I'm Glenn Vilppu. This is Figure Drawing Two. This is a
continuation of Figure Drawing One. Okay now but what the
emphasis on this class is all about is first taking the
drawing a little bit farther but really taking and focusing on
the drawing as a more of an expressive element composing
the drawing,
along with that focusing on using different materials.
Materials are just we need to not be conscious of constantly
thinking of only one tool to draw with. We have to use many
tools. You don't know what tools you are really -what's
really your tool. So we need to take and try working with a
lot of different things. So at the end of the class I'll
tell you what the next tool I'm going to want to work with.
Today I'm going to be working with Carbothello.
We'll go into that a little bit more and you'll see why.
Now
the element what we're starting with now is to take and
organized using the anatomy of the figure to take
and move the eye through the figure to make the action
much clearer and stronger, more expressive.
So that's really the key. So now let's take and look at some
of the basic elements that we're dealing with. First.
We start out you have to be conscious of the fact that you
can make things happen. In other words one of the basic
elements I work with all the time is the idea of
transition, movement.
Okay, it's going from one point to the next. Well, we do this
with forms as well as just lines themselves so that if we
take a - iuf I take a form that's just a simple line like that
and then I take in fit it into something like this and I have
another line that's going like that, well your eye is actually
going to take and be moving through this form. So we have
to be able to take and modify the things that we're looking at
to make the eye move with the forms. So you're not copying,
you're taking and using the anatomy, you're using light, tone,
textures, everything to take and move the eye through the
drawing. So again, it's not a copy and this is the hardest
part of what we deal with because if you're working from
photographs, and I will be working from photographs, that
you have to learn how to use the photograph not copy the
photograph. And it's actually harder than working from a live
model. So we take and visualize. In other words I can take a simple
contour,
let's say something like this,
which is absolutely absolutely nothing at this point, but I
can take and move. Now we can see that what we have here is
we have something pushing this way. We have a subtle
pushing that way. Well I can modify that I can take and make
you see this stronger without changing the contour. I can come
in and now I can make the shape
come through here. I can take and pull
forms, coming through. I'm orchestrating the lines to take
and make the eye
move without changing the contour. So now what you're
seeing - in fact at this point the contour starts becoming
fairly irrelevant. It's the movement of these forms that we
take and are actually seeing. So this becomes a tool so in other
words if I was to take and carry this farther now, I could be
taking and looking at this muscle, the rectus abdominis
here, and I can take and coming through I can be working
with a tone. It could be the core.
We feel just even in the rendering of the surface. We
feel the pinching on this side. I can come through and really
force that pinch even more and so at that point now, this is
really a different figure. It's not the same thing. This contour
out here has very little to do now with the actual action that
we're seeing within that. And so this is really the key
to taking and doing. You have to analyze what
the major elements of the action are and then to take and
use the tools that we have to take and make that action even
stronger.
And that's really the essence now, so we start with
the basic steps we go through. In Figure Drawing One
everything was based on the gesture. Well same thing,
nothing has changed. Okay, so you need to be able to take and
look at the figure constructed. So we start out first
with
simple gesture.
Now in doing a simple gesture all I'm doing is taking and
using almost an abstract form to take and make the eye move
through the figure, but it's more than that. It's the actual
analysis of the forms or the analysis of the action that I'm
taking and following. So as I'm coming through, in other words, I'm
looking just like what's going here. I'm using a sequence of
lines that take and carries the eye through. At the same time
as we talked about week number two
last session.
That we take and we work over the surface, we go around the
forms, we see these volumes as simple volumes.
We're taking, we're building on these things.
And so everything you do is feeling the action
both two dimensionally and three dimensionally.
So you're analyzing, you're analyzing what the figure is
doing. Everything's about the analysis of what the action is,
which then becomes the tool that you need to take and use.
In other words we have an intellectual tool in here
also. The analysis is a tool, you're analyzing an action.
If you don't analyze the action, if you don't understand the
action, you really don't have any anything to work with. So
the critical element again is first you have to understand
the action, you have to analyze.
That's number one.
Okay. So as we take and go through this then, so you're
analyzing the action as we're coming around, feeling an arm,
through here, the head is turned. So maybe I'll use a - for
instance there I just did an indication of an ear. Well that
takes and immediately lets us know if I put a line in the
center or talking about which way the head is going.
Think of the pit of the neck coming through. Now as I start
going through this I start to be thinking already of what
kinds of shapes do I - what am I trying to do? How am I trying to
move the eye and how do I work with the forms that are there,
that are going to take and help show the action? So
right away in the beginning of the drawing then we're always
focused on number one,
the gesture, the action.
Number two we're talking about simple volumes.
And then three, how do we orchestrate the elements within
that simple volumes to take and communicate the gesture, the
action, that give expression to the drawing.
The technique and the material we work with are just extra
things. They're different. They have more fun. All of
this should become very very natural.
You take and you're looking at the action, you're analyzing, you're
constructing, you're building on top of the construction, you're
making that part of the way you communicate the forms
three dimensionally in space.

Okay in this first drawing now, I'm going to take my time and
go through all of the go through all of the basic steps
here. So
first now first I'm trying to take - I have to take and analyze
the pose.
So I'm taking and now one of the things like I said, we're not
copying the photograph.
So consequently also, I don't do
a lot of measuring at all. I'm taking and trying to
feel the flow of the way the figure goes. Now as I'm doing
this,
I do check my verticals, I do check horizontals. I'm just
not taking and going through and measuring, and I am going
through what we would refer to as the basic grid, but I'm
doing it sort of and here is feeling,
coming through, figure's turning away from me.
We're going through.
I'm back in it was shoulder lifting up, coming down.
Through.
He's really stretching but I really feel the stretch coming
down. So what I'm doing is I'm not - at the same time I'm thinking
okay, he's going around this way, coming through.
Down.
Over,
through.
Now one of the elements that
I deal with is that I have no compunction about changing it.
I will change the pose even if I feel that it will make a
better drawing.
Through.
Shoulder going up, arm coming out.
And even raised this a little bit.
Taking in, through, that's stretching it a little too
much.
Coming through.
Now
the other arm is not seen so if you think about it
it looks like it's just a one-armed man. So what I'm
going to do is then as I don't see the other arm, what I'm
going to do is I will take and draw a bit more of the other
arm and have it going out and back.
