Drawing the Figure: Proportions

[New Masters Academy]

In this lesson Glenn Vilppu will teach you how to draw proportions, using live models and diagrams. By the end of this lesson you should have a much firmer grasp on the complexity of the human figure that can be built upon even further.

Materials

• Polychromos Pencil – Sanguine
• Drawing Paper

[cleverdevil76]

I wouldn’t want him to go slower and baby the lesson, but the information is too much and too fast to keep up with in a comprehensive way.
Is that just me? I’m ok with that if it is, but I couldn’t imagine being in a class where this lesson is one time, one shot – onto the next.
I’ve watched #3: understanding proportions several times. Drawing along is impossible. But I have notes!!

[BrianInglis]

I can’t see Glenn’s drawings, just not enough  contrast with the sanguine pencil. Also agree that it’s just too fast to follow along. Great idea but very poor execution, which is a shame considering the subscription cost!

[Carolina]

I agree with you guys. There is a wealth of knowledge here obviously but if I were in an actual class I would walk out as I would not get much out of it. It’s far too fast given the amount of info relayed and the voice is so soothing I want to fall asleep. The upside to it being online, I can pause many times to take proper notes and follow the drawings. I will stick to the end though since it does have a lot of useful information that is very helpful.

[Alison Fox]

I agree with all of the above as I am looking for a draw along course and not just listen to a lecture. What annoys me the most is in the first lesson the photo of the model is shown at a different perspective or line of view compared to the instructors. It would make it so much easier if the image was the exact same view point as the instructor Glenn Vilppu is drawing from.

• This reply was modified 2 years, 7 months ago by Alison Fox.

[Daniel Daigle]

Hi Alison, I understand your frustration, but this is an excellent opportunity for you to really learn the information. When you apply the ideas that Glenn is discussing, you have to think, and synthesize the information. This type of application forces you to learn the material. On the other hand, if you passively reproduce every pencil stroke he makes without being forced to think about it, it will easily be forgotten. If you take any of Glenn’s classes in person or live, he will often say “don’t copy” or “copying is not drawing”. It’s the conceptualization that is important.
To get more comfortable with this idea, I recommend drawing over our model reference images, find the landmarks, and trace over them in the manner that Glenn does here. (the same way Rey Bustos does his anatomy lectures) By doing this, you are training your mind to recognize the landmarks and proportions. Then when you start feeling comfortable, try drawing the figures on a different sheet of paper. Start with gesture then find the landmarks. You can approximate the forms as cylinders and rectangular prisms. just practice getting the lengths and volumes correct.

I would also recommend watching Karl Gnass’ spirit of the pose lecture. He teaches you how to use a “general model” for proportions which eventually allows you to draw from imagination. And I suggest listening closely to what Karl says about internalizing the model. This is very important and also applies to this proportion class with Glenn
https://www.nma.art/courses/the-spirit-of-the-pose-figure-drawing-with-karl-gnass/

I want to be very clear, these topics are not easy, that’s why we have the best in the industry teaching these concepts. You will wrestle with these concepts for a while. But once you start to get the hang of it, it will feel like a super power. Not every artist can draw from imagination. But you might be able to.  Just like Karl and Glenn

• This reply was modified 2 years, 7 months ago by Daniel Daigle.

[Clifford Zuta]

Im just starting the lesson i would love if he could use a black pencil as the red one he is using is a bit hard to see

[Daniel Daigle]

Hi Clifford, this is typical to how Glenn draws. Even in person, it is hard to see the lay in, but this is done intentionally. The advantage to this approach is that Glenn never has to erase. Once the initial lines are put in, Glenn goes back over them with more precise lines that are more visible. I hope this helps explains the approach

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