- Lesson details
In this series, master draftsman Glenn Vilppu shares with you his approach to figure drawing. In this fifth lesson of the series, Glenn covers basic procedure–the process of combining everything you’ve learned so far. Glenn begins with a lecture, recapping Gesture, Spheres, Boxes, and Cylinders. He will then illustrate how to combine these concepts in a figure drawing demonstration.
- CarbOthello Pencil – Burnt Sienna
- General’s Charcoal Pencil
- Sandpaper Block
- Faber-Castell Polychromos Pencil – Sanguine
- Prismacolor Colored Pencil – Black
- Drawing Paper
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procedure is really just a recapping of all the basic steps that we go through to get
where we’re at now. We’ve gone through gesture. We’ve gone through spherical forms,
box forms. We’ve gone over the surface of the forms. We’ve done all these things.
This is recapping and bringing all that stuff together so that we can see the relationship
of step 1, step 2, step 3, and how they all work together as a basic procedure.
We’ve been going through steps. We went through gesture, spherical forms, box forms,
cylinders. What’s the underlying concept behind all this? What is the basic procedure
that that anybody uses to take and do something? In a nutshell, it’s from general to the
specific. Everything, whether it’s drawing, painting, building a house. It’s all really
the same. If you go back and look at the artists of the past, what we see is that everybody
went through pretty much the same steps.
Even when we talk about what are the things that people, the connoisseurs look at when
they’re looking at artists of the past? They prefer to look and really like a lot
of the times the process drawings, the beginning items which show the thinking of the artist.
The fancy rendering, okay, polish work. But, it’s how was the work done? What was the
artist—what’s the motivation? How does he think? How does he work? That’s the process
that we’re trying to go through. All artists basically go through the same steps. It doesn’t
make any difference. Whether you’re talking about doing a fresco on the ceiling or taking
and doing a storyboard. It’s always really the same series of steps.
What are these basic procedures? Okay, to start with, look at the Renaissance work,
everything started from imagination. Well, it starts from something before that, even.
You have what is the purpose of what you’re doing? What’s the point? Are you doing an
illustration? Are you doing a painting? Fresco? Building a house? It’s always, what’s
the motivation behind it. As a storyboard artist, I was given a script that I had to
take and then visualize, so that was the motivation. As a fine artist, as a painter, I was more
motivated by the kind of quality that I wanted to take and present. A lot of times, just
a fantasy. Maybe just get an idea, or maybe not even an idea. Sometimes you just start
doing something and say, hey, that would look cool. That would make an interesting picture.
It’s that initial creative flash, but everybody does it in a sense the same way.
If I want to do a drawing or even a drawing, I get sort of a feeling, or I’ve seen a
drawing I’ve done, or I’m remembering a pose. Then I’ll start to take and work.
Even with the painting I would take and be working within a frame. That’s like doing
storyboards. I start out with reading a script. I would be doing these little itty bitty drawings
down here. As I’m reading I would be taking and visualizing a movie. I’m basically drawing
frames. I’m thinking, well, maybe there is a painting here. I start thinking the figure
is going to go something like this. I’m thinking maybe I visualize something. I come
through and I start doing scribbles. That’s the beginning of the thing.
This is just an idea. Remember, I’ve used, I’ve mentioned this many times already.
I remember when my son was maybe five years old, four years old. He told my wife, well,
I won’t tell daddy’s secret. She says, what do you mean? What’s his secret? Well,
how he does it. What do you mean? He says, well, first you do it rough, and then you
do it over again. That’s the process.
As I start out—and by the way, there is no one precise one way of doing this. There
are many ways, but the idea behind it is the same. That’s the thing that you have to
do. You have to look at the artists of the past and understand what it is—don’t get
seduced by the technique. What is the technique? Describe it. What’s it doing? What’s the
point at the stage in one’s creative act?
So, we start out, let’s say if I’m going to do—I look at that say, I just scribbled
that. That could be used in a figure, maybe coming up. Now, when I’m doing this, in
doing that first thing I am taking and I’ve already looked at that. Just about right there.
I say, wow, I’ve got this figure going back, and I’m actually thinking about the frame
and how it relates to the frame. Roughly no detail, just very, very general. Now, as I
start to draw, the why approaches. I’m trying to feel the flow of how the lines work through
the figure to create the gesture. All artists, we all have a list. Some people are more interested
in color, shape, tone, line. We all have to deal with all of these things on the list.