So that's just in thinking of the overall sense of the
action. So now what I do from here is I'm taking and
thinking and constructing
the three dimensional volumes. Come through, I'm thinking
anatomically I think of the rib cage.
Feel this pulling through.
And going from one side of the form to the other. And what I
feel is really, he's really stretching so in other words
really taking and pushing already, this coming out and
part of this now as I was talking about, going to be taking as you're
going through the process we start to already I'm starting
to orientate lines and tones and forms that are going to
take and help the show the action. For instance if you
look at the photograph, you'll see at this the stretching ,
coming down, the rectus abdominus fairly straight, but
I'm already taking, I'm turning it and pulling it through
where the pelvis is going to take and come through
and I'm thinking of the compression forms coming in.
Thinking of the center.
So I'm pulling the form and maybe even stretch it
out a bit, feel.
Now coming through and picking up one side. I want the eye,
coming through, I'm thinking now okay, the pelvis is
really
a bit higher.
Down.
Now
Look through, make it where the trochanter
the torso is going in that - the pelvis is going
back in that direction. So if I was drawing a box, I would be
seeing this direction.
The buttocks are really pulled back.
The whole leg now is stretching, stretching down. So as I come
through I want to feel where the tension, where the
muscles are pulling from the pubic arch there. So thinking of this
as a line now, it's coming through, and I'm coming down.
Now there's also a thing that you have to be careful. Like
I'm giving a fairly strong movement here, I've already
adjusted the shape a bit, given more of a curve, but of given more of a curve, but
you can also overdo that. It could very easily take and
this is an element of what I refer to as internal structure
or visual internal structure, in other words this leg and
what I'm thinking here, that would be very easy to take and
come in and start making that leg look like it's bending.
So to avoid that
you take and feeling
a line that is going through. Now once I've got this sort
of - and in a sense taking and drawing a cylinder is taking
and communicating the same basic idea. So I'm taking and
giving boundary to the drawing.
So now once I have that I can take and the eye is going to
pick up this line. So now I'm picking and building
using the anatomy, coming across, so that we are now taking and
feeling the direction of this form, going through. So as I
build into this then, so again I want to move the eye. I'm
thinking I'm going over the surface of the form.
The thing is going back in.
We can feel the foot, the heel
coming down.
So now I'm going to take the other leg and I'm stretching. I
want to feel the stretching, it's lifting up. We can feel the
tension in that muscle as it goes up. Now again, this is
very easy to take and do what I was talking about. You're
making something bending, in other words right come through here.
I'm going to take and come through and you can see the
rhythm in here as we pull into the leg now. That's a really
flowing line, but at the same time it starts getting rubbery.
So what I do then is I take and I come through and I'm using a
straight
here. And I will pick up forms in here that are going to take
and gives a solid - it gives them a feeling for solidity to that
form.
Now going around, over that surface. Have corners that I'm
working with. Down.
I want to take and get the eye to move around that corner.
Coming through.
Pull over that surface.
Now
so as I come around that figure, the knee comes down to the foot.
Feel just simple
placement.
Now figure - we go back up to the top here - figure is going in.
So the shape now, the shape of the pectoralis muscle as it
pushes up becomes part of and in fact the whole sense of
the where the shoulder is now I'm picking a line to feel
the shoulder.
Straight, it's carrying through, feel the pecs pulling
down.
Coming through. The other side is really stretching. I'm thinking
now I'm going back and picking up the idea of the sternum a
little bit. Coming through. And in here now as we go through we
can feel
this whole section now, the way I see this the muscle is
coming off the scapula, the pectoralis muscle going up.
This is like two sections of a box.
They're like what we see in the back of the leg, the tendons the way
they come down. So now the cylinder of the arm now is
fitting into this.
Now like I said to start with if I was going to take it maybe
change this and in fact, I think I'm going to take and move to - I
want this line to take and keep going up. So I'm going to take
and move the arm up even a bit more. So I'm raising
the arm. The reason I'm raising it is to take and be able to
take them, find the lines that are going to continue, the
movement going up.
So as I progressively move this up.
Now as I continued working making the movement flow, so I
want to make these forms push. So it's this direction. So to
do that now, I'm going to take and actually start to force the
line even more as I'm taking and seeing
where we feel the pull.
Coming through.
Going across.
So it's the lines now, it's the lines as they pull
through.
Pinch.
Now we carry this, feel this more into
rib cage going up.
Now we can feel here this serratus anterior, the way it's
pulling off of the chest. So here's where we take and we
want also feeling the pectoralis trellis
muscles as they pull
off and this is taking and going over
the arms. So this is
really a tool now, you can see how just using that muscle
helps to show that direction. Now I'm going to take and go
through some of the basic stuff here some more and even here
I'm going to take and stretch the feeling, this
sternocleidomastoid pulling back, feel the curvature in this.
So I can even now taking and moving the head.
Feeling the vanishing profile idea here. Seeing the
underside of the chin.
All of this stuff now is stretching and even feeling the
hair shape. So I'm moving the eye and so at the same time
now, I see I was lifting the arm up.
Go across.
Now
in the process I'm still thinking in terms of flow, the
rhythm. We can feel coming through.
Picking this up into the forearm,
coming across, feeling the squareness of the wrist
as we start to pull these things through. So it's constantly
moving the eye through the drawing.
You make the move, make the move. And as I said move truck. And as I said I've
I'm going to take and add the other arm so that that
we can - what I want to feel is that this twisting is
pulling back around so we the other arm then becomes a tool
then to help show that action. So it's coming through
and we can take and think about which way it's going to go, the
line, the movement. Now,
what happens is that when you're taking and developing
something, that if you need to, if I need to take and do
something like that with that other arm,
I will take and get somebody to model for me. I'll
take and come through and say well, okay I need
that shape
coming through. I'll
build on it. This is the beginning stage of the
drawing.
So now what I'm going to do with I'm working with the
carbothello
and one of the advantage - and this is a fairly slick paper.
One of the advantages of this pencil and on the slick paper
and then a shammy I can take and very lightly drop this down.
Now one of the problems that
many beginners have
is that they're afraid of taking and making marks on the
page, you have to take and give yourself the opportunity and it -
the lines, the tones here become part of
the texture of the surface that you're working on. So now I'm
going to take and start to taking, going a little bit
farther and I'm looking as I'm doing the drawing on
getting points. I'm really trying to control now the
value, and I'm
conscious now of all of this movement that we've got going.
