This experience is optimized for Internet Explorer version 9 and above.

Please upgrade your browser

Send the Gift of Lifelong Learning!

How to Draw

How to Draw

Gifting Information

FAQ
FAQ

To send your gift, please complete the form below. An email will be sent immediately to notify the recipient of your gift and provide them with instructions to redeem it.

  • 500 characters remaining.

Frequently Asked Questions

With an eGift, you can instantly send a Great Course to a friend or loved one via email. It's simple:
1. Find the course you would like to eGift.
2. Under "Choose a Format", click on Video Download or Audio Download.
3. Click 'Send e-Gift'
4. Fill out the details on the next page. You will need to the email address of your friend or family member.
5. Proceed with the checkout process as usual.
Q: Why do I need to specify the email of the recipient?
A: We will send that person an email to notify them of your gift. If they are already a customer, they will be able to add the gift to their My Digital Library and mobile apps. If they are not yet a customer, we will help them set up a new account so they can enjoy their course in their My Digital Library or via our free mobile apps.
Q: How will my friend or family member know they have a gift?
A: They will receive an email from The Great Courses notifying them of your eGift. The email will direct them to TheGreatCourses.com. If they are already a customer, they will be able to add the gift to their My Digital Library and mobile apps. If they are not yet a customer, we will help them set up a new account so they can enjoy their course in their My Digital Library or via our free mobile apps.
Q: What if my friend or family member does not receive the email?
A: If the email notification is missing, first check your Spam folder. Depending on your email provider, it may have mistakenly been flagged as spam. If it is not found, please email customer service at (customerservice@thegreatcourses.com) or call 1-800-832-2412 for assistance.
Q: How will I know they have received my eGift?
A: When the recipient clicks on their email and redeems their eGift, you will automatically receive an email notification.
Q: What if I do not receive the notification that the eGift has been redeemed?
A: If the email notification is missing, first check your Spam folder. Depending on your email provider, it may have mistakenly been flagged as spam. If it is not found, please email customer service at (customerservice@thegreatcourses.com) or call customer service at 1-800-832-2412 for assistance.
Q: I don't want to send downloads. How do I gift DVDs or CDs?
A: eGifting only covers digital products. To purchase a DVD or CD version of a course and mail it to a friend, please call customer service at 1-800-832-2412 for assistance. Physical gifting can still be achieved online – can we describe that here and not point folks to call?
Q: Oops! The recipient already owns the course I gifted. What now?
A: Great minds think alike! We can exchange the eGifted course for another course of equal value. Please call customer service at 1-800-832-2412 for assistance.
Q: Can I update or change my email address?
A: Yes, you can. Go to My Account to change your email address.
Q: Can I select a date in the future to send my eGift?
A: Sorry, this feature is not available yet. We are working on adding it in the future.
Q: What if the email associated with eGift is not for my regular Great Course account?
A: Please please email customer service at (customerservice@thegreatcourses.com) or call our customer service team at 1-800-832-2412 for assistance. They have the ability to update the email address so you can put in your correct account.
Q: When purchasing a gift for someone, why do I have to create an account?
A: This is done for two reasons. One is so you can track the purchase of the order in your ‘order history’ section as well as being able to let our customer service team track your purchase and the person who received it if the need arises.
Q: Can I return or Exchange a gift after I purchase it?
A: Because the gift is sent immediately, it cannot be returned or exchanged by the person giving the gift. The recipient can exchange the gift for another course of equal or lesser value, or pay the difference on a more expensive item
Video title

Priority Code

Cancel

How to Draw

Course No. 7770
Professor David Brody, Professor of Painting and Drawing
University of Washington in Seattle
Share This Course
Course No. 7770
Sale
Video Streaming Included Free

What Will You Learn?

  • Get introduced to the long history of drawing, starting with some lines scratched into a piece of ochre 80,000 years ago.
  • Learn how famous artists used practical systems to create convincing illusions of volume and three-dimensional space.
  • Discover how line creates shapes, both positive and negative, and how you can use simple shapes to draw complex objects.
  • Examine pictorial space and how this related to many movements in art, including Impressionism, Cubism, and abstraction.