The difference between one artist and another is how we shuffle the list. At this stage,
maybe if somebody is really, their whole conception is color, they would be taking and putting
down blotches of color. One way. Or, it could be purity of simple shape. We all do a combination
of this, but it’s this general thing.
Since I’m talking about figure drawing, so I’m feeling the flow. We’ve got the
figure’s arms lifting up. We’ve got this going through. So now I’m sensing this is
the action. This is the flow of what’s going on. The leg is lifting up. This is coming
down. This is a fairly exuberant action here. At this point, I don’t know if it’s a
male, female. Doesn’t matter. In doing this, maybe you’re thinking that, well yes, that’s
okay. What if that—maybe we would take and say, okay, maybe that figure is going to be
leaning over a bit more. The arm is going up and back. We start coming down. The essence
of what it is at this stage goes under the very, very simple term of total. That’s
what you try and do is get the total. As a student we used to joke about tattooing it across
our fingers. Get the total. Get the total. That’s number one. Whether we’re talking
about film and storyboarding, it’s get the total. Now, once we get a sense of what this
total is, this action, then we have to go from that. We have to take and start to clarify
that form itself. That’s really where we go back to the different steps. This step
in the process, then, is the gesture.
But, not all artists did it this way. Using a chamois. In fact, I taught this way for
20 years. Taking and starting out something like this. Again, feeling…often, for many
students taking and using the chamois is easier because it already gives you a sense of the
feeling for the mass of the form. Just a line by itself tends to be rather abstract. But
you can do that. Rubens would do the same thing by taking and doing straight lines.
If you look at the beginning of drawings by Rubens that he started from imagination there
are lots of straights. But in a sense, as he was doing this, he was, again, he was visualizing
this form underneath. He was visualizing the action. You have to process—everything really
is just visualizing. Sports, you visualize something before you do it. This is the process.
So, this is number one.
The second step in the process, once we have a basic idea is to conceive that idea in simple
volumes. Now, these simple volumes can take many forms. In the processes and classes that
we’ve just been going through, I used spherical forms. I used box forms and I used cylinders.
Those are all basic tools of taking and describing form. In reality, once you can describe form
you know how to draw. Then the question becomes what is the form that you’re trying to draw?
The human figure, you really need to know the anatomy. If you’re fantasizing something
then it’s totally up to you. You can make that form do anything you want it to do.
Now, I’m talking about doing a three-dimensional volume-type form. Sculptural-type drawing
is really what I do. As we go through this, basic forms. Okay, the head is a simple spherical
form. Rib cage, the whole torso—in fact, you can take and start out the whole torso
without even drawing a sphere, but visualizing it. In other words, when I come through here
I’ll take and see this volume, and I combine this into a simple three-dimensional form.
I used to refer to this all the time as basic beanism. It’s the idea that once you’re
doing this, now I can take this and I can say, I’m visualizing. This is a round, three-dimensional
form. You can see this as taking and we have the cylinder coming through.
So now, that’s the basic volume.
In other words, if I come through here and I’ve turned it coming in, now we can see
how this is fitting in. This is sort of a kick bag. A lot of the stuff that I do are
basic bean bags, or a sack of potatoes. It’s being able to visualize this form in action.
The key point of this goes right back to the gesture. What is the action? What is the thing
that’s happening? Here, I’m talking about a pinch. It’s leaning over. I’m already—see,
I’m using the box. Nobody really wants to look at boxes unless you’re doing robots
or something. This becomes the same. Same thing. It’s a combination here of the sphere,
a box. I’m thinking as I’m doing it. In the box lessons we talked about the box. Pelvis
coming through. But in the beginning, I don’t want to burden the drawing with getting too
precise. That’s the biggest problem that most students have. They start out by taking
and trying to be too precise.
If you’re drawing from imagination it obviously is not practical. You can’t. If you’re
working from a photograph it’s deadly. The natural tendency to want to copy that thing
that’s in front of you, it can be the most detrimental thing you can go through to be creative.
As I’m coming through, as I’m feeling and coming around, then I’m coming in and
I’m, again, I’m constructing a cylinder. The cylinder is a great tool to take and show
directions of how things are going. The minute I start drawing these cylinders it actualizes
the whole process. I start seeing which way is the arm going? It’s coming out, going
up. Turn the head. Which way is it turning? In a way I’m drawing a mannequin. In fact,
in the animation industry you find that artists use these action figures. They use mannequins.
They draw from them all the time because it helps to show forms in action.
