- Lesson Details
- References
- Instructor
- Iliya Mirochnik
- Subjects
- Drawing
- Topics
- Composition, Design, Hands, Head & Portrait, Human Figure
- Mediums
- Chalk, Colored Pencil
- Duration
- 10h 41m 56s
- Series
- Russian Drawing Course 4: The Human Figure
You’ve arrived at a pivotal moment in your curriculum.
This project is the culmination of everything you’ve learned in the previous portions of this course. Approach it with a confident and newfound understanding of anatomy, a keen eye for form, and mark-making proficiency.
Join Iliya in this execution of a long multi-figure composition from life. With the addition of another figure, elements of composition and narrative come into play.
Ukrainian-born artist Iliya Mirochnik 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.
Materials
- Conte Pencils – Sanguine
- Conte stick – Sanguine
- Kneaded and Hard Erasers
- Sanding Block
- Utility Knife
- Roll of Paper or Smooth Sketchbook paper
- Easel
Used in video:
- Cretacolor Art Chunky – Sanguine Light
- Conte Pencils – Sanguine
- Stretched Drawing Paper – 46 inch (117cm) x 69 inch (175cm)
Reference Images (2)
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1. Lesson Overview1m 23sNow playing...
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2. Staging the Scene & Beginning the Lay-in21m 50s
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3. The General Placement of Value23m 35s
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4. Male Torso & Head to Female Torso20m 16s
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5. Female Head & Torso Development21m 6s
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6. Modeling Smaller Areas of Form25m 9s
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7. Working From Shoulder to Shoulder20m 33s
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8. Working With Just Amy22m 57s
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9. Working with Just Jonathan19m 58s
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10. Modeling Jonathan's Chest & Torso12m 42s
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11. Getting as Much Information as Possible21m 31s
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12. Modeling Amy's Chest & Torso20m 58s
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13. Modeling Amy's Legs and Feet21m 13s
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14. Evaluating the Whole Composition21m 22s
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15. Modeling Jonathan's Face20m 42s
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16. Modeling Amy's Face21m 10s
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17. Recomposing the Large Tonal Relationships26m 59s
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18. Achieving Unity20m 19s
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19. Polishing Amy's Hands, Arms, and Thigh24m 59s
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20. Making Changes to Amy's Shoulder21m 30s
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21. Modeling Amy's Neck21m 30s
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22. Modeling Jonathan's Upper Torso & Arms15m 34s
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23. Beginning the Final Pass22m 1s
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24. Modeling Jonathan's Arm20m 30s
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25. Polishing Amy's Face20m 29s
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26. Polishing Amy's Torso20m 41s
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27. Polishing Amy's Torso PT 223m 19s
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28. Enhancing the Line Quality21m 5s
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29. Polishing Amy's Foot21m 8s
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30. Working Towards Completion21m 13s
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31. Completing the Piece20m 49s
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32. Closing Thoughts1m 47s
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33. Assignment Instructions1m 38s
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