Drawing the Human Form
Figure drawing isn't about copying what you see. It's about understanding weight, balance, and the way bodies exist in space. Most people start by trying to get proportions right, which is fine. But that's only part of it.
I've spent years working out how to teach this in a way that actually sticks. Not just exercises you repeat—but a method that changes how you see. So when you sit down with a model or reference, you're not guessing. You're making decisions based on structure.
What Guides This Approach
These aren't rules. They're principles I return to when something isn't working—or when a student gets stuck.
Structure Before Surface
You can't shade convincingly if the underlying form is off. We build from the skeleton outward, understanding how muscle wraps around bone. It sounds dry, but once you get it, everything else becomes easier. Gesture, proportion, even fabric—they all depend on this foundation.
Observation Over Formula
I'm not interested in teaching you a formula for drawing hands or feet. Those break down the moment someone twists their wrist or shifts their weight. Instead, I want you to see what's actually happening—angles, compression, tension. That takes practice, but it's honest work.
Patience With Process
Some days you'll nail a pose in twenty minutes. Other days you'll struggle with a shoulder for an hour. That's normal. Progress isn't linear, and expecting it to be just sets you up for frustration. What matters is showing up consistently and being willing to wrestle with what doesn't come easily.
Caspian Dunworth
Lead Instructor
Trained at the Royal Drawing School and worked as an anatomical illustrator for medical textbooks before shifting to teaching full-time in 2019.
How I Teach
Live Demonstrations
I draw alongside you. Not polished pieces—working drawings where you can see my mistakes and corrections. It's important you understand this isn't magic. It's problem-solving in real time.
Direct Critique
I look at your work and tell you what's working and what isn't. Not harsh, but clear. Vague feedback doesn't help anyone improve. If a torso is too long or a leg lacks weight, you need to know.
Structured Repetition
We revisit the same poses and concepts multiple times across sessions. Repetition sounds boring, but it's how understanding deepens. You'll draw the same model from different angles, in different light, and start recognizing patterns.
Anatomical Context
When we discuss form, I bring in anatomy—not exhaustively, but enough so you understand why a muscle creates that shadow or why that pose feels unstable. Context makes the visual information stick.
The Three-Stage Framework
This is how we move from basic construction to confident figure work. Each stage builds on the last, and we don't rush through them.
Gesture and Proportion
We start with quick studies—two to five minutes each. The goal is capturing movement and balance, not detail. You'll learn to measure proportionally using your pencil and eye, building spatial awareness before committing to longer studies.
Structural Form
Here we slow down. Thirty-minute poses where you build the figure using simple volumes—cylinders, spheres, blocks. It looks geometric at first, but this teaches you how forms turn in space. Later you'll refine these into organic shapes.
Surface and Light
Once structure is solid, we add tone and detail. You'll study how light reveals form, where to place edges, and how to suggest texture without overworking. This stage is about restraint as much as rendering skill.
What You'll Develop
Ability to construct figures from imagination, not just reference—because you understand how bodies work spatially
Confidence drawing difficult angles and foreshortening that previously felt impossible or frustrating
Better observational skills that carry over into portrait work, animal drawing, and other subject matter
A personal practice routine you can maintain independently after formal instruction ends
Portfolio pieces showing range and technical capability if you're preparing for further study or professional work
