Specialization in drawing and expression of the human figure

Influences | Ale Casanova

Next, I'll show you some authors I find interesting in understanding the evolution and role of watercolor in the world of the arts.

Influences | Pedro Covo

Now I would like to tell you about those artists and writers who have influenced my work.

Influences | Juan Perednik

Now I'm going to show you who my main influences and favorite artists are. You'll see, nothing grows out of a cabbage...!

Module 2

The human body has been an inexhaustible source of inspiration throughout the history of art. Guided by Zursoif, an illustrator specializing in anatomical drawing, you'll immerse yourself in the beauty and complexity of the human figure. You'll learn to construct it from simple shapes, developing realistic proportions and a solid foundation to bring your illustrations to life with strength, precision, and emotion.

17 lessons (1h 39m)

The stroke and the body

I'll start by showing you the materials, then focus on the basic tools, starting with the hand, how we hold the pencil, and the difference between writing and drawing. Then we'll do line-drawing exercises to warm up, using lines of different lengths and how the support of the hand, elbow, and arm give us different results.

Lines and division into halves and thirds

After mastering drawing straight lines, we'll focus on dividing into halves. By folding the paper, using a piece of thread, a ruler, our fingers, and by eye. Then we'll begin dividing into thirds using the same formula.

Circles

Let's start drawing circles, first using aids like compasses, rulers, glasses, and coins, and then begin drawing them with just our hands for practice. Then, we'll divide them into halves and thirds, just as we did with lines.

Division in 8 heads

Now I will tell you about the 8-head division, which can be done in 2 simple ways.

Head (Basic)

Let's draw circles that allow us to have the same width and height and divide them into parts to position the drawing elements of the skull (and face) in front, side, and back views. Here, we'll apply all the practice we did with dividing into halves and thirds, since this is the part of the body with the most elements to draw.

Dividing into thirds is already an acquired knowledge, here we will focus on the measurements that the bones of the rib cage will occupy, the measurement of the sternum, how many ribs join it and how many float and how we can represent them from the front, side and back.

Torso (rib cage)

Pelvis (Pelvic Box)

With this part of the body, we'll move forward in the divisions to begin thinking about the volume of the body, since the representation of the pelvic box has differences in the front, side, and back views.

Column (and movement)

With the elements of the upper body (head, torso, and pelvis), we'll divide the spine into three parts: cervical (neck), thoracic (torso), and lumbar (between the torso and pelvis), and then divide them into vertebrae 7, 12, and 5, respectively. Next, we'll look at how these vertebrae connect to understand the range of motion of the upper body.

Upper extremity

Let's look at the height and width of the arms, focusing in this case on the general measurements of the clavicles, shoulder blade, humerus, ulna, radius, and hand. Here, it's important to consider the torso and pelvic floor measurements to make the necessary comparisons.

Arm and forearm

Now that we know the measurements of the elements, we'll focus on the shoulder joint, the connection between the scapula and humerus, and its movements. I'll also explain the connection between the humerus, ulna, and radius, explaining their movements.

Hands

When we get to the hand, we will divide the palm of the hand and the fingers, explaining the proportions of each of them and how the thumb works in relation to the other four fingers and how they move.

Lower limb

Here we are going to make the basic division of the measurements, in the same way as was done with the upper extremity, and then explain each part in more depth.

Thigh and leg

In this lesson, we'll begin with the hip joint, drawing the femur and the movements it allows. We'll then connect it to the patella, tibia, and fibula to explain the possibilities of the knee joint.

Foot

I'm going to explain the proportions of the bones in the foot, making comparisons with the bones in the hand so we can talk about their movement.

Body shafts

To begin drawing the figure in more dynamic poses, I'm going to explain how the lines of the spine, shoulders, and hips help us represent the figure in a schematic, yet effective, way.

Body volume

After learning the proportions of the figure, we will explore different representations of the body's volume based on simple geometric shapes that will help us understand the body in 3 dimensions.

Projections and perspective

Here we'll explore how to draw figures from different perspectives using volume projection and basic perspective. We'll do this with simple poses, but showcasing the possibilities available. (Lying pose projection, finger projection).

