- Lesson details
In this unique lesson, Glenn Vilppu will show you an amazing sculptural drawing technique that relies on charcoal tone, the chamois (rag), and a specially cut eraser than can be used to draw in light values. This is the eighth and final lesson in Glenn’s Advanced Renaissance Figure Drawing course and it’s fun and full of surprises. Glenn will draw from reference as well as from imagination.
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different things. Probably something you've never seen me
do, no matter where you've looked. Okay, it's really taking and
having a lot of fun. Also, I'm gonna try to take and be
possibly combine some figures. So I'm combining the main
things of course with all my work is that we're organizing
the drawing to communicate information. So this has been a
series of classes that we've been going
through. I hope you enjoyed it. So okay let's get on
with it and get to work.
is I've taken a, this is using a chamois, I've sprinkled
charcoal, a little bit of conti, Othello, and I think just using
the sand pad, just using a sand pad, and taking and
raking it down. The other aspect of it is I'm going to be
drawing a part of the time with an eraser that I just cut
notches into it so that it'll have sort of a raking
type of thing. Well, you'll see
I will be drawing with a CarbOthello. And so I'm trying both color. And so I'm trying
fairly large because of the materials that I'm working
with. It's going to take and big difference here. So but I'm
starting out exactly the same way, start out fairly loose.
I want to take and feel.
Feel the form.
Now I picked a pose that's very round forms to it as you
And so I'm building, I will be building this just
this is a really
effective, unique way. Also the fact that the back the tone
is not perfectly flat. It has a little modulation to it.
I do that on purpose.
I like that feeling, it gives a little bit more
liveliness to the drawing. Coming through now, I'm feeling coming through now, I'm feeling
the flow, the rhythm.
everything we are working with now is taking exactly the same as
we've been working.
Now, I'll take and come down to even with the pencil
lines that I'm putting. I can take those
and go over them with the chamois.
So I'm just taking and feeling form now.
Now a few other head - the head is turned.
So I do all the same construction.
Now in doing this I really - one of the big elements that
with students literally all over the world
have is that when they're working from photographs
they tend to get preoccupied in copying the photograph.
Okay, you still you need to take and construct
in other other words you can see I'm really focusing
visualizing the volume,
coming through, I'm building figure. I'm looking to the
landmarks, the back of the sacrum.
I want to feel the where
rib cage is pushing down, going through.
So at this point I'm not - there's no rendering involved
here. It's all Construction.
Through and obviously it's not a means of copying. It's
analyzing. I analyze the forms that I'm taking and drawing but
I start with very very broad, general
point. The difficulty again as I was saying is that this is really
typical, it doesn't make any difference where I'm at,
whereas in Europe, the US,
everybody tends to want to take and copy that photograph, which
is natural. It's a lot - and a lot of the academy stuff of course is all
dealing with copying.
so the problem then is that if you're not copying
you have to take and actually understand
the basic principles.
In other words everything we've been talking about in the
classes is basic tools, not rules but tools,
and then as I'm drawing I'm constantly taking and analyzing
and discussing the anatomy. Like for instance here I'm drawing
the scapula. You can really feel the figure, that shoulder
is coming back. She has a twist that I'm looking for now.
We just get a hint of a breast peeking out here, because as that
scapulae comes down it's shoving the arm is up. So that that's
forcing the scapula down and the shoulder is coming around
so that we find - and I am using a bit of tone now, coming
through, but I want to feel that scapula coming down,
now you can see how this is pulling back.
Underneath, feel the deltoid coming around.
So as I'm doing the drawing you can see that I'm constantly
sort of rehearsing, rehearsing what I'm doing.
Simple cylinder the arm.
We can feel the muscles coming out from underneath, in
other words with teres major coming through off the
scapula goes on to the arm,
trapezius coming down.
She's twisting, go over the surface.
So in a very very simple ways now the other arm she's turning
so we can feel the scapula now pushing back.
And down here I actually started out with the sacrospinalis
as it goes up.
Going through. Now I want to feel and
I keep using - I keep saying feel. You actually have to
experience what the figure is doing
and to understand the gesture or the action it's sometimes
it's necessary to get up and take the gesture yourself
so that you can actually feel what's going on with the
So at this point now I'm going over the
form. This is just a simple cylinder.
come back to the wrist.