Course Overview

Drawing is one of humanity’s oldest forms of expression, with existing examples dating back an astonishing 80,000 years or more. Older than written language by tens of thousands of years, drawing developed across millennia, forming the base of many of the world’s artistic traditions.

Like reading and writing, drawing is a fundamental life skill. Once an integral part of a traditional education, knowledge of drawing deepens your understanding of the visual world that surrounds you and enhances your ability to interact meaningfully with it. In addition to the many pleasures of drawing, the ability to see as an artist sees brings a new dimension to self-expression and elevates your skill in countless other activities, from photography and design to the deeper appreciation of nature and art.

Professional artists in the West have traditionally studied drawing first, as a primary and foundational skill. And, as you’ll discover in How to Draw, the art of drawing is eminently learnable.

Contrary to what many people think, the ability to draw both accurately and expressively does not depend on innate talent or a unique gift. Think of it like this: Anyone can learn to play a musical instrument, though not everyone can be Mozart. Similarly, though not everyone can be Michelangelo or van Gogh, anyone can learn the skills of drawing and develop the ability to draw what they see from observation and invent whole worlds from their imagination.

In fact, you may be amazed at how well you can learn to draw, even if you believe you have no artistic talent. As this course demonstrates through clear examples, you can learn to apply the same fundamental principles that professional artists routinely use in their drawings. If you follow the professor’s guidance, by the end of the course you’ll understand how to faithfully represent what you see in front of you and in your mind’s eye.

The 36 video lessons of How to Draw offer you dynamic and comprehensive training in the art of drawing. Your teacher, David Brody, Professor of Painting and Drawing at of the University of Washington, brings more than forty years of study, studio work, and dedicated teaching to this course, demonstrating an inspiring teaching style and limitless insight into the learning process.

This brilliantly designed course takes you step by step through all of the key elements that, taken together, form the art of drawing. Through Professor Brody’s presentation and your own studio practice, you’ll study the core principles of drawing, such as line, proportion, composition, value, light and shadow, texture, color, and figure drawing. You’ll also study many of the groundbreaking Renaissance methods used for realistically depicting illusionistic space on a two dimensional surface, including empirical and linear perspective.

In the later lectures, you’ll explore the ways in which Renaissance spatial constructs evolved to include a broader understanding of pictorial space. You will study the essential connection between figuration and abstraction, and the ways in which this opened new possibilities for art that melded abstraction and representation.

Throughout the course, you’ll take lessons and inspiration from dozens of master drawings from history’s greatest draftsmen— artists like Albrecht Dürer, Leonardo da Vinci, Rembrandt, Van Gogh, Thomas Eakins, and contemporary masters such as Richard Diebenkorn and Norman Lundin. The result is a richly enjoyable and effective system for learning this remarkable art.

You can use the course material in many ways. How to Draw is a rich and deep resource, offering a wide spectrum of lessons that make the skills of drawing directly accessible.

Learn the Language of Drawing

Start by tracing the fascinating history of drawing, and begin to experiment with the artist’s materials you’ll use throughout the course. From there, you’ll study the underlying “grammar” of drawing, and make drawings that explore elements such as:

  • Line: Learn to use contour and construction line to draw objects and cross-contour line to create volume.
  • Shape: Draw individual objects by constructing them from basic geometric shapes, and discover the elements of positive, negative, and aggregate shape.
  • Composition: Study how to organize the parts of a drawing to create a unified whole within a specific rectangle, using techniques of compositional balance, spatial organization, and the use of focal areas and focal points.
  • Proportion: Use the velo of Alberti, a gridded Renaissance device that allows you to understand how three-dimensional form can be accurately depicted on a flat surface, and learn to control proportion by using a standard unit of measure, level and plumb lines, and quantify difficult angles using the clock hand approach.
  • Illusionistic Space: Study in detail how to create flatness, volume, and space, using such tools as receding diagonals and foreshortened shapes, the relative scale of objects, and atmospheric perspective.

