- Lesson Details
Our Daily Life Drawing Sessions are free timed reference videos that allows artists to practice figure drawing from images of life models. Now, we’ve taken this popular resource and put a new twist on them — demonstrations from your New Masters Academy instructors! In this first installment in the series, master artist Glenn Vilppu draws along with you, working from Daily Life Drawing Sessions #1 through #5. Glenn shares his thoughts on these poses and shows how the fundamentals of gesture and structure apply equally from medium to medium. He demonstrates this by working in fountain pen, water color, and pencil.
To maximize your learning experience, we encourage you to work from the drawings sessions yourself first so that you can compare your drawing decisions with those of Glenn.
- Namiki Falcon Fountain Pen
- Faber-Castell Polychromos Pencil – Sanguine and Black
- Winsor & Newton Watercolor (Homemade Altoids Palette)
- Pentel Water Brush
- Drawing Paper
figure drawing from images of life models.
Now, we’ve taken this popular resource and put a new twist on them. Demonstrations from
your New Masters Academy instructors. In this first installment in the series, world-renowned
artist Glenn Vilppu draws along with you, working from Daily Life Drawing Sessions 1-5.
To maximize your learning experience, we encourage you to work from your drawing sessions yourself
first. Glenn shares his thoughts on these poses, and shows how the fundamentals of gesture
and structure equally apply from medium to medium.
what I do. Take and try it yourself. Compare your drawing to my drawing, and I find, do
the drawing again or many times. Good luck.
First, though, what I’m going to be drawing with. This is a Namiki Falcon. The ink I use
actually happens to be a Montblanc. As you’ll see it’s sort of a brownish-red. Namiki
is probably, for me, it’s the best pen to use. It’s my favorite. That’s all I use.
Okay, in this first pose what I’m—when I’m taking and drawing I have no interest
in terms of copying the model. I’m trying to feel the action of the pose. I’m taking
and analyzing the action. So as I’m going through the figure, whether it’s a one-minute
pose, five-minute pose, or three-hour pose, I approach them exactly the same. I try to
feel the flow of how the figure goes.
So the process then is one of getting the total,
and I start every pose literally the same way. I’m constantly drawing anatomy, so
now as I go back into this, once I’ve gotten the overall general sense of the action then
I come back in and start to focus on the volume going across the form containing…
Now in this pose I’m taking and instead of starting with the head, which I normally
do, I’m taking—again, feel the flow.
Now, you’re going across the surface of the form.
Feel the movement. I’m leading the eye with the lines.
I want you to take and experience what it is that I'm
seeing in terms of the action. So create movement.
As I say, I never copy the model.
Now I’m coming back in and start to think of the volume a little more clearly.
Come through…Going over the surface of the form. Basically, in a sense, drawing
cylinders coming in and back in. I have no qualms about changing the pose.
Okay. Now, really feeling the way that torso is coming out. So I’ll go across the form
and show the direction of space and back into the pelvis and over.
The line is taking and carrying me through the figure so that I’m experiencing it.
The line is doing what my brain is doing. I’m trying to understand what the action is, and
I’m only concerned with the action. As I have time I will take and come back in and
start to deal with the volume. Taking and focusing on directions in space as well.
Now, you’ll notice that each of the drawings pretty much start the same way. What you’ll
want to do is have this as sort of a pattern that you get in your head. You’re training
your neurons as you’re going through the figure.
Now, this is very much the way I take and approach,
and when I’m out sketching in the wild, I take and first capture the
action and then take and go back. As I have time I will take and go back and refine the
elements. Give more information, not so much refine but clarify what I’ve got going.
A very traditional approach. It’s less of a—it’s obviously not copying so it’s not what
we would call a contemporary academic approach.
Okay. Now in this pose what we’re having is the way she is suspending herself.
Also, it’s a rather subtle play as the body is actually going back in space, so that becomes
the critical element in the drawing. Then cross the pelvis, come up legs, going through and
going underneath. We build, feel the shoulders pushing up, come down. I look to we’re placing
them on the ground, where the other leg is coming through. Again, going back, feeling
the ribcage, feeling the belly, coming through feeling the corners of the pelvis
coming across and around over the surface.
As we do longer poses then we would take and be carrying this a bit further.
Now a two-minute pose gives us a little bit more time. Notice I do not start any different,
still doing exactly the same thing. Coming through, I’m going to feel the flow. Notice
how I’m leading the eye with the lines as I’m going through the figure.
The lines are duplicating shapes that we see in the model. It’s really the action that I’m
taking and drawing. I’m going through now, going back over the surface, feeling the direction
in space. Same time, containing, going over, feeling the pinch that is taking place, picking
up the back of the sacrum, coming in, going over the surface. Now, going back in here
I want to feel that pinch a little bit more clearly.
Going through, constantly going over the surface,
clarifying where the forms are in space. Now, feel the pinch of the neck,
shoulder going forward. I’m going to think of the scapula pushing up.
As I have time then I go back in, and I start to clarify. We can take and add a little bit more to this.
Progressively, as we deal with longer poses you’ll find more information being
added as I go through the drawing.
I go over the surface. I’m always going across the form to give a sense of the volume.
Also, notice the scale of the drawings that I’m doing.
There’s really no practical reason for taking and doing really large drawings. Also, you’ll
notice that even though these are short poses, I don’t really draw very fast. I’m very
deliberate about the way that I’m going about it so that there is very little movement
of my hand extraneously. I’m not moving my arms completely wrong all the time.
I'm very directed in the way I approach the drawing. Basically, following mine through the figure.
I’m not doing any particularly, like, for instance, measuring. I just use the
eye and the feeling of flow as I go through.
Also, the lines that I put down are not restricted
to say a contour. In fact, none of the lines that I begin with particularly contour lines.
They're lines that indicate the action of the figure rather than the shape of the figure.
Although it’s very clear. You can see very clearly what the action is and how I build the form up.
Feeling the tension, start to feel the pinch, start to build.
Also, I pay very little attention in the beginning to the particular light source that we have in the drawing.
Okay. I get the question that is do I always start with the head? Basically, yes.
Everything else follows from the head. It’s the pressure. All of the parts move with the head.
I'm not drawing any shape particularly. I’m drawing an action, and so there I’m
concerned with how the parts relate to each other. In that sense I focus on the head to
begin with because that takes and gives us a lead to what the action of the rest of the
figure is doing. Also, my approach to drawing is really or the end goal is to take and be
able to draw from imagination. So the approach that I’m pursuing then is applicable to
taking and drawing from the imagination. It’s also very, very traditional. It’s a Renaissance
approach to drawing rather than an academic approach. So in that sense it’s really very,
very traditional drawing. Now I’m going over the surface. I’m going to feel the
pinch of the forearm that are compressing. Like I said, I have no qualms about adjusting,
changing things, and making it stronger. Feeling the push up and the ribcage or the scapula there.