Wrist is a rectangular or oval shape.
in this approach, obviously the tonal qualities that we see
in the model are not particularly important.
and that I'm taking in focusing on form rather than
the tonal qualities of a photograph.
In other word here arm is coming, hand is coming through in here.
Now I'm expanding on this bit here and making a little bit
So now what I'm going to do
is I start by taking and I want to go over the surface with the
rake here. This is like a sculptor and I go like a sculptor and I go
through it on different degrees of pressure. In other words I can
take and coming through you can see now see the lines are
starting to come very very subtle now.
I'm going over, I want to - I can feel it's like taking and
actually sculpting, going over the surface of the form
with it. It's like a rake. Now one of the things I've talked One of the things I've talked
about in terms of being able to analyze that you take and
actually and I talk about you actually like doing a contour
map, you're taking and going over the surface of the form.
So I'm picking up,
I'm going over. So the lines now this is like the
equivalent of taking and using crosshatch lines going over
GOing through. But you can see right away it creates a sense
of roundness to the form.
And this is what we're talking about in creating three
dimensions, we're analyzing, we're creating form with the
drawing. Now I have two different - I took a
part of this. I made a small one also so that I can take and
come through. I go both ways. I can take and go with the length of
the form, go across.
Feeling these volumes
as they build up. So you can see how subtle
this takes and becomes.
And as I'm doing this then I'm taking over.
It gives a very very interesting fact is that it
does - it's like sculpture.
Now also that any time I can go back in with the chamois
and go over the form. I can take and erase,
add more tone and go back on top. So as these forms are going
back this is like the modeling tone going back, and then I
can take it in the corner. I can feel the base of the form.
Now I'm pushing it a little bit stronger.
Now I'm pulling out.
picking up even into the cheek.
I'm going into the shadows here.
part of this lesson was meant to be talking about atmosphere.
Well the tone that I put down to start with creates
already creates a sense of atmosphere.
And so as I work with this then
I can take and build
and add tone. So I'm going to take and go through this one
level at a time here.
Go over the surface.
Feel the hand coming out from underneath.
Now I'm going back in here I'm going to push
some of these dimples a bit more.
Like I said I started out very very light.
Now I'm starting to take and give a little bit more emphasis
to the form.
One thing you will find that if you're trying this is that you can
actually wear down your
things that you've carved into the
particular eraser, I'm not sure what brand this is, it's a sort of
a hard rubbery thing. The pink pearl is
a good eraser that takes and
sort of a standard type of thing.
Get rid of some of the eraser debris here. Now I'm going over
opposite directions. Keep going over.
And going back there just as a means of taking and giving some
tone. Now I'm going to take and
now take and do a little drawing with the pencil again.
Add here's where I take and I slow down.
Notice how subtly I'm drawing now.
You can barely see the tone that I'm putting on the paper.
And I'm going to take and now
I'm adding a core
so we're getting a sense of direct light.
Now in here as I come through
I want to take it a little bit of time and feel the way the
and particularly at this point here thinking of the
Notice that I have barely played or used the contour. It's
barely barely part of the drawing. I'm just taking and
picking up points. Now here as I'm going behind,
this is really high quality paper I'm working on. This is not
newsprint. This is a BFK Rives.
It'll cost you
a dollar or so per sheet.
You can now you just notice when I put the core in it
immediately gives us a sense of reflected light.
Now this is a good example tp too.
show how the materials that you work with really affect the
of the art and gives it a unique quality.
Now what I'm doing here with the core hitting the color in here
now hitting a strong accent
within the shadow area creates a very - creates more luminosity
and makes the reflected light stronger.
So in here I'm using the sharp cast shadow
to take and do the same thing.
And we got the figure seated on a Surface so we can actually
take and give a bit of a
so we can take and gives us a little bit more
sense of the pressure of the forms pushing down.
Notice, it doesn't take very much, really quite
small bit of emphasis there. But you really feel the
sagging as this is taking and dropping down.
Now as I go back up into the waist, I'm going to take and
give a little bit more volume. You notice now, it's very
simple. I just come over and I say, okay the waist is a little
So I'm not taking and drawing. I'm just hitting the points
and so I'm going to come through and again I'm using
the effect of a directed light, but I'm not copying the tones
Using the side,
over, I want to feel the forms fitting in.
