Michael Hampton
Los Osos
Educator, painter, writer, and art historian. Author of Figure Drawing: Design and Invention.
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Nikos Koulakis
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1d
added comment inProject - Proportions
Asked for help
I’m into drawing about 10 months and I was struggling at getting the head right, I tried many ways and nothing worked for me…
I was at the bring of disappointment when I saw one of your YouTube videos and decided to get your class!
Today was my first day and I just want to say a BIG THANK YOU!
You are an exceptional teacher and I can’t wait to progress further and keep learning from you!
Im super proud of what I accomplished today! (hope you are too)
I will keep practicing daily until I get very good and I can draw with your method from memory and with ease!!!
@Michael Hampton if you see this I would love to get your constructive criticism, it would mean a lot!
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1d
Looking good so far! Keep it up!
Mon Barker
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1d
Such wise words to conclude on and definitely relevant - I started the proko figure drawing course and never got past gesture because I felt I sucked at it so just went round in circles then got distracted. This was a wonderful course to expand on gesture, approaches and how it fits into the bigger workflow. Loved it. Thank you Michael 👍
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1d
My pleasure! Thanks for making the effort to work through it.
Josh Fiddler
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15d
Yeah. Patience and grace. Be kind to past and present you: future you relies on it!
Thanks for all the kind words throughout, Michael. I appreciate it. I will definitely be coming back to the hands and feet videos for sure! Already have a couple times ;-)
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13d
Thanks, Josh. Pleasure to have had you as a part of the live course.
Dave Mills
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14d
Maybe this will clarify. At 10:55 You comment on the importance of the line inside. Inside of what? The line of what? I suspect this is very basic but I am really unclear on this and would appreciate any clarification.
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13d
Inside the forms. I am attempting to draw attention to the importance of building three dimensional form through thinking of a volumetric subject and not outlining a figure. Volume is communicated through the involvement of line around and on top of the forms we develop. This is again a restatement of the early principles of form intersections, wrapping lines, and overlaps.
Dave Mills
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14d
At 10:21 you describe an S curve which I can’t see. I see a C? Like the line of symmetry.Following this you communicate the line relative to the dominant form. What would tell me what is dominant…that which is front? In other words, why must the hip be dominant to the flank? Thank you.
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13d
I'm drawing the connection on the left side at 10:21. I'm thinking of this line as an "S" even though its longer and thinner. If you see a "C" curve, that's fine, but my intention is to organize specific lines to represent the pinch v stretch.
At this stage in the drawing the core masses (shapes of rib cage and pelvis) are dominant forms which my connections (S=stretch and C=pinch) are attempting to attach to (this is a continuation of the earlier lesson on form intersections).
I'm using the idea of a dominant form to help call back to that lesson and make the emphasis on the idea of line to build continuity with the egg shapes. This is done here through "T" overlaps and wrapping lines. This has nothing to do with the hip v the flank. It's more about how I'm thinking with the language of line and drawing.
Hope this helps to answer your questions.
Josh Fiddler
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16d
Useless detail: Drawing the y to start a box, the "Y" method if you will, is where I took my IG handle from.
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16d
Nice!
Nicole
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16d
Asked for help
Getting the hang of them! Having a harder time understanding how to do wraps and overlays than I thought, it only LOOKS easy but then when I do it myself I realize it takes a lot of analytical thinking. Practicing more on this!
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16d
These are always hard! Nicely done
Francesca Giunchedi
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17d
I just want to say thank you, I really enjoyed this corse and it really help my mentality for gesture, not only you gave me a follow method so i don't panick a loose sight of what i'm doing but you also helped me understand better gesture, the motivation behind and hoe important it is.
thank you a lot. really.
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17d
That's awesome to hear! Thank you! So glad it helped
@jowherr
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18d
Asked for help
I love the way you analyze something in order to draw it, it gives a Bob Ross vibe and it clicks for me. I hope you release an anatomy course in the future.
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18d
"Bob Ross vibes" is maybe the best compliment I've ever received. Thank you!
ahmet yavuz
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22d
Hello,
My focus is digital sculpting, and I have a solid understanding of facial anatomy. I’m currently following a course specifically aimed at improving my portrait sculpting skills.
What I’d like to ask is this: Although the content of this course seems primarily designed for painters, would it still be beneficial for a sculptor like me? I'm trying to assess whether the information presented would contribute meaningfully—especially in terms of 3D thinking and form construction.
Since I’m trying to manage my time efficiently, I’m unsure whether I should incorporate this course into my weekly routine right now. I’d truly appreciate your thoughts on this.
Thank you in advance.
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22d
Man, that's a really hard question to answer. It sounds like your looking for something very specific. I'm not a sculptor so don't feel comfortable answering. I wouldn't want to lead you astray. Apologies