With each new step in the process, you’ll apply your knowledge in drawing projects, which encompass individual objects, still lifes, interiors, and self-portraits.

Master the Principles of Linear Perspective

The Renaissance discovery of linear perspective radically changed the way future generations would draw, allowing artists to depict three-dimensional space with astonishing accuracy. In the course, you’ll devote five lectures and numerous drawing projects to a study of this powerful drawing tool.

  • Investigate one-point perspective, and how diagonal lines recede to a “vanishing point” on the horizon, a principle that allows you to create three-dimensional form in space.
  • Learn to draw perspectival grids—used for measuring depth of space in a drawing—and geometric patterns in perspective.
  • Continue with the principles governing inclined planes, the principles of two-point perspective (which depicts planes angled differently from in one-point perspective), and the principles of three-point perspective (which describes what we see when we look up or down).
  • Combine your knowledge of illusionistic space and perspective to draw architectural landscapes, buildings, and room interiors.

Explore the Uses of Value, Texture, and Color

Discover further elements that add depth and dimension to your art. As you go through the course, you’ll build your vocabulary of drawing terms and learn to apply a wide array of new techniques.

  • Investigate the rich possibilities of visual texturein drawing. Practice textural techniques such as hatching, create your own textural marks, and learn to simulate the textures of objects.
  • Study color theory, the spectrum of colors on the color wheel, and how colors function in nature.
  • Choose palettes of colors for your drawings, and learn to use color to create mood, emotion, visual hierarchy, space, and light.
  • Learn how to use value (the relative lightness or darkness of tones) in creating mood, volume, and as a compositional tool in directing the viewer’s attention.
  • Develop the ability to portray light,both natural and artificial, and shadow; learn to draw cast shadows, both outdoors and within interiors.

You’ll also get in-depth instruction on how to draw realistic human figures.

  • Study a canon of human proportions, and draw the figure by building it using measure and component geometric shapes.
  • Delve into the underlying structure of the body, learning about human anatomy like Leonardo and Michelangelo: study the skeleton and muscles, their functions, and how to create naturalistic volume in figure drawing.
  • Do a range of figure-drawing projects, including self-portraits, figures in perspective, and figures in narrative contexts.

Professor Brody’s presentation shows you that in order to portray the visual world naturalistically, you must learn to see analytically and abstractly, as artists see. Among many things, this means learning to understand the underlying architecture of form and developing the ability to visualize the whole before the details.

Forge A Vision for Your Own Work

In the course’s final section, Professor Brody guides you in applying what you’ve learned to discover your own personal creative vision. Here, you’ll encounter concepts and do advanced drawing projects aimed at developing individual source material and subject matter for your own drawings, and you’ll form a clearer idea of the kind of art you want to make.

Throughout the course, Professor Brody illustrates the subject matter with vivid animations, live demonstrations of key principles, and drawings by both celebrated masters and students whose work exemplifies and clarifies the learning process. In addition to the video lectures themselves, Professor Brody has crafted many exercises for you to practice your newly acquired skills.

These 36 in-depth lessons help you build a complete and integrated set of drawing skills in a step-by-step, clear, and detailed manner. How to Draw is your opportunity to understand and master the skills, concepts, and art of drawing, an ability with rewards you will treasure for a lifetime.