Now here since she's pulling back this way. I wanted to
go back to the feeling of the ribcage.
Forearms pushing down.
So the lines that I'm putting down have the same kind of
crosshatch effect that I was using with the eraser pushing
up. So now I'm feeling the fullness behind.
Notice again I'm not closing the line off. I'm allowing the air,
the atmosphere, to come in between.
as we pull this I want to pull the shoulder back out.
So now doing that I'm going over the surface. I want
to feel these forms overlapping, so I'm taking and
this is a cylinder
I'm taking and feeling the trapezius coming down sharp.
Now all of this, I want to build this pulling out, wanna feel -
now the figure is she fairly full. She's not skinny. So we
don't see the bones as prominent
as you would on say in some models,
but we can feel where the end of the scapula
is pushing, we get a sense of
form coming through,
and coming down I want to hit the base of that form going
Coming around the corner.
So now you can really feel that form pushing and as we come
down the compression that is taking and pushing down into
So I'm pushing down,
I want to feel the forms wrapping around a little bit.
So now as I'm doing this I say well, I don't copy the
photograph, but I do use it. I am looking at the forms, the
way they come. Want to see -
but I analyze. I'm analyzing what's going on.
fitting in. Now again emphasizing, building things, pulling them
I'm going to take and make this a bit stronger though.
I'm giving it a bit of an angle, a bit more than you're actually
And start to pull these forms. Now coming around I'm now. Will it come around I'm
going to pull that deltoid all the way around and I'm feeling
the compression that's taking place
up here we're attaching the scapula,
feel the deltoid's coming in at this point.
and we want to feel the pull
that's coming around, compression
going over the surface.
I'm having so much fun using this approach. I'm going to
have to start doing more of it.
But also it has a lot to do
talking about the paper. This is a BFK Rives. It's a
very - it's actually more of like an etching paper.
Now every time I do use paper like this
the students take and say, oh my God, can't afford this.
I'll tell you what when I was a student now I see where I've
got this arm way too long here.
So here's where I can take and go back with
and I just
wipe that out.
See how forgiving
the drawing then becomes. You can take and move things around,
you can change things. So now come back in.
And so I'm really moving the arm down now.
So which is another Point here since this is our last session
now, you have to learn to look
at your drawings as if it was actually a person and that's
literally what I was doing. Just look at that, that arm's
way too long. I wasn't looking at it in terms
of gee is that exactly what the photograph is doing? No, I was
looking at it as an arm.
And so I'm building these forms,
coming through, thinking where the end of the ulna is.
Coming through. That's one of the things that again I quote
Michelangelo again. He's one of the comments that he made is
use the eye.
And I think that's probably what he meant as you learn to
look at your drawing
and to see
form, so now I can go back into that drawing
again go over the
Feel the pull
and come out and make for instance here I'm hitting
and I'll come through and hit a little bit of tension in here.
Feel the corner.
As this form sets down now I'm going to take and emphasize the
top of the form here
that is facing us.
And then as the form sets down
I take and push the light so it's like a step
going over that you can really feel the volumes now as
they take and go down. So the same thing and I'll take and
hitting the base
of the form
so the deltoid comes down, see I'm making that come out more
and I can take and emphasize now even a bit more as we come
around the corner
and I'll do the same thing in here
to bring that out. So we building with pulling this
Now go back in.
And I'm drawing the head is turned, twisting, so I pull
Feeling the twist.
Taking care to get the eye
going at the right angle.
you notice in the photograph the head and shadow here
well, you can achieve that same effect just by not emphasizing
the tones around it. So I'm just hitting a little bit,
So that creates actually an atmospheric quality to it as
it's going back in.
at the corner
dropping the ear.
Now as that arm goes back away we now take and again hitting this
corner that's sticking out.
Again, notice how little effort I take and give to the outside
I'm not again, I keep saying this that obviously
I'm not copying.
I'm using the photograph
to take and understand, helping me to see what the forms are
So I do both the cross hatching
And here I'm taking and going - overlapping like we have the
forms of sacrospinalis here and I could carry this over a
little bit farther.
But I'm trying to get the sense of the twist and I'll take and push
that by taking and coming in.
Hitting the form.