Module 3

The face is the mirror of the soul and a universe unto itself. In this module, Zursoif guides you through the challenge of capturing its essence without a model, exploring proportions, anatomical structures, and the interplay of light and shadow. You'll discover how to convey emotion and personality through every stroke, mastering the complexity of the human face with sensitivity and precision.

26 lessons (5h 36m)

The individual

In this lesson, I'm going to show you images of paintings, sculptures, and portrait photographs to help you understand the importance of the differences between each face, even though they have the same anatomical structure.

Drawing techniques. Part 1

Starting from simple geometric figures (cube, sphere, pyramid, prism, cylinder and ribbon), I will explain how light and shadow work and how we can represent them with graphite.

Drawing techniques. Part 2

In this lesson I will continue with the explanation of the shadows in the pyramid, the prism and other figures.

In this lesson, I'm going to use the shapes we used earlier to show you how to apply textures that will be useful later when drawing bones, hair, muscles, etc.

Textures and surfaces

The planes of the skull and neck. Part 1

I'm going to begin this unit by showing you how to draw the proportions of the skull and neck from different views. We'll use a grid of units to guide us in proportional measurements and the placement of parts.

The planes of the skull and neck. Part 2

Here I will continue showing you how to locate the top of the cranial vault.

The planes of the skull and neck. Part 3

In this video we continue with the lateral view of the skull.

The planes of the skull and neck. Part 4

In this video, we'll conclude our discussion of the planes of the skull and neck. I'll explain how to represent the cervical spine and its parts in frontal and lateral views.

The skull in 3 dimensions. Part 1

In this lesson I'm going to explain how to represent the skull in different views, starting with the 3/4 view.

The skull in 3 dimensions. Part 2

Here I continue with the explanation of the 3/4 view of the skull, focusing on the proportions and connections that we can find with the frontal view.

The skull in 3 dimensions. Part 3

Next we will begin to rotate the skull in different views using the frontal, lateral and 3/4 views.

The skull in 3 dimensions. Part 4

With everything you've learned in the previous videos, we can now begin rotating the skull. Here, I'll continue showing you how to do it using the proper proportions and measurements.

In this lesson I will show you how the texture and volume of the skull is affected by lighting and how to render it.

Skull textures

11m

Neck muscles

In this lesson we are going to see which muscles support the head, joining it with the rib cage. I will explain their functions and how they are represented.

Muscles of the face. Part 1

In this lesson I will explain the muscles of the face, their functions and their representation on the previously made plans.

Muscles of the face. Part 2

Here I will continue with the topic of facial muscles. We will continue to see how the angle of the mouth is a meeting point for many muscles and how this, along with other characteristics, will affect the expressions we will see later.

13m

Nose. Part 1

In this lesson, we'll look at the location and composition of the cartilages that make up the nose, the skin that covers them, and how to draw variations in both proportions and lighting from different perspectives.

Nose. Part 2

I'll continue here with the side and 3/4 views of the nose and then move on to using those representations to show you how light and shadow affect those parts of the face.

In this lesson I will draw eyes from different positions and with variations in both proportion and lighting from different points of view.

Eyes Part 1

Eyes Part 2

In this video, I'll continue explaining everything about eyes. I'll continue with 3/4 and side views and lighting.

In this lesson we'll look at different representations of the mouth and how to draw it in motion from different points of view.

Mouth

I'll teach you how to draw ear cartilage and variations in proportion and representation from different perspectives.

Ears

Now I'm going to show you the representation of the facial hair elements from different perspectives. I'll locate the hair areas: the scalp, eyebrows, eyelashes, beard, nose hair, and ear hair.

Capillaries

Application and composition with heads. Part 1

In this lesson, I'm going to choose some poses we've been working on and draw all the elements of the skull in more detail, with variations, to create a composition in which I'll apply the bone and muscle components to ultimately create a portrait. This way, we'll have a study we can use to create characters and draw them from any perspective and with different expressions.

Application and composition with heads. Part 2

In this section, I'll continue drawing the portrait using an exaggerated expression to understand how muscles influence gestures. I'll also add hair and share a trick for blending, softening the graphite, and understanding how light and tones work.

Application and composition with heads. Part 3

Now what I will do is create additional gestures for the same portrait, creating a variety of movements that will help understand how to represent the elements that make up the face.

