just has to
It doesn't always have to be correct.
But it can't be
off to the point
really a problem.
I'm going to,
in some places,
add the accents
and even some sort of overall half tones.
And so I'm working up here to get some
unification of tone so that able to
to kind of have a look at the overall
relationships a bit more.
And this is all abdomen
The abdominals there.
And so I'm kind
of aiming to tie in
the pelvis and the ribcage.
that's even before I've worked on integrating
these areas with, let's say,
And so I'm making everything
a little more organic.
And keep in mind that this does not mean that we don't go back in right at the very end and make sure
like all of our accents are in place.
And that part is
enjoyable, that sort of element that like,
the ultimate completion when you're not in this
part that we're currently in which is kind of this in between
and you know it's always extremely
enjoyable to -
off a drawing
and then to complete it.
The part that's
most interesting is - the most interesting
for a student - is the beginning.
And it's because, you know, there's still an immense amount of potential and you can be wrong
and make all these corrections and rather
quickly. It's also the most interesting
time when you can experiment with the
Because there sort of isn't anything
holding you back.
that is a great -
a great time,
especially beginner students as they kind of
just begin to explore
the medium and all of that. And so
I think there's a part that
of course -
and then over time I think
with experience the part that's the most
enjoyable becomes the end.
Where you're thinking about, you know, composing
and just kind of that ultimate
polish that comes at the end.
But there is the part in between the beginning and the end
that I don't think is ever enjoyable for anyone and is
that part that is just
unbearably torturous in
you're only focused on corrections,
on all of those
parts that don't seem to lead to
in fact they allow you - they actually bring you
a bit closer to completion and so that's the
that's the stage where we are
currently. And have been for a while. And
larger the canvas, the larger the paper,
and the more complicated
the harder this
And the more
just kind of aggravating
it is really.
Because it requires a fair amount of concentration.
It, in its own right, requires a fair amount
It's all right. It happens
to everyone and everyone hates it. So all you have to do is
keep at it.
I'm working on the head a bit
now and I'm
kind - and if you saw, with the intent of once again
thinking about our proportions, I kind of slightly
moved down the clavicle and the sternal
notch and I think that kind of should pretty much lock them
into place. And the interesting thing about proportions is that you can't ever really
correct a single area without correcting all the others.
I decided to take a stab at it
not from the pelvis but from above.
remember that the head is
not the most important element in a nude
because we're not interested in a portrait to that
the amount of information in the head has to be
Well that's good.
Kind of evening things out a tiny bit and then we
can reintroduce the shadows where we need them.
It also gives a certain amount of clarity to areas
and allows us to still, to focus on those
main structural elements of the head.
We do still need a certain amount of completion on the head
so let's break and
come back to the head.
to climb up to get closer to the head. And it does change
my angle a bit but I've already established what the angle of the head
is for the most part. I will make corrections as I...
So the interesting thing is that
I have to kind of keep looking at the head from
down here where I laid it in
but working on the head from a higher angle, simply because it's just
easier on a drawing as large
So all of the same elements,
zygomatic process of the frontal bone,
our major changes in plane, the front plane of the
head as opposed to the side plane,
all of these
elements that we're putting in. And so we can observe
the changes in tonality
from where I am currently. I can observe them.
But at the same time
I do need to take a look from a lower angle
for certain specific things.
I'm getting a little bit of the other ear as well so we can
kind of consider it if we need it.
And we can place the other eye, the other
all of that cool stuff.
And occasionally step away to make sure
that we still have the size of the head the way we want it
and to kind of work the
the form of the head with some of the highlights.
And we don't really want to place too much of the eyes but
we're gonna need to. There is something
happening there but think of the eye in its
entirety and place it into
Then we can clean up the top of the head as well.
all your main points
to establish the proper heights
and changes in plane in the head. So think of this
as a review.
Up here I feel like I can make this half tone
a little bit softer on the sternocleidomastoid there.