Going around. Constantly adjusting.
Now here, I can see I want to come back and pull this in a bit more.
Feel the ribcage going in.
I look for condyles, look at this bone, look at the wrists.
Okay. Now, let’s start. Feel the pull. Here, for instance, I would be going into the spine.
I’m trying to lead the eye with the lines. I’ll take now and come back.
Going out and over the surface, coming across.
Pull… Pull over, feeling that shoulder. Often, whenever
I have a situation like hands like that I would actually come out and draw the placement
of the hands very early and then take and add the arms as a connection. Now, I want
to come back. I want to feel the ribcage. Feel the stomach.
Think of the pelvis pulling over the surface.
Now, you’ll find that if you look at art history and go back then you’re going to see a very, very consistent.
see a very, very consistent--If you look at the way artists work, and the way they develop
their paintings, you’re going to feel an awful lot of drawing that has a strong affinity
to exactly what I’m doing. Look at the drawings of Honoré Daumier, Heinrich Kley.
These are artists that are looked upon as examples, and particularly in the animation industry.
I will take and right away I’ll start to work with simple spherical forms leaning back
into the picture. In drawing the basic tools that we use, but we always change according
to the lay of the land. In other words, we approach the drawing what seems to be the
most rational way of taking and approaching it for the given situation that we’re working
in. So here, although I’m drawing a little small here, still going over the surface or
getting things in, looking at where the corners of the forearm. The fact that we’re overlapping.
The arm is going in, so we’re going over the surface. The way I draw over the
surface like this it would be interesting and educational to take and look at the drawings
of, say, da Vinci. You’ll find that this is a very, very basic element. Even the Michelangelo
will take and come through. The idea in terms of measuring, Michelangelo is the one who
said don’t measure; use the eye. So I rely on the eye rather than measuring particularly
in a quick pose. We don’t really have time and take and spend a lot of time measuring.
Particularly when I’m working with a pen, I use a lot of the crosshatch as a means of
taking and describing where the forms are in space, dropping the forearms back.
That's a pretty funny looking hand there.
Now, before we get started here, this is a Faber-Castell Polychromos, and it’s a Royal sanguine.
Okay, now, this is the same as when I was dealing with the shorter poses.
Now, this is still short, but I’m still taking and following through. I started with the
head. I can feel the flow of the figure. At the same time now I’m taking and going across
the form as it goes back in space. I’m going over the surface. I’m always drawing anatomy.
I’m really trying to feel and construct an anatomy, construct, feel the flow of how it’s going.
I’m drawing now exactly the same way I did when I was drawing with a pen. There’s really
no difference. As I go back into this then each time I go back into the drawing I carry
it a bit farther. I’m always adjusting, correcting myself.
Now, I want to focus on the 3-D volume containing form. So I’m going from side to the other
as I pull through. Generally, I work very light.
So I’m pulling one form fitting into the other.
It’s a simple cylinder-type form. That point was the end of the iliac crest.
I come through and I start to feel the way the leg is pulling out. Essentially just a
simple cylinder to start with, about the end of the knee over the surface.
Feel the buttocks on the backside there. Going over, through…
Now, as I’m doing this I basically only have several essential hand movements.
I'm going across the form. I’m pulling a line, and the other part is I’m containing.
I'm going around, over, across the forearm and containing.
Now, I’ve gone through the drawing twice already.
Each time now as I go back into the drawing I carry it a little bit further.
She has breasts, so will put those in. Now, at this point, I’m going to start to take
and really with a little bit more care, coming in, going over the surface of the forearm,
feeling, fitting in, feel the pull coming across and going underneath.
Okay, so now as I’m going in I’m trying to constantly fit. Notice I’m going over
the surface and pulling the form, creating a sense of volume then coming across.
So I come out to the end of the knee. I’m taking and going across the form. In a sense this
is the, if you’ve taken, looked at any of my other stuff, you’ll see video with box
forms, cylinders, spheres. This is essentially bringing in the box form. You want to feel
the compression that is taking place at this point.
Now, this is just a five-minute pose. I don’t take and concentrate at all about whether
I finish the drawing. It’s not going to be a finished drawing. All I’m doing is
try to explain clearly what it is at that point that I’m actually drawing. I want
to communicate or understand the pose. This is the critical part. It’s not copying.
I’m trying to analyze the action and the forms as they come through.
Coming across, feel the heel coming in, over.
Now, again, going over. I’m going to feel the belly
going down and over the surface constantly using lines going across the surface, going
back in, through. Now here, I want to take and feel more so than you actually see in
the model. I’m going to take and push the scapula up. Give it a little bit more tension.
Feel the ribcage going behind and then the head pulling back a bit, and we want to show
how the muscles coming off the chest, the pectoralis are pulling up.
Now, feel the flow up. Again, very, very simple, focusing on the gesture.
Going over the surface of the form.
Now, it’s a very tricky, tricky pose here, and the way the pelvis is actually
taking and turning, coming across, going to feel the pull. That leg is coming across,
pulling through, go over the surface. Again, exactly the way I was drawing with the pen.
No different. Notice also the way I hold the pencil. I’m taking and it’s my—my fingers
don’t move. It’s my arm that takes and moves. Again, Michelangelo said the artist
does not draw with his hands. He takes and draws with his brain.
Okay, so now at this point, we have it coming down. I’m going to take and carry this a
little bit farther. The head is dropped forward. Feel the bandana here around the eyes, nose.
Thinking of where the 7th cervical vertebrae is back and through. Feel the scapula pushing up.
Feel the building up to take and first I want to get that ribcage really pulling through.
They go from one side. I go follow through to the other side. I really don’t
see very much of the ….. Almost none of the ribcage on the other side. But I want
to feel how this is now fitting into the waist. Feel the scapula. I should say the pelvis
is sticking up. We can feel the pinch. So I’m focusing on the pinch. Feel it coming
around the form. Going over the surface of the form. , coming through. He is going behind.
I’ll come back to the knee. I’m going across the condyles. I’m going to feel the pull
coming through. Pinch, compression, come through.
I’m very much focused on how the parts relate to each other.
Coming through, feel the leg coming out again, going
across the form and going through.
Now, we need to get that scapula. Now, here, I’m going to take and deviate a little bit
from the pose. I’m really pushing that scapula out. I want to feel the neck coming out from
in between the ribcage to take and give it a little bit more emotional content to it.
The breasts are down in here, and I would be pushing the ribcage a bit more.
Looking to where the elbow is at, and I’ve been hitting a point. I will follow this back up.
Coming through, picking up where the deltoid comes down. Here it’s important to show.
Now you can show that that elbow is not on the ground. So to do that, this would be like
having the feet. You take and throw a shadow underneath just to show that it is not on
the ground. So the point there is that you’re giving information. We can feel the head is
back a little bit farther more now. Now, let me go back into this. I can come through and
I’ll push, I want to give it a little bit more strength to that for myself.