The fact that he's tilted in so as I'm going through,
picking up now, thinking of the arch.
Thinking of the center.
Now since he's tilted in we have the symmetry.
Feel the dropping of the other side.
So I'm going to go out of my way now to take and maybe pull
this up, feel the line in here to get the contrast on the
other side.
This also takes and we pull, feel the pecs coming through,
pick up.
Which is not something I actually see now
is that we can take and start to indicate a little bit of a
line that this line here to this helps to create a
symmetry that we start to work through.
So now as I'm coming through and at the same time now, I gotta
reinforce the simple volume.
And here I started out it was actually taking and adjusting
the shape
of the rectus abdominis here as it comes down.
So instead of forcing the lines going across horizontally, I'm
emphasizing the vertical lines
going through. Now at the same time we're getting a compression
because this leg is pulling up so I can take and
pull - I want to take and pull the lines coming through, starting
through. Now I'm taking this line. I want to carry it all
the way through into here.
So I'm making the eye see that line, then I can afford to take and
come in
and emphasize
the compression.
Now we feel that bulge because I've got this line that
it's pulling from.
and so now this becomes part of the line, we got the symmetry
going across the figure here. The pubic arch is at an angle.
The genitals are dropping down here. So as I'm doing that then
on the other side now, I'm going to take and push and I'm
changing the line here a bit. I'm going to take and making
this go along though, this would be basically the line of
the tensor hitting where it hits the pelvis. We're
feeling this edge.
Now then we've got the pull, follow this back up. I back follow this back up. I
want to feel the
curvature of the rib cage,
feel the pull of the muscle coming down.
So I'm changing and I'm modifying things.
I want to feel the curvature as we pull over the surface. This is pour over the surface. This is
lifting up.
So all of this is now assisting in creating a more
dynamic movement. It's more - you can see it a little that you can see it a little
bit more clearly.
So now tension, stretch,
coming through.
Now I want to feel the action, feel the edge of the bone.
It gives us the - makes us feel the thing that's coming out more.
And so I'm picking up the line here. I'm going to use tone to
take and
building form coming through we feel this change, shape moving.
And
now pulling out, now this would be
through here we can see this is the gluteus medius, I
believe back in here coming across.
And the buttocks then taking and pulling front. So now first
thing I look at that and I say, I don't want that. That
shape is too much the same as that shape. So which brings in
another element now, we're talking about as you're
designing you want to avoid making a lot of equal shapes
and lines and tomes so now I'm going to stretching and pulling
this in so I'm altering that. I'm taking and feeling this
line and feeling a short curve and I feel coming
across.
Through. Feeling, I'm adding exactly how I'm changing the sense of the
way the light is shining on the figure to take and create
this now becomes a shape
and as I'm drawing that shape now, I'm moving this up into
feeling the lines of the ribs themselves are building up. The
sequence, the sequence of lines now, so we go through and back,
pushing it forward. Flow.
Now I'm going to take and feel this stretching come here
cross.
Feel the
tensor. This is a strong line and this becomes a
shape that becomes a
line of composing.
Pull through.
Sartorius coming down.
And I'm going back now. I want to feel the large abductors the
forms pulling out.
Now here we come down to the middle of the end of the knee.
Through.
Constantly looking for lines that will help me to take and
feel the flow.
So we got the
rectus, feel the pull through here
feel, the dropping tones, changing the shape here,
down.
Notice how I'm modifying the light as I go along.
Going over the surface of the form.
Feeling the stretching coming down.
Now look at this I feel that maybe I've appeal that allow maybe I've
got this a little wide, a little heavy. Maybe I need to pull
this down a little bit farther, then up. So you're
constantly taking and adjusting the
forms as you're going through the drawings.
Feel it coming over,
over the surface, going back, pull around the corner.
I'm always trying to lead the eye
and I'm looking constantly for forms that will take and make
the eye move.
And contrasting forms, in other words I'm drawing
this, I'm drawing that Achilles tendon, really making that thin.
So as we pull out of the gastrocnemius and the
soleus there you can see then it coming into the heel which
now becomes a
different shape now. So we're getting a lot of variety, a lot
of variety within the shapes that as we're working. So
you're constantly analyzing the form, constantly analyzing the form
feeling the foot as it's coming back in and here I'm taking and
turning it more
so that it gets a stronger
more expressive shape.
Now turning back, building up here. I'm going to take this
whole shape now.
You see how the shape here is now becomes part that line, that
tone, is part of the big action of the figure itself now.
So we're coming over.
Feel the pull.
We have the rhythm
building up
and then I'm bringing very very purposely now bringing the
straight
into that going over the corner, feeling.
box form.
And here I'm taking the cube from the anatomy that I see
there at the same time. I'm not holding to it. I change it if
I feel I want to or need to.
And here I want to pull a straight.
That helps to emphasize this and we're pulling through.
And change the angular go off
now.
Through.
The pinch, really strong compression that's taking place
at that knee.
Coming across.
Patella, kneeling point.
Through.
Now as we develop the drawings, you know, I'm taking a fair amount
of time here, going slow,
and at the end
I don't want the drawing to look like I had to work so
hard.
I will take and add lines
to take and make the drawing look a little bit looser, a
little bit freer.
Now that's fairly loose. Now let's get back up
here to the head. Now I'm going to push this even back farther.
Bring the ear back.
Taking and coming around getting the cheek.
Through.
Down.
Here fill the shape.
Now
that may be a little feeling a little large. I might have
to cut that down. Let's just take and continue here first.
I want to feel now, we got the pecs taking and pulling
over
in front of the deltoid behind. Now, let's come over a few of
the deltoid going back.
Over the surface,
the pecs or the deltoid takes and it has several different
overlapping forms here now.
This becomes part - we feel this now. Here it's really
important to take and feel this as it fits into
that surface.
And so we pull,
coming underneath the fullness of that form.
Through and want to feel that the rib cage is going in
underneath this, this is all of this is going under.
So I want to take and this is actually useful now to
take and use something like the the cast shadow and it comes
through. This is taking and we can use the core coming through
here the shape.
Take from that and I drop down and I get the cash shadow going
over the surface of the ribcage and then taking going up over
the latissimus and the teres major so that we can feel this
hollow in there, it's a great shape now. And I can come through
hit the core here feeling this come here crossed and picking
up then we've got the
fingers of the serratus anterior coming through
and I'm going to go back now and emphasize more of the thoracic
arch. Feel the strength pulls even more,
coming across, pushing
the shapes.
