WEEK ONE: Surface Features of the Head
Each week, along with studying a key feature of the body in depth, students will review four vital overall drawing concepts:

• envelope,
• contour,
• interior shading, and
• connectvity.

WEEK TWO: Surface Features of the Neck
In Week Two students will work their way down from the head and focus on the neck. This can be a major stumbling block for some artists, and we will tackle it ‘head on’ by studying selected readings and referencing Hong Ly’s excellent photographs in addition to other reference. Surface features of the neck will first be described in anatomical terms, and students will then be asked to complete drawings and/or paintings. These features will then be described in artistic terms, and students will be asked to complete an exercise which reinforces artistic description of the surface features of the neck. Students will receive periodic advice and feedback during the course of the week, and a final evaluation at the week’s end.

WEEK THREE: Surface Features of the Upper Torso
The human upper torso encompasses the chest, rib cage and upper back. A proper understanding of these areas is essential 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 Three we will be exploring this fascinating region of the body through both lecture demonstrations and exercises in which students will be asked to create upper torso drawings from both reference and their imagination. Students will receive periodic feedback regarding their progress, and will be given a final critique at the week’s end.

WEEK FOUR: Surface Features of the Pelvis
In Week Four, students will continue their journey down the body by studying the pelvis. Equal in importance to the upper torso, the pelvis gives the drawn figure a sense of motion and drive. The surface features of this area will be explored in depth through a combination of lectures and demonstrations. Anatomical features of the pelvis will first be discussed, after which students will be asked to construct their own images. Students will then be shown methods which can be employed when representing the pelvis in 2D drawing and painting. Students will receive a final critique at the week’s end detailing their progress.

WEEK FIVE: The Upper Limb
In Week Five, students will investigate the surface features of arms. Beginner artists often 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. We will research this fact by looking at the anatomy of the arm through lecture demonstrations and referral to existing reference materials. Students will then be asked to create depictions of the arm. Students will subsequently be shown methods for generalizing the arm when representing these features in 2D drawing and painting. At the week's end the students will receive a critique of their progress.

WEEK SIX: Surface Lower Limb Features
Without our lower limbs we would literally have nothing to stand on. In Week Six we will be exploring the anatomical and artistic aspects of legs. Lecture demonstrations and exercises will demonstrate to students the grace and power of the lower limbs. Using these examples students will be asked to produce representations of the surface features of the legs. Artistic aspects will also be covered, and students will subsequently be shown methods for generalizing the leg when representing it in 2D drawing and painting. At the week's end the students will receive a critique of their progress.

WEEK SEVEN: Surface Features of the Hand
Traditionally many beginners’ hands shake in trepidation at the thought of drawing hands. In Week Seven we will meet this intimidating challenge head on and simply break down, step by step, the methods needed to accurately render these all important extremities. Like previous weeks, students will be asked to take part in the exciting 2 minute, 5 minute and 15 minute sketch challenges. Additionally, students will be assigned the task of drawing hands from both reference and the imagination. Students will receive periodic advice and feedback during the course of the week, and an evaluation at week’s end.

WEEK EIGHT: Surfaces Features of the Foot
In the final week we will complete the human figure with an in-depth exploration of where some artists fear to tread: the challenging surface features of the foot. Students will learn to appreciate its beauty and develop the tactics needed to bring it to life on paper / in pixels. In this final Week we will be exploring the anatomical and artistic aspects of the feet. Lecture demonstrations and exercises will demonstrate to students that feet should not be feared, but avidly studied. Students will create drawings / paintings of the feet. Artistic aspects will also be covered, and at week’s end, students will be asked to present their complete set of drawings. 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.

Resource Requirement
It is highly recommended that students purchase well in advance of the course the book, The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective on the Classical Tradition by Anthony Ryder (Paperback - June 1999)

For those outside of the US, it is of particular importance to order the book early to allow for adequate shipping time.