And to find where
the hyoid is
and the center line of the neck.
Because especially if the head is tilted up slightly
we're going to see the
underside of the mandible.
And that's not to say that that is
what's always happening,
feel like I could make a change
somewhere else but that's not a big deal.
And I'm gonna go back to the head.
The zygomatic arch, the
masseter and the ear
goes off in the first place and we're going to make it a bit
to make sure our shadows
but at the same time
we don't need too much work within those shadows, especially in the head,
we just need proper outlines
and then we'll introduce some of these elements like
the ones here
and all of the pairs of elements with just minor
variation in the
Kinda get an idea for the entirety of the orbit in there.
Mmhmm. So now I'm going
to do a little bit
of work from down here
to really make sure that
these shadows on the mandible
are reading clearer than any of the other ones.
Because to some degree they are the ones
establishing the tilt of the head. And the tilt of the head in the nude is
possibly more important than the head itself.
So I'm clearly
going to be marking
all of the sort of the under
planes. The planes that you don't see as often in the head
that's in kind of a more
Because I want
to show that tilt upwards
and then some light on
that tiny plane.
So you've noticed I have a slightly longer pencil. My other one was a little too short
for my taste and I did not have a pencil extender.
So this kind of allows me a little bit more control the way that I
it allows me to have the control that I like
So as soon as you feel like
the pencil you're working with is
comfortable to work with as you'd like it to be
just get a new one.
And then kinda pull up the other
Alright, alright. I like how this head is coming along.
Now I haven't stepped back in a while so I might hate it
in second but...
And add a bit
of light on those important constructions of the
skull that we know so well by now.
And just placing the neck in a
general half tone is
probably the right thing to do.
And then to establish
that highlight that I see so clearly that I probably erased
on the sternal
head - sorry on the clavicular head
of the clavicle when I
lowered the clavicle. But lowering the clavicle gave me a little bit of room
on top of making some proportional corrections gave me
a little bit of room
to add some important elements in the
Now there are
eyes in there.
We don't wanna over
And in the
case of our - of the eye that we see
here, the outer corner is
higher than the inner corner. And that
kind of establishes its character. The eye's character.
And our model's. And so
that's what you
kinda need to focus on and pick up some of these smaller
details, strangely enough without getting too caught up
And now I'm going to step away,
have a look, I'm okay
with it. And move on.
And we kinda just trying to see the inside there, the inside of the orbit.
you can continue the line of the mouth into the shadow.
But remember the thing we focus on
is the form of the skull
inside the head.
I need to keep my
pencil a little bit to give it
a finer point
as I approach some of these specifics
And let's see how that line reads.
It reads alright. But it's still a line that's not
describing the form as much as it can
in that area
so we're going to have to introduce sort of internal
planar changes to make that work.
The nasal labial,
the fold right there, the wing of the
nostril and the nose. I don't know.
I heard it called a few things.
I have called this part the wing of the nostril
but I've also heard it called the wing of the nose so
when I say that I am referring to the same point.
Hmmm, alright, alright, alright. So the head is very close to
where I would want it to be for a nude. Aside from the
ears. That's simply
seeing that overall half tone
so that I can explore where these highlights
remember you're not just sort of placing the highlights
optically or using
them really in order to achieve some kind of effect
a bit more
common in painting but
also in a sort of painterly approach to
drawing. But you're using them -
you're using them
to establish that outermost plane change.
while we're up here I think we can get a little bit more going on
with the clavicles
with some slightly stronger hatching and just getting things more
organic and softer.
As I keep saying, there's only so much that I can really explain here
but I'm glad that we,
despite a lot of these
and I told you about the time in school when I had to add on
bits of board
in order to correct
a proportion and elongate
But that still
wasn't sort of as bad as when some of my teachers
would change the entire post
halfway into the drawing.
they sometimes would explain it, you know, it would be -
it would have something to do with how
it would be an improvement on the pose and that's all that
mattered because an improvement on the pose would be an improvement on our
drawings and other times it just seemed as though
the instructor would get tired of it
and that was it.
