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In this lesson, we are going to bring together all of the structure and anatomy of the head and neck we’ve been studying in order to create a fully rendered portrait drawing from a live model.
In this lesson we will be using reference from one-of-a-kind castings of a real human cadaver by famed art anatomist Eliot Goldfinger to do a study of the form creating muscles of the face.
The skull was a critical part of the learning process at the Repin academy. In this lesson, Iliya will break down the construction and anatomical features of the skull.
In the final lesson in the Fundamentals course, you will be combining all of the concepts and training you have learned thus far. Using the stretched canvas that you made at the beginning of this course you will draw John Asaro’s planes of the head sculpture from the photos provided. You will focus on turning form, establishing clear planes, clearly showing your light source and developing proper values and value relationships.
Now that you’ve internalized the fundamental techniques and concepts related to Frank Reilley’s rhythmic abstraction of the head, Mark encourages you to tackle more nuanced angles, poses, and expressions of the portrait in the final lesson in his series. He demonstrates various approaches using toned paper and colored pencils, as well as a technique for […]
In the fifth lesson of the series, Mark diverges from the curvilinear rhythmic approach and shows you how to conceptualize the head by using planes and connecting lines. Many art teachers harp on the need to focus on construction, without pointing directly to what they mean by construction. In this lesson, Mark takes direct aim […]
In the final installment of Johanna Schwaiger’s first series at New Masters Academy, she makes decisions about the composition of the portrait. She sculpts a distinct set of plane changes at the sternum to distinguish the anatomy from the classical bust structure. The neck muscles and trapezius is sculpted, the eyes finished, and the brows […]
In the fourth lesson of the series, Mark demonstrates an approach called underpainting or imprimatura, wherein the first layer of paint on the canvas serves as base tone for the rest of the forms painted on top. In this lesson, Mark shows you how to apply your understanding of the planes of the head and […]
In the third lesson of the series, Mark begins with some general rules and tips for monochrome drawings– designing the shapes, the values we assign to them, and the edges between them. He then moves on to draw three shadow patterns on three heads based on the Reilly Abstraction. He incorporates three different lighting scenarios […]
In the series’ second lesson, Mark introduces Frank Reilly’s abstraction: a rhythmical representation of the shapes and forms of the head. Internalizing this model will give you an excellent starting point for any portrait or head drawing. Mark first explains a little bit of the history behind this abstraction, then moves on to show you […]
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