Module 4

Led by Daniel Torrent, you'll delve into an intimate and free look at the human body, far removed from stereotypes and academic rules. You'll learn to let go of your hand and mind to discover the beauty of imperfection, exploring expressive strokes, exaggeration, and color as tools to express the invisible: emotion, gesture, and poetry.

13 lessons (3h 2m)

Materials

In this lesson, I'll show you the materials we'll be using in the course. I'll explain the ones I've chosen and what I'll be using them for.

Places from where we can face the drawing

We often draw without realizing where we're drawing from. Below, I'll explain the different basic points we work from when drawing.

In this lesson, we'll take a brief look at descriptive anatomy. I'll explain what bone, muscle, and adipose tissue structures are made of and how they relate to each other. We'll look at how they produce different body types.

Study of the human body

Now I'm going to tell you how we can break away from realism and put our own style into practice using our eyes, our minds, and our feelings.

Release the form

Finally, in this lesson I will explain how we can use color to go beyond optical realism.

The role of color

In this lesson, I'll explain my criteria for choosing a reference for creating the final project.

Choice of referent

Drawing lace

Next, we'll see how to draw the basic lines of our drawing to achieve maximum expression.

Color: between observation and imagination

Now we're going to start applying the color to the visible parts of the body, maximizing the expressiveness of the color.

Finally, we will use tempera paints and pencils to create backgrounds that enhance the figure we have created.

The funds 1

We continued working on the background to leave the illustration almost finished, lacking a few final digital touches.

The funds 2

In this lesson, we'll put the finishing touches on our final project using the tools provided by Photoshop.

Retouching

Next, we will see how to give or modify meaning to our image by relating it to other works or illustrations.

Series of drawings

How to make us known

Finally, I'll give you some tips on how to promote your work and break into the market.

Throughout this lesson, I'll briefly review the most common materials we use in watercolor painting. I'll focus on their characteristics and differences; understanding the materials helps us choose the right tools for our work and our expressive needs. Additionally, I'll show you the specific materials we'll need to complete the course exercises and the final project.

Module 5

Sometimes, art becomes a mirror. Painting the body of another, as Ale Casanova suggests, is also a way of discovering oneself. With watercolor as your ally, you'll explore the human figure from a sensitive and contemporary perspective, combining drawing and staining to give shape to what is visible... and to what remains hidden.

15 lessons (3h 28m)

Materials

Paper Cutting and Preparation

Next, I'm going to show you the correct way to cut sheets of paper and different ways to prepare it so you don't have problems with curling while you work.

15m

Simplify the Image

To be able to more comfortably approach the human figure without delving into tedious studies of anatomy, in this lesson we will work on simplifying the figure through a simple exercise in structure, line, and chiaroscuro.

Transfer from Drawing to Paper

There are numerous ways to transfer drawing to paper besides freehand. In this lesson, I'll teach you three of them so that drawing doesn't become an obstacle when working, and we can focus solely on the watercolor work.

Color Palettes and Application 1

Next, we'll look at different types of reduced color palettes that we'll apply directly to our figure drawings.

15m

Color Palettes and Application 2

Now let's look at a different color palette and how to apply it.

13m

Color Palettes and Application 3

We continue to explore the possibilities of a new color palette.

Choice and Manipulation of Photography

In this lesson I'm going to briefly show you how I treat the image after a photo shoot with a model.

General Color Spots on Palette

In this first phase of the work, we'll begin applying watercolors wet on wet. We'll start with the colors obtained on the palette and then mix them on the support by addition.

Redrawing with Palette Color

In this lesson we will introduce drawing details by mixing colors on a palette and applying them to define the figure.

Readjust with Pure Colors

Now we will adjust parts of our composition using pure colors that shade and give general tones to the piece.

Reservation Methods and Background Work

Finally, I'll show you how to apply different types of reserve masks and do the background work.

Dark Highs and Final Details 1

In this lesson, we will introduce the final details of our work, running and adjusting any issues that may have arisen.

Dark Highs and Final Details 2

We continue working on the final details of the painting.

Unstapling, Preservation and Storage

Finally, I'll teach you how to unstaple your artwork, as well as how to protect and store it properly.

