MASTERPLAN FIGURE DRAWING WORKSHOP IN SAN ANTONIO

DATE: 2/7/2020 – 2/9/2020 

COST: $425.00

LOCATION:  The Coppini Academy
115 Melrose Place
San Antonio, Texas 78212
United States

CONTACT INFO: 210-530-8445

Building a successful drawing starts with having a clear blueprint. This step-by-step P.L.A.N. has been used by the world’s greatest Masters for over six centuries. 

Michael will provide attendees with a MASTERPLAN BLUEPRINT FOR DRAWING THE HUMAN FIGURE. This P.L.A.N. includes Michael’s unique system of PROPORTIONS, the identification of skeletal LANDMARKS, the use of ALIGNMENTS, ANGLES and AXISES for comparative measurement, as well as the use of NEGATIVE SHAPES to create believable FORESHORTENING. 

You will discover that foreshortening is created by FORESHADOWING.

All the critical elements for developing a MASTERPLAN will be covered

PROPORTION: You will be introduced to the CSI System of proportion.

The CRANIAL STERNAL INDEX was developed by archeologists in the 1940s to identify related skeletal remains, it was later adapted for artists by Robert Beverly Hale. Hale taught this System for thirty-eight years during his famous lectures on Figure Drawing at The Art Students League of New York.

This System is based on the width of the skull or cranium instead of heads length. It essentially replaces head lengths as a viable method of measurement.

Michael has taken what Hale started expanded and refined it into an indispensable System of Proportions.

LANDMARKS & LOCATION:  The Cranial Index (C.S.I.) uses Skeletal Landmarks to determine the relationships (proportions) of the parts to the whole. These landmarks are divided into two groups; Core Landmarks that relate to the torso and Extended Landmarks that belong to the extremities.

Landmarks, as the name indicates, create the road map of the body. Once you know where these Skeletal landmarks are, you simply connect the dots.

Skeletal Landmarks are much more reliable than fleshy landmarks because they do not move around because of girth, age, and gravity.  The use of fleshy surface landmarks is a common practice by today’s Draughtsmen. Fleshy landmarks move around like traveling salesmen and vary greatly.

We replace the sins of the flesh with the reliability of Skeletal Landmarks. Michael will guide you through his System, including the Core Four of the Linea Alba and the Torso Trapezium. This is a time tested method of locating every part of the human form and establishing the correct proportional relationships.

The great masters of the past knew these Systems, and many more, they utilized them to create their timeless Masterpieces. 

ALIGNMENTS & AXISES: Alignment of Skeletal Landmarks helps to establish relationships and proportion when three or more of these landmarks align.

ALIGNMENTS & AXISES: Alignment of Skeletal Landmarks helps to establish relationships and proportion when three or more of these landmarks align.

The axis of a form establishes its position in space and creates a basis for orientation and rotation.

Notional Space & Notans: Notional space is the vertical and horizontal space (enclosure) around your subject. Determining the notional space allows the artist to measure and plot that particular element on a grid as well as create relationships between other parts in the overall design. Notional enclosures function much like negative shapes and give the artist a subjective system of comparative measurement.

Mornings will be dedicated to dynamic demonstrations with attendee interaction.

Afternoons will be focused on applying what we have learned and drawing the model in contrapposto poses.

What is Contrapposto? In figure drawing, this term relates to the way a figure is standing. Contrapposto is when a figure stands with one leg holding its full weight, and the other leg is relaxed. The first Contrapposto poses appeared in statues during Greece’s Golden Age 488 to 400 BCE.  

This pose gave the human form grace, balance, rhythm, harmony. It established a new standard for beauty.

This workshop will help decode Da Vinci, demystify Durer, reveal the rhythm of Raphael, and the methods of Michelangelo.

Michael Mentler’s creative journey has covered a polymathic array of artistic endeavors. To learn from Michael is to learn from the multitude of past masters he has studied, absorbed, internalized, and re-imagined.

He is internationally known as a master painter, sculptor, draughtsman, and designer. His works are featured Juliette Aristides books; Lessons in Classical Drawing and Figure Drawing Atelier.

“Michael’s sketchbooks are masterpieces, he is a modern-day Leonardo.”Richard Schmid

“Richard’s Right.”Dan McCaw

“Michael’s intense study of the teachings and works of Bridgman and Robert Beverly Hale make him a natural progression of that linage with the added twist of his own dynamic personal style.”David Kassan

This workshop is loaded with information for experienced artists as well as serious amateurs. It goes beyond drawing what you see by showing you what to look for, and provides you with the skill-sets to become a better artist. 

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