As I'm doing this, this is feeling these forms come through. We have to feel the pinch while the
forearms go behind. So I would take and actually create lines that don’t exist on the model.
In fact, the model doesn’t have lines. She has forms. Part of the idea is that instead
of copying forms I take and create forms, or I should say contours. Instead of copying
contours I create forms that create contours that come through. Feel this pinch a bit more
coming across and emphasize the corner of that knee.
A little bit stronger coming through.
Over, pull across. The foot is really turned in here, so I’m thinking of going across
that form and going back in, and feel the heel. Think of the Achilles tendon there and
start coming across with the foot, the heel coming through.
The shadow that we see on the model is a means of helping to show the roundness of the form.
Just keep in mind now that there aren’t any rules. You have a series of basic tools
that you use, and they will be varied and changed and adjusted according to the needs
needs of the drawing at the moment.
Now, push stronger, pull down. Okay.
royal sanguine, basically my favorite pencil.
Now, the quick pose. Draw very slow and deliberate.
Coming through, leading the eye. Going across the form and through.
Feeling the action. The figure leg is stretching,
going down. Now, the other side, you got a bent leg, so even more going over the form
to show the direction in space, through. In general I will take and be more concerned with
the torso. Add arms later. Go through, come down.
Okay, now even though these are quick poses, notice I don’t draw really fast. I’m not
moving the hand all that quickly. I’m just trying to feel the action. I don’t really
concern myself whether it’s taking and looking like a finished drawing. All I’m interested
in is the action. Lead the eye through. Feel the twist. In drawing that twist, I’m actually
drawing lines that don’t exist on the model, but I wanted to feel the action of the pose
rather than duplicate shapes. Through.
Go across the form. I want to feel the pecs coming across.
Feel the clavicle pulling over. As time permits I will take and start to add more anatomical points.
Okay. One of the things to take into consideration is when I’m drawing, particularly action
poses there’s a model. Models can’t hold action poses forever so what I will do is
I will actually adjust. I would change poses to make them feel more like there is action to it.
This one is pretty good. These model poses that we have here are pretty active.
We can feel, but more concerned with showing—now this doesn’t look right with just that leg
coming out of his rear end, so I change it. So there’s no compulsion about adjusting
the pose if it doesn’t make any sense visually. So then I’ll come through.
Think of the volume, ribcage underneath. I draw through forms. Look at the pelvis coming across.
Going across the sacrum. Feel the buttocks going down.
Okay. I’m indicating direction in space. Feel the tension. Now here feeling the pull
of the neck into the back. Coming down, feel the pull. Coming across the shoulders.
Feel the arms out. This is going down in space. Pull, over, through.
Follow the line. Follow the form.
I actually draw considerably faster with the pen and generally on a little bit smaller scale.
So now, I want to feel the pinching of the leg, pelvis, rib cage is going down, across.
Slight twisting in the head, neck. Across, feel the pull. Feel the pelvis going across.
Feel the stretching of that leg pulling back. Coming down. Pull cross the shoulders.
The arm is taking and going out. The head feels a bit small there. Thinking the other arm is coming
back so I go across over the surface of the form. Bring it back, dropping down. Feel the
rib cage inside. Go from one side of the form to the other. Feel the pinch. Build the scapula in.
Feel the deltoid coming through.
Ok, through. Feel the pull.
Now, when I’m drawing that line. It’s not, in this case
it is pretty much the spine. Often the line is not always an anatomical line that I’m
drawing. It’s a gestural line. Going through. Come across.
Feel the pull. Give a little bit more volume to that head.
Feel the trapezius pulling off, going over to the shoulder, in.
Arm going across, up, through. Arm is pulling all the way over.
As I go back into this I want to feel the pelvis fitting in. Really pushing the pinch.
That’s really the gesture. Feeling the pinch across the scapula, come through.
So I’m always drawing anatomy, but at the same time I want to feel the pull. Feel the
rib cage pushing out. Feel the sacrospinalis coming across, buttocks dropping. Here I would
change, push the pinch, push where the pressure is. Figure is coming across.
The back leg is actually coming back, so go over the surface and down, fitting in.
The foot is turned. Stretching of the neck. Figure is actually twisting. Feel the pull around,
dropping down, lifting up, arm going back down. Going over the surface, going through.
Pulling around that pelvis. The leg is moving up. Going over the surface, feeling the pull.
Lifting and back down. Going over the surface. Through. The other leg is coming across and
back up behind. Feel the pinch coming through. Clavicle lifting up.
Think of the end of the shoulder cylinder form.
Feel the pull of the pecs. Think of the rib cage underneath.
The arm is coming down and across, pulling out, through. The foot heel is off the ground,
but we need to feel across. The other leg is behind, coming through. Going over the
surface, back down, in. So here I want to emphasize the pinch… Pinch…
Pecs pulling across. Pull.
Feel the pinch at the back of the neck. Feel the trapezius going down and
going over, through. Arm going back in.
Okay, again, feel the neck, turn, pull, change directions. I want to carry that line. Going
all the way, think of the rib cage. Going across over the pelvis, pull through.
Ideally, your drawing should look more like what the figure is doing than the model itself it does
You’re trying to clarify. Here we changed the angle of that to give it a little bit
more, a little angle so you can see the gesture a little clearer. Coming across.
You don't have to draw things the way you actually see them.
You take and draw the action angle that more clearly shows the action.
Come across, over. Feel the scapula. Back.
Push over. Trapezius coming down to scapula. Feel the muscles pulling off of the rib cage.
I’m going to emphasize the spine pushing in. Pick up the sacrospinalis as it comes
through. Going across the sacrum. Feel the pull of the rib cage underneath.
Feel the external oblique as it comes down. Pulling the buttocks here. Feel the abductors down
to the end of the knee. You can see I’ve changed the angle of the foot so that it’s
not quite such an extreme angle where the leg action changed. Come through.
Feel where the trochanter is coming in, going over. Fill.
Okay. I’m just sort of thinking of my space here to put it on the page. Okay, now. Through.
Going around. Always going around. Feel the stretch. Head, pull across from the neck into
the rib cage. The figure is taking and actually leaning in space, so I’m taking and pushing
down. Feel the dropping as you come through. At the same time trying to get that across.
I would be picking up the shoulder. Arm going back in space. It’s a little bit extreme there.
Coming through. The other arm is taking and dropping through.
Feel the pelvis in a way following the eye. Lead the eye through the figure.
The knees taking and coming across.
Now, here I’m taking and picking up the sacrum in the
back and trying to full the turn of the ribcage or feeling
the tension. Feel the pushing down of the ribcage. Feel the compression that’s taking place.
Feel the build. Around, down, pull through. Going over the surface.
So every line I put down is trying to take and communicate something that is going to assist the actual
action of the figure. Deltoid coming across, through.