Hide Full Description
36 lectures
 |  30 minutes each
Year Released: 2015
  • 1
    An Introduction to Drawing
    Begin by considering the remarkable history of drawing, a history that has produced knowledge, methodology, and techniques that are readily learnable. Assess common misconceptions about talent and genius; discover how learning to see analytically and abstractly helps us draw; and try your first drawing exercise, retracing what our ancestors drew 80,000 years ago. x
  • 2
    Drawing Materials for Line
    Here, investigate drawing materials you’ll use throughout the course. Learn about artists’ graphite pencils, charcoal, brush and ink, and drafting and measuring tools. Then learn how to set up your work area, and how to place both yourself and your subject vis-a-vis your drawing board or easel. x
  • 3
    Drawing Fundamentals and First Exercises
    Explore essential first drawing exercises and learn how you will apply the skills developed here to much more complex subjects. Grasp how the curriculum—spanning the many pieces making up the “grammar” of drawing, such as composition, proportion, perspective, value, texture, and color—fits together, providing you with the knowledge and ability to explore your own creative vision. x
  • 4
    Line and Shape: Line and Aggregate Shape
    Learn about contour line, which describes the outer edges of objects, and construction line, which helps you build the objects you draw. Discover how to draw individual objects by constructing them from basic geometric shapes. Also learn about aggregate shape, which unites a drawing’s disparate individual elements. x
  • 5
    Line and Shape: Volume and Figure-Ground
    Now investigate cross-contour line (which can transform flat shape into a volumetric solid), oblique or foreshortened shapes, and their relation to geometric solids—principles that allow you to make objects appear three-dimensional. Also grasp the relation of figure to ground within a drawing, and practice drawing three-dimensional still lifes. x
  • 6
    Line and Shape: Positive and Negative Shape
    This lecture explores the vital concept of negative shape, the shapes existing between the positive shapes representing the objects on the page. Study how artists conceive of negative shape and use it in constructing their compositions. In still life exercises, practice intentionally drawing both “positive” object shapes and the “negative” shapes between them. x
  • 7
    Composition: The Format and Its Armature
    In approaching composition, study the underlying structure of rectangles, the fundamental shape of most drawings. Learn how the character of any rectangle is defined by the relationship of its verticality to its horizontality, and how this relationship affects our perception. Observe how simple diagonals within a rectangle offer numerous possibilities for visual interpretation. x
  • 8
    Composition: How Artists Compose
    Study how artists think structurally in building a drawing, tying the drawing’s content to the geometric underpinnings of a given rectangular shape. Learn about focal areas, focal points, and compositional balance, and how this kind of structural understanding serves to unite the parts of a drawing, creating a unified whole. x
  • 9
    Line and Shape: Line Attributes and Gesture
    Take a deeper look at the types and qualities of line, and consider how these attributes affect line’s expressive potential. Study and practice nine key attributes of line, from value and width to continuity, shape, and texture. Then explore gestural line—line that swiftly captures the character of a subject. x
  • 10
    Composition: Shape and Advanced Strategies
    Investigate visual strategies artists use in composing drawings. Grasp how shapes communicate, and how the factors of contrast and repetition affect how a viewer reads a drawing. Learn about visual “rhyming” (shapes and directions that get repeated rhythmically), spatial organization (foreground, mid-ground, background), and the narrative possibilities of composition. x
  • 11
    Proportion: Alberti’s Velo
    Now begin a study of proportion and measurement in drawing. Learn about a key discovery of 15th century European art, the velo, a gridded device that allows you to create a convincing depiction of a figure, landscape, or other subject. Use your own velo, and draw a proportioned, foreshortened view of an interior. x
  • 12
    Proportion: Accurate Proportion and Measure
    Study key tools artists use to arrive at correct proportions. In particular, learn how to use an analog clock face as a way to quantify angles, how to use a standard unit of measure to measure across the picture plane, and how to use level and plumb lines. Then put these elements together in practice. x
