Fantastic Anatomy Video Series #01 – Skull and Face Overview
Fantastic Anatomy’s philosophy for learning anatomy is to learn it without proportion. Proportion (while important) can be boring and tedious, and does not allow one to be very creative.
In this drawing anatomy series we will learn the skeleton and muscles first, in relation to each other, but not in strictly human proportion.
Elves, orcs, dwarves, big-foots, aliens, monsters, mutants, wierdos, and other strange faces and figures of all sorts! Basically, how to draw fantasy characters 🙂
This method is perfect for beginning or intermediate artists, or advanced artists who haven’t studied anatomy yet or are just looking for a new, creative way to have fun with their art. Also great for people who are looking for how to draw your D&D (Dungeon & Dragons) characters or any other tabletop roleplaying game characters.
Feel free to share links to the drawings you make using this method below. I’d love to see what you guys are coming up with!
Peace, God bless, and Stay Fantastic Everyone!
From my Academy of Arts Online painting class:
Simplified Painting Process: Review
- Establish your idea.
- Do a variety of compositional thumbnail sketches.
- Gather necessary references.
- Develop a more refined sketch.
- Draw out your composition on final canvas.
- Check for drawing errors.
- Develop lay-in.
- Check for drawing, color, and value edges.
- Evaluate your overall lay-in.
- Fix or correct any areas that bother you.
- Begin to develop modeling within forms.
- Look for color modulation or variations within areas.
- Stand back and evaluate what you have done.
- Change anything, correct or add to what you feel you need.
- Continue modeling other areas.
- Again look for color subtleties.
- Do not over refine any area.
- Re-evaluate what you have done.
- Fix any problems.
- Continue modeling and re-evaluating and much as necessary.
- Make sure to keep areas a bit understated.
After several passes you will be ready to finish the painting.
I’m so exhausted from all the work! I’ll post details tomorrow but here are the IMPORTANT parts:
1) I’m an Amazon Bestseller as of 7 pm last night
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3) You could win a Kindle Fire HD
4) Details here: www.smnelson.org
God bless and goodnight!
A really good guide from my online class at AAU:
- Choose your image from a photographic reference.
- Do thumbnail sketches for your composition. Add value.
- Choose the format that suits your subject (vertical, horizontal).
- Sketch in the general shapes on a toned canvas.
- Analyze basic values. Squint!
- Begin painting from the background; the sky, hills, mountains — any distant elements; lightest and coolest areas.
- Work from the background towards the middleground, then the foreground; from top to bottom of the canvas.
- Squint and block in mid-darks (not darkest-darks) with a large brush. Keep it loose in fashion.
- Block in mid-lights (not lightest-lights) using more intense colors for middleground and foreground.
- Check the shape characteristics and differences in clouds, distant mountain, trees, buildings, etc
- Check the edges; softer edges and less contrast in the background; more contrast and texture towards the middleground to foreground (see Module 4: Session 6).
- Add more subtlety within darks and lights.
- Refine detail where necessary. Be mindful of the focal point.
- Add darkest darks and lightest light accents. Squint again!
- Clean Up!
The Last Judgement, Michelangelo, 16th century
(click to view details)
Originally, all the figures in The Last Judgement by Michelangelo were completely nude, including Christ (pbuh) in the center. The people who painted the drapery later to cover the sexual organs are reffered to as “pantie-painters.”
“In February of 1564, Michelangelo himself made that final transition. In his last years, the great artist had secretly lamented his dedication to art, wondering if it had been an idol, a distraction from God. Forever devout, the workaholic lone wolf of Renaissance art, the man who did more to transform the treatment of the human body in art than anyone else of his age—or any other for that matter—died with a gnawing spiritual insecurity to match his gruff humility.”
Jupiter and Io, Correggio, 16th Century