Now, here we’re going to really feel this pushing up, in.
Okay. Now, as I go through, head turned.
This is a little tricky here in that he’s taking and really
turning towards us, so right away I want to be going across the form in this
direction. He’s turning, so I’m turning as I’m going over that surface. Feel the
rib cage inside so we’re getting a pinching. So I’m taking and right away I’m working
to a cylindrical type of form, fitting in. Pelvis coming through.
Leg is going, turning away from us, going in.
At the same time here I can take and go over this. When I’m drawing
I draw the figure as if he’s just made out of glass. Draw right over, through, and around.
The knee, leg is coming down. Feel that stretching going back. The other leg is taking and here
I emphasize the pinch. Feel the pull, stretching back. Follow through.
I use a lot of the rhythm of the figure because you can see here, as I’m going from the abductors into here
or into the gastrocnemius, calf, and building that rhythm within the form.
Here I’m going to take and come back in.
I’m going to push the center going in. Even though we don’t see much of it,
I’m going to push the scapula on the other side. In other words, I’m creating
the pinch. I want to create. Feel the tension of these forms, and I’ll come through.
Push, compressing, and then take and come around, through, and deal with the triceps and the
ulna, deltoid come down. The brachioradialis as it comes through.
Slow down a little bit. I’m still going through the drawing exactly the same way.
I want to feel. Now here, as I’m drawing that neck I’m actually going into the spine
and the back, which I can’t see. I’m feeling the pull, and I’m coming across. I’m using
lines that help me to move the eye through the figure. Now, he’s twisting so I’m
going to actually come in and draw a line that shows a twist.
That line doesn’t really exist in what we’re looking at.
So then leg is coming through, going across, down. The other leg is going down and back.
The arm is raised up, going through. It’s coming out towards us, across, coming back in.
The other side is lifting up and coming through, going back down. There, if I take
and start with a little bit more time giving us a direction here and picking up the pit of the neck.
From here now I’m taking and drawing the rib cage containing one side going to the other.
Going over the surface. Think of the center and the bottom of the 10th rib.
We can feel now the pelvis is taking and really pushing up so we can feel it coming across
that form, coming down, through. As we’re coming back through here now, you can feel this pull.
The other buttock is pinched. Going over that surface.
He’s really got a huge upper leg.
Really going over the surface, direction, space, back down.
Use the biceps of the femur and the membrane is continuous.
It’s like the corners of a box that show the direction.
The other leg is coming back. Going over the surface and constantly going from one side
to the other. Take and create contours with form rather than copying contours.
Heel is off the ground. Now, you can really feel these large pecs coming off the clavicle. Going
over, deltoid is raised up. Feel the latissimus coming off the back, going through.
First, this is a cylinder, and as you develop your skill with your understanding of the
anatomy you can take and very quickly block in bits and pieces of anatomy as you’re
doing the drawing. But, first you start with very, very simple volumes. Feel the pull coming across.
Feel the trapezius from behind. Here we can feel the pull from the neck. Come across,
deltoid going down. I would take and write just a little bit more of a sense of this stretching.
We can pull back down. Feel the arm going in. Going across the surface. Palm down.
Now, to make that action I need to go back, and I’m going to push this stronger. I’m
going to make that rib cage come out more. Pull the stomach a bit more. Come through.
Feel a bit more scale to the head and take and draw a little bit more here. Feel the
pull, pinch. Stretching across the form. Try to look for corners. Pull through. Going over
the surface. Picking up the soleus, the gastrocnemius underneath.
Notice I’m not paying much attention to the light. I will use the light here, I’m
using a cast shadow that doesn’t actually exist as a means of taking and showing the
roundness of the form, constantly taking and adjusting. Here we can give a little bit of
the expression. Not much.
Okay, start. Through, now here really feel the figure come out. Through, pelvis, around.
The leg is going up, dropping down. The knee is coming out towards us, so we take and go
across and around the form as it heads back in. Feel the flow. It comes through. Shoulder
is being pushed up. Now the arm is going back in. The other shoulder is up high coming across,
through, down. Now, from here taking and really focusing on the ribcage underneath. One side
to the other. Really feel the pressure that’s being created and go through and think of
the thoracic arch, across. Feel the navel. Now we’re dropping down. So there I’m
using tone to show the change and what’s happening here at the pelvis at this point.
Feel the sage in here. On the other side I’d take and be emphasizing and trying to think
of the compression. Come through, pull. Buttocks coming from behind, coming down. Compression:
Fitting in, going over that surface. Going around, form, through. Feel the shape come
across the condyles. Come into the ulnar. Coming across the form. Pull through, over.
Now, build pecs coming across over to the arm. Feel the trapezius behind. I guess is
should take and do a little bit more with that head. Feel it come through. Now, feel
the end of the shoulder. It’s really a cylindrical form. Trapezius or I should stay the clavicle
is going across, coming up. The scapula is going in. Feel the triceps back as the pecs
pull across over. Feel the overlapping of the forms as they come through. Deltoids coming
back in. Over the surface, through, in, down. One side to the other. We’re coming forward,
through. Clavicle is taking and lifting up. S-curve. Trapezius is coming across, through.
Deltoid is coming all the way in where we can feel the coracoid process. The pecs are
picking up, going in. A bit fuller in here, shortchanging him a bit there. We need to
come across. Thinking of the leg coming up and across the condyles. Coming through.
Feel the elbow, triceps behind over biceps brachioradialis coming through.
Feel the sharpness of the wrist even though it’s sitting on the leg.
Coming over, through, hand, fingers coming out.
I’m not spending too much time for that. It’s a short pose.
Build through, round.
Let’s see, the foot there I would probably add something. I feel it pushing down.
And the pecs building up. Feel the sternocleidomastoid coming across
to behind the ear. Cylinder of the neck underneath. I could take and do a bit more with that head.
Feel the cheekbones coming through. Shape of the hair will help to show a little bit
of the volume. Now, I want to feel it in here.
We’re actually getting the trapezius behind, coming through, pull. Okay.
is an Altoids can that I made into a little watercolor set. And I just use regular watercolor.
This is a water brush. I actually take and do a considerable amount of my drawing, particularly
traveling, working with a water brush.
Okay, let’s start. Now here we go. Now, you can see that I really don’t draw any
different. Going through exactly the same steps that I go through when I’m working
with a pen or a pencil. I’m going over the surface of the form and flow.
One of the things working with wash that you have the opportunity to take and use larger areas of tone right
away to start with. I need to feel a little bit stronger feeling in the ribcage underneath.
So just a matter of giving the back a little bit darker tone. Going over the surface of the form.
Okay, now notice again just like when drawing with the pencil or the pen, my fingers don’t
move. It’s my arm that does all the movement.
Going through with all the lines over the form.