So they come down using the form, through, using the core
coming across.
Through.
And making this really now emphasizing how this is pulling
in.
It's possibly even a bit of a cast shadow here. We come
through. So all of this is taking. So now they come
into the arm up here.
I'm picking lines that are all the way through here. Carry this
all the way up into where the wrist is
and feel the biceps
down,
got the
condyle. Now, I generally I don't go out of my way to emphasize
corners of the bones, condyles to take and that gives it more of
a sense of strength to the form. Now as we were dealing
with the pecs coming up here, we can see where that again
it's useful to use that cash shadow going over that surface.
But you feel the pull.
And the triceps are dropping down.
And building forms up from behind now.
Through. All of this then can be taking and through.
Now from here, we've got the triceps going here, we pick up
the ridge muscles here coming through the arm. Again
we have a straight.
And we get the combination of these forms coming through the
squareness of the wrist.
Crossed we go through the hand
trying to hold on to that gesture of the hand a bit.
Taking, like the way the hand is taking and going back
down
and feel the thumb
going out and maybe pull this up even a bit farther.
And then we get the finger pushing down.
And here I'm just treating these very very very simple
forms here now to help see the gesture.
So we feel going we're making the lines go over
that surface.
I want then pulling through, take this
going in.
And
now I can see
that the head feels too large for me. I need to take
and
reduce that,
wanna feel the neck little bit farther up.
Stretching, move the chin
over
and I want to underneath.
Ear, we don't really see an ear, but that doesn't
matter.
Now I'm trying to think of the
cheekbone coming through here, this underneath
the jaw.
The hair is going over, the hair becomes useful at this point, it
is taking and
creating a line. It's creating the dark that's going behind.
Coming through.
Yeah.
I want to feel that jaw, indicate a little bit of the
ear.
Through, cheekbone.
Now
okay, that's getting a little closer to what I would like to
get.
So now
like I said, I wanted to bring this other arm in here. So I'm
going to take and thinking about where that would be
pulling.
Taking the condyle, arm back.
The wrist.
I'm not sure if that's going to work.
Maybe it needs to be a bit farther down.
Now I'm going to leave that as a very very simple
shape. I'm not sure -
so as I'm doing a drawing like this, I'm thinking about
maybe I would be using this as a painting but I am looking at a painting but I am looking at
that and I think well
maybe that addition didn't actually add anything.
So now what I'm going do is to go back into here now is to take
and very simply take and I'm going to go in and using a
different color, color black, this is CarbOthello again, and
I'm doing this to take and help to dramatize the
action a bit more.
Once you start to use a different color in the drawing
then it becomes something that you are committed then to
having to take and integrate it into the drawing.
Because if you just in one spot, it's going to take and
stick out. Now coming through.
I'm using it now to take and
make the eye move through the drawing,
so I'm pulling, I'm carrying these things through.
Coming crossed.
And I'm doing this I want this line now as I'm constantly
taking and trying to lead so I'm picking this, seeing how I
can work with this pulling in to the other side.
And since I'm getting a stretching,
overlapping,
coming through, and want to feel the compression.
So now what we're getting is a be
constant
combination of the lines that are taking, coming through
that have
pretty much deviated from what we see but the essence of what
I'm looking at is what I'm trying to get. This is what I'm
taking and the drawing then, the drawing in a way should almost
have more of the feeling of what the model is doing than
the model.
So I'm coming through,
picking up those lines that create the internal creativity that's internal
structure. Through.
I want to make you feel the bone there.
And as I'm coming down, stretching.
Okay now, I'm picking you up a line here.
That now is going to become part of the line of the
boundary of the rectus abdominus coming through.
I don't know if that's going to work. You'll have to
do the drawing and you keep working on it and see
if it will fly.
And again, this is one of the things, if you look at the
drawings of a Michelangelo or Pontormo, they did the drawings
many times.
Taking and building.
This drawing and the photograph is just the
beginning
that's creating a series of possibilities.
Now here's something that doesn't exist at all the
photographs.
So as you look at many of the artists now,
you can see that they take and are constantly modifying what
it is that they're working with to take and get a feeling into
the drawing that they want.
At the same time I try to take and there's a certain
element at times I'm still considered a fairly realistic draftsman.
Yet the essence of what I do is really abstract.
Now as we work, you can see how I totally changed those things
as I was working.
So
the more I look at this, there's opportunities in here for
creating
more shapes and coming around, feeling this. I'm going to take
and start to pick up
a bit more
volume, feeling this, the round against this strong straight.
And then we pull.
Here I'm trying to make this pull and I'm gonna carry this.
At the same time feeling the
straight.
Oh, there's another sort of point here I haven't mentioned, you
know, notice the way I'm holding the pencil.
I'm taking it down. It's not - you can t hold it this way and
do what I'm doing.
But that's something we talked about in Figure Drawing One.
Now the shape, shapes, shapes,
they're all - the work on this become though become
shapes that are taking moving the eye.
Through.
What I'm doing there is I'm going over the surface
to try to emphasize the fact that the arm is coming out,
that's not two-dimensional
flats on going over the surface to take and try to emphasize
that and I believe you would even start to come through and
visualize these forms, drawing over the surface,
coming around.
I'm not really very happy with that overall thing of the arm
coming back nor with this one coming through here.
This is something that
I would then take and as I'm approaching the drawing in a
compositions I would then have to take and come back in and
start to
re-evaluate
a lot of the lines that I'm taking and creating.
So in doing this then I would start to be - I would be thinking
now
what else is going to be working with here? If I'm doing
this I would probably start thinking of a compliment
that is taking maybe actually taking and turning
and coming out towards us this way. So I'm feeling one line
against another.
And I start to visualize. Okay now, how can I use this figure?
And in fact, I would have done already you can see as I'm
drawing this I'm thinking of the line going through and
coming around. So I'm composing now
the drawing
and we got another, the leg going down, going in.
This coming down and maybe turning this figure into a
female figure.
Yeah, okay. I think that
covers that for a bit now.

Now in this next pose, I'm gonna take and focus a bit more on
the shapes.
The pose itself is sort of unnatural. And what you do is
you actually as you're looking at at a pose
you take and you're going through the same thing now
agains, feel the flow, feel the push. And again as I come
through, I'm really thinking that there's a pinch.
