- Lesson Details
In week nine, instructor Glenn Vilppu will show you his approach to designing a compositional study for a painting featuring multiple figures. Glenn teaches you every step of his traditional process. Here, you will focus on the preparatory steps like choosing figures for the composition and drawing thumbnails.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
And that starts with of course an idea and how you take and develop this
idea, whether it's into a painting, an illustration, storyboard, we
all have to take and visualize and organize our visual presentations.
So this session is focusing on the process
towards a painting, but it's no different than any of the other processes of
how I take and develop a composition.
It's developing it, going from thumbnails to how ideas start
from a germination and expand.
Transcription not available.
And working within a frame.
Now I started thinking, okay, what am I going to do here?
So big variety of poses here.
And so one of the things I try to do, even before I get into
that, let's just think what else.
I was looking at one figure here.
It's a sort of interesting thing going up, I'm just going to do just a simple
bathers there's type thing, which is sort of an opportunity just to compose.
Looking at this.
one of the other poses here.
Sort of a simple play of opposites here, this.
I can take, and then if I've got that, what I want to do moving into the picture.
I might be more inclined to - actually sort of interesting there
taking, we tend to read pictures or paintings from left to right.
So first thing I needed to thinking is if I start something I would take
and maybe it's, let's try this first.
They're looking at that shape.
It's a strong line that could take and lead into
the painting is a little scrunched up and I was thinking maybe
it be a bit big figure here.
And I want to get all the way across.
Now if I have this going here, maybe on the opposite side, I think going back
over on this space and here I want to take and create an opposite point of view here.
I want to go on to take and get the figure, a figure taking
and going off the other way.
So it's just the compliment.
Going across, through maybe this figure is farther in space going back.
So we have some depths.
Let's see what else we can take and think of.
This is sort of another one.
The figure is right down here in the corner, and that's sort of a,
there could be a lead in, let's just play with some of these.
Figure going in, coming through.
I'll look at this as a line, moving in.
I've got that line moving in and that would feed into, that could
take, and then that next figure, pulling it across, doing that.
Now that's sort of interesting.
And that could be take and lead in one thing leading into the next.
We have a back, a front.
Now we can play into this.
We had a bunch of bathers here.
Figure goes through here.
Now that sort of have a potential here.
Now, as I go back into this thing and let's take and think, oh, we got.
We're taking and feeling this moving into this.
Well let's take and think of the frame here.
I've got this figure coming down, might just crop that.
Coming through, whereas I've got this coming in and we start to play
with another figure going through I'm thinking, looking at this figure here.
So now what I'm doing, I'm trying to feel the lines coming across.
Sort of awkward spacing here.
Too much the same distances apart.
That's a basic no-no
Let's try it again here.
Let's take and start out
Hey, I've got this figure moving in and really, pretty pretty pull.
In other words, what I want to try and do is to get, get the viewer, get the
composition moving all the way to the left so that I can pull through so I
want to encompass the whole canvas.
So this moving through, then if I can take the figure, one of the figures
we started with, I can take and just pull this, we've got these figures now.
Well that's sort of interesting.
Drop that arm though, coming through and having her looking back and maybe
I was thinking of that arm, but we can have the arm going up still.
And then I started to work within the play of an opposite here.
And this could be taking and looking at play from here.
Moving in other words here this is better.
See, now I'm getting a progression going across.
And this figure coming in.
Now I'll take and see those are two equal.
So I would take and move in thinking of progressions and
thinking of something that is here.
And possibly another figure taking and lying.
Nothing on the page here particularly, but I, let me think I can make up my own.
As this stuff is going in, then I can have a figure like leaning
out here, going back in space.
You've got then the figure is back inside here.
Okay, let's start bringing this up a little bit in size now.
Still very rough idea here.
Let's take and.
Still using this figure.
pulling, playing opposites here with that figure is going in
then take and have this figure coming out.
I'm sitting here looking at think, we can be forming an idea here.
There is a figure, got one on the
- that's too much in the center.
These are too equal.
Maybe this is going to be way up.
Let's try something up in here and I can create a, say, this is on shelf here,
or maybe this figure's in the water.
This is where you have bathers.
I can play with anything I want in here.
As I'm looking at this, and I'm also, at this point, I'm thinking that's
creating a line going down that I'm starting to tie into here being feel
this and starting to carry, but that character here, start moving up.
So I, I, as a work, I work into the structure of the painting too.
Structure is a, a actually it's sort of a geometry that comes into
play that takes and is - helps to collect all the loose ends.
Coming across horizontal.
I like that now.
Coming through and we can let this figure actually go off the leg.
So this horizontal, now we're pulling through and carry the next figure.
Now the arm raised.
Maybe that would draw that up.
- I don't know what she's doing here.
Maybe she's holding something.
Well, we'll worry about that later.
And we come through, I like the idea of this going up, this
figure is going in, arm is down.