I’m not using any particular color. It just happened to be a dirty palette. I
will often even with the pen drawings I can go back in over pen drawings and add wash
and tone to them. Scapula… Head looking down… Just an indication of where forms are.
Okay, it’s almost a variation on the last pose.
Across, stretching down, feel the shoulder really lifting up,
so I really push coming across. Go across the surface of the form.
Feel the stretching of the ribcage come down. Feel the pull across the sacrum.
Feel the pelvis sticking out.
Coming in real strong compression taking place of that leg comes
back so they come through. This is going in, and in this case I would probably use just
a simple tone to indicate that leg going back and then come through. That’s one of the
advantages of working with a wash though is that you have a lot more flexibility.
Come through. Okay. Actually, before we get going here I want to take and—
I need to put one more line here going through.
Okay, now let’s carry this one. Now we can start on the next pose here.
She is really turning, feel the pull coming across over the surface. Feel the pull in.
Now, the leg is really coming up, and coming across…
Through. This is going underneath so go over
the surface of the form. Feel the compression. The shoulder, arm is coming up and out.
The other one is behind. Fitting in breasts. That foot comes down. The other one is behind.
I would take and actually use a little bit, just a mass of tone to take and indicate that.
Come through. We can feel the volume here. Now I can go back for a little bit of time.
I can add a little bit more shape.
Okay, now let’s take another shot here, through.
Feel the pulling down of the shoulder going over.
Artists in the past who have used this approach to really—look at the drawings
of Rodin. He did it a little differently than I’m doing, but the idea of using the wash
is a quick means of taking and indicating a gesture over the surface.
Round… Legs coming back.
This is a great way to take and capture just simple gestures of people.
It's very convenient. You can take and you can come back.
Okay, now I’m, a little bit longer so I can and give a little bit more information
as I’m doing the drawing. I’m still.. Through feel… And she’s twisting, so I
take and come across the form… Through… Pick up the sacrum down. Really pulling across.
It’s a beautiful pose. Nice twist as we’re going down. Feel the leg behind. Feel the
buttocks here. This one is coming through. I have to go over the surface a bit more now.
We can feel the scapula lifting up, and I can see where I needed to take and pull the
head farther out. So I just do that. Arm coming down…
Feel the rib cage inside, push this a bit more. Coming across.
Leg going in, the other coming through.
Pull, lifting up, feel the ear come through.
Okay, now one of the things I warn students against.
I’m just taking and changing it because all I’m after is the gesture. But students
are always taking and coming behind with an eraser. I basically, I never use an eraser.
I’m not afraid to show where I have difficulties with something. The point, all you’re trying
to do is capture an action. You’re not trying to make a perfect drawing.
I don't know what that is. So you can feel the action.
Okay, now right at the pit of the neck, feel the pull in the back. Actually, right away
I’m taking and going into the volume. I want to feel the pinch coming across.
Feel the pull, compression, feel the shoulders pulled back and up.
Coming across, I’m going to feel this pulling in and where the leg--
Okay, it’s going in. And the arm is coming through.
One of the things about working with the wash or the
brush is actually just if I like the look of the drawing or
the effect that you get. To me it’s a very appealing, even with all the irregularities
that are created with it. Brush drawings have a very strong appeal.
First of all, they really show the spontaneity of the drawing itself.
You can look at the drawings by Delacroix
to give you some strong indication of what you can do with the wash drawings.
Okay, I’m doing the drawing on the left.
Now, really feeling the turn of the figure.
I’m going over… pressure, pinch, come down, cross back of the sacrum. We can feel
that little egg going in underneath. Scapula of the arm is going under.
The other arm is really raised up and through.
The head down a bit more, bending more. Okay, leg is going out there.
Use tone going underneath. And pull through.
I need to feel the compression.
You have to put the people sitting on things.
Legs coming across, through. Feel the scapula pull,
and again I want to come through. Now, in doing drawings like this with a wash, I
often will take and come back into these with a pen.
Another artist to look at for wash drawings is look at the drawings of Rembrandt.
Marvelous, marvelous drawings.
Through, filled in. Okay, now I’m going to even start to add a bit more as I
come through. Feel the compression coming in.
Come down along the side. I’m going to pull out.
Feel the shoulder lifting up.
Fairly strong, twisting through the form. Through, feel the pull coming across. I’m taking
and, as I’m doing this I’m trying to really emphasize that twist so I’m coming through,
pushing. This leg is going up, going over the surface. Going in. Come across.
The other leg is taking and coming down, so I follow the line. Feel the flow of how the form goes
back in. Feel the shoulder lifting, hands in the air. Shoulder is really high and it’s
coming back down. Push it down in. Now, as I go back into this, I want to take and feel the pull.
I want to get the ribcage a little bit more over the surface. Feel the scapula
sticking out. Feel the ribcage underneath. Pull across the form here. I’m pushing the
stretching a bit more. Think of the sacrum. Go through and maybe exaggerate a little bit
that compression coming across her buttocks coming up, running through… as the lift.
The ear down low, hair up high.
And we can go through… over… pinch. Here I can use
the wash as a way of helping to get a bit of the sense of the form spatially come across.
The drawing on the left. Or I should say the pose on the left. Now, as we’re going over…
feel the shoulder and come across, really feeling the pull of the back coming down,
buttocks going over the surface and come through. So if that shoulder drops down I can really
just drop this line down in tone. Feel the forms going over, across the sacrum.
Come around. Feel the buildup.
This takes and goes in so that arm would have to come over a bit farther.
Move the leg in a bit farther. Take and come through. Back down.
And come through, down.
Feel the foot. Now, the scapula. Feel the pull and it’s going behind the hand,
coming through… the other arm. So now I want to go back in with this a little bit
darker to really show a little bit of the form. Feel this a little bit clearer.
Feel the pull. Feel the way the pecs are coming across, or I should say the teres major there.
We can throw in a breast even. Okay, coming across… pinch. Coming through, over.
Now the other arm is coming on to this. We see that it is coming down, fitting onto the leg
and behind. Now, I can take and--here’s where I would take and be dropping large areas
of tone coming through. Again, drop the side.
Transcription not available.
Now, flow. Flow.
I approach this the same way I do a one-hour pose.
First get the action through, across.
Of course, if you’re interested in animation, the most critical element that you’re after is the action.
That’s the only thing that really counts.
Also, if you’re drawing from imagination--the approach that I take to draw
from imagination is the same way as I draw from the model.
Obviously, it’s a non-copying approach to doing the figure.
Okay, the drawing on the right.
Pull. Figure really going in, so right away I’m going
across the form. Feel the pinch coming over, and it’s coming across. Then we pull the
arms across over the surface coming back, going through, feel the pull, over.
Feel leg behind.
Now, thinking of the way the pecs are pulling off of the ribcage and through.
Even in a one-minute pose I’m thinking anatomically.
Okay. Here, notice the dot at the top of the
head is to take and indicate the direction. In fact, that’s really leaning over here.