And we're going over. Even though it's a big profile
it's still three dimensional. I'm really feeling the pull, coming
through, and here it's pretty straight back type thing. So
I'll have to really make a point out of making sure that
I've got a clear sense of the internal structure, the visual
structure. Coming through.
And feel the flow. This is one of the things that if
you don't see me actually drawing that it's a little
difficult is that I rehearse, I'm constantly rehearsing the
stroke as I go through. And now here I'm bending his leg a bit
more to give more of a dynamic movement to it. So that's
changed. So this is coming across, coming through, arm.
Okay. Now again, here's where you get a situation where
there's two arms there. We don't see it. So I
need to take and make sure that I come through and I
have at least a bit of the silhouette of the other arm
going in there.
Through now, that's the beginning, that's for me taking,
just sort of feeling where it's going. So now I'm
feeling the stretching into where the neck is, the ear.
Coming through.
Head going back a bit farther.
Again, I don't want to commit myself too extreme yet because I
want to feel the flow of things. Now one of the things
that now as I'm drawing, which I didn't actually see very
clearly when I started that the shoulders really coming forward
so that there's a corner in here that the scapula now, this
is an important point, get the scapula coming out over the
rib cage which is underneath, coming through. So we're feeling
that scapula. And so now I'm thinking we got the other arm
and I'll get some symmetry in here. I'm going to take and
show a little bit of the scapula on the other side.
So again, we relate across the thing like in the last drawing
I was taking and talking about the symmetry. You're always
dealing with the cemetery. That's what helps us to take
and show the action. So now you're coming across as a
strong tension. It's going through so the rib cage
is coming through.
Feel the pull.
Now we're feeling that the rib cage is really pushing
and we're getting the rectus abdominis coming through, the
pecs are pulling off of this now. See we can feel this is
going up.
Inside. So now coming through, now so as I'm doing these drawings
you have to keep in mind see I'm not rushing through the
drawing.
And you want to take and take your time as you're doing the
drawing
to take and analyze
forms. Now coming through we can feel the shape, feel another volume
coming through, and we got the scapula coming into here. So
those are preliminary sort of indications. We've got this
coming down.
Okay, and I want to look, I see this shape so taking
and looking at that as a strong shape that's coming. So you can
see that the shape itself is taking and doing a lot for getting
the eye to take and move, then this form.
So as we pull from here
we take and feel.
Stomach is coming out then pulling back.
So now we're coming through, pubic arch.
You can really feel the tension. Now these muscles now the
pelvis is coming from in here.
So this is a combination here of your external oblique, which
is going across this way.
And the gluteus medius which is coming down to a point of
the trochanter right here.
Now as we get into the compression in the back here,
now as we come around the gluteus is taking pulling out.
Coming around, going through.
Now from here
feel again see the shape, see the shape coming through.
And here we can feel with the cylinder, the gluteus
going around, behind.
A stretching now.
Coming through to the knee.
And so wanna feel the pull here, this is the sartorius taking,
coming around, stretching in here.
Through.
Now here taking this and I'm adjusting it so that I can
take and make this shape. I'll start to work where we're going
in here.
So
as we're going through these things now,
take
this in.
Now I'm going to take and again like I would changing
the leg on the other side I'm going to take and change the
angle of the foot.
So that we take and really so like he's almost really on his
toes, taking and stretching. So we'd feel this pull now.
So it's
the action that's there but more so
In other words I'm taking and I want you to feel is action is more
than -
how should I put -
what I'm trying to do is communicate the action and it's more than
you can say it's actually saying more clearly than what the model is
doing than the model is.
So I brought a whole new dynamic to the thing though
by taking and throwing the legs, so it's really in
movement now.
I'm taking, coming across. So now the figure has no longer
got its foot planted. He's got his leg, his one toe's up, the
other foot is coming down.
And again, this is one of those situations, and in fact the way
I've planted the foot is that we feel the pelvis is actually
taking and turning slightly towards us while the upper
part of the torso is turning away.
So again, this becomes an
aesthetic element. Aesthetics is basically in oother words what
we're talking about what is aesthetics?
Okay, is that
it's the expression of man. Art is the individual's expression.
So what I'm doing is I'm taking and using this drawing that to
take and
communicate a feeling, it's an expression. So I guess I said,
okay now we got the symmetry. I've got the pelvis is
basically taking and starting to come out towards this way
because the way I've got the feet.
And then I've got the torso's taking and turning the opposite
direction and that's being picked up with the scapula
taking the symmetry going across from one side to the
other. So there's this modification here that's taking
and it's emphasizing the expression
even more. Coming through.
Feeling that chin and taking and dropping the head back.
Feel the jaw,
the pinching muscles as they take and come through.
Sternocleidomastoid, trapezius is it's compressing
in here, and the hair itself becomes a tool, forehead.
Now we're moving, moving. The arm is turned away from us. I
want to see this is a cylinder.
It's going back.
Through.
In.
Pulling off the scapula.
This is definitely a corner. Like I said what I'm really think I see what I'm really
interested in looking at the drawing to start with is the fact
that we have set these shapes really sort of these are two
strongs shape. So here I'm going to take and emphasize the cast
shadow
coming down.
Scapula we have a core.
Down
over the surface
and then you get any to come through here we can take -I'm
going to pull this shape a little bit farther and a little
bit narrower again the cast shadow.
And so we're feeling, see I'm creating this line now that's taking
and coming through.
Through.
And
this comes down.
And I'm making this shape smaller than the one above
which is just, again, in the photograph you see that they
are pretty much the same size. So now that this is taking and
feel the pull,
stretch
these forms.
The rib cage, you get the trapezius
or triceps, excuse me, trapezius, excuse me. feed the excuse me
I'm mumbling around here myself. Okay feel coming through.
Get this now I'm taking this is a broad, take this broad
shape here. I can use the - starting out with I'll take a
small small shape.
And take a really broad form coming around.
And here bit of a break for the pelvis.
And then we take and we feel the shape that's being created.
And again, I'm changing the shape to go more
with the direction here.
Coming across.
In.
Now like I see I got this gluteus a bit big.
Just
give me a little bit of a reduction there.
This is - you keep constantly looking at your
drawing
and you're adjusting. So now we've got all these shapes in
here, all of this now as I go into the shadow area here I
want to take and feel we get this,
start coming through.
