Master Studies Workbook

D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Master Studies—Male & Female

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

Preserving the Traditions of the Masters

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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Master Studies—Male & Female

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 cross reference 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 a great exercise for so many reasons. Take your time. Once you have finished these, there are hundreds of potential artists to study. Use your own taste to sift through them and find the ones that resonate with you most.




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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Master Studies—Male




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Here is the first step known as the lay-in. I also have included the “mapping” phase. This is identical whether you are drawing from photos, casts, or models. Notice how light and noncommittal these lines are. This gives you an opportunity to make corrections 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 but rather a very soulful and accurate rendition. If you have a tendency to be a perfectionist, try to keep it under control.




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In this stage, I have inserted the value #5 into my map. Although the drawing was already looking three-dimensional in the previous phase, this should really help. This is assuming you mapped your edges correctly. If not, don’t worry, that is why you will stay light. This way you can still make any corrections necessary.

This close-up simply shows a bit more detail. Although somewhat redundant, I think you will still find this helpful. I would imagine it will take you anywhere from 1–3 hours to get to this stage. Take your time, it is not a race.




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In this stage, I am starting to slowly work up my shadows as well as half-tones. I am using the method where I build up to my lightest lights and darkest darks. Some artists like to establish one of their darkest darks at this time. Both methods are acceptable, the choice will ultimately be yours.

As I work my way around the drawing, the head usually is leading the show. We generally work starting head, then neck, crotch, ground. Each time through we add another layer of rendering as we work our way steadily up to a “finish.” Depending on your level, you could be 3–5 hours by this stage.




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At this point in the drawing, we can really start to see the character or calligraphy of the cross-contouring begin to take shape. This is one of the main reasons for doing master studies. You are trying to pick up the other artist’s look or feel. I always let a bit of myself come out in the drawing. Remember, we are not creating a forgery, just a soulful rendition.

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




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Here is my finish. When compared to the original, it is not as full value. It could use one more pass. Feel free to bring yours up a little by taking another pass at it if you desire.

I included a close-up of the head. I think it is too light, obviously. I like the calligraphy overall. At this point, you most likely will have anywhere between 6–8 hours on this piece. They do eat up some time but time well spent. I have done dozens upon dozens of these; always a joy to do. Good luck, and remember, it should be frustrating but also extremely enjoyable.




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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Master Studies—Female




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I did not take as many step-by-steps of this drawing, though the procedure remains the same. Start with a light lay-in, then progress to mapping, filling in middle tone, and bringing it up to a finish. Remember: head, neck, crotch– or sacrum in this pose– ground. Follow this sequence, layering more and more information with each pass. Have fun and stay present mentally.




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

Notice in both images the uniqueness of rhythmically flowing line. You can find this also in Czech artist, Alphonse Mucha. Keep in mind, for some reason it is very hard to find great drawings of nude females. I will be creating some large format figure books to draw from in the future for this reason.




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