So this now also take and fit into the category of
accents, like what we talked about a couple of weeks ago.
So I'm coming around.
Feel the pinch, feel the pinch as we push down.
And across the form in
the opposite direction now to take and emphasize this
compression that's taking place.
Now emphasizsing more in
the spine where we feel the pressure.
Now go back up into this arm that's taking and going
away from us.
Over the surface.
Feel the bone.
Now come out to the wrist, I'm thinking of a
Find the corner of the bone,
then going over the
surface. This is pushing back.
At the corner of the bone on the other side.
Now hair, the head.
Now come into the hand.
Now the fingers as you're drawing the fingers
keep in mind that we want to take and maybe change - she has
all of their fingers coming together. Well, I'm going to
open this up
solely to the purpose so I can create some space between the
to take and give a sense of depth to the hand and we have a
thumb now we have to take and the wrist coming around.
Now I'm gonna take and again coming through.
I'm changing the angle of the fingers,
again strictly to take and make it more interesting.
Now one of the problems with drawing fingers, hands, is that
they tend to be so complex
that we get and we spend more time on them. So there's a
natural tendency to overdraw.
And so like what I'm going to come in now, that's getting
pretty pretty claw-like.
And again, it's a matter of just looking at it and saying
well, I don't really like that. I'm going to take and come in
build so I can take at this point I can use
this to simplify.
bringing the forms a little bit together
so that it's more of an impression and so we can do the
same thing on the other side now.
Again I'm not trying to be rigid with that hair. So now I'm
going to come through.
Again open up a little space in between.
Now, I want to let the light or the air come through underneath the
way it actually is in the photograph, that actually - so now
I'm taking a hint from the photograph that I think helps
to give a little bit of space in there. But the dark I put in
there is a little too dark. So now where I come in with the
and I can wipe things out a bit notice now what's happening
is that with this air there really is coming through here,
it's now I keep working on the drawing I want to take and
putting air or light where we actually don't see it.
I'm trying to take and draw,
give the sense of the form.
Now I want to feel that piece in here.
I'm letting the hair take and flow into this now.
Now it comes through , I'm pulling from behind on that scapula.
And again, we want to feel
In doing the drawings I bring to the drawing
what I know is well as what I see.
What I know allows me to take and see
what I'm drawing.
But also the drawing here, you notice how I've been doing the drawing
really quite slow.
I want to pulling, feeling the rib cage behind, indicating the
like. Now as I go back in
and feel the forms pushing up.
Now on the other side I really want to take and
this lifting up,
One of the things that is sort of you need to keep in mind as
you're doing this. It's very easy to
erase too much.
In other words you're trying to build the form up and this is
such a neat looking thing. But at the same time it's very easy
So you want the lines to show that
you've been building with.
I keep stepping back and looking at the drawing.
in reality if I was taking and working in my own studio, I
would - chances are I would take and have the thing sitting
on an easel and come back and look at it
several days later and actually taking and possibly making
should have a feeling of
clarity in terms of form and gesture
but should have a feeling to it.
The drawing should be something that -
I like drawings that to look
fairly nice and that it shouldn't have a
unlabored - so I'm doing the drawing it should
actually take and feel a lot freer than obviously
what I've been doing because I've really been working on this,
taking my time.
Now here we could actually be adding
tone in the background.
In other words we're feeling the air moving in and around.
So a drawing is it's the whole piece of paper. It's not
the tone, the lines I'm putting down now
are taking and echoing the way I've been working with the
light so that we actually feel
a bit of the air, atmosphere moving around and coming
over the surface.
At the same time we can also be using
a light and I'm going to go back to my larger rake here and
I can be taking and putting tones
creating a movement within the thing that corresponds to the
kind of lines and tones that I was putting into the figure.
And along with that I'm going to take and emphasize then the
fact that she is seated on something
and to come in and push
a bit of the tone.
you can feel the corner.
Sense of perspective.
And along with that then I can take and pull out a little bit
on that surface.
Okay, I think this gives a fairly
a different, little different approach.
It's almost as if it was
like a couple of gals sitting in a sauna.
All right, so I'm taking and composing little bit here. So
dropping this one a little bit lower.
And why what I'm doing is she's taking and through.