Pull.
And really and take and emphasize
the thoratic arch.
All of this now.
So I'm just being a little bit looser in the drawing
than in the last one, but I'm taking and being more involved with
the shapes.
Pull.
Now, do we take and keep working down,
through, or
taking and begin picking up
lines. So now you can see these shapes now, everything is
taking and moving the eye up.
And so now I'm stretching,
this would be basically part of your iliotibial tract
that's coming down here that's gonna be pulling out of this point
here. I'm thinking of that then I can take
and come through and feel
the fullness of shape here, come down. and down?
Now feel this pushing in.
Through.
Really now there's a - we've been talking about the idea that
we're turning in space a bit. So now I'm going to take
and emphasize the fact that the knee
is going this way, it was like the box.
And coming through.
You can the corner of the form, here we feel the gastrocnemius where we feel the yes, Mimi is
going behind
in here.
And
fibula
and
pull.
Now when I do that I'm very conscious of the fact that we
then have the soleus underneath and ttention is being
created as we pull back the heel now. So I'm ready modifying
now again.
And so as I'm doing this then I'm taking and creating
shapes with the tone.
Coming through. So this is again, you see the great modification
from the photograph. How I'm not copying the photograph, I'm
using the photograph as a starting point.
So as I'm making the drawing
now we're stretching the foot back.
Coming through,
in.
Sort of clumsy bit of toes there. Okay. Now we get all of
this
taking, coming through. This leg is turned now also,
I'm thinking of the box now, here's where I'm going to drop
most of that, I'm taking the cue from the photograph there now,
but I want to emphasize that, make the corner here really
clear, and the fact that we're going over so this now becomes
a - and I'm going to pull this light up a bit farther, and now
we can feel going over
surface. That leg now, it becomes more clearly that it's
turned
and
forms are pulling in,
through, and push
the straight.
Coming across. Through.
And the vitals in there, okay.
Feel the pull,
coming through,
all of this now
is dropped in tone.
Coming through.
Like I said I've taken and changed f this foot also. So both of
the feet are really different.
But we're getting the change, figure's now turning
around and coming through, all this is dropping back.
Now let's take and deal with that arm. We haven't
really dealt with that. Also at the same time here we can use
the cast shadow on the neck.
See how that line really helps to take and pull
and now take and drop this now, go back into the arm here.
I want to focus on the fact that this is going back in.
So as I'm doing this I go over, see this is a cylinder going
back, a deltoid is fitting into this.
And we can feel where the triceps now are coming out
of the scapula here. We got the forms that are coming off the
infraspinatus,
pulling over.
Triceps is going back, but visualize this as -
see, I'm giving a little bit more body to it and to get that
to go back in, I'm gonna take and we're headed back in that and we're headed back in that
direction. I want to take and come across the head of the ulna.
When I come in looking at the condyles, come here across
through here.
So this now is the different
form. Now come through.
Feel the -
now we come through we can feel this, taking cast
shadow. I'm doing this ongoing purposely going around
that way to show the direction.
And giving me the corner
to the deltoid.
And so now we're building back and as we go behind here it's
taking and going
over the surface
this way.
Now
and take it, going to the where the wrist is. Now if I'm here I
take it and I look
corner here, corner coming down here.
Feeling this line, I'm thinking of the line going through here
to here. So now I draw this then what I'm focusing on, I
want to feel the fullness of these forms in here.
Emphasizing this and we get this fitting in this way,
getting the buldging in here and then we're moving into here.
It's very very simple types of volumes here, sphere,
box form. Then the hand is taking, it's a fist and it's
coming back. So I'm focusing first on the
simple plane going
this way, then
to take and at this point just an indication
without getting overly wrapped up
in the forms. Through. Through.
Coming in.
Oops.
Now they're gonna have
both hands coming in. Now the other hand again it's
sort of a hard to see things so what I'm going to do is I would
take if the hands are clasped, you need to take and
alter
things so that we can see that
the hands are clasped and we need to see the silhouette
of the other arm and hand in here. Now that's something I'll
have to get like I in the last drawing. You have to get in last row. You have to sit on
later on, maybe work things out, but I need to take and pull
this elbow over here so we can actually see that.
That becomes - this right now becomes a problem
area.
I feel this coming in.
Coming through.
And I would probably take at that point and I'll say well, okay
I need somebody to sit down and pose for me and get those
hands or take and do a half a dozen different variations
because it has to read, it's a very very simple silhouette or
it's not going to work. Okay coming through.
Now, I'm basically just drawing, thinking of a plans.
I can have the shapes of the hair
taking and going with the action.
Through.
Okay, I think
enough on this one
and I'm not going to go back in over this with the black.
Again just take a short little break here and...

This next drawing, this is a perfect example of
what happens with most people when they're taking and working
from a photograph. Now let's take and I'm just going to
block in a sense the mistakes here. Okay, we see
the arm, the straight here. Now from from that elbow
all the way down it's almost a straight line.
Okay, and so as we're looking at this I'm just going to go
ahead and block it in
in a typical
way that so many people do when they're working from a
photograph.
In other words
Now I'm doing this
with the idea of
this is what you don't do.
Okay in other words, what I'm doing is I'm blocking in just
a simple shape of the photograph,
considering the negative space.
Working across where the legs are.
Very very 2D.
As you can see that creates an incredibly boring picture. Okay
now
what we need to be focusing on is, okay we've got this
contour out here. That contours really not going to
change all that much. It's going to take and but the view
the view there or the what we end up seeing is going to be
quite different because actually that contour does not
tell us what the action of the figure is.
So now we start - just go back again now and we're
looking and it's almost as if I hadn't done this. Now I'm going
over the head, going back in the chin now. I want to feel
what he's doing. He's taking and doing this.
So you already the minute I put that line in and I come through
and start to do this and it's already coming through into here, are coming through and a year.
the figure now has taken in a totally different feeling to
it. So we are we are already then at that point using the
simple lines that I've got going to take and modify and show
the change that goes on. So even if I come into the leg now
and I'm doing this very very simple steps now through you
feel the pull through here.
Soa gain we start to build these forms. So again, and here's now
that leg we don't really see anything. I'm going to move -
I'll move that leg over so we can feel there's a foot back
here.
Okay, so the photograph is not really being very helpful in a
lot of areas.
