Week One: Skeletal Structure, Head and Neck
For centuries figurative artists have noted the importance of the head in determining the general direction in which the body is facing. In Week One we will explore the skeletal structure of the head and neck and discuss their specific anatomical features as well as methods for their generalization in traditional or digital drawings and paintings.

Students will be asked to create their own anatomical plates which will be built upon in subsequent weeks with the addition of muscular structure and surface features. Students will be shown examples of existing anatomical plates and asked to construct their own knowledge set based on lecture/demonstrations and instructor-provided Reference material. Students will be asked to complete a set of finished ‘plates’ of the skeletal structure of the head and neck which will be built upon as the course progresses. Students will receive a final critique at weeks' end.

Week Two: Skeletal Structure, Rib Cage and Pelvis
The skeletal structure of the combined rib cage and pelvis, or torso, of the human figure will be explored in depth through lecture / demonstration in Week Two. After the head and neck, the torso is the next most important aspect to consider when artistically constructing a human form. Anatomical features of the rib cage and pelvis will first be discussed, after which students will be asked to construct their own ‘plates’ to match the anatomical plates which were completed in the exercise from Week One. Students will then be shown generalization methods which can be employed when representing the torso in 2D drawing and painting. Students will receive a final critique at weeks end detailing their progress.

Week Three: Skeletal Structure, Arms and Legs
So often beginner artists incorrectly determine limbs to be of greater importance than the head or torso when determining the direction and general aspect of the body. In actuality their importance is secondary to the direction of the head and the general orientation of the torso. In Week Three, the skeletal structure of the arm and leg will be explored in depth through lecture demonstrations and referral to existing reference materials. Students will then be asked to construct plates of the arm and the leg to match others completed during Weeks One and Two. Students will subsequently be shown methods for generalizing the arm and leg when representing these features in 2D drawing and painting. At weeks' end the students will receive a final critique of their progress.

Week Four: Skeletal Structure: Hands and Feet
Hands and feet have traditionally challenged and intimidated the beginner artist. In Week Four we will meet the challenge head on and simply break down the skeletal structure of these complicated structures through lecture demonstrations and construction of anatomical plates. As in previous lessons, students will be asked to construct their own ‘plates’ to match the anatomical plates which were completed as previous exercises. Students will then be shown methods for breaking down these forms when representing them in 2D drawing and painting, complete drawing / painting exercises, and receive evaluation at weeks’ end.

Week Five: Muscular Structure: Head and Neck
With the skeleton firmly established in both anatomical and artistic terms as plates and fluent drawings, in Week Five students will inaugurate their study of musculature. Commencing head and neck musculature we will kick off with lecture demonstrations of the human body which will literally build upon skeletal lessons completed in prior weeks. Muscular features will first be described in anatomical terms, and students will be asked to complete drawings / paintings which layer on top of their previously completed skeletal studies of the head and neck. Muscular features will then be described in artistic terms, and students will be asked to complete an exercise which reinforces artistic description of head and neck musculature as well. Students will receive periodic advice and feedback during the course of the week, and a final evaluation at weeks’ end.

Week Six: Muscular Structure: Rib Cage and Pelvis
Really when one comes down to it, an understanding of the muscular structure of the rib cage and pelvis is most valuable to achieving a realistic sense of movement and dynamism in human form. When one understands some of the mechanics behind these features, one is free to give figures a sense of believable twist and tension which make a drawing both interesting and believable. In Week Six we will be exploring the fascinating musculature of the rib cage and pelvis through both lecture demonstrations and exercises in which students will be asked to literally build upon their skeletal drawings of the same features completed in prior weeks. Students will receive periodic feedback regarding their progress, and will be given a final critique at weeks’ end.

Week Seven: Muscular Structure: Arms and Hands
Some of the most intricate and confusing anatomy is bound up within our arms and hands, and Week Seven will launch discussion into what constitutes the muscular structure of these fascinating features. As with previous lessons, students will be asked to build upon their skeletal drawings by layering the musculature structure overtop in a series of transparencies using either traditional or digital media. Arms and hands are literally extensions of ourselves, and their anatomical traits as well as their artistic expression will be explored. Students will receive feedback on their progress during the course of the week and receive a final evaluation at weeks’ end.

Week Eight: Muscular Structure: Legs and Feet
We would literally have nothing to stand on without the muscular structure of our legs and feet, and in this final Week we will be exploring the anatomical and artistic aspects of these features. Lecture demonstrations and exercises will demonstrate to students that feet should not be feared, but avidly studied. Students will layer drawings / paintings of the musculature of the legs and feet over top of their previously completed Legs and feet skeletal plates. Artistic aspects will also be covered, and at weeks’ end, students will be asked to present their complete set of anatomical plates. Group critique and evaluation will conclude Week Eight and this CGWorkshop.

Level of Ability
Students of all levels of ability are welcome to enroll in this course, however, a basic understanding of the fundamentals needed to create form is necessary.
Students are required to be proficient and comfortable with either traditional media (pencil, pen, or charcoal) or the digital tools of Photoshop or Painter.
Students need to be familiar with web navigation and browsing, as well as email.
Students need to be familiar with using a bulletin board system (such as CGTalk.com).

Examples of work
Students are required to submit a minimum of 3 samples of their best work showcasing their ability to draw the human figure. A minimum of two drawing samples of non-figurative work is needed.

Software and Hardware Requirements
Students must have access to a machine (PC or Mac) with the necessary hardware to run Photoshop or Painter software.
A tablet is required for digital illustrations and painting.
Students wishing to work with traditional media will require access to a scanner or digital camera and have the necessary skills to prepare their work to upload to the classroom site.
A web browser and internet connection is required. Broadband is not required but highly recommended for the amount of high quality images to be downloaded.