Module 6

Painting the figure in water is also about exploring what is transformed. Pedro Covo guides you through a process where oil becomes a language for capturing light, movement, and distortion. Through color, texture, and composition, you'll learn to translate an inner vision into powerful images, charged with emotion and depth.

12 lessons (2h 15m)

Materials and Tools

I'll show you the materials and tools I use, the alchemy of painting, and the types of supports. I'll also show you how to prepare a surface for painting.

Tonal Values

Color itself isn't real! In this lesson, I'll tell you what tonal value is and why it's more important than color in painting.

Color and Opacity

Next, I'll talk about color theory and explain how we can apply it to the palette we're using.

Ideation and Initial Sketches

In this lesson I will talk about the ideation process, how to begin the initial sketches, and the intention of the work.

Photographic References Based on the Drawing

The next step is to choose the photographic references for the drawing and study the main subject of the work. I'll show you how.

Now I'll do several color studies of the sketch I chose for the final image and talk about photographic references based on color.

Color Study

Surface Preparation and Large Blocks of Color 1

In this lesson, I'll show you step-by-step how to apply the first coat of paint. I'll cover the initial drawing, how to block in the surface, and how I generally like to approach that first step.

Surface Preparation and Large Blocks of Color 2

In my opinion, it's essential to step back from the work during the process and also after each stage. This way, we can analyze it, see what we like and don't like, and assess how we can make the necessary adjustments.

Rediscovering Drawing, Dark and Medium Tones, and Textures 1

In this lesson, I will discuss how to approach the work you have started and the methodology to efficiently solve any problems that may arise during the development of an image.

Rediscovering Drawing, Dark and Medium Tones, and Textures 2

Once the textures are applied and the painting is dry, it's time to start thinking about what's missing to complete the work. I'll analyze my painting to identify the missing details and continue developing it freely, without the reference image.

Final Adjustments

As I mentioned, it's a good idea to return to the work after a while, look at it, and compare it to the initial drawings. In this lesson, I'll make final adjustments to the drawing and tone until I'm satisfied with the visual issues resolved.

Signature and Varnish

Finally, I'd like to talk about how to sign and why. I'll also show you how to varnish the painting and discuss recommended care techniques.

Module 7

Portraying someone is much more than copying a face: it's capturing their essence. Juan Perednik guides you through the art of realistic portraiture, where light, shadow, and proportion combine to reveal the invisible. You'll learn to draw with intention, creating images that move, excite, and leave a unique impression on those who view them.

12 lessons (1h 56m)

What Is Realism in Drawing?

Let's start with the basics! In this lesson, I want to tell you what I understand by realism and how to apply it to our drawings.

How to Choose a Reference Photo?

Now I'm going to tell you what the most important points are when choosing a reference photo, and I'll illustrate it with the photo I selected for the course project.

The Materials

In this lesson, I will describe and recommend the materials you should use during the course.

What Is the Abstract Structure and What Is It For?

In this lesson, you'll learn how to construct the structure of a face from the front. First, I'll introduce abstract structure: lines, basic geometry, and how to go from simple to complex. Then, I'll give you examples of structures in photos, and finally, I'll show you a step-by-step construction sequence.

15m

Character Drawing

Once the abstract structure is complete, it's time to draw the character you want to portray on it. Let's get to work!

How Light and Shadow Work 1

In this lesson, I'll show you some simple but important exercises to help you understand the concepts of light and shadow. I'll also teach you how to create a grayscale and a sphere with different types of shadows.

11m

How Light and Shadow Work 2

Now I'll debunk some myths and misconceptions about the face—eyes, nose, mouth—and show you how to translate all the light and shadow work you did in the first part of this lesson into a more complex, organic form.

11m

Thumbnail Sketches

You now have the necessary foundation to begin your project. In this part of the process, I'll show you how to create thumbnail sketches to find an aesthetic idea you like.

First Layers of Shading of the Drawing

You've already created the abstract structure and drawn your character with straight lines. You've also decided on the aesthetic to give the drawing and created the grayscale. Now it's time to shade your drawing with values 1 and 3, with 1 being the white of the paper and 3 being the middle of the scale.

Blending: Composition and Movement

You're now reaching the final stretch of your project! In this final stage, you'll smooth out some textures and add the final touches and details to your drawing.