Figure Drawing Lesson 007 - The Secrets of the Masters - Figure Drawing Storyboard Guide (Part 3/4)
Figure Drawing Lesson 007 - The Secrets of the Masters - The Structure of Man (Part 3)
Learn to Draw the Human Figure From Your Mind with Riven Phoenix
This visual storyboard guide for Figure Drawing Lesson 007 - The Secrets of the Masters provides step-by-step figure drawing instruction with annotated frames and detailed descriptions.
Visit the official website: www.alienthink.com
Frame 136
time when it to do with anatomy.
Frame 137
So we basically have to do the same thing here, but we have to do everything on paper.
Frame 138
So to do that, what we are going to do is invent, invent the actual structure of every
Frame 139
bone, every muscle, the surface anatomy, come up with all the rules, meaning that we're
Frame 140
really the pioneer, what we're doing is we're approaching figure drawing from a point
Frame 141
of view as, as if we are the ones who are going to pioneer it, we're going to create this
Frame 142
thing called a human being with all the rules, with all the secret information.
Frame 143
So when we draw it, it just looks like a human figure, which I proved to you in the
Frame 144
beginning of this course, when I drew it out like this, right, having the secret information
Frame 145
as to how the human figure is constructed, right.
Frame 146
And in this invention process, we will end up doing the same thing and that is to master
Frame 147
the human figure.
Frame 148
So obviously, the difference here is that we are going to do everything conceptually in
Frame 149
the Vinci, what he did was he did everything from reality, he turned it, he put it onto
Frame 150
paper, understood it conceptually, and obviously had a life drawing class of an experience, right.
Frame 151
So in figure drawing, what I'm showing you here is that 90% of the human figure, when
Frame 152
you're drawing it out onto paper, can be understood conceptually, right.
Frame 153
And that 10%, the remaining 10% has to come from life drawing and that, so that means 90%
Frame 154
is going to be conceptually, which is the structure of man, and then you're going to get 10%,
Frame 155
so we can divide that 10% into 5%, each, right.
Frame 156
So meaning that this 5% here must come from life drawing.
Frame 157
It has to, right, because you really have to see the human figure in the end, draw it
Frame 158
out to understand how the muscles are really wrapping and moving around the body.
Frame 159
This is something we just can't do anything about, right.
Frame 160
But the difference is that when we go through this course, and when you're doing life drawing
Frame 161
class, you'll just know exactly what each muscle is.
Frame 162
So it leaves this 5% or what is this 5% and this 5% is something that also can be understood
Frame 163
conceptually, and that is nothing more than understanding the counter of the human figure,
Frame 164
all these lines, right.
Frame 165
So because it's the same thing, if you went through life drawing classes for years and years
Frame 166
and got it to that level, you end up having all this information that counter aligns
Frame 167
anyways, right.
Frame 168
So meaning that you can also document that as a conceptual idea.
Frame 169
So basically the structure of man is really all about understanding how to draw the human
Frame 170
figure 95%, right.
Frame 171
That 5% has to come from life drawing.
Frame 172
There's nothing we can do about that.
Frame 173
So now I just want to touch on Michelangelo and we'll be done with this lesson.
Frame 174
So the thing about Michelangelo is that Michelangelo was an architect, right.
Frame 175
So he was really a sculptor.
Frame 176
So his understanding of the human figure was on a completely other level, right.
Frame 177
He was understanding everything in 3D, that's why he was a master.
Frame 178
So one of the things about Michelangelo is that he burned all his studies.
Frame 179
Every time he did like a painting or something, he always made sure that all the studies,
Frame 180
all the secret work that he did, he got rid of it.
Frame 181
I guess he just didn't want to show how he came up with his stuff.
Frame 182
So recently they actually ended up finding about 600 drawings for Michelangelo that he
Frame 183
didn't want the world to see.
Frame 184
And they've actually published a book about it and it's called Drawings of Michelangelo
Frame 185
and they're not that many, but even in his process.
Frame 186
So here's one of the studies that were privileged to see of Michelangelo,
Frame 187
but you can see that Michelangelo, even he, does the same concept in his studies
Frame 188
when he did sculptures or paintings, he would go through a process of understanding.
Frame 189
So if you can see here, he's putting the bone structure down.
Frame 190
He's trying to even understand himself how all the muscles just goes to fit together.
Frame 191
So when he sculpts it or paints it, he knows exactly where everything's supposed to be.
Frame 192
And over here you can even see like this cartoonish drawing of this bone structure of the leg
Frame 193
where he's trying to put all the muscles over here, right?
Frame 194
So in here, again, he's just trying to understand the contour lines of his drawing, right?
Frame 195
So each artist, what I'm showing you here, that even Michelangelo uses sketchbook
Frame 196
and he documented his process, right?
Frame 197
These are some of his secret stuff that we're looking at as to how he was able to do it, right?
Frame 198
And so the, and here's another drawing from Michelangelo,
Frame 199
this is obviously from the system chapel, right?
Frame 200
So he did a, he went through an enormous study process.
Frame 201
He got a lot, a rid of a lot of his drawings,
Frame 202
but you can see that his mastery was in surface anatomy, right?
Frame 203
He understood just like we are going to all the entire structure of the human skeleton,
Frame 204
but his power was really in surface anatomy.
Frame 205
You can see that he made sure that all the muscles showed through, right?
Frame 206
Even here he's just doing all his study work here.
Frame 207
You can see that he's erasing the foot, changing it around,
Frame 208
trying to make it as realistic as possible, right?
Frame 209
So that is the difference between in, in like a nutshell,
Frame 210
if you had to compare Da Vinci and Michelangelo, right?
Frame 211
Da Vinci is the person who documented anatomy
Frame 212
because he just left his studies, we know he did, right?
Frame 213
But Michelangelo got rid of all this stuff,
Frame 214
but he left these clues here for us to take away from his work
Frame 215
as to the power of surface anatomy, right?
Frame 216
He understands how all the muscles connect, right?
Frame 217
So this is the idea, like in this,
Frame 218
what I'm all the stuff that I'm saying to you is called artistic thinking, right?
Frame 219
We're just talking about loud, thinking about helping the mind understand
Frame 220
how to put this pivotal moment in the structure of man together.
Frame 221
This is like this idea here that we're trying to get the mind to understand, right?
Frame 222
So his concept here that he's stating from his drawing
Frame 223
is that you got to understand how all the muscles connect,
Frame 224
where this is supposed to connect and how they move across the body, right?
Frame 225
So he's more about this idea here.
Visit: www.alienthink.com
2026 Riven Phoenix and AlienThink.com
Keywords: figure drawing, figure drawing lesson 007 - the secrets of the masters, drawing lesson, art instruction, figure drawing tutorial, anatomy for artists, drawing storyboard guide
Labels: Art Tutorial, Drawing Lesson, Figure Drawing, Figure Drawing Lesson 007 - The Secrets of the Masters, Storyboard Guide
0 Comments:
Post a Comment
be nice
Subscribe to Post Comments [Atom]
<< Home