Master Studies Workbook

OVERVIEW

The objective of this exercise is to create a study from an artist that possesses certain aesthetic skillswe wish to incorporate into our own thought process. The practice of copying master works hashelped to train some of the greatest artists who have ever lived. The key is to pick works that not onlyspeak to you but offer some insight into areas you have weakness in. For example, if an artist wishesto learn exceptional design in drapery, then Bernini studies might be helpful; for beautiful, elegantdesign and subtle value control, William Bouguereau. We could go on and on. Refer to the handoutthat lists various artists and their strengths. I have picked a female from Pierre-Paul Prud'hon and amale from a Russian artist whose name I do not know. Master studies are always a joy to do, and Iwould advise you to always have one going. I have done dozens of them over the years.

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 1

P�serving �e Traditions � the Maste�1

D R AW I N G P R O G R A MFigure Drawing Phase II: Basic Figure Construction—

Master Studies—Male & Female


P�serving �e Traditions � the Maste�

MATERIALS

PHOTO

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D R AW I N G P R O G R A M

SETTING UP

- T IP -

Lessons in Classical Drawing: Essential Techniques from Inside the Atelier

ASSIGNMENT 12: MASTER STUDIES—MALE AND FEMALE

The student will attempt to make a copy of the drawing I provided. You can feel free to crossreference my drawing as well. Try to focus your intention on getting a good feel, not exact.

Part 1: Watch the video clip of how I lay in my drawing. Try not to rely too much on the video after watching so as to not allow it to become a crutch. This is obviously up to you, just do what is best for you.

Part 2: Now start your master study.

1) Set up reference and get your mind focused. Take a few minutes to study both the Russian drawing and mine.

2) Start slow and light. Remember, working from the photos, it is the same process.

3) Each time through from head, neck, crotch, and ground, you should layer another pass of information.

Part 3: The finish. Bring the drawing up to a full-value finish. A study like this could take anywhere between 3–6 hours.

Note: Focus on trying to relax and enjoy the process. I think you will find master studies agreat exercise for so many reasons. Take your time. Once you have finished these, there arehundreds of potential artists to study. Use your own taste to sift through them and find theones that resonate with you most.




Master Studies—Male & Female




Master Studies—Male









Here is the first step known as the lay-in.I also have included the “mapping” phase.This is identical whether you are drawingfrom photos, casts, or models. Notice howlight and noncommittal these lines are.This gives you an opportunity to makecorrections if they are necessary, and in most instances this will be the case.

Here is a close-up of the previous image.The idea is not to make a forgery butrather a very soulful and accurate ren-dition. If you have a tendency to be aperfectionist, try to keep it under control.





In this stage, I have inserted the value #5into my map. Although the drawing wasalready looking three-dimensional in theprevious phase, this should really help.This is assuming you mapped your edgescorrectly. If not, don’t worry, that is whyyou will stay light. This way you can stillmake any corrections necessary.

This close-up simply shows a bit moredetail. Although somewhat redundant,I think you will still find this helpful. Iwould imagine it will take you anywherefrom 1–3 hours to get to this stage. Takeyour time, it is not a race.





In this stage, I am starting to slowly workup my shadows as well as half-tones. I amusing the method where I build up to mylightest lights and darkest darks. Someartists like to establish one of their dark-est darks at this time. Both methods areacceptable, the choice will ultimately beyours.

As I work my way around the drawing, thehead usually is leading the show. We generally work starting head, then neck, crotch, ground. Each time through we addanother layer of rendering as we work ourway steadily up to a “finish.” Dependingon your level, you could be 3–5 hours bythis stage.





At this point in the drawing, we can reallystart to see the character or calligraphy of the cross-contouring begin to takeshape. This is one of the main reasons fordoing master studies. You are trying topick up the other artist’s look or feel. Ialways let a bit of myself come out in thedrawing. Remember, we are not creatinga forgery, just a soulful rendition.

In the close-up you get a feel for the small,choppy cross-contour strokes. Look at theforehead. Notice how I go with and againstthe form. I am sculpting form, so it looksmore aesthetically appealing to the viewer.Most of my favorite draftsmen combineboth linear and tonal passages.





Here is my finish. When compared to theoriginal, it is not as full value. It could useone more pass. Feel free to bring yours upa little by taking another pass at it if youdesire.

I included a close-up of the head. I thinkit is too light, obviously. I like the callig-raphy overall. At this point, you mostlikely will have anywhere between 6–8hours on this piece. They do eat up sometime but time well spent. I have donedozens upon dozens of these; always a joyto do. Good luck, and remember, it shouldbe frustrating but also extremely enjoy-able.




Master Studies—Female

I did not take as manystep-by-steps of thisdrawing, though theprocedure remains thesame. Start with a lightlay-in, then progress tomapping, filling in mid-dle tone, and bringingit up to a finish.Remember: head, neck,crotch– or sacrum inthis pose– ground.Follow this sequence,layering more and moreinformation with eachpass. Have fun and staypresent mentally.









Here is a close-up of the female masterstudy. The artist, Pierre-Paul Prud'hon,is a great French academic draftsman.One thing I have noticed, though, is thathe has a tendency to make the heads toolarge. This is one of the rare instanceswhere he made the head a bit too small,in my opinion.

Notice in both images the uniqueness ofrhythmically flowing line. You can find thisalso in Czech artist, Alphonse Mucha. Keepin mind, for some reason it is very hard tofind great drawings of nude females. I willbe creating some large format figure booksto draw from in the future for this reason.

HEAD


D R AW I N G P R O G R A M

Documents

Master Studies Workbook