scotteaton

Winter Term – Courses and Workshops

 anatomy, courses, news
Nov 092025
 

Scott Eaton's Anatomy and Figure Sculpture coursesScott’s Eaton-Houdon écorché

WINTER SESSIONS

Registration is now available for full-enrollment sessions for the Winter term starting on January 25. These in-depth courses are designed to teach the skills every artist needs to produce inspiring, professional figurative work. They have been taught to artists and studios around the world, including Pixar, Industrial Light & Magic, Epic Games, Disney Feature Animation, Sony Imageworks, Ubisoft, Blizzard, EA and many others.

Logos of the studios that Scott Eaton has done anatomy lectures for.

If you are looking for an intensive course to develop your figurative art skills, consider one of these:

COURSES

  • ANATOMY FOR ARTISTS
    The most comprehensive online course covering artistic anatomy. No prerequisites are necessary, just a sincere interest in learning about the wonderful machine that is the human body! more…
  • DIGITAL FIGURE SCULPTURE
    An intense ten-week course in the tools and techniques of digital figure sculpture. This course is recommended for students with a firm grounding in anatomy (the Anatomy for Artists course is recommended) as well as an intermediate knowledge of ZBrush. more…
  • PORTRAITURE & FACIAL ANATOMY
    The companion course to Anatomy for Artists, this course explore the anatomy of the face in-depth. It covers the construction of the skull, features, facial fat, musculature, expressions, and the Facial Action Coding system (FACS). Every great figure needs a great face, this course teaches you the anatomy you need to build it. more…

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Epic Games Masterclass

 anatomy, courses, news
Sep 232025
 

Scott with a crisp, wall-mounted Epic Games logo.

I am recently back to London from Cary, North Carolina, where I ran a two-day anatomy masterclass for the concept artists and character artists at Epic Games. This team is responsible for ALL the character designs in Fortnite – Epic Games’ main, enduring title (as well as a few others). We had about fifty concept artists (2D) on-site at Epic HQ, and the character artists (3D) joined remotely by Zoom.

Clearly it’s not possible to cover the anatomy of the entire body in two days, so extreme editing was required. We did manage a deep dive into what I consider the essential anatomical principles for artists and we ended each day with drawing sessions using reference from BodiesinMotion.photo’s Quickdraw feature (a couple of my efforts can be found here). I love having concept artists on my workshops since they like to draw as much as I do and are generally happy to grind away on drawing practice.

It was a whirlwind trip to be sure (especially travelling transatlantic), but as a longtime Fortnite player (since COVID, anyways), it was fun to visit HQ and meet the very talented, hardworking artists responsible for most of the pixels I’ve seen in-game over the years!

Prepping the setup…

And a few more images (if you play Fortnite, you’ll recognise a couple of these):
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Drawing w Epic Games

 drawings
Sep 232025
 

A few scribbles from a drawing session with Epic Games using BodiesinMotion.photo’s Quickdraw. I think these were mostly 3.5 minute poses, which is about my sweet spot – enough time to draw deliberately, with observation & attention, but not so much time that things tighten up and get overworked. Of course everybody draws differently and has different background/experience so this isn’t a prescription, just what I’ve settled on over the years.

Essential Anatomy for Insomniac Games

 anatomy
Jul 082025
 

I recently delivered an anatomy masterclass for the amazing team at Insomniac Games. For those who don’t know, they are the Sony studio responsible for the Rachet & Clank series, and of course Spiderman 1, 2, and Miles Morales. With the Spiderman series, they have been pushing the boundaries of dynamic anatomy, poses, and animation for game characters. I’ve long admired their character work so it was a pleasure spending time with the team going deep into anatomy. Excited for their next game!

black suit spiderman, marvel, insomniacMarvel / Insomniac Games

Perpetual Now (two figures)

 ART
May 282024
 

TITLE: Perpetual Now (two figures), excerpt
MEDIUM: Digital (video + machine learning)
RESOLUTION: 4k, vertical, 60fps
DURATION: 6:40, seamlessly looping
DATE: 2022

Crossings I (Shibuya)
Instanbul Airport edit

 ART
Apr 082024
 

TITLE: Crossings I (Shibuya), Istanbul edit
MEDIUM: Digital, 4k, 30fps
DURATION: 45 seconds
DATE: 2024

The first in a series of works highlighting our ubiquitous loss of privacy to public surveillance, here hijacking a public webcam pointed at Shibuya Crossing in Tokyo. Unknowing participants create a data painting/collage with their bodies as they go about their daily routines. The work uses the current state-of-the-art in AI/machine learning tracking algorithms to identify and follow people in the crowd – each person assigned an ID and probability that they are human (displayed on the bottom of the screen at the start and end). Coloration is derived from their direction of movement, length of time that they have been identified and tracked, and their alogrithmic “humanness”.

This excerpt was designed for a daily take-over of the screens at Istanbul IGA Airport in April 2024.

EXHIBITION – Art Through Time: Contemporary Reflections

 news
Mar 102024
 

I have a new work debuting at the Alon Zakaim Gallery in central London in April. This exhibition pairs contemporary artists (me and others, mostly painters) with works from 20th century artists – Picasso, Dali, Chagall, etc – and asks us to react with a new, contemporary take.

I am paired with a larger than life-sized alabaster bust from Jaume Plensa, a Spanish artist known for his large scale portraits, often compressed in one dimension. My ‘reaction’ is a moving image piece – an aging, kaleidoscopic, digital portrait that borrows stylistic elements from early 20th century art movements (cubism, constructivism) and remixes these with a recipe of photogrammetry, digital sculpture, machine learning and rendering. The work – flat, colorful, evolving and ephemeral – is a counterpoint to the static, polished, ageless bust of Plensa. Hopefully when appreciated together, they contrast and compliment each other, sparking conversation. Images to follow after the opening.

Curated by Virginia Damtsa

Spherical Enumeration

 ART, machine learning, machine learning / AI
Feb 202024
 

TITLE: Spherical Enumeration
MEDIUM: Laser-fused polyamide
DIMENSION: 33x33x30 cm
DATE: 2022

Exploring the idea of a spherical zoetrope (a physical impossiblity). Here animating an abstracted figure cyclically standing, kneeling, and raising arms, abstracted through one of my experimental ‘geometry’ neural networks (used also in Intersections. The sculpture above is an excerpt from the animation.

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