I’d come up right away and feel the shoulders. Now I am going back in as I’m going across, going in.
Pinch. Feel the pelvis, leg. It’s coming up and out.
It’s going over the surface and down.
The other leg behind, through. We see the underside of the foot coming through.
Arm, shoulders coming across, elbow coming down. Feel the pull.
The figure is really pushing down and dropping his hand well below where his feet are.
It has really dropped down.
Different layers--levels, I should say. Come through, over. I want to feel the pinch coming through.
The photograph on the left. Really full the pull now, the stretch over the surface, twisting.
Then we’re going to come in and feel the compression. Through and back.
The arm, as it’s coming down, feel it coming around, dropping down, through.
Feel the leg in the other side coming across and coming out from behind,
and build scapula pushing up.
Feel the pull going over the surface, coming in.
Stretch and pull over the surface, down.
Legs going in underneath. Feel the scapula coming across.
The arm is going in. The hand is coming up over the head. It’s coming across holding
his legs. Come down, feel the buttocks, both sides.
Really think of the pinch, what’s coming down.
The other leg is behind, dropping down.
Feel the neck fitting in here and the hand going up here.
Then start to the emphasize scapula coming across the trapezius.
Feel the other side coming up. Really emphasize going down, fitting in, coming through.
Drawing on the left pose on the left. Okay, now. I’m going to take it in.
Again, this is very quick, so what I’m doing is I’m starting out with a brush, and at the same
time I’m going to add an atmosphere to take and work with positive and negative shapes.
You’re going to come across the leg. It gives me a fast feeling for what the figure
is doing and dropping one behind, bring one in front and through. Arm going up.
Now I'll come back into this with the brush with the pen. So now as I go back hit the pit of the
neck near the ribcage. Come over the surface. Feel the compression. Go through.
This comes through, right behind, come through.
Actually the bleeding that is taking place, I think it adds a nice look to it.
Some people may object to that. I don’t.
I would think of where the thoracic arch is. Feel the buttocks underneath and compression taking over.
So this is really a convenient way of working.
Go back in, add.
Okay, again, I’m working starting out with the brush. Now, these poses are particularly
useful in that they have a lot of forms coming forward, others going back, so I can take
and create a certain sense of the drawing, the action, just by visualizing the special
elements of the pose. Positive and negative shape coming across and coming through.
Going over the surface, coming under. Atmosphere, but over and around.
So already at this point you’ve got a pretty strong sense of where that pose is going.
So now I’ll take and go back in with the pen and feel the stretching over the trapezius.
I should see the trapezius stretching over to the deltoid, coming down through. Pinch. Feel the ribcage.
Through, over. Now, as I do that I’m going over this form.
Across the arm is coming forward, the leg coming out from behind.
Need to get the pecs coming across to this arm going back down and in.
Leg coming forward, going over the surface.
Okay, now thinking in 3D. Now, working with a brush like this it is useful to remind people
that I’m essentially a painter. So this is a really painting approach.
Now as I'm coming through, thinking of mass, volumes, positive and negative shapes coming through.
So you can see at this point we’re already getting a clear sense of the arms going back.
Feel the legs coming out. Feel the atmosphere in between using a negative or area around
the form rather than the form itself. Come through. This becomes a jumping off point
that I can take and build on rather quickly. Here add to the head.
When I work with a brush like that I don’t feel restricted to the contours that I create.
These are just jumping off points.
Pull, feel the pressure of that scapula pushing back over the trapeziu.
Come down, through, over.
Okay. Same thing coming through. Here I’m
taking and picking up shapes on the interior and the outside again. Now, go all over the surface.
Feeling through, over, and notice that I am really being very, very loose and free about this.
When I come though and come underneath forms, coming through leg, shape outside.
Again, now I’ll go back in with the pen.
Feel, going over the surface, feel the pull of the neck.
Come down. Okay. Going back. Now through.
So the brush just gave me a starting point.
Again, I do an awful lot when I’m sketching and traveling working this way.
I very quickly get a sense of what is going on and then come back in and build it, work with the pen.
Now, in this drawing it’s a little bit different. I’m starting out with the pen and coming
back, and then I’ll take and go over the pen drawing with the wash.
Now I'm going to take and what happens is this, the pen bleeds.
In other words, using a fountain pen the ink has to be water soluble.
As I run through now this, now I can go back over this,
and I can take and create wash, creating washes going over the thing to take and build.
As you can see, it is really useful tool to take and come through. Then I go back into this.
So often the student gets fixated on a particular media, usually it’s a school thing.
People think oh, you know, you have to draw everything using Conte, or you have to draw everything
using graphite, which is unfortunate because it may be the material that is best suited
for you is not the material being presented to you. The artist should take and constantly
be experimenting with different mediums because it brings out different qualities in their
work and their personality. If you’re familiar with my work or my work with long poses this is quite different.
Often I will take and say, okay here, where I did the pen then added the wash.
Well, often I will take a drawing, like in these drawings that I have done here,
the one-minute sketches. Often I will come back maybe even a week later or sometimes
even a month later, and I’ll come back and do the same thing. In other words, we can
see what I’m doing. I’m taking and creating a tone. I’m separating forms in space. I’m
taking and adding a whole new dimension to the drawing. They were done as quick sketches.
You look at it and say, well, maybe I could do something with that. I start to play around
with it and expand on it. So what I’ve done with that now I can take and go back into
those even with the pen again and adding another dimension of value just by working with the
pen into the wet ink. So it is another level, another level that you can take those quick
sketches that you do. Often, like I say it could be months, weeks,
later that you take and you come back into them.
with pen, brush. Positive and negative shape.
It creates a whole texture of the drawing that is, to my eye—
I like the effect of all of the different medias
coming into play. It also gives you an opportunity to take and work with atmosphere.
So it's not just the forms on the page or on the figure, but you’re taking and dealing with the paper,
the space around it as well. Come through, positive and negative. Coming in.
Now at this point I’ve got the thing fairly set up, so now I’ll shift over to the pen.
Time permitting, I’ll go back into this with a wash again.
Feel the scapula shoving back in.
Feel the trapezius. This is the triceps.
The end of the scapula is in here.
Feel the way the arm is being shoved up. The infraspinatus pushing down.
Here the trapezius is pushing up to the end of the scapula.
As I come back over this, I’m going over the surface of the form.
Now, I’m jumping into a lot of stuff here that is a little bit beyond what
I normally do if I’m just doing a straight gesture drawing, but since I’m working with
a wash I’ve already given myself a lot of indication of what that whole gesture is,
so as I come through to the ribcage we will feel—now the model is very well developed
so we’re getting a lot of shapes. Like here, we’ve got the trapezius coming over.
We can feel the infraspinatus in here coming across. Look at the deltoid going down behind
and going over the surface. The latissimus coming down and the shape that is being created
through going over the surface, feel the pinch, feel the spine coming down here.