Because I get this figure of doing this and this is sort of going
along with it, sort of a complimentary,
pull the arm
Visualizing form going in
and then the hip
The leg we got this one going in that direction, I'm
going to take and then pulling this leg coming out
and dropping down a bit.
See notice how I'm really just taking and constructing right
away as I'm going through and doing the drawing.
Okay, also got her arm coming across the leg.
This is taking and coming down.
Through. Okay, that's basically getting a sense of the
placement. So now I'm going to come back in and again, we're
going a little bit more carefully now. Coming
Get the cylinder of the neck.
The pit of the neck here.
Feeling, really feeling what I'm thinking of the twist,
shoulder is going back.
She's going in. So as I'm doing here we can feel this shoulder
is coming forward. I'm actually thinking of the clavicle, it
Shoulder's coming forward so we're getting a compression in
Now, go down, just going back. This is coming down. I'm
visualizing in my mind now the ribcage going in. cage going in.
This is going down. And so week we didn't actually - can see
in the photograph now looking at the model we can feel
and now I'm pull across we're looking down a bit at it. She's
really leaning. So I'm thinking of the pelvis, pelvis.
around and I build up.
So all of this now, we're really thinking of the ribcage
going down and we're fitting into
through in here.
Now from here
she's leaning forward. So I really think of all of
this stuff, taking. Notice I'm drawing through where the arms
are and all that. I'm really focusing on the overall sense
what's going so we're getting a compression taking place. You
one of the points in the critiquing student's work now
is the big difficulty that tends to - everybody has
trouble with - is as a form goes back in, you have to take and
really consciously think about going over the surface of the form
here and taken, coming underneath.
So like I'm taking and really drawing these two figures as if
together doing something.
So maybe this is a bench in a sauna or
something like that, little close.
And would go behind, you want to feel again thar
very very simple construction now.
Going through we feel the knee raised up.
So here's where everybody has a trouble. The end of the knee
is in here.
You're building, going over that surface,
and we're coming down,
thinking of the patella.
Coming in, going through.
Now the arm is coming forward. Now, as that arm comes forward,
and I already was thinking along that's where I started
this is there's a compression pushing the pecs
and also compressing the breast.
It's coming around the form in here.
Okay, the other arms also as that comes through
we're taking and that's going to be taking and compressing
on the other side.
So the breast over here - and notice that we go out of your
way to really make it much higher. We can feel the pushing up
against the arm.
Fullness of the form and I'm going to take and go back in and I'm
going to work on this drawing with the eraser again.
And we can feel it lifting up.
Maybe a bit too much.
Okay. So now
coming back in,
got this arm coming down.
And the way the wrist turns, I like that, that has a nice
play to it.
The hand dropping down.
And the other arm leaving a little bit of light in there,
that works very nicely.
Okay. Now I'm going to go back in
and let's take and we want to make that leg go back. So I
really take and go over.
See how those lines and just in themselves help the feeling
of the 3D.
then I'll be picking up forms and fitting in and here with
the stomach I'll still do the same thing. I'll take and going over
And you can take and do a lot with.
If you take a look at the drawings of DaVinci, you see
that he did awful lot with just using lines going over
over the surface.
Picking up tones and
even pulling around.
Now really let me take my miniature one here
I pretty well worn this thing down.
There we go.
I want to feel full.
Feeling the roundness of
Feel the shoulder coming out.
Now here I'm going to actually use the tone a little bit in
the background already to start with.
So and pull as that upper torso goes in and fits into
So you can see at this point now I'm pretty much ignoring
completely the light that we see on the photograph
and so as I build these forms now
coming crossed and
building on that now I'm going to go back into the drawing,
getting rid of some of the
it's actually important when you're doing the drawing that
your subject, your drawing should have a face
and a personality
if possible. Not always, but I take and I try to.
feel the hair going behind.
And I'm picking - I'm using the hair itself as a way of taking and
Now as this drawing with the two figures is developing it
can very very easily
be a rough idea for a painting.
Now focusing on the corner is turning away.
I gave one figure
a dark hair so now even though it's the same model
I'm going to leave this one as a blond.
Notice how I take and spend
a lot of effort at trying to control
how dark and light I get with the lines. Now part of this is
what allows me to be doing that
is that I am working on really good paper.