If I’m taking and coming through here now, if all of a sudden I say, well okay, we’ve
got this figure here. What if I want to make this really fat figure. I want to really make
it gross. I come in and I can start saying, okay now, come in and I can start to, I can
visualize these really simple volumes now. Coming through. I can take and start to—maybe
in contrast to that I can come in and start to… So, no matter what kind of imagery I’m
taking, maybe even making the head stay really small, then I’m feeling these volumes that
I’m going over and around as I’m doing and creating.
To do this you have to have a certain sense of freedom when you’re doing it. You have
to not sensor not so much what you’re doing. You can’t say, well, this isn’t perfect.
You’re missing the point. Again, look at Rubens’ drawing. Look at his drawings from
imagination. A lot of them are pretty lousy. There’s nothing, they’re not something
you look at for correctness of drawing, but it’s the idea. It’s the germ of the concept
of something that will grow and flourish into something else. So, it’s this process.
The process then becomes these are mechanical tools that I’m using to take and describe
form. Once we get the basic volume and directions and things going, once you can do that, once
you can take and do this and create three-dimensional objects in space doing whatever you want them
to do then you really know how to draw, which would mean also how do you render these forms
in tone and shape. Once you have this, then you can take and make the light come from
wherever you want. But, this is the beginning step. This becomes figure construction.
Now, if we’re taking and talking about a realistic figure, then what happens the minute
you go beyond the basic construction that we have going here then you have to add knowledge.
That knowledge is whatever the object is that you’re drawing. Let’s say I’m drawing
from imagination here. At this point, I start to take and design what that character is
going to look like, and so I start thinking about, okay, this is a really small ribcage.
Then we’re taking and we’re going to add a really big volume coming through here. So
now I have to look at how I do I combine, how do I combine these surfaces? Now I’m
designing the relationship of these parts that I’m drawing. Maybe I’ll make this
really limb coming down here. So we’re building, we’re building these things.
Now it becomes a question of your sense of composition or design. How do you want these
figures—what do you want that figure to take and look like? Are the arms going to
be big and flabby? Are we going to have big breasts on this figure? It’s all a matter
of, at this point, of choice. There are no rules in this thing. There are no rules that
tell me how that has to go. It’s my decision. As you’re doing the drawing it’s your
decision to take—you can do anything you want with it. There are no rules. But, you’ll
have a hard time doing that if you can’t take and see these simple forms.
So, the procedure is first, you have to some kind of a sense of what am I doing. One of
the points is that as you’re working, until you have the basic concept or idea there is
no point in going past that. That’s the thing that gives you your impetus. That’s
what you’re going to spend a lot of time and energy on. At this stage of the drawing
I would tend to take and—at this stage of the drawing usually I’d be working maybe
this big and doing all of this at a very, very small scale and probably doing half a
dozen variations on that. Once something starts to gel then I will take and go up to a larger
scale. On a computer you do it layers. In animation we were working in a light table.
It was layers. You’d take and you’d go step by step by step, closer to the finished
thing that you want and going right back again now. We’re talking about going from the
general to the specific.
Once you’ve got say a very, very general statement going here, then you come back in
and start saying, well, if I’m doing a realistic figure then I’ve got this figure going up.
I would start thinking, well, I want to start to feel the compression. Maybe I can start
thinking where the thoracic arch comes through. Start to build, build knowledge into that.
Often this is a question of—maybe you are working from a photograph. In that case, you’re
taking and trying to understand the gesture of that figure. You’re analyzing. That first
step in the process is analytical. You’re analyzing the action. In fact, all of this,
if I’m working from something I do it exactly the same way, except now I have a reference
in front of me that I have to understand. It’s an analytical process. The analytical
process then is to get the gesture. Then I start to construct it.
Once I’ve constructed it, then I start to take and develop the form more. It’s a basic
procedure. It can be started with a chamois. It can start with ink and wash. There is no
one way of doing this. Some people like to take and go I’m talking about a rhythm.
Some people do sort of a scribble drawing. There is no one way to do the gesture, but
you’ve got to get the gesture. That’s your subject. This is the basic procedure.
You have to be able to construct. You’ve got to get the gesture, construct, and then
we build on that construction. Okay, let’s see what we can do with this.
more interested in feeling the action. We’re talking about myself now. As I doing this,
I start with the head. People criticize this. I’m really interested in the total, but
you have to start someplace. At that same time, I’m taking and coming and making a
jump. Every part, the head carries everything. I’m taking and feeling. This goes right
back to the first lesson. Get the gesture. I’m coming in and feeling, feeling the gesture.