Take the arm coming through.
So this is a fairly direct approach.
The brush is actually doing the laying-in for the drawing.
Now, like is said, I can go back into this with wash again, which will add another whole
dimension to the drawing. Through, over, feel the biceps of the femur tendon.
It does not hurt to know your anatomy. In fact, anatomy and perspective are two things
that if you don’t know them they’re incredibly important. If you know them they’re not
important at all. So if you don’t know it, it’s pretty important. You’d better learn it.
Let’s go through. Now, I’ll go back with the wash again and I can start to pick up,
push the pen. Now, all I’m doing is I’m using the ink to take and create the tones.
I happen to add, I’m not adding any color. It’s just the ink bleeding. Come though.
Like I said, in a sense it gave another dimension to the drawing. And pull through, come around.
Alright, again with wash.
Now, again I’m taking a little bit more—this is like the
top of a box or cylinder coming through, coming out from behind. Visualizing the forms and
dropping down. I’m just going over the surface feeling this all dropping down. This is going
to take and pulls out, go behind. Coming through.
So I’m making the tone behind the arms.
I’m taking and pulling that out. As we come through we can go feeling this going down,
come across. Shadow being cast, going over the leg. Pushing this back using the contour,
coming through, going around. The arm drops in behind. We can just drop that in tone.
Use some tone behind that coming through the hand. So already at this point now we’ve
really got the whole thing set up to come through. Now, I’ll go back into the pen.
See I’m really just indicating now.
These really are just sketches. The whole point of a sketch is not to try to a fast
25-minute pose or an hour pose. I’m just capturing and I like sort of the
idiosyncrasies that often happen as you’re
doing drawings very quickly. We can feel, carry through, come over the leg.
Again, notice I don’t worry about whether I’m following the contours of the wash that I’m putting
down. That really does not make any difference. In the end it’s the drawing.
It's not the copying of a photograph.
He is raised up off the ground. We need to add some wash there to make that understandable.
So we want to come through. So I’m building, and now I can--
you can, of course, you can come back in and push even more through.
Here I'm adding extra value with the wash.
These drawings, by the way, are probably some of the fewer drawings that I’ve done this
way in a long time. I’m really just having some fun here. But that’s what you’d be
doing when you’re taking and drawing, particularly the quick sketches. It’s a matter of if
you don’t have fun doing it then, gee, why are you doing it?
I’m really pulling that trapezius as it comes up.
been doing. This is sort of all like some of the Rodin drawings, where he would take
and really just use a silhouette type of thing. I do this with a chamois. So I’m taking
and coming through and just putting the overall flow of the figure doing down.
Then going back into this with a pencil. Now I’m taking and going through, building,
again, like I say, this is very similar to taking and working with a chamois except the wash.
Little more artsy.
Drawing on the right, pose on the right.
I have found that often for students this is the easiest.
Not necessarily with a wash, but working with a chamois to take
and get an overall image of what’s going on. Then coming back into that and feeling
the pull. The breasts really free in, you know, coming across.
This pose is really sort of congested, so what I’m going to do is taking and modifying
my approach by taking and dealing with a positive and negative again. Come through.
Throw in a tone going over the leg, coming up underneath,going through. The arm really coming out.
Now, come back into that with the pencil again.
Now, I’m using the pencil this way mainly
because I’m pushing down really hard to go through the ink or the wash.
The drawing on the left. Okay, now here I will take and go back to what I was doing before.
But again, a little variation on that. Come through. Try to do is to take and really
be flexible on how you approach things. Again, no guarantee it’s going to work, but you
take and have to stick your neck out every now and then. Okay, that’s pretty wild looking.
Let’s see what I’ve got. Eh, I’ve lost the pencil. Oh, it’s in my hand. [laughs]
Okay, now coming through, in, come back through.
Ran out of time, but anyway, have to have enough there to look at.
Alright. Here, again, I’ll do positive and negative a bit. Come through.
Okay, now, with that point, come back in, through.
Okay. This is a fun one.
This time I’m going to take and draw with the pen. So through, yeah, build back.
Feel the flow. Really doing exactly the same thing with the wash. Bend, build it up, over, going around.
Go over the surface, back. Notice the way I’m working with going over and around.
So the going around over the surface is taking and doing an awful lot of the explaining
of what the form is doing. So these are two basic tools that I talk about in class all
the time. One is just the line that is taking and going with the action, and then the lines
that are going across the action to take and show—across the form I should say—to show
the volume and spatially what’s going on. Now I go back in and I can start to push.
Like I have done in some of the other drawings, I could go back in later on with wash to take
and define some of the form. At this point I get a very, very good feeling what the action
actually is—come around, come across the end of the form.
So it’s a very systematic-type thing.
I go through and get the whole figure. Then I come back in and really start to emphasize
a little bit more. Then according to time permitting, I will take and add information.
But it’s a step-by-step process of taking and doing it.
Again, remember, It should become very obvious from what I’m doing that there aren’t any rules,
that I’m constantly adjusting and changing and dealing with the forms.
Whatever the situation.
Sometimes when you’re drawing, even in gesture drawings, not all of a pose is necessary or
important. Like when I’m out sketching, often I will take and just focus on a fragment
of something. Come through, like here I’m saying, oh okay, what I really like about
this pose is the way her hand is coming through the arm coming across. I don’t have to take
and really –I’m sort of overlapping figures there—but I don’t need to really go into
all that. I sort of look at what do I like about this pose. Well, it’s sort of the
feeling of the action here. Although I’m not really doing it justice.
So I'm really just drawing a fragment.
So it’s not necessarily, you don’t always necessarily have to draw
the whole figure, particularly if you’re taking and focusing on your sketching to take
and tell a story, communicate something. Often it’s a waste of time.
Nobody particularly cares about what the big toe is doing, but if I come in and just get a sense of what’s
going on, the way she’s pulling down, although I’m not sure I got that.
I would take—a little more effort here.
Now in this one I think I’ll use a combination of both wash and the pens. Okay, let’s start.
There is really lovely flow of the figure,l coming across. Nice contrast to the rib cage
to the pelvis. Then as we feel the forms coming forward, and then we’re going back, coming
through, up. Leg going back in. The arm coming down and going back up.
The breasts going back up. Really feel that rib cage.
So now I’ll come back in with the wash and try
to see if I can add and do a lot of this feeling of this way the forms are going by taking
and working with tones, going over the surface of the form. Pushing through. Helping the
leg going behind. Feel the arm coming so I’m dropping.
Here I’ll take and emphasize that contour and
then pull this in front. The arm coming down, going through. It’s the flow.
It’s the overall big movement here. This through that and coming back. Then I’ll
go back into that with the wash or with the pen again. Feel the rib cage sticking out.
I want to feel that center coming over and down, up, through.
