Lessons Archive

This is the last exercise in the phase using the Burnt Umber and White palette. Take your time on this one, as the cast has many complex shapes in the hair and beard

In this lesson we will attempt the complex Asaro head in the quintessential three-quarter position, using the Burnt Umber and White palette.

The last of the pick-outs for this phase will be the cast of Michelangelo’s bust in Profile, enjoy.

This will be the last pick-out for this phase. Don’t get to giddy, there will be more to come in other phases.

The emphasis in this video is again one of simple shapes, value control and edge manipulation. Watch carefully as you are up next.

This video takes us back to our roots once again. Yes, the under-painting, but this time we will be working from the female.

Constructing a female head with good structure requires more nuance than on the male head. The planes are rhythms are still there, but more subtlety is required in their execution.

In this lesson Jeff demonstrates how to pull together all of the previous exercises and arrange them on a full head. A cast helps introduce these concepts by removing distractions, and letting you focus on what is important at this stage: structure, construction, and value.

The lips are as important to a drawing's personality as they are to good structure. Join Jeff as he delves into the most sensuous of the human features in the three key positions.

Most artists consider the eyes to be the most difficult facial feature. Accurate eye construction is critical to soulful portraiture. Jeff explains drawing the essential positions of this facial feature using a cast.

In this video lesson I will show you the top layers of the cast painting. Emphasis will be on bringing this one up to a finish using great shape design, value control and edge manipulation.

The last painting of this phase using the Blue/Black/and White palette: the cast in front view. As I have mentioned, this will probably be the most challenging lesson as far as patience. Channel all of the other information you have acquired up till now, and let’s get in there!

In this second half of the cast painting we will be working up our mid tones towards our full range of lights to darks.

This lesson is a continuation of part I. We will now work our way up to the finish.

Now that you have had some fun with the skull let’s move onto the Asaro head. Try to remember what you learned in Phase I Head Drawing.

In this lesson we will do a burnt umber pick-out of a skull in the profile position. The emphasis will be on value, edge, and shape control.

You should start to get the hang of this head, but remember it will be quite some time before it is committed to memory. Stick in there for the profile and keep doing these in the future.

Now that we have broken the ice with the front view, let’s try our hand at the three-quarter pose.

This lesson might have you wanting to slink back over to the simplified Asaro head. Not to worry, Jeff will walk you through how to approach this more advanced version of the front planes of the head.

This lesson tackles the abstraction grid lines in the popular three-quarter position.