Bringing that into a vertical is a nice way of taking and again, I'm sort of
looking for something happening in here.
So I'm creating a - built a structure.
I would even be thinking of taking, using a square, coming through.
So maybe this taking and falling into here.
Oh, now from that,
I like the idea of a straight, the line playing right up against that straight.
And except now we got two back views here.
I don't want that.
Here I'll just take and pull.
Pull this up.
So at this point, I'll just take and...
That's coming out at us.
Now I'm inventing my own figures here to go along with them, pick up this.
I've got that.
And so at this point, I'm no longer using this.
Getting started into the composition here a little bit.
That's the vertical.
And maybe bring an arm across, she's leaning in.
And maybe somehow involve this figure here.
Creating a really strong foreshortening now here.
Let's see where we go with this.
Now as I'm doing this, there's no guarantee that this will actually take and
At this point, I'm just thinking through.
So the poses that I was looking at was jumping off point.
Now as I'm drawing this scale wise, I
cut down a little bit.
Now this arm coming down, I like that straight that's coming down.
That can be a useful, I could even take it and have this leg
working down to this point.
I'm trying to create a - knit everything together.
Then playing vertical.
I can see a strong curve and we got a horizontal here, got the leg pulling right
back in, and then we started to pick up.
And so here as I lift this leg up, I see that this leg here can
be coming down, paralleling this.
This is looking this way, this is looking that way.
And I start to think, okay, that my elbow going up.
Maybe he's like a painter maybe he's taking and I mean, using
a towel or something and taking and drying herself, that creates
a, it could be a vertical line.
Now figure is back.
And taking in.
So there's a nice, I like that timing for that.
It's coming through.
Now that I'm building down this way, I can see that this sort of parallel line is
starting to build up and coming through.
And they got this leg going this way.
I can put this figure going slightly behind and we can feel
the leg going in this direction.
Maybe this figure is now the hand.
Arm, like that, arm holding up the head.
Shoulder coming across, reaching for something here, but I'm looking
at that line that's being created.
And then we can take and the verticals are doing this, this
start to take and create movement.
Let's take this other leg and say going back in in this direction.
So that's a pretty extreme foreshortening there.
I'm not sure how that'll work out, but we can take and see that this then I can
take and go to the figure back in here.
That is actually maybe taking and leaning in the opposite direction
so I'm playing the opposites here.
This'll be in space, coming through.
Start to build.
Like, okay, here we are, like I said, it's a beach scene or something.
So this figure could be in the water and it's going to actually be a, an
edge where we're actually pulling all the way down through here.
This figuring now taking and coming up.
Not - I got to figure out what that pose is going to be.
So then if that's - we've got this movement coming across, building up.
Now I maybe here I can use landscape, trees coming across.
Leg I would pop the horizon line down into here.
This is gonna be water still down here.
This figure can be actually a little bit larger in the water.
Let's go back to my pen.
I can define this back here a little bit.
This figure is taking and - through.
Now I would say through.
The arm raising maybe again, please use just convenience of the towel.
Thinking, maybe starting to wrap a towel around herself.
So that's, that's a possibility.
We can go back to where we're dealing with before this figure.
Now see, this is a essentially I'm taking and drawing from imagination.
I just got a suggestion of some poses that might be useful.
I don't usually search through lots of drawings to see a pose.
A lot of times what I'll do is I'll do something and I will look at it
and say it fits, I like that pose.
Maybe I can use that, do something with that.
And so then I'll start to take and build around that pose, but I've here
I start coming in, got that vertical hand coming down, but the whole
point of that I like the vertical.
Because it's sort of a point that I can play, then I can work, a
line, going contrast to that.
And the next figure is taking and now you say we started out and so now this I've
turned this into this figure is going up.
So all of this stuff now I may have started out with some ideas of the
figures, the jumping off point, but by this time they, the pretty much changed.
And here I say, okay, again, it's a towel.
Maybe the towel is actually taking, it could be going out this way, blowing
the towel, maybe blowing in the wind.
That's a nice line.
I like that.
And I would pull the horizon line down, even lower.
The next figure now is taking and going along with this.
Taking and we're pulling down, thorough in
Now this figure is going, and this is coming out and maybe sort of engaging
this one down here, look at the lines.
And this goes in here.
Now, I don't want that knee coming straight out at us.
So I'm going to take the other leg and I can take and pull this up.
And okay so now that can take coming across and we're going over to here.
We're coming out slightly towards us and leaning out towards us a
little bit more so we're really, really playing of opposites here now.
And so come down and maybe this one is actually maybe reading a book.
And now, we've got thing here.
We're building up.
So we're really playing opposite.
This one's taking and towle blowing in the wind, drop the horizon line down.
Now this figure, the other leg here.
Let's think what's going on here.
Maybe the leg is crossed.
This is kind of underneath.
Coming through then following down now, the head distances are awkward here.
Too much in the same in the center.