Now, I start to think of the leg here as a cylinder coming
out. So now you're starting to see the effect of taking and
adjusting
a two dimensional
and bringing in the you sense of movement
and flow as we start to build the figure. S o now I'm coming
in and thinking of the pit of the neck, got the rib cage inside,
coming through, feel the pecs pulling across.
The arm going down, a bit more rhythm to it.
Coming through.
So the drawing now is very different yet the contour has
not really changed that much. Here I think I move this in a
little bit more, go across the condyles here, feel the end of
the ulna
coming through and I think of the arm as a cylinder going back in,
through,
coming across,
the hand,
thumb.
Okay. So now we begin. Now I'm going to really change the
sense of what the figure is doing.
Okay now so I want to really make this movement. So now I
start to take and I'm going to adjust shapes, making the
lines first that are taking going with the movement. Now
pull through
coming across, wanna feel the pecs taking and pics taking in.
coming around.
So basically you can see how manipulating the lines now
taking and making the eye flow, picking up the
forms coming from behind. In other words that's really the
scapula pushing. We can
feel the pull of the line going into the rib cage now, coming
through.
Now as I do this I'm going to take and I want to feel these lines
now coming across.
Feeling the pull.
So I'm taking and focusing now, hitting here, pelvis.
I can feel the tendons now taking and all this stuff
coming down, we can feel the stretching of the external
oblique as it comes across.
Feel the pull. So instead of worrying about what the
shapes in there or what the anatomy is, I'm worrying about
how I can use the anatomy to make the lines go where I want
them to go.
Pull, the pull.
Going through.
Now as I'm doing this the muscles now are make the thing muscles now are
taking and going inside,
pulling through.
The pectoralis muscle is taking and
coming across.
Going over and I'm going using the shadow as a tool to take
and help to feel the direction in space. Now in doing that
and taking in again, like in the last drawing, I'm focusing on
the shape here, I can make this an arrow shape here and
then broaden this out.
I can come across
form here.
Now
here take, coming through.
Now we're taking and starting to orchestrate. Now keep this thing
going and I'm taking the hint from what's there, in other words
what I'm doing is taking the
actual action of the figure
and making you see it.
So coming through. There's a nice shape, simple, but now I'm
slightly modifying it, making it a little bit longer.
And now as we pick up the rib cage over here this is
any forms now are coming down on here, this is going fitting in.
I need to go back a little bit here, feel the stretching, this I
want to take and pick up
rib cage on this side. I'm going back. I want to feel a
pull down on this side.
So through then so we can see now and here's now, here's
where I make some dramatic dramatic change from what I
see.
As you look at this, you can see the rectus abdominis is
this is just this whole thing. So now I'm going to take and
change
the direction of this.
And in fact, I'm going to take and
adjust.
See I'm creating a combination of lives
that are taking and you know come down and the turn.
And we can feel the compression on the other side.
So in here then I'm going to show you I'll be
using more of a
reflected light idea also so coming through. So now I'm
thinking the pelvis on the other side.
Going through a little bit higher.
Okay. Now coming through. This is stretching. You notice that
straight line pretty much still there. I haven't really taken
and changed that that much.
It's really coming through, still picking upa lot of ceiling still picking up flow
the same points, but now as this takes and comes around I'm
taking and making this
a broader core and then we feel the reflected light inside.
This is shifting
through.
Across.
Now here really make this push in and as it is
actually again, so I'm using, using, getting a hint from
the photograph here, really feel that going in. And we then pick
up as we come around the rib cage, coming around this way.
We take and feel the pull, compression, and now I'll go out
of my way to really make you feel the compression here by
pulling that out.
Now that's a pretty big departure now from what I
actually see in the photograph. So now you take and we're looking
for the corners
in here. We can take this shape, we take the cast shadow
here
pulling down
and modify
So now see that's more than more of an interesting
shape of everything that's going on. So now keep the eye
moving this direction.
And start go back now. I'm going to get the pit of the
neck here.
Point and we can feel the forms. Clavicle going behind, coming in
front, and here as in the last drawing, really use the apex
as something that's wrapping around, behind.
And those follow through line and the cast shadow coming
through this way.
And going over.
Now we also then at this point here we have this point here. We have
thinking it was going back in. He's really got his head tilted
back. So we feel the underside of the chin.
So we're thinking of the triangle. I'm looking to the
back where the jaw would be in the back.
The eyes are going to be a bit lower now.
In through the nose will be up.
Mouth, extreme foreshortening. The ear if we could see it would be
back in here.
Now, I'm just going to continue on with this, feel the continue on with this feel the
clavicle, how it's taking and going back.
Goes back and remember the clavicle is in this curve,
back in, corner, it turns, scapula now is shoved forward on this
because the arm is going back. So now I want to feel these forms
pushing down.
This is taking and we're coming off, pecs coming off the chest
here.
And we're also picking up the latissimus dorsi behind.
Now the minute I drew that line and that line I
started to see this more clearly, you can see these lines
are working each other. And I'm starting to pull was trying to pull.
this stuff coming around.
Coming through.
So now coming here.
Underneath we want to feel the underside of the chin.
And again here we can pick up lines that are going with the
direction, a shadow which helps us to show.
Feel the pull, pull.
And even the tone going across the face becomes a direction, can feel it
going over the jaw.
The underside of the jaw
and got the cast shadow coming down.
Now I wanna go back in here, want to feel the of the few of the let me down
trapezius coming down, pulling up behind.
Deltoid's coming from out of here.
Trapezius is actually attached just on the clavicle on the opposite
side. Trapezius coming down, attaches here,
deltoid's here.
The deltoid's coming all the way across, feel the corner of
the bone.
Sharp.
Now work around that surface.
And so we can feel this out here. So we take and feel the
pecs going over and fitting into here.
And so this becomes a -
through. And we're taking, the deltoid's coming around.
Going over
the biceps on the other side.
So now if you're coming through.
Biceps are going at a diagonal.
Through here.
Triceps behind and like I said in the last drawing, I make a
real effort at hitting corners condyles.
Pull the brachioradialis here.
Feel the shape. Through.
And we get the
down to the elbow or on the wrist, pull.
And then the hand, turned, thumb.
Across.
And all this is in shadow. Feel the pull the deltoid
down and fitting in.
Okay now to the other side here we can feel this shape right here, this is fear this shape right here is
the coracobrachialis muscle.