Coming through. Coming down. I feel the flow of how that leg goes down. I’m coming through.
Feeling the flow and the way the foot is coming. This is no different than what we’ve been
talking about all along now. This is the basic procedure. If we’re taking and looking at
that, let’s take and look at a variation on that now and use the chamois. Here I am
taking a tone, and I’m putting down. I’m drawing a little bit larger now. But I want
to feel…still feeling the flow of how the figure goes. I’m not copying. What I’m
not doing is I’m not going around and drawing lines and then filling in between. It’s
the feeling coming through. Coming across. As I mentioned, I taught this way for many
years. It gives a fairly easy way to take and get started. I changed to the way I work
now, mainly because working in the animation industry and teaching in the animation industry,
I found that it’s not practical to use a chamois for taking and starting out drawings.
Let’s take and give another variation on this. As I mentioned, we could take the same
drawing, the same pose, and we could be taking and doing it as a series of lines. At the
same time, I’m still feeling how. One isn’t better than the other. It’s just a different
personality. How people take and do it. I refer to the idea of using the straight lines
as a more graphic approach. In most of my classes I discourage it because people tend
to be focusing on copying contours and forms. In a sense we don’t copy. We take and we
analyze, and the analysis at this point is first the gesture. That is always step number one.
Step two in the process is to take and visualize the basic forms as simple three-dimensional
volumes. Now, the key to this is that every step that you go through in doing the drawing,
you’re always focusing on the gesture so that we you start to take and deal with the
simple volumes are how do they relate to each other? Here you’re seeing this as taking
and coming across. As you look at the model though we can see that she’s twisting. Right
away I’m drawing the twist coming through. There is a twisting that’s taking place.
Here the analysis is to look at that and see—well, as I look at her I can see that what we’re
seeing, and this is where the idea of the box form comes in. It’s a tool of analysis.
This is taking and she’s got her one hip high, and we’re coming down and she’s
doing this. Nobody wants to take and look at boxes, but the box is a great tool to help
clarify so you can understand what something can do. We use the box. For instance, I’m
not sitting here drawing the box now, but having drawn the box I can see that I have
to take and emphasize that this side is high. The other side is low, and the weight is on
the back leg, so we’re getting a compression.
Again, it’s analytical. As you can see, I’m constructing. So now, as I go over these
forms, here is this subtle little play here. As we look at the figure, what it’s doing
is, and I’ll draw it over on this one now. Coming through, this leg is slightly turned
in. Part of the process, as I’ve given in the basic procedure, that when doing a gestural
line as I’m drawing, I’m analyzing. I use the ellipse going across or around the
figure to help show the direction of the form in space. Now, that’s the equivalent of
drawing a cylinder. As I’m coming through I’m just making the notation that this is
going back. As I look at the back of the knee I can see that the tendons are here. It creates
like a box. Again, that’s telling me that that leg is turned in a certain way. These
lines that are going around are analytical lines that help me to understand which way
the form is going. It’s coming through, and it’s going back in and around. It’s
going down. This is a cylinder. The cylinder is one of the basic tools that we use to take
and actualize the form, as is the box and the simple volume.
So, we’re building, but notice that I was already making a point here of the pressure
is going up on the back leg, and we’re feeling the compression in here. She’s lifted her
leg so that the hip is high on this side. We’re getting a twisting of the form that
is going over. We’re showing how the parts relate to each other rather than just objects
in space. It’s the relationship that is the critical part. In other words, that is
the gesture there. We start thinking, here now where the center of the thoracic arch
is—well, she’s turned. This is going back this way. And so when I was drawing that first
line, I was really drawing the spine behind. Even though I can’t see it, I was talking
and thinking about how these forms start to pull and overlap and come around. It’s this
construction stage. Often this becomes an area where we spend a lot of time doing the
drawing, trying to figure out the construction a little bit more clearly.
Her shoulder is not back. It’s actually coming forward. Now I have to take and feel.
This is being pushed that way, so now we’ve got a twisting. The neck is taking and coming
through. It’s not just a cylinder. It’s taking and turning, and we’ve got a twist
that’s taking and going. This is more than just anatomy in that I’m not drawing anatomy.
I’m drawing a twist. I’m drawing how these forms relate one to the other. In other words,
they’re going from the shoulder back and I’m seeing this as a cylindrical form going
back. We’re taking and sensing there is a twisting that’s taking place.