And I mentioned this earlier, it makes a big difference does. It makes a big difference
on the base of the platform that you're working on.
I'm always haranguing my friends and compatriots who like to
work on newsprint, it's such a
waste because the drawings is going to take and
over time and it's like if you do a nice drawing,
forget it unless you're totally just working for the
Now what I was doing here was giving a little bit of sharpness to
So again integrating the kind of stroke
I use with the
kind of lines that created by the
There I was hitting the
But even here I'll take down and
create overlapping form as it comes on. So I'm using a core.
I just suggest
the outside contour without really taking and
pushing it. I'm taking and
letting you as the viewer fill in a lot.
One against the other.
Now I'm using a line,
the cast shadow, but I'm taking and treating it
more as a line that helps the movement.
So because I'm feeling the flow
I'm picking lines that help that flow and I'm going to come
and finding points where I can emphasize it.
So I'm just pulling the tone through.
And I'll do that. Even if I
have to invent
forms to take and make the eye move.
So come through here we got the arm
so that pull down.
I'm going to take and maybe exaggerate, even carry this hip
out a bit farther.
Feel the compression.
That's where I'm thinking of the pelvis. Now I really
hardly see anything there. I want to come through.
And at this point now we've been talking about bringing
things out. So this thing I'm taking and coming in,
feel the stomach
and I pull this leg now, this pulling in front.
And then I go across feeling the abductor way back down here
and we pull
forms in front.
And I go over the surface pushing now
You can see where I'm emphasizing that overlapping form now.
Now and come through and I can even pick out a bit more,
And then the end of the patella,
pick up the condyles across.
Now I can go back into this
whoops, grab my long rake here.
Hitting the end of the knee.
In other words I'm giving it a top light now see? So I can
take and letting this thing drop down behind.
And this goes back then I'll pick the light in here so we
can feel the forms fitting and pick the light here.
So I've totally iteliminated the shadow now.
And I'll come through.
And start going back in.
Now I need to clarify this for myself.
This comes down.
Feel the turn.
Forms coming out from behind,
This obviously goes behind
the wrist or the hand that's coming down and compressing
And now I work to the corners of
Over that surface.
And one of the underneath
And now here we need to really pull this out in front so we
can feel the compression.
Really out here.
And all of this is going back in.
and we work around
the surface, so here it's building
around this is going down and
I'm thinking as I'm doing this I'm thinking of the fibula
tibia ridge cross through here that these forms that were
taking and pulling around.
Make this much more.
Now we go back over here we get the wrist.
Forms going around, going over.
See as I'm drawing this I'm like noticing here that you
really need to feel the ribcage and the other side, we
need to fill these forms coming around at the same time.
So as I'm doing the drawing I'm taking and
doing what I said. You're look at the looking at the drawing and
something sort of doesn't feel right or needs to be done.
You take and you do it is you're coming along you see it.
See the whole - this is a basic dictum is you go gates basic dictum of you to go
for the total,
not the parts.
And of course that goes along with then of getting the total to
start with rather than copying
the drawing to take and...
Okay this other hand is taking and coming over.
Just needs a
Feelt the form fitting in.
here, I'm going to make a real point of feeling the deltoid
coming down and fitting in.
And triceps behind.
And I'll pick out a bit more light on the biceps here.
I'm using the light - as I'm doing that I'm using a
and I'm going to pull.
Creating a big sense of a surface that the
figure's sitting on.
And one of the things I like to do as we're working with forms we
feel one form coming up against another form.
So here for instance, I would take then and emphasize
the compression as we're building forms.
Now so you can see the sense of movement now that we're
And this becomes part of the atmosphere and I can
create the part of this sense of atmosphere of even just
taking and dealing with lines here on the other side. I was
taking and using with the white or the lights coming across
now. I'm taking and building, pulling lines almost as if
we could feel the air moving in and around the figure.
So I would take and pull tone
coming in between.
Build. We have air coming in between the head
and the shoulder.