And they decided to move on without allowing us,
the ones actually drawing it, to -
or at least
without even allowing us enough time to understand what was going on.
So at least
here we kept the same pose.
Okay. I'm gonna keep going up here because there's a lot I see.
and kind of begin to pull this closer and closer
to completion. And there is something which might begin to happen
and it's happening in a couple areas and I spoke about it very
briefly but with all this
erasing you realize that you've kind of
exhausted the paper.
But that's not as bad.
unless the idea is that you're
having a drawing that's perfectly clean
but I'm sure if you are then
and you've been following along
with my approach, you've probably
given up on that as a goal.
Because this is not clean
That highlight was helpful.
And remember that we can use some of these
creases as well to help structure
some things. But also remember that
this whole area right here is the
high point of
the form of the obicularis oris that we can
lay in some half tones on these other ends
of the side here.
And inside here
we're going to want
something a little bit sharper
I think I can pull this in
this sort of the outer part of the orbit there I can pull in.
I think it makes sense to begin to place the ear at least a little bit.
It is catching light
and remember that
the ear is sort of
structured off of those main components that we
covered. The tragus, anti tragus, helix - uh
anti helix and then the helix on the outside.
But I think we're going to return to
because in general I like
I like where it is and we're going to need to
sort of unify it and make sure it's complete without
too much extra detail. The ear included of course.
That's - there's much more to do on the ear there.
But I think it's time to
move on to the
and the lower leg in general.
to use my - oh and there's
a lot of clarity there right now so why don't we use
I'll be there in a moment. There's
always something I pick up every time there's
a break that I feel like I just need to apply while I
So what I can do is I can have a seat here so
I was standing up here on this
small stool that I had
but now to draw the knees and be a little bit closer to them
I'm going to have a seat on it. And
let's explore some of these elements of the
And here we just need to lock in the patella.
And I know like we can't see it
so clearly but the other thing we do need is we need a general
tone over the knee because if you
remember its angle in profile.
it's going in
with this area on top coming out
being an up plane. But the knee itself is
a down plane. Now a note about
standing up is that in general I
prefer to work standing up. However I have
found that if I do need to focus on
a single element and not hop around
it really helps me concentrate and
when I have a seat,
possibly because I
can't jump around
anymore because I simply can't reach
without standing back up.
But also there's something calming about
So here I am, I'm working on this knee. Which isn't
an important knee but remember we're still gonna accent that one
we can use some of these
shadows up here to make sure this area above
the knee, which in part belongs
to the vastus medialus but also the sort of -
called also by the
this area, this is sort of a continuation
of the iliotibial tract, which as you know is on the
outside but it crosses over and squeezes this area.
And so that's
what's causing this.
So here we are
already beginning to see certain important elements of the knee.
And as you saw, I'm also
making sure to go over the contours. These are -
these can give me the proper angles but they're a little
they're kind of over -
over angular. That's not a
term but they
describing the actual muscular
They're kind of giving me a general
direction. So here
occasionally there's a tightening of
And so that exposes some
details. But remember that the whole
idea here is that we try to capture
all those important parts that we covered. So -
and anyway we can we have to see -
we have to see the
lateral and medial
condyles of both of the femur
and the tibia. The
tibial tuberosity, which I'm working on right now
as well as let's say the
contour, in this case, of the
iliotibial tract there.
The movement around the knee to
towards its insertion of the sartorius gracilis
There is a light there but we don't
need it too pronounced. Now here
even in the contour of the leg
we can try to show as much as we can. So we have that sort of protrusion
out and then again
slightly of the peroneus longus
And then here we can't see that
large amount of everything
but we know it's there and we have our
sort of in profile the lines of
the gastrocnemius and the soleus.
Here we have the plane even
tibia. And some of these areas,
just a little bit more accent - ah and you can see it.
