Human Anatomy For Artists is a concentrated study of the bones and muscles of the human body for artists who want to master “form in space” and confidently draw figures from imagination.
Over the course of eight weeks, Marshall Vandruff will distill decades of studying old masters into specific, targeted exercises designed to teach you to invent form and draw like the old masters.
Starts January 23rd, Monday at 6:00 PM
Class is every Monday at 6:00 PM Pacific. Each class is four hours long. During class you will have lectures and practice time to digest everything Marshall has to offer but be aware - this is an intense class and Marshall is known for packing information into his lectures. You will be learning from this class for years to come.
We begin this course with the value of anatomy for artists, and how drawing offers a special challenge - to create the illusion of a 3D body on a flat surface. From there we study the core of the body - the torso - to understand how it is constructed, and why bone and muscle come first. We will also look at how the core difference between the genders starts with the proportions of the skeleton, and I will offer proven exercises to help you learn artistic anatomy as efficiently as possible.
The pelvis is the origin of the legs. Its proportions and landmark points give us a core form to attach muscles that not only fill the form of the thigh, but move the upper and lower legs. We learn that as useful as it may be to learn the individual muscles, the best way is to group them by function. Grouping allows you to apply anatomical knowledge to your drawing without being an expert. From there, you can gradually refine your knowledge to create anatomically strong legs.
The lower leg is the simplest anatomical component in our study. The foot... less so, partly because it is not symmetrical. However, both feet together make a symmetrical form that can help us understand each individual foot separately. We will see how great masters simplify the forms so they can create credible legs from a model, or from imagination.
The shoulder girdle is the most challenging anatomical area, partly because it contains many hidden origins, but also because it changes shape dramatically when we raise our arms. We will first study the bones - clavicle, scapula, and humerus - to find the hard architecture, then see that the movements come from networks of muscles that pull the arm into various positions. We finish with the elbow and "ridge group", the beautiful spiral muscles that connect upper to lower arm.
Prepare for an anatomical challenge. The forearm alone contains fourteen muscles for artists. We will simplify them into groups according to what they do, and learn to see the bones under the surface to place them with authority. The hand contains 27 bones that affect its shape. We will categorize them as simply as possible, and study the great secret of reducing them to a few manageable forms that allow artists to create hands in any position from imagination.
The neck is anatomically complex for surgeons, much less so for artists. A few muscles and a few metaphors and you will understand how a neck is constructed. The next challenge is the structure of the head. We will study the big forms with respect for the maxim that "a poorly drawn eye, well placed, looks better than a well drawn eye, poorly placed." The secret is to learn the head as architecture, with basic divisions on which to place features.
Faces display emotion. In this final session on anatomy, we will study each of the major features: eyes, nose, ears, and mouth, not only to understand their anatomical components, forms, and the basic muscles of expression, but to appreciate their role in attracting and compelling an audience.
Anatomy classes naturally focus on the nude figure, but mastery in drawing clothed figures is a natural next-step for figure drawing students. This class is the most packed-with-instruction course on how to draw clothing that I know — it distills a four-night course into a four-hour session. I will help you understand all you need to know about how to draw clothed figures.
Bring a sketchpad and a mechanical pencil or pen to "draw notes" from the slides as we study.
“Like Howard Pyle could to his students, Marshall stimulated and inspired me more than anybody I've ever learned from.”
—JUSTIN SWEET, FANTASY ILLUSTRATOR & FILM CONCEPT ARTIST
“In twenty-odd hours I learned more about human anatomy in Marshall's class than I was able to learn on my own in thirty-five years as a self-taught artist.“
—BERNIE WRIGHTSON, LEGENDARY COMIC BOOK ILLUSTRATOR
“The anatomy class was intense, enjoyable and educational. If you care to be a more knowledgeable andcompetent artist, go see Marshall Vandruff.”
—DREW STRUZAN (GREATEST MOVIE POSTER ILLUSTRATOR OF ALL TIME!)
“I didn't believe it could be that good. This is top-notch stuff taught by someone who is truly a teacher as well as an artist.”
—JOHN DONAHUE, CONCEPT ARTIST, PIRATES OF THE CARIBBEAN
“This class helped me to see anatomy and form in a way that gave my comic book inking more authority.”
—JOHN DICKENSON, FORMER INKER FOR JIM LEE, JEFF CAMPBELL, TRAVIS CHAREST
“Even those who have been drawing all their lives will learn a great deal from Marshall.”
—LANCE LASPINA, DIRECTOR PAINTING WITH FIRE, DOCUMENTARY ON FRANK FRAZETTA
“You've sorted through the mess of anatomical drawings out there and narrowed it down to what's essential to draw the figure.”
—HETHE SRODAWA, ARTIST, ROCKSTAR GAMES
“It was a great epic class. If it ended after fifteen minutes it would have been money well spent. You almost wore out that little lightbulb that goes on when I have an epiphany.”
—DAVE MAESTREJUAN, PAINTER
“Marshall's comprehensive knowledge of human anatomy enthusiastically boils, overflows, and fills the classroom. I would like to take this class about a hundred times.”
—CHARLES LYNN BRAGG, ILLUSTRATOR
“One of the most engaging, informed instructors I have ever experienced. My only regret is not having met him earlier in my career, it would have saved me vast amounts of time, money and frustration.”
—ED EYTH, FORMER DIRECTOR OF CREATIVE SERVICES, HENSON STUDIOS
“Marshall Vandruff ranks among the highest level of drawing instructors.”
—DON LAGERBERG,PROFESSOR OF DRAWING & PAINTING, CSUF
Marshall Vandruff has taught over 200 drawing courses in university art departments and corporations. His clients include MAD Magazine, Dark Horse Comics, Warner Brothers, Interplay, Rockstar, Insomniac Games, Disneyland, The Gnomon Workshop, AutoDesk, ImagineFX Magazine, Blizzard Entertainment, and over 40 ad agencies.
© 2016 UArtsy