We are pleased to share with you a 10-week long class brought to you by Art Mentors.
In this class, Master draftsman Glenn Vilppu teaches constructive head drawing.
Head drawing, week 8.
The point now, and this is a continuation of what we talked about before, you’re really
controlling your tone, but also building on things to create a little bit of contrast.
Okay, let’s get on with it.

Now, even from this side as we look at it now take,
same thing see this really flattens out.
And you look at her. It's pretty pretty strong pretty strong contrast in the drawing.
So what's happening if I just take in?
And actually if you get top of the thyroid cartilage, this just the line flattens out.
Here we need to feel this coming in front.
That helps through the idea of her head is turned.
Even here they come around the chin. She's young so, there's not much sag or anything.
But I would take, right at that point, just a little bit more.
Now come through.
They're coming off of this from this coming out from behind
so we've got that overlap.
Then we start to pull through and here then if you're going to carry your shadows and stuff,
I would take and make them really,
Go over that surface
It's going behind.
Pull that a bit in front and really make a position here of pulling this in front.
They're all just little things now.
Here maybe it's the...
A little bit there and this...
That feels pretty nice.
That feels pretty good.
But even here
Core as it comes around...
Much stronger shape.
The subtleties of the overlaying forms, even here, these come down confound hitting the cast shadow.
Yeah, if you take it what you look at this, see now from this angle
you can see this is there's a real clear reveal, real clear corner.
Coming up along the side, so that taking and defining
that whole side. And then this is pulling down.
Oh, then this coming out from behind.
Pushing and pushing the core. See that, I have to find the quote of a...
Yeah, he's got a quote and he says the first thing to do is eliminate shadows.
That's the first thing he said get rid of the shadow, okay, and you take and use
Then we can use the things of it, and he talks about using the
reflected light to take and show the change of the planes and the shadows.
And now you know he's he took over...
It's a different vintage, it's a different, you know, talking about things.
That's a little bit.
I think we can call the night. Thank you very much

Now, this would be 25 minutes.
Now, 25 minutes is still pretty fast.
So I'm gonna take, I'm approaching the drawing with a couple different...
One of the things that if you watched at all that I was doing with the five-minute ones, I wasn't doing any lay-in.
I was starting out with just the features direct each point. There was no construction.
And so it's really stealing, being being direct,
In one of the lessons that we talked about was
where I may be talking about Cézanne,
and the way you're taking and just blocking it in looking to where the fits seeing the relationship of the forms.
Even as I do this I start out very light.
But she has just really good features to take any draw or even to paint.
So again, I'm not doing much blocking in.
While I'm blocking in but I'm being direct in the hole. I'm blocking the shapes in.
Now, really try to use the paper as much as you can as an intermediate value.
Now as I'm drawing here on the paper,
working with the white, I'm barely touching the paper.
So what you're seeing on the screen is considerably more extreme than I see.
Oh, so the idea is I'm doing this I'm taking and
slowly building it up. I will then take and come through and at the last
Come in and saying bring the drawing to life.
Now, as in the life drawing class, the whole emphasis is still on form.
And so that as I do the drawing, I'm still analyzing forms, placement.
I'm not copying the tones that I see so much.
Although, in contrast to the figure class,
I'm taking in paying more attention to the tones,
but I'm not--at the same time, I have no compulsion about changing.

Now, even from this side as we look at it now take,
same thing see this really flattens out.
And you look at her. It's pretty pretty strong pretty strong contrast in the drawing.
So what's happening if I just take in?
And actually if you get top of the thyroid cartilage, this just the line flattens out.
Here we need to feel this coming in front.
That helps through the idea of her head is turned.
Even here they come around the chin. She's young so, there's not much sag or anything.
But I would take, right at that point, just a little bit more.
Now come through.
They're coming off of this from this coming out from behind
so we've got that overlap.
Then we start to pull through and here then if you're going to carry your shadows and stuff,
I would take and make them really,
Go over that surface
It's going behind.
Pull that a bit in front and really make a position here of pulling this in front.
They're all just little things now.
Here maybe it's the...
A little bit there and this...
That feels pretty nice.
That feels pretty good.
But even here
Core as it comes around...
Much stronger shape.
The subtleties of the overlaying forms, even here, these come down confound hitting the cast shadow.
Yeah, if you take it what you look at this, see now from this angle
you can see this is there's a real clear reveal, real clear corner.
Coming up along the side, so that taking and defining
that whole side. And then this is pulling down.
Oh, then this coming out from behind.
Pushing and pushing the core. See that, I have to find the quote of a...
Yeah, he's got a quote and he says the first thing to do is eliminate shadows.
That's the first thing he said get rid of the shadow, okay, and you take and use
Then we can use the things of it, and he talks about using the
reflected light to take and show the change of the planes and the shadows.
And now you know he's he took over...
It's a different vintage, it's a different, you know, talking about things.
That's a little bit.
I think we can call the night. Thank you very much