Polly Hammett: Design with the Figure

Learn Polly Hammett's multifaceted design approach to help encourage your unique expression.

Polly teaches a step-by-step method to analyze your composition before it is painted. Learn how to interact with models, contour draw, figure placement and its impact on the meaning of your painting, how to develop a background, how to manipulate dark and light patterns to achieve a strong visual statement, lifting lights, adding texture, exaggeration, distortion, the importance of transitions, and stamping. Polly shares insights on subjects integral to being an artist, including how to most benefit from critique groups. Polly's approach to design is applicable to any subject.

Take control of designing the figure with Polly Hammett. From the original contour drawing to the final touches, Polly shows you how a few changes can dramatically impact your end result.

She has specific goals for each stage of her creative process. During the initial contour drawing, Polly learns her model's mannerisms and unique characteristics. She designs her painting to capture personality.

In stage two, Polly thinks of her subject as shapes. You learn to organize and meaningful value patterns, shifting warm and cool colors, drawing attention to specific areas of the painting. You'll learn how distance from your subject alters psychological impact on the viewer.

Polly focuses on texture and pattern and introduces you to her special wipe, her signature move. Polly introduces wonderful products that help you create patterns and develop rich passages in your painting. Along the way, Polly shares gems of wisdom learned from a lifetime in art, such as productive ways to handle critiques and methods for realizing your unique strengths. From the practical to the philosophical, Polly offers a treasure trove of artistic advice. Join Polly Hammett in Design with the Figure.

BONUS CLIP: Critique Groups

In this bonus clip watercolor painter Polly Hammett explains how to use critique groups to improve your art. She discusses the difference between facts and opinions about one's work and shares her strategy for evaluating a group of paintings.