Michael Hampton
Michael Hampton
Educator, painter, writer, and art historian. Author of Figure Drawing: Design and Invention.
Activity Feed
Josh Fiddler
Question: The 3/4 view... Generally speaking, you say the edge of the face should be parallel to the tilt. Do you mean parallel in 2 point perspective?
Michael Hampton
Yes, I believe that's what I mean. I just don't want the angle of the face to not match my initial 2D lean.
Yoran Bordewijk
This is hard but also very fun to do. I'm improving so much thanks to these lessons. Open jaws really confuse me tho, I dont really understand it, yet! But I will..
Michael Hampton
Looking good!
Paul Williams
Some of today’s pieces. Since my last update I would say I have identified why some faces were coming out too long and fixed that, now I think I need to work a bit on the profile views otherwise I’m happy with my progress. Any comments or tips are more than welcome, thanks.
Michael Hampton
Looking good!
@d22arty
Will this course be for all gestures? An understanding of how gestures work in everyday organic stuff and not just humans?
Michael Hampton
It's a course on gesture drawing for the figure.
Stevie Roder
Watched the video last night. Really insightful first intro lesson Michael. I actually pretty much learned the basics from it on what to think about gesture drawing and how to approach it. I am looking forward to the upcoming lessons now. I also loved the in-depth of having us think why n how were doing it as well. Very fun things to take notes on.
Michael Hampton
Glad to hear that!
Michael Hampton
Michael Hamptonadded a new premium lesson
4d
Michael Hampton
Michael Hamptonadded a new premium lesson
4d
Lesley Rawlings
Hello, I have had huge trouble getting your latest book on gesture. Amazon doesn’t have it. I finally found one with Mighty Ape who I haven’t heard of and I have to wait for it to be delivered on 18 March. Hope it arrives. I’m so looking forward to my figures looking more expressive.
Michael Hampton
I'm really sorry to hear that, Lesley. Unfortunately, I have no control over Amazon or distribution. I worked with a publisher on this book so am out of the loop on all things shipping.
@azbyrdleitner
I'm not sure if I'm understanding tilt correctly, specifically for the head direction. For instance, in example 7 it looks to me like the tilt of the head is going the opposite direction of how @Michael Hampton drew it. Thank you.
Michael Hampton
Try looking instead at the symmetry line of the features and not the angle of the outside of the contour.
Josh Fiddler
That was a dense lecture! Just want to recap because a lot was covered. Please if I'm wrong anywhere, let me know. For This Step 6: Key Planes and Forms of the Skull First, the Side plane of the skull: defined by the Temporal Fossa using for points to get height and width A. Define the height of the Temporal Fossa (FT) i. Place brow line and wrap along surface - everyone's brow line is different, moving up or down, straight, pointy, or non-existent - placing it marks the transition from the front of the skull to the top of the skull ii. Wrap the base of the nasal aperture line - defines the bottom extent of the TF B. Define the width of the FT i. Place the Temple - most often visible as the pointy end of the brow as it turns the corner to the side of the skull ii. Place the back of the head C. draw the ellipse that fits in this space and divide into four: up and down, front to back: D. Place the ear, using 5 lines into a D shape or C shape, depending on how you think of these things E. Locate the TMJ, the joint between the base of the skull and the mandible/jaw, and the auditory mietus, together they look like a little number 8. It is under the bottom of the ear. - it will look different depending on whether the jaw is open or closed. Study this to see how it moves IRL. - use this as a framework to add the the jaw, which begins at this structure just in front of it. F. Add the Jaw, noticing/deciding the angle of remus relative to the mandible: more up and down, or longer deeper angle? Gender differences may help applying from the average. G. Add the Cheek and cheekbone - Offers the Loomis rhythm as it makes a nice solution - top of ear, in a long c-curve that ends at the front end of the mandible - divide with a line from the corner of the jaw up to the c-curve to give the gesture of the angle of the cheek itself - the Cheek Bone itself can be added - extend a line out from the top of the TMJ to the base of the nasal aperture line just in front of the plumb line from the temple. - Add a second line up to the wrapped line fro the bottom of the eye-socket/top of the cheek bone. - makes a nice triangle place holder for later refinement - Turn the corner and show the front plane - add a couple nice s-curves up from the side plane of the cheekbone to create the edge of the socket H. Time for the Plane of the eyes - socket's are angled up from the outside to the keystone on either side. - this gives planes of the forehead for free by extending these lines up through the brow-ridge. - add the keystone I. Now can add the nasal aperture, the extent of the cartilage, and the planes of the nose itself J. Add the denture Sphere - orientation of the face - what do the teeth and lips add to the features of the face - adds the mass of the chin below the denture sphere, - again this will assist in placing the averages and we can go from there Next Features: Defined by Pockets of fat - Discusses the Canthral Ligament, the connective tissue that gives the angle of the eye - This tilt is what we usually ascribe to the aesthetic beauty of the figure. - ROOF Fat
Michael Hampton
Damn! Always love the notes you take, Josh.
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