How to draw like Michelangelo by REALLY understanding form
HTML-код
- Опубликовано: 1 фев 2023
- Do you love the way Michelangelo’s drawings look, but don’t quite know how to draw like that yourself?
In this video I’ll help you understand not only how to draw like Michelangelo but also how to take what he does and use it to improve, in particular, the sense of form in your future work.
I’m showing you how to do a proper analysis of a Michelangelo drawing that isn’t just another rote master copy, but instead a way to decipher what types of marks to integrate into your drawings to get the same successful illusion of volume.
So, if you’re ready to stop copying without understanding and learn what’s behind a successful figure drawing, where the shading isn’t just random, but masterfully considered, then this is just what you’ll need.
The drawing I’m analysing in this video is titled: “Study of a striding male, to the left; studies of anatomical details” by Michelangelo and dates to 1504 or 1506; Teylers Museum
Materials I use in this video: Strathmore Drawing Paper with a Holbein Artist’s Colored Pencil ***black
** FREE MASTERCLASS**
Curious what it's like to study with me? Check out this free masterclass about How to Make Drawings You Absolutely Love.
draw.clickfunnels.com/masterc...
** MENTORSHIP**
Want to work with me to reach your personal drawing goals? You can find out more about my online mentoring program here: artisapractice.com/classes/
Can't wait to see you in your inbox :)
** Are you on my INSIDERS Email List yet?!?**
**Figure Drawing Low Down Mini-course**
Become an insider by signing up for my free 4-part figure drawing mini course. You'll get my weekly funny, inspiring and motivating emails, letting you know about the latest videos. artisapractice.com/figure/
You may also want to watch:
GESTURE DRAWING explained! Is this part of the gesture or style?
• GESTURE DRAWING EXPLAI...
DRAWING THE TORSO: Mini lesson on how to use the bean
• DRAWING THE TORSO: Min...
HOW TO PRACTICE DRAWING FROM IMAGINATION with plane changes and cross-contours
• PRACTICE DRAWING FROM ...
HOW TO PRACTICE DRAWING FROM IMAGINATION with cylinders and ellipses
• PRACTICE DRAWING FROM ...
Say hi on social media. I'm @curastudio on IG
#CarolinPeters #figuredrawing
I'd love to hear from you what kind of questions come up for you watching this video!
rarely i found such concise precise and well made tutorials, not easy is soooo much "noise", thanks Carolin, you're a great teacher
So glad they're useful for you!
I've been watching your videos for a couple of months now and you are an amazing teacher! Thank you for teaching in such a clear, concise method.
Aww, this makes me so happy! Glad the videos are helpful for you. Feel free to post any drawing questions here to inspire future videos.
Your lessons make so much sense and are explained thoroughly, I love them!
Aww, thank you! I'm so happy you like them!
This was so great 👍
Fantastic video gurl ❤
Such a great lesson 👏👏👏
Thank you! Glad it's helpful for you.
Finally some helpful advice… jeez. You have no idea how many other RUclips videos are just unhelpful.
This is great and helped me a lot, thanks. How do you imagine michelangelo learned so much so quickly, with videos and only real models. Forms is my fav followed by value
So glad you liked it. I don't think Michelangelo had much to distract him from his studies. What do you think
You a good master as well
Sweet of you to say 😊
This is great Carolin!
Awesome. So glad you liked it, Ted!
best art video i've ever seen! ty ^^ ❤❤
Hey thanks. Hope it'll help you with your drawing journey
good explanation Carolin
Glad it's helpful for you!
I could almost platz, I linked away from your finalè in the webinar and missed the last part, help! And thank you for a great session
So glad you liked it. You can always watch it another time. I think I link to it in a follow up email which I send out a few days after you first signed up for it 😊
Love it, can you make one drawing like raphael?
Already did 😊 Enjoy ruclips.net/video/67I-UpUU9yQ/видео.htmlsi=NQb0KqgesBcXnlHi
This is a very helpful explanation of how to study master works for me, as I was someone who would blindly copy what I saw and assume that through some process of osmosis I'd learn something. I see now that learning from this type of practice involves the mind much more to intentionally analyze the "why" behind what makes a work great. I wonder where you recommend this kind of study fit into a larger learning path, i.e. should this be a daily exercise or less often? Is it OK to use master works to study other specific things like perspective, shading, line quality etc? Thanks again, really like this material!
Yes, you can use master analysis drawings to study various elements. For example, if you're interested in energetic gestures, you'd want to analyze someone like Guercino, Daumier or Gericault. Or another thing I like to analyze the masters for are their compositions. The Renaissance artists lend themselves toward form and anatomy study.
I recommend you watch my masterclass because in it I lay out the way I recommend artists to organize their drawing practice to see the results they're going for. I'd love to hear what you think once you watch it. Glad the videos are helpful for you!
Great job! I really enjoyed the video, but I do have a question. What new insights will I gain by redrawing the works of Da Vinci, Michelangelo, or Raphael, considering that their depictions of the human form are already quite realistic? When I recreate or form the body based on Da Vinci's drawings or any ordinary figure, the outcome seems to be identical since they both strive for realism. However, if I were to explore the unique drawing style of an artist like Mike Mignola, whose art is distinct, attempting to learn his style would introduce me to something novel.
What a great question! To answer it let's start by remembering that the main goal of this particular drawing exercise was NOT about realism per se, but rather about figuring out how Michelangelo, or many of his peers, get a sense of form. You might think "isn't that the same?". But there's a subtle, yet important difference.
Realism can be the stylistic side effect of great tonal rendering, of great proportions and great anatomical insight. Form, however, can be achieved even in a non-realistic manner by using overlaps, cross contours, plane changes and/or light logic. Think of how Pixar characters are rendered. They have form but are not realistic in the strictest sense.
My main premise is that we don't just want to do blind master copies where we never quite understand what we're getting out of doing them.
Instead we want to use them as an opportunity to understand the basic principles of how drawing works. And if form (or the illusion of 3D on a flat piece of paper) is the principle the you'd like to crack, it makes sense to look at artists who do this well. And the Renaissance artists are excellent candidates for that.
Can you learn from other masters?
OF COURSE!
You can learn about flat shape design from Mucha, Contour mastery from Hohlbein or Schiele, tonal drawing from Seurat, Shadow shapes from Mike Mignola. The list goes on infinitely.
This is not about me pushing the renaissance crew on you. Instead it's about learning to read what principles artists are favoring in their art and then benefitting from their masterful grasp of it for yourself. When you focus on investigating what principles your favorite artists draw on, you can make your practice super targeted and less amorphous.
Like this you can learn to see what principles make up someone's style instead of merely copying someone's style without understanding what makes it work technically and ending up looking like a copy cat.
What do you think about this? So glad you asked this question!
@@CarolinPeters thanks for providing this long answer for clarifying, i apreciate it, I think I understood your point, if two artists draw the deltoid, Even though may both draw the deltoid muscle realistically, their depiction of it can vary based on their artistic choices and style. One artist might choose to render the deltoid with smooth surfaces, emphasizing its overall form and volume. On the other hand, another artist might choose to show the individual heads of the deltoid muscle, highlighting the anatomical details and structure.
He did things that's not noticeable/easily apparent
😃👍🙋🏻♂️
Harold Speed came close to his method.