  • 13
    Creating Volume and Illusionistic Space
    Look broadly at how artists create flatness, volume, and space on two-dimensional surfaces. In doing so, study 12 factors that affect how we perceive depth of space, encompassing principles such as overlap, the relative scale of objects, the use of diagonals and foreshortened shapes, atmospheric perspective, and how distance affects color. x
  • 14
    Six Complex Drawing Projects
    Apply your knowledge and skills to a number of intriguing and complex drawing conundrums. Among a range of projects, create a still life of boxes, translate a complex figure painting into a line drawing, and draw a carefully composed self-portrait. Also consider common pitfalls—and their solutions—in drawing naturalistically. x
  • 15
    Linear Perspective: Introduction
    Linear perspective, a Renaissance discovery that radically changed art, is another core tool for controlling proportion and creating a life-like drawing. Learn about one-point perspective, how diagonal lines recede to a vanishing point, and how to use this principle to create convincing form in space. x
  • 16
    Linear Perspective: The Quad
    Combine your knowledge of illusionistic space and linear perspective in drawing an architectural landscape of two buildings on a ground plane. Construct the buildings and the space between them using the principles of one-point perspective. Then draw through the buildings, creating interior floors, windows, doors, and furniture. x
  • 17
    Linear Perspective: The Gridded Room
    Learn how to draw a perspectival grid, and look at ways artists use grids to measure the depth of space in a drawing. Then, draw a complete gridded room, beginning with the floor plane. Add gridded walls and a ceiling, controlling proportions in spatial recession. Finally, add interior objects of specific measure in specific locations. x
  • 18
    Linear Perspective: Ellipses and Pattern
    Apply the principles you’ve learned to draw curvilinear volumetric forms, such as a cylinder, cone, and sphere in perspective. Also investigate the drawing of geometric patterns in perspective. Then begin a complex drawing from your imagination, using one-point perspective to construct a believable and measurable interior space. x
  • 19
    Linear Perspective: Advanced Topics
    Complete drawing a believable, proportioned environment from your imagination. Next, study two-point perspective, used to accurately draw planes that are angled to the picture plane. Finally, discover how to draw sloping or inclined planes, and learn about three-point perspective, which depicts what we see when we tilt our heads, looking up or down. x
  • 20
    Value: How Artists Use Value
    In approaching value (the relative lightness or darkness of tones), grasp how the tonal palette of a drawing governs mood and the viewer’s emotional response. Learn how we can conceive of the range of values from white to black as a scale. Study how artists use value as both a spatial and a compositional tool, and investigate the passage of light and shadow over form as occurring in nine steps. x
  • 21
    Value: Drawing Materials for Value
    For drawing with value, take a deeper look at the types and qualities of the materials you’ll use. Investigate the uses of graphite, charcoal, blending and spreading tools, ink, and the use of fixative. Study the many types and grades of drawing papers, and see how different materials interact with different papers. x
  • 22
    Value: Black and White and a Value Scale
    Discover how artists use value. With brush and ink, learn to make both white and black shapes and create a still life using only these two values. Then, draw a nine-step value scale, comprising nine distinct tones ranging from white to black. x
  • 23
    Value: Eight Complex Drawing Projects
    Put your knowledge of value into practice, beginning with still lifes of white objects on white backgrounds drawn in a broad palette of light to dark. Learn to see a color’s value as distinct from its hue and saturation. Realize a range of value-based projects, from drawings combining interior and outdoor spaces to portraits, full-figure drawings, and drawings translating color to value. x
  • 24
    Value: Side Light and Cast Shadow
    Learn how artists draw cast shadows from their imaginations. Start with shadows thrown by blocks and curvilinear solids, in one- and two-point perspective. Consider the expressive value of shadows, and progress to compound surfaces receiving shadows. Finally, learn to draw cast shadows of inclined planes. x
  • 25
    Value: Oblique Light and Cast Shadow