Okay. Now, here we can really feel the shoulders pushing up. Really push it up. We feel the
rib cage coming out from behind, underneath, and the twisting is taking place.
So I've emphasized that twist. I’m really pushing that twist, coming through.
Going over the surface, around and back. And arm comes across. Look at the elbow.
It’s a little bit of exaggeration there, but generally speaking I find that if I think I’m exaggerating
I’m probably getting close to what’s actually there.
Now, we can feel our way through. Go over, pull. Come across the sacrum.
Okay, now there’s another reclining. I’m starting out with her gluteus maximus, minimus,
and medius. Feeling the flow now. It lifts up. Shoulder lifting. Going over the surface.
The volume. Really push the scapula up and pull this behind so we get a clear overlapping.
Coming in and dealing with the head. Feel the deltoid coming down. Feel the pecs coming
off, or I should say the teres major coming off. Hand is going up to the head, through.
The breast dropping down. Feel the pull. Feel the dimples of the back of the sacrum.
Come through. The way that foot is turned, a nice twist to it. The other leg behind.
Over that surface. Now I’m coming back and adding a sense of the pelvis. I want to push the
rib cage. Feel this coming and pulling down.
Needs to be up farther if I want to do something with that face.
sanguine Faber-Castell. Still the same as if I was working with a pen. I’m working very slow.
I'm taking and trying to feel—this is a very crunched-up pose. So what I’m doing is I’m really
focused on drawing the torso inside of the figure even though I can’t see it. I have
to figure out how the torso is going. I’m constructing, visualizing where the form is
inside the figure. Then I’m coming through and I’m building on top.
I'm actually drawing an awful lot of what I don’t know. I’m constructing. I’m building the form.
Feel the flow. Go over the surface. Pulling through.
As I draw that I figure where that leg is coming out of the pelvis.
I’m drawing the other leg coming out of the pelvis, coming forward.
Going over the surface. Once I’ve got that, Then I will take and start to carry
it a little bit further. Bring the arm underneath and coming on top.
Now, from here I take and clarify.
So now I’m going to come up and push the corners of the form a bit more.
Again, as I try to keep—what I’m doing is I’m analyzing and I’m constructing.
It might classify what I do as analytical construction. That’s really what it is.
As I’m coming through, analyze and I construct. Trying to get the feeling in communicating
the action and the gesture of the figure. Now, in doing that I will change. I will change
what I see just to make it more clear if I need to. So I’m not a slave to—I’m not
copying. In fact, in general, I don’t think of copying as drawing. It’s copying. But
that’s an editorial comment on my part. Now, as I’m going back in I need to make
clear. In other words, notice that I’m not even drawing the arm right now. I need to
be able to find the slight, the very small elements that I really almost can’t see
on the model that are going to take and communicate.
As students and you’re working from photographs, that’s the difficult part. It’s actually
much more difficult to work from a photograph than it is from life. You have to take and
draw, literally. You have to be able to break away from copying the contours or copying
the tones and the shapes that you see. Here, for instance, I’m pulling out the pectoralis
muscle. Then we would see the breast compressing down against the leg.
Now I’ll take and just draw the arm on top. Feel it coming across, fitting one form into
another. Lead him down. Now here I will take an make a real bit of an issue here.
I want that clavicle to come around here. I’m going to force the scapula to take and actually
start to create, think of a cylinder of the neck even though I don’t really see very
much of that at all. Indicate the eyes a little bit. Center, moving that up.
At this point, I need to take and really make a point in showing the roundness of this leg,
so I go across the surface, going over the surface to describe the volume. Coming in.
Feel the overlapping forms coming around. Later on, if I had another 20 minutes or even
another five minutes, I would start to take and do more with the tone. But right now I’m
really thinking very linearly, taking and focusing on the corners.
I want to go over the surface.
I’m doing the drawing on the right-hand side. This is a less complicated version.
Well, I shouldn’t say—it’s the same version. The idea is that the figure is taking
and leaning towards us. So what I’m focusing on, and again, is to construct the forms going
in space. So I’m analyzing so you’re going down in. This is like a cylinder.
Although, I’m thinking of the ribcage. Shoulder, arms, very strong foreshortening.
Again, this would be just cylinders going back in space. Feeling the rather narrow ribcage.
Now feel that this has to be overlapping, fitting into.
So as I’m doing this, I’m giving you actually,
as you can understand by the way I’m talking, I’m teaching. This is not necessarily a
five-minute sketch for myself, but there’s really no difference. I’m still always analyzing,
constructing. Feel the pose coming through.
On her toes. The arm is going back in, and pull through.
Once I’ve got that now I need to take, and we’re really looking down,
I guess. So I’m thinking of the pit of the neck. Think of the cylinder of the neck as
we pull in. Feel the clavicle and back up, through, carrying around. Feel the shoulder
coming forward. Now, I’m picking up the pectoral muscles coming across off of the
chest. Then would add the breasts. Generally, the breasts are probably the last things I put in.
Okay. Now we’re taking and coming through. Feel the corners of the pelvis. We can feel
the pull, so I’m emphasizing a strong overlapping or the form as we come through then. We can
see the pinch is taking place. We pull the forms around.
Then going over the surface as we build.
Going across the condyles by using a box form through, going around, over.
Pulling down. I’m not, I make absolutely no effort to take and, even though this is
just a five-minute drawing, I’m not trying to finish a drawing. I’m trying to make
clear for myself what it is that I’m looking at.
So that’s a point that one should take and always take and approach you work as what
are you trying to achieve? I’m not trying to make pretty pictures. Over, scapula coming
around. This is a wrapping around for the condyle, through. Arm going back.
We're dealing with the series of overlapping volumes, going back in space. Often when I have a strong
foreshortened view with an arm or something like this, I will go to the end of it.
Now, in this case just the hand sticking out like that, it’s looks sort of silly. I would
take and actually draw it. In fact, the other one I probably wouldn’t make it go. I would
take and carry it a little bit farther out so that it something that is a little more
understandable. What you want is a drawing that actually is understandable.
I'm not worrying where that’s precisely what I’m looking at.
I’m not a copyist. I’m interested in drawing, not copying. So now back, a little bit more
emphasis on the direction of the form. You’ll notice it doesn’t take an awful lot to communicate.
I’ll go back. Go over, overlapping, condyle behind, coming through.
We can feel the action of the hand.
Free to try
1. Lesson overview50sNow playing...
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2. Session 1: Angelique Part 115m 1s
3. Session 1: Angelique Part 214m 6s
4. Session 2: Will Part 116m 55s
5. Session 2: Will Part 210m 33s
6. Session 3: Daria Part 117m 22s
7. Session 3: Daria Part 210m 44s
8. Session 4: Ryan Part 117m 49s
9. Session 4: Ryan Part 210m 36s
10. Session 5: Tiffiney Part 116m 26s
11. Session 5: Tiffiney Part 210m 24s