There's a bit more of a light hitting that area, you can
how there's a protrusion here,
which comes from the sartorius. So it's all here.
And I spent
quite an amount of time studying what's going on here
I wouldn't go so far as to say I can operate
but I can draw a knee
at least I should be able to by now.
And then here just using some of the tone
there to show the insertions into the common tendon of the
quadriceps. And see I think I'm even
describing everything in a different way now that I
standing up. I feel calmer.
I assure you that will
go away as soon as I stand up.
Ah perfect. So we do see a little bit of a light
on the gastrocnemius right here.
This is most
problem of not standing up of course is that you can't
step away. Or you can - you can stand up but it's
sort of - you don't - you get caught up in a small area and you
end up not comparing
to a larger one or to the whole.
Is a bit of a shadow over there.
So I'm just going to place it rather
where we work now and
don't want - we need the foot in
a tone of its own for the most part. And remember
to work off of those tendons and work off of the highest
point, which happens
to be along the
And let's add
an area of light on the medial malleolus.
And then try to show these
changes in plane
even here I've jumped back see, so I do still jump around just within a small
area. I can see that I can pinpoint
And here is where I would like to make
sort of an accent on that change essentially
in plane, though it is round, but that beginning of the sort of
the turn away of the form there on the
And then to really plant the front we're gonna need to see
where the shadows are.
Including the ones
underneath here. And even
show the cast shadow under it.
And remember to use the tendon on the other side, the
tendon of the extensor
digitorum longus of the foot.
Maybe place a shadow under the malleolus
and establish the
clarity the calcaneus.
And we need
to actually give us the structure of
One, two, three.
and there's the pinks toe and then there's that extra area
behind it so we can really curve that arc.
And I'd like to step away,
take a look.
I'm kind of okay with what's happening here.
And that is enjoyable when you do finally
step away and things are alright.
It's not common.
Over here we have the tarsals
so we can accent them.
In terms of this outline.
Bit more clarity down there and it's right to the edge here.
Okay I'll leave that for now.
And let's work on the other
knee. The other knee, if you recall, is more important.
more that we can actually see here. So we can see
the patella. And it's right there and it's in light
we can see the
But what's even more interesting is that under this cast shadow from the vastus
medialis is the area, which you remember,
of the medial condyle.
There we go. Now
this ends and we see
the sartorius and all the other
stuff that goes along with it
coming around there.
So now let's keep going. Here
we can get some
work done on the vastus medialis.
And we can get a nice
core shadow in those parts.
we can kind of have a group of
the quadriceps so that we can
have a clear change of plane on the common quadriceps tendon.
the knee is somewhere I like to make a nice, clean contour.
But let's get back to the
patella itself and underneath you can see
it finally falling into shadow
and you can see that happening right
on the tibia and the
then we can take this, the patellar
ligament. We can see it and we can take it right down to right here
where we have our tibial tuberosity.
And then here you
the group there attaching
with the semitendinosus
we can move out and begin to get
And remember it's on top
on this knee.
Mmhmm. So the question
is how important is this knee now in relation to the other one. And I still don't think
And then we can
take that part of the tibia that we can see
and I would just continue it all the way into here
and for the purposes, in some ways,
designed this is
going to be pretty much all I'm going to do with the foot here.
I'm gonna clean up
its contours a little bit more
but we're already having some
issues with composing
in terms of importance
some of these elements.
So I think
this leg can
almost remain a contour - or rather not the leg,
well yeah. The leg and
but it doesn't need to be a little bit cleaner. And the proper contour.
I'm cool with that.
Okay so what I would like to
do is to
still get some work done on this knee and it has to be a little more specific.
I'm standing up because for no particular
reason I just got tired of being seated.
So some of these
tiny little characteristic elements that will just add
even small contrasts in those areas can be quite
helpful. Just gonna slightly tone down that
Make sure we have that
crease above the knee there.