And it's coming off the carotid process, coming in, and
the triceps are pulling down
here
and pull up then to the condyles in here.
Little bit lower.
We can feel the stretching of
the muscles stretching up.
Belly,
through, feel the corner.
And
then we get the - this is pulling across
as we can feel - we got the coracobrachialis in here,
you feel
the biceps
here.
In.
So we can use now the shape again, using the shape of take me using the shape of
these forms. Overlapping, find the corners.
Through.
Now go around.
This can be a bit fuller.
Let's carry this back down into the legs. So now we'll
pull.
Through, over.
And come around now here you can see I'm really going to
emphasize, change the shape, going through
coming down,
fitting in.
In. Feel the pull.
And feel this is narrowing down, coming up
from behind.
Come around the corner.
Now I had moved the leg out, that didn't make any sense the way it is. So now didn't make any sense?
coming through and going
over.
Through.
And so we need to feel the foot and a leg somehow attached
to all of this.
Pull from underneath,
straight,
going through.
Feel the stretch
across.
See all of this now orchestrates into
pulling it across.
And here I'll even taken and adjust the cast shadows and then we
feel pull the muscle coming through
in here. I'm going to take and using the cast shadow here.
Over.
And then I'm going to take and pull it broader, farther this
way.
So that now we can feel volume,
form.
Going through. Feel this coming down.
This becomes another
turn that we build.
And on the other side we are pulling down, so we got to come into
the corner, into the knees, the box.
And we can feel the stretching,
forms coming through.
In,
come around from behind.
And go through.
The other foot is taking it back here.
Feel a little bit more of this.
Now I would need to take and go over this form a bit more to get the
sense
it's coming down. Feel the form coming in.
It's going to be a little bit clearer.
So now if you can remember how we started out with this drawing,
the simple straight lines.
But the emphasis, how we see the drawing now do how we see the drawing now
is completely different. We are feeling the movement,
the flow,
rather than just that simple sort of line. are fine.

As you've seen, the big changes in the drawing that take place
the minute you start to focus on the composition, how you
orchestrate the lines. Very little of what I was doing was
actually based on copying any of the tone. Notice I didn't -
the tones were quite different even though I would take and
say using a cast shadow
that I saw there the shape I would take and change and some
of the area's I didn't even use the same light. I usually used -
most of what I was doing is working with the modeling tone
where I was just pushing the sides back to help take and show the
shape. So you have to take and really start thinking abstractly.
Now when you start talking about abstractly, there are
certain basic elements that we're talking about. What if I
take and do besides just thinking of
the idea of straight against the curve or big against small,
square against triangles. It's all - these are basic shapes that
we deal with but the one element that I'm taking and
dealing with that isn't part of really your sort of a basic
design class is the idea of what I refer to as the subjective
element. How we make the eye actually move rather than
thinking of just one shape against another shape. It's all
about the movement.
And if you go back and you look at the artists like look at
Rodin,
the French sculptor. Now Rodin went to Italy and he
was in his late 30s, maybe 40 years old already, this
before he actually he was an apprentice working for somebody
else and he was like 40 years old. But he went to Italy and
he took and he went to Naples, he went to Rome,
to Florence, looking at the artwork and looking at the
antiquities, looking at the classic works of the Greek
Roman. And he came back with a realization
that, and this is what he said specifically, it's all
about movement.
The time - at the time in France, the sculpture was pretty what you
think of classical academic sculpture. It's very stayed,
it's very quiet, it's very regal it. faith Regal it.
It is very much a highly stylized taking and work that
was being done. When Rodin started working on his own,
and with all this experience going back looking at the
Greeks and realizing there was nothing static about this work.
It was all dynamic.
And it's this dynamics that he put into his own work and so
figures like The Walking Man, when he did these things he was
being accused of taking and doing body casts because they
took on such a life, in a sense of movement to them. So that's
a big element. It's all about the movement. It's the flow of
how one thing works to the other to create the sense of
the experience that you're looking at. That is the
critical element in the drawing. So this is important. I
sort of talked about this I said well, okay. This is the
[indistinct]. This is the classical abstract design. What
I'm talking about is there's a subjective element in that work
and this subjective element is how the eye perceives the
movement and how these things move from one point to the
next to the next. It's subjective. You take and you
have to create and make this sense of movement happen within
the work. Okay next week we're going to work with vine
charcoal.
Okay, that's a big - that's a hundred eighty degrees different
from this.
Way way different way of working and you're going to
need to work with paper that is softer that has a little bit
more texture. I'm going to be working with BFK Rives handmade
papers.
And so this is a page that has a different feel to it.
I remember as a student
one of my instructors, an artist by the name of the an artist by the name of
John Lagata, very very famous illustrator and John every
semester he would do demonstration
and in the demonstration, he would have this paper. Now as an
illustrator New York he had the art supply store taking and
having his paper stretched and in a humidified cabinet. So it
was absolutely perfect for this working with vine charcoal.
And I don't think - I don't expect anybody to be able to do
that particularly. I won't be but I'm using the good paper,
vine charcoal, and you're going to need a kneaded eraser. And
so these are the basic tools we'll be working with. There's
all kinds of grades of vine charcoal. So think of a soft -
try to get yourself a combination of different kinds.
Now what I want to see from this week's lesson is really
focusing on the abstract,
really taking and making departures from the photograph.
I don't want to see any of this outlined, the academy would say,
the envelope. I want to see what's in the envelope, not the
envelope itself. And so we build on the drawing and so
take and don't work too small, work fairly large. Notice in the
drawing I was doing I took quite a bit of time doing those
drawings.
And I build on it. I've gone through all of the steps that
we talked about in Figure Drawing one. I was thinking
boxes. I didn't necessarily draw the boxes. I was using the
box.
I was taking and thinking of leading the eye, of the
continuity of how the eye moves. Talking about rhythm, simple
volumes, boxes, and then adding to that the whole manipulating
of shapes and lines and tones to make the eye move. You move,
you're composing.
So this is the whole point of this whole class now is we're coming
drawings to take and make them come alive rather than to
copy something.
Okay, this is been interesting. I'm interested to see what mean interesting to see what
you have done. And so we go through the next lessons. Now
each week certain part of the time is going to be spent
taking and going through and looking at your drawings. I'll
go over the drawings, we got to build on it, but don't be
afraid. This is a very critical point. Don't worry about trying
to make finished drawings.