    To complete your study of cast shadows, learn to draw shadows produced by oblique light coming from both the front and rear of objects. Then investigate artificial light as it affects shadows projected by objects within interiors. Practice these principles by drawing a complex interior and an invented still life from your imagination. x
  • 26
    Texture: Mark Making and Optical Value
    Investigate the use of mark making, such as hatching and other related techniques, as a means of creating visual texture and tonal value. Experiment with hatching and how to use it compositionally. Practice inventing your own marks, explore the huge range of possibilities, and apply them in your drawings. x
  • 27
    Texture: How Artists Use Texture
    Take a comprehensive look at texture, beginning with five master drawings that exhibit contrasting textural personalities and moods. Study the primary factors that affect texture, from the drawing surface to the material’s application method and modification through blending, smudging, or erasing. Learn to draw simulated textures such as wood grain and reflective metallic surfaces. x
  • 28
    Color: Color Theory and Color and Light
    Delve into color theory, beginning with the organization of primary and secondary colors on the color wheel. Learn about analogous and complementary colors, as well as the attributes of hue, value, and saturation. Investigate how color functions in nature, and discover how our perception of color is influenced by light and reflected color in the environment. x
  • 29
    Color: How Artists Use Color
    Observe how an artist’s color palette (group of chosen colors) affects light, mood, and emotion, by studying palettes used through the centuries by major artists. Learn about flat color, open color, and color gradation in art. Grasp vital principles regarding how artists use color compositionally to direct the viewer’s attention. x
  • 30
    Color: Color Drawing Projects
    Choose palettes of pastels for your own drawings. Do a series of projects, using a specific color palette to create mood, a visual hierarchy, and the illusion of space, volume, and light. Explore how a seemingly white wall is not white at all, but actually a range of colors. This is because an object’s nominal color mixes with the color of the light source and the reflected color of other objects in the environment. x
  • 31
    The Figure: A Canon of Proportions
    Learn to draw the human figure using a set of measures, or a canon of proportions, and simple geometric shapes. In doing so, make a study of human proportions in three views, using the height of the head to measure relative proportions of the body. Take account of how artists have viewed human proportions, body posture, and differences between male and female figures. x
  • 32
    The Figure: The Head, Hands, and Feet
    Complete drawing anterior, lateral, and posterior views of the human figure. Then, turn the flat shapes used to construct the figure into volume, to get a more naturalistic and three-dimensional figure. Study methods for proportionately drawing the head and conquering the complexity of the hands and the feet. x
  • 33
    The Figure: Artistic Anatomy
    Like Leonardo, Michelangelo, and countless others, study human anatomy, and learn its value for drawing the figure. Study the human skeleton, with particular focus on visible skeletal landmarks seen on the surface. Investigate the principal muscle groups and their functions, and draw both skeleton and muscles into your figure drawings. x
  • 34
    The Figure: Drawing Projects
    Finish exploring human anatomy, covering the muscles of the lower body and limbs. Then bring your knowledge to a spectrum of drawing projects, beginning with a full-length self-portrait in three views. Draw variations such as figures in one- and two-point perspective, a figure within an invented room, and figures in narrative settings. x
  • 35
    Advanced Concepts: Pictorial Space
    Consider how, from pre-history through the Renaissance to the contemporary era, artists have approached the depiction of the three-dimensional world on a two-dimensional flat surface. Observe how recent artists have taken liberties with Renaissance principles of illusionistic space and set them to contradict one another, creating a whole range of new possibilities for art spanning both the highly abstract and highly representational. x
  • 36
    Advanced Drawing Projects
    Conclude with challenging projects that weave together observation and imagination, as well as abstraction and representation. Explore how to develop subject matter and source material for your drawings. Locate areas of personal interest, themes, and ideas to identify the kind of art you want to make and cultivate your own artistic vision. x