Make that highlight a little
Now the adductor group here - this contour now
is feeling lazy to me,
unworked. And so
That's a little more exciting.
go back and make sure to
mark where we see the
And then on this side we get
iliotibial tract attachment into the
Some contrast on the tibial tuberosity.
And now just to get a little more specific with the patella itself,
it needs a form that's
a little more
And now I'm beginning
to feel that there is more accent
on that knee than on the other one.
And the way to try to do this is to begin to kind of
we have a little bit of this like
the background. So we're going to utilize it to establish some accents,
some contrasts and here
we can just take off some of the -
we can bring a light so
this is kind of a
part of the process that's a little more about
And the way to really activate some of these
contours is to work them into the form.
I feel like we can pull that in a little bit more
even bring up the light behind this knee. So see
so its just a matter of working in contrast. I'm not gonna
make it extremely light but just enough
for that to work.
And slowly but
surely get a little more precise
with our contours there.
I'm going to step away to take a look
at what's going on.
And then I have a feeling that I kind of
over emphasized the tibia in terms of light. That is
a plane that I would like to tone down
a little bit more.
And then I'm gonna
clean up that whole area.
But I would not do too much there
in terms of contrast. And that leg is now out of the way
I think we can do a little bit more here.
The light on the head of
the metatarsal of the big toe.
Alright, so why don't we take
a break and then move on to the arms.
but as always just gonna do a little bit more
in this area right here
oblique. Gonna bring this up
a tiny bit. Alright and then
here this - I know I put this in earlier
but I feel like this is a little bit
sharper than I want it so
just gotta move up with a hatch here
to soften this whole area.
And add a light
right there. And I'm gonna go back into a lot of these areas
and add some lights. Okay so
let's see what's happening here with this
I can carve in there to get
the biceps in there
and that shadow -
And we need to have that overlap
We need to be able to see it above
the lateral epicondyle of the humerus
and then here
we can begin to kind of wrap the group
around. And I'm not dividing them
into the brachial radialis and the
extensor carpi radialis,
I'm keeping them as a group.
but then at the same
time I do need to show
the group ending in a sense
right on the other side of it there.
And we also have to take a look at some of these contours, some of these edge
keep in mind we are going to
go over all of them as we aim to
complete this thing.
So right here
remember we have -
as I said before what I'm going to call
the tendon of the
adductor pollicis longus.
and I want to have - you can see
almost the entire head of the ulna and it's quite -
occasionally I break my pencils.
and it's quite pronounced.
It's quite pronounced. But we can't
have it be catching too much light though
remember that the head of the ulna sort of pops out
in between the carpi - the extensor
But the wrist is an important
element and we cannot overlook it.
And there's even - we can see
clearly a shadow
we have the actual sort of placement
of the wrist with the carpal bones.
I'm gonna move
down and I'll follow - you can see the plane break, you can see
the change in plane and this right here is one of the
tendons - one of the tendons of the
is some of the - some of the muscles of
and for our purposes you only essentially need to be aware of
this one right here which is kind of a ball.
I don't wanna add any -
I don't wanna add more anatomy
since this is
this is the culmination of all of our
efforts so far - this is
more review than
class, even though we have been talking about anatomy but only the stuff that we've already
covered. Now here I do see
light right now and I do think we should use it to make it
catch on the group of flexors in there.
We do have a cast shadow there
And then - yeah here we have
those parts of the
of all of the origins of the
flexors on the medial epicondyle.
And I see that this is sort of curving in
a little too much. At some point it does begin to curve out
So that's what I want
there to be.
here I will
before I go on I will step away for a moment
and take a look. I like
what I'm seeing so
I'm gonna keep at it and
just kind of lay in the hand but more
tonally than anything else.
Make sure our contours are reading and we get
a clear idea there of what's
happening with the end of the metacarpals.
And we only really need to place some of these
areas of shadow
in a few areas,
metacarpals that are closest to us.