So now, I’m saying that we are dealing with an analytical construction. That’s what
the process is. It’s analytical. You can see as I’ve drawn this now you can actually
feel that that shoulder is coming forward and pushing this way. We feel that pull. At
the same time, there is a stretching coming off of the rib cage. So, twisting, stretching,
pushing, forcing things to come forward. Feeling the pull. Each stage of the drawing now is—I’m
emphasizing what are the physical affects that are taking and actually going on in taking
and doing this drawing. I’m thinking of where the pelvis is, like the corner of the box.
This is where I deviate pretty drastically from your standard academy practice. Here
we would be talking about where are all these lines, drawing these things, measuring this.
As I’m drawing from a model, I take that into consideration. It helps me to see things.
In other words, when I’m drawing down here I’m looking to see how it relates this way.
I take a line here and I extend it to see how it relates up here. I’m constantly.
Any kind of drawing from observation requires a significant effort at just seeing how things
You don’t ignore the way things are, but I have no compulsion about changing things.
For instance, here we can see that the breast is higher on one side than the other, so I’m
looking across the lines. I’m comparing one side to the other. I’m dealing with
the symmetry, this analytical stretch as we take and we build the figure.
Here in this pose she takes and it’s sort of interesting. The leg is turned. This is
what I find the pull, the way that leg pulls in, and then the foot just barely touching
the ground. Then I would be looking at where the other heel or the other foot here. It’s
that turning. We’re getting a rhythmical play that’s taking and carrying all the
way through three-dimensionally into the figure. And so as I’m drawing this, I look at the
negative space in between, where things are at. I’m not ignoring any of that. It just
is a means of helping me to see where things are.
Now, once we’ve gone through the whole figure and we’ve taken and we’ve constructed
it. We build on the form. From there I start to take and think about, okay, what are the
subtleties? What is the actual—if I want to go beyond this, I need to take and be looking
more carefully and understanding more of the actual anatomy. How does the deltoid come
down? How do we feel the triceps behind? The pectoralis is coming from… How do we feel
the pull? Those are all things that then come into play.
But this is step one. Step two is construction. Step three—and construction consists of
spheres, boxes, cylinders. Then when we go past that, how do we describe the form? Okay,
that’s where we take and we start talking about modeling tone, direct lighting, and
atmosphere. Then we go into how do we take and build on that? How do we take and actually
render these simple volumes with the knowledge? These first two steps, these are what allows
you to draw from imagination. Even cartooning, dealing with animated characters, we take
and feel, we build an action. We take and construct. Once we’ve got that then we start
to construct the volumes. Also, then there is expression and attitude that we bring into
this. Coming through. All of this now is just very, very simple volumes. How we take and
maybe turning this into a baby, so he’s got have a diaper. You can see how I can fantasize
how we build through. Maybe it’s a baby Satyr. I’m going to give him a tail.
We build, flow, then simple volumes. No matter what the character is, you have to take and
then you can conceive. You start out with a very, very general sense of the thing. This
could be anything to begin with, and maybe this is a chicken that’s taking and pointing
at somebody. You can see it already. You feel the flow of how the thing goes. This is number
one. This can be taking and you can do many, many of these, just doodles in a way. That’s
where your fantasy is. You playing and you’re playing with this thing. Once you start reading
into it, you take and start to create. But first, it’s the gesture and the idea. Then
the construction and then we start to elaborate on that. But the construction part then becomes
part of your designing of your character, of what it’s going to take and be.
I’ve just picked up a couple of poses, a couple of five-minute poses.
We’re going through all the steps we’ve already talked about: the gesture, the sphere, cylinders, boxes.
You’ve got two five-minute poses, and let’s see what you can do with that.
you do? Did you focus on the procedure? Or did you start to copy? Remember, don’t copy.
Focus on the gesture. Focus on the procedure, analyzing the form. Let’s see how I took
and approached these five-minute poses.
Now, basic procedure is really when you’re doing a drawing every drawing goes through
the same steps. Sometimes not quite so much, but the most critical thing is the gesture.
You’ve got to feel the gesture, how you come through in the movement. That is the
primary thing that you take and work with. There are no rules to this. Just because you
go through and are loose doesn’t mean that you got the gesture. You have to take and
actually communicate and get the gesture. In other words, which way things are going,
how the things turn. You have to get the gesture. If we use straight lines, what have you, it
doesn’t make any difference. Use a chamois. It makes no difference at all. You have to
capture the gesture.