Lecture Titles

Clone Content from Your Professor tab

What's Included

What Does Each Format Include?

Video DVD
Video Download Includes:
  • Ability to download 36 video lectures from your digital library
  • Downloadable PDF of the course guidebook
  • FREE video streaming of the course from our website and mobile apps
Video DVD
DVD Includes:
  • 36 lectures on 6 DVDs
  • 220-page printed course guidebook
  • Downloadable PDF of the course guidebook
  • FREE video streaming of the course from our website and mobile apps
  • Closed captioning available

What Does The Course Guidebook Include?

Video DVD
Course Guidebook Details:
  • 220-page printed course guidebook
  • Photos & illustrations
  • Suggested readings
  • Additional Activities

Enjoy This Course On-the-Go with Our Mobile Apps!*

  • App store App store iPhone + iPad
  • Google Play Google Play Android Devices
  • Kindle Fire Kindle Fire Kindle Fire Tablet + Firephone
*Courses can be streamed from anywhere you have an internet connection. Standard carrier data rates may apply in areas that do not have wifi connections pursuant to your carrier contract.

Your professor

David Brody

About Your Professor

David Brody, Professor of Painting and Drawing
University of Washington in Seattle
Professor David Brody has been a Professor of Painting and Drawing at the University of Washington in Seattle since 1996. He did undergraduate work at Columbia University and Bennington College and received his graduate degree in painting from Yale University in 1983. Professor Brody has lectured or been a visiting critic at Carnegie Mellon University, the Massachusetts Institute of Technology, The University of Chicago,...
Learn More About This Professor
Also By This Professor

Reviews

Rated 4.5 out of 5 by 30 reviewers.
Rated 3 out of 5 by Not for children I bought this for an 8 year old grandchild. WRONG She was so bored with the lectures that I could not get her to watch the techniques. This is for a sarious adult. I will be sending this back. June 18, 2016
Rated 3 out of 5 by Commendable Effort People use courses for different purposes, so it is difficult to comment on course value for others. The following is my experience with the course. The instructor clearly spent a lot of time creating a fairly comprehensive course. If the viewer can delay the joy of sketching and focus on mostly tedious grids and basic shapes while the instructor talks on and on, the course may be worth it. I often sketched him in his suit and tie. At one point he even wore a different colored suit and he wears what looks like quality shoes. Some of the art history is fascinating. I'm unclear about the intended audience. In the first DVD the instructor goes over materials including 22 graphite pencils; and he has a simple, but probably satisfying, exercise for a beginner. In the second DVD he says, at one point, to go draw things like a room in your house. This did not seem geared toward beginners. He also mentions in another DVD to use your easel. Maybe I fell asleep when he was going over the materials. I did not recall the easel but I do recall a lengthy description of pencil lines in which he made a chart. He ended up acknowledging that only a few pencils are typically used, about four. The instructor does primarily build on the concepts as he proceeds, which is helpful if you can stay awake. I fell asleep several times and had to backtrack. I did find the perspective sections helpful and for that reason, I am glad I purchased the course, which I purchased at a reduced rate. June 17, 2016
Rated 5 out of 5 by Excellent Professor Brody did an excellent job in preparing the contents of this course. His delivery is factual and to the point, supported by historical references and quotes. The course is the right mix of processes, examples, and theory. Good choice and well done Great Courses. June 7, 2016
Rated 4 out of 5 by helpful with limits I found the instructor's breadth of knowledge and use of diverse works of art to be very enlightening. His suggestions for practice and the steps to advance were also helpful. I also like having access to the course videos on various devises: ipad, computer, etc. My only reason for not giving it 5 stars is not really to do with the course as much as the fact that I think the dvd's should include files with the print outs of the sample exercises. For example: early on, he has us do a rough sketch based on his; a bottle, a pitcher, a bowl. He's helping us see and practice making the aggregate shapes that make up those objects. It would have been helpful to have been able to print this sketch to use during my practice times, rather than only being able to see the objects while sitting with a device on pause: computer, ipad, iphone, etc. Maybe that's only available if I want to pay extra for a course transcript, but I think it should be included in the price and included in the accompanying booklet "Course Guidebook" which came with the DVDs. Otherwise, I recommend this course to those, who, like me, love to capture sketches of life around me, but do not have the knowledge and innate talent of the truly gifted and art educated. I'm able to make my drawings actually look like what I see! June 7, 2016
  • 2016-06-24 T12:40:47.667-05:00
  • bvseo_lps, prod_bvrr, vn_prr_5.6
  • cp-1, bvpage1
  • co_hasreviews, tv_30, tr_30
  • loc_en_US, sid_7770, prod, sort_default
2 next>>

Questions & Answers

Buy together as a Set
and
Save
Choose a Set Format
$164.90
$191.90