And the thing is with hands is that you want to compose them.
You don't want to leave them,
you rarely want to
depict them the way that you perceive them
you want to make sure there's something happening there
that a certain movement and variation in the
way the fingers are
gives you something a little more exciting.
And this is the case always.
following sort of the highest point
of this group of the brachial radialis and
extensor carpi ulnaris longus as well as a little bit of the
brevis behind it,
we're going to just make sure
to have the highest point of the form which
happens to be
sort of accented by that vein
on the arm, which we're not putting it in yet but we're just gonna keep it
Overlap's important let's
end this arm and let's make
sure to get clarity on this cast shadow
biceps. And in general
you can place the upper arm in a tone
of its own a little bit.
Where's my - oh it's in my hand. My chalk.
Yeah, yeah, yeah. Hold on, hold on. Okay. No, no, no.
I'll let you know. I'm sorry. So
And I've done sort of the opposite of what's
actually happening up there.
kind of - I've made the lower arm
a brighter value than the upper arm
which is not
what's happening up here but I think
it's more effective. And as you know
if there's something that I think is more effective, I go for it.
And of course you might not agree and that's fine
but the idea is that
And that's the most important concept.
That this is not an imitation
but an interpretation.
arm does not need to have
that amount of detail
and in general, in terms of
value, it should be lighter.
So as you see we're kind of coming closer
to the end of that part that I said was
dreadful, that part in between
beginning a piece and completing one, that is -
for the most part
just sort of endlessly laborious.
And then everything up here
the arm and all that, I'm going to treat
like I did
the other - like I did the foot on
the leg here on the
I'll kind of keep it as
and see like even that contour aims
to describe the structures underneath.
So here would be
the entirety of the metacarpals
following by the carpals.
So in this
case, with this arm, there's a certain amount that's happening here which is, I'm sorry
to say, but almost pure invention.
But I do like the stick he's
Mark is holding and it's got a lot of character.
don't need to take it all the way down to the bottom of the page.
I mean we might. I don't know yet but initially I go
in thinking we don't need to.
There's even a cast shadow from it on
to the wrist, hard
edge there right, remember. And
we actually - and then up here we can continue it upwards as well.
Now I'm doing a little bit more here than I did on the
on the foot. Just a little bit more
because it is sort of higher up and -
and I'm going to make a
slight alteration to the way the hand is and I'm going to add
up here as opposed to wrapping around like it's actually -
like what's actually happening up there.
And that's mainly because bringing it up would have
a more interesting - first of all it would make it a bit clearer.
If I have it down here it's not entirely clear what
But maybe I'm wrong. I'm gonna put both of them in
and see which one I like more.
Look at that. I was wrong.
I like it the way it actually is,
I think it's clear enough.
And so I would not, of course, call that
an extremely complex creative decision
but at the same time
it is a creative decision and so
I'm glad that part of what
I'm getting across here is not only just some sort
concept of anatomy and applying
it and hatching and tonality
and all that important
stuff but also
I'm kind of opening up
to be a creative
approach. And that's part of
that whole idea of keeping everything in a state of
a state of flux.
And I think that
it's now obvious what I was talking about earlier
how after spending most of the time on the pelvis and
the ribcage and some of those proportional
issues that I had and say on
going into all of these other elements, arms and
hands and legs and all that does not
actually take half as much time.
But okay so why don't we
take a break and then work to
complete this thing.
together. And that means that we
focus on outlines, overlaps
along the contour, we focus on bringing the contour in,
establishing accents, all of that at the same time. And that's a lot to
do but the idea is that it all happens at the same time
and that does not mean that there might not be a moment
where I will
kind of pause
work on one area. That might happen.
So I just saw a light right here.
I'm going to use it but I'm going to sort of treat it rather abstractly.
Remember we're not interested in a
a full portrait here.
So I think that
begins to place the eye a little bit more.
But we're more
concerned with some of these - the