So, what we’re taking about in a basic procedure then is being able to see that gesture and
to analyze it. All of these elements, the sphere going across, the spherical form, these
are just tools and the gesture. You don’t take and start to render before you take and
deal with the gesture. You can’t. You have to take everything in sequence. As I’m doing
the drawing, if I need to I’ll come back in and say, well, how does this box, going
that way…Then I will take and once I’ve got the basic elements of the sphere, the
box, the cylinder—Now, the cylinder is a very critical element. But even in drawing
that cylinder, that leg is slightly turned. The only way I’m going to be able to show
that that leg is turned is by going across the form and analyzing that. That’s the box.
Now you know that leg is turned, but until I did that there was absolutely nothing
there that took and communicated that that leg was turned. The minute I start to indicate
the box where the pelvis is going, each of these elements,
these are all basically the procedure.
The procedure then is one of taking and constantly analyzing the action using all of the basic
tools that we have. We’re working with spheres. We’re working with cylinders. We’re using
boxes. It’s all the critical part of the thing. Then once you’ve got that all worked
out, then you can come in and start to take and render. But, so often the student starts
out by taking and trying to start rendering before they’ve actually got the action worked
out. You have to take and analyze. It’s all analyze, analyze, analyze. Then you take
and start to render. The basic procedure—let’s clarify this again now. First, you’re getting
the gesture. Part of that is going across the form. Then we’re talking about the action.
It’s all gesture. Then we’re using the sphere to take and help analyze the gesture.
Then we take and use the box to help clarify the gesture. The cylinder is, again, to clarify
the gesture. The box helps to clarify the gesture of the cylinder. Everything is to
deal with the gesture.
Let me take and let’s do another quick shot here. In terms of this is really what it is
step by step. Now, as I’m doing this, when I’m looking at the model, I’m constantly
looking at verticals. I’m constantly looking at horizontals. I’m looking at positive
and negative shape. I look at everything. You analyze it from every possible way that
you can. As I take and go through, again, starts out—now I can be doing, as you’ve
see in many of my drawings—sometimes I’ll take and be working with a pen. I’ll take
and be working with a chamois. I’ll work with wash.
They all are doing literally the same thing.
Now, as I’m doing this I’m looking to see where things are. I’m looking to see
angles. That’s part of the process of analysis. You’re taking and you’re drawing from
the model. You have to take and use the two-dimensional tools that we have.
Those are checking verticals, horizontals, diagonals, positive and negative shape.
If you’re drawing from imagination
then you have to rely on your sensibility of form. That’s where we’re taking and
now I’m coming in the sphere. This idea it’s how the parts relate. The sphere, we’re
talking about the twist. So, it’s the relationship of the parts. Again, that’s the gesture.
It’s not the contour. It’s how the parts relate to each other. As we come through we’re
building. We feel the compression of that leg. This is dropping, coming around over
that surface. As that leg turns, see, now it’s a cylinder.
So, these are the tools now. The cylinder coming through. I use the tendons across the
back of the leg. That’s a section of the box. That helps us to see. The pelvis is taking
and looking at the angle. So we constantly are building these forms as we take and go
through the drawing. Coming across, through, over that surface. You can see the process.
The process should be automatic. Often in the process of doing this, don’t necessarily
draw all of the pieces like that, but you do very, very much think them. Even if I’m
taking and doing a drawing which I refer to as point-to-point, where I’m just taking
and starting out and drawing using a contour coming through, already in my mind I have
the whole form thought out. Then I’m just drawing fragments. But I’m always thinking
about all the other parts that I haven’t put down in relationship to the thing that
I’m doing. The basic procedure is first and foremost, it’s the gesture. The last
thing you have in the drawing even if you’ve developed your form with tone and atmosphere,
it’s still the gesture. That is the end result. The gesture is the plan. This is the
story point. This is the critical element of everything that you’re doing. Getting
the gesture. That’s number one. Go from gesture, sphere, cylinders, boxes. Each one
of these thing are analytical tools that we use to take and understand figures, the action.
You’re using—these are tools. They are not rules. They’re tools. Keep in mind step
by step by step that you go through the drawing. That’s the basic procedure.
Now, we’ve gone through this basic procedure. One thing that I suggest that you do is take
some time. Go back and look at the old masters. Look at things. Look at how the contemporary
artists work. Look at the roughs. Spend more time looking at how they begin rather than
how they end. You should practice, practice and have fun doing it. This is really the fun time.