Now since I'm feeling this thing going this way, I'm going
to thinking and
I would like to take and we're dealing with the group that's
taking and doing this. So as they're - all that movement is
growing. That way I would be looking for to see something
that I can take and make going the opposite direction. In
other words a figure maybe is turning
So it's a play it becomes a play of opposites as you work
on the drawing. Okay. Now you look at this photograph, I'm
going to take and apply this figure now
to the group that we've got going here. So
in doing this again, I'm looking at the way the lines,
this figure is turning this way, this one's taking and come
around the other way. Now here I'm going to take a figure that
is going in the opposite direction
and I'm going to come in really close here
so that I can take and feel the line, one line pulling
up against the other.
So now I'm starting out with a compositional line
rather than just the gesture.
You can see where I'm pulling, pulling this, coming through.
Coming across. This figure is actually now taking and
in the opposite direction.
Now since it's the
same model, I'm going to take and
change for instance the hair. I'm going to take let the hair
drop. Maybe we'll see what happens here.
Oh, we're doing a little experimenting here. Let this
arm here go behind. Now that would correspond to with this other
arm on the other side over here are doing so I can let that
line then and it will help with the gesture of this figure. You
see how the two - this line and the line of the arm tends to work
together. So I'm composing, I'm composing the drawing.
pelvis going front view, but you can see now
she's turning and twisting in the opposite direction.
So I'm taking and coming in right away now and doing this.
And I can take and really imagine her now standing
in the background
so that we've got the one figure.
Foreground, this is dropping. So I've drawn her a little smaller so
it conceivably makes makes sense.
And the arm now is it just coming down, this arm is taking
and going back.
Here now that to me as I'm composing this thing I'm
feeling these lines, that is going along with what's going
on this way.
So we find the same direction of movement within the fact.
I'm going to take and have her eye
so that we get some kind of sensibility here and maybe open
her mouth slightly
as if she was talking
to these gals.
And pulling the hair
going behind and coming over the other way. So now we're
composition going here.
Feeling the shoulder
Think of the ribcage, the ribcage's coming down. pal rib cages coming down.
Through. And so here as we're taking and pulling this around again I'm
taking and picking up
I really emphasize now.
Feel the pull. So I'm trying to make these lines style the forms
being echoed into
forms of the other figure.
Shoulder's pulling back.
Feel the pecs pulling
in this direction.
in here if this was actually for a painting I would
possibly make this other gal's leg
take and come down
and the one in the front have a section of the leg coming this
From behind then that line that takes and becomes part of this
movement is going in that direction.
Make more of the turn to the hand.
Now let's take and go back with my
bit of a rake here and in doing this I want to take and
emphasize the movement
but at the same time as this is pushing up going
over the surface
trick here to figure out which way to take and go
over that surface.
Alright, so now what I'm doing here as you can see I'm taking
I'm not going to take and do too much more with this. I just in
other words the idea, the important part here is taking
and as you're dealing with the drawing, now this is the crux of
everything I teach
is that the drawing
you organize the tones, the line,s and the drawing
And so as I'm doing this I'm taking and that's what I'm
doing. You're seeing all this stuff and the way it's going right now
we're actually feeling that this figure in the background is
coming through and so I can take and be building
on this then I actually like to have that really loose
quality with what I've got going here. Let me take and do
just a little bit more with the pencil. In other words I would come
feel the pull.
feel the pinch.
You see how that bit of accent.
I'm pushing the tone now to take and...
Okay, I think we got a lot done here and you can get a sense
what really encompasses pretty much what I
teach. You organize the shapes, the lines, and the tones and we're
talking about the total as we're doing the drawing.
And that gives us the whole element here is something a
little different in that you're actually seeing a composition
that evolved from one form to the other but I'm responding to
the elements that I actually see.
and changing and building and looking at my source as an
excuse to taking and doing the drawing or painting whichever it may
and having fun in the process of doing it.
So it's building
feel the pull.
I keep -
it's like I can't stop. Okay got it, enough.
It really was different and particularly the taking and now
as you've got a chance to see how I really take and combine
and focus on the organization of the shapes to not only work
with one figure to the next figure but within the figure and
the idea of the atmosphere and it's a bit more creating a
picture with all of the tones working in the background on
the figure and everything. It's been a good
session. Okay. Look forward to possibly seeing you in another
class. This was the last one for this figure drawing.
Thank you and take care.
Free to try
1. Intro To Serrated Eraser39sNow playing...
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2. Serrated Demo 123m 18s
3. Serrated Demo 226m 22s
4. Serrated Demo 346m 25s