Now I need to take and be thinking, this has got to go at least over into here.
Now I'm going to take and pull this figure around this way.
Going behind that thing.
And so I don't even see the leg now.
Stick with the hand, holding the head up.
I like that line down.
And maybe this one is taking and doing something.
This one - I don't know.
Contemporary having or checking her email or something.
Anyway, the lines are now coming through creating a rhythm.
This start building up to this point, building off of that, overlapping
but a clear, clear contrast in here.
Now as I move through here take and
put some say, drapery, now becomes a useful line taking and going back up.
Pulling that off to my horizon line.
Okay so this pulls, coming through.
Horizon line, eye level maybe.
Gonna have to take and juggle that a little bit.
I want this figure in the water.
Maybe this isn't horizon line, maybe that's just the edge of something.
Maybe the horizon line is still out here.
We got water, reach, building up and this building up to here.
Maybe we got the trees in here, starting to take and move the eye out this way.
And that carries all the way over.
Or as I was thinking maybe this is the point where I should take
and that's a bit more compact.
Maybe I work with that.
Now from this point, I'll take and do little bit more careful drawing.
Come through and I still leave the frame fairly flexible.
Now each time, each time I do this and of course I could easily take and square off
the small one that I did, but in doing that, it starts becoming mechanical.
And I want the experience of actually doing the drawing as a way of helping
me to develop the composition.
A good example here right now
as I was try drawing this line here, putting the leg that
didn't, that wasn't in this.
So now I can see that, that the good line I can use to take and compose
the figure is taking and going in.
As it's going in and maybe dropping a bit more.
Here the other figure I'm picking up the line.
I want that vertical or that arm coming down.
I'm gonna need to adjust this.
We've got this coming down, going in.
Here the next figure is notice-.
I lead the eye, I want the eye to be carried with these forms.
Now I keep doing this in a way where I'm leaving more space up here.
I'm not sure whatever you want there.
Then pull the arm up above that, head lifting up, heading up in this direction.
So each time I go through the drawing I'm taking and picking up.
Now I'm using the idea, the drapery here.
And I can use the drapery picking up this line, coming through.
So now across, the next figure is pulling full of fairly tight from here.
Which this is a typical line that you see everybody from Caravaggio, Rubens,
Michelangelo, the plane, notice a vertical plane, a curve against that vertical and
another curve because that's where we're really even playing curves against curves.
So in doing that, I'm basically saying I liked that, I liked that kind of a plane.
So this is the composition is taking.
Now here we can feel the lines are picking up the lines I've got here.
And I'm trying to think, where is this gonna go?
Where is this building?
What's that point here?
Maybe this is where the frame should be.
Or maybe in here, I don't like to take things straight into the corner.
Now, if this leg is going in
but leg is coming across horizontal so take this, the other leg coming out.
And, but again, we're taking and building, looking to where this is building.
So you can see it as I, each time that I draw the thing I'm taking
and getting a little bit more into what is, what am I dealing with?
And I can see this parallel line that we're repeating and coming across.
And let's say, you're reading.
Here e got,.
I can take in here and use for instance, the hair.
can use a vertical.
The hair coming down becomes a vertical that I can take and use.
And we've got shape here and the arm behind.
Again, building up through.
It's coming down.
So even though this is a, a sort of realistic group of figures, you can see
that my approach to it is highly abstract in terms of how I'm taking and thinking
about the forms and the arrangement.
And so now coming through here, you see the next figure now is taking
and playing off in here this way.
Pelvis coming across and start seeing alignments that I can take and use.
This is coming forward, shoulder up.
Here's where the straight to the horizontal back here,
help to enclose these forms.
This figure's taking and
coming forward with the elbow dropping down.
So now I look at this and there's another element here.
I'm having is very, definitely this is a rising up and we're
getting a dropping down.
So I like that.
Now we're playing - we're playing series of opposites.
And so I can take and carry this all the way down
say with the drapery running out of the frame here.
And we got the pull.
The drapery you can take, of course, all kinds of configurations.
And to maybe now I'm looking at these figures.
I don't need to take and have somebody standing in the water.
I can take, have a vertical figure here.
And now see, not sure quite what I'm going to have this figure doing.
These figures were leaning here.
I would probably make this figure, this all looking, looking back,
meaning off, out here and maybe stretching, arms going back,
Now, this is something that I don't, not part of the poses
that I was starting with.
I'm starting to feel.
And I would take and do something like that.
Now the beach, the horizon.
And I was taking and rising, dropping and rising back up all at the same time here.
And I think I'll forget the trees and all that stuff in the background.
I like to be - that's the simplicity of all these elements
playing against each other.
So this becomes now a point I can take and start to work with.
And carrying this all away and up.
Well, let's take and draw this a little bit more with the black
here so I can start to see a little bit more clearly what I've got.
Again, this is very, still very preliminary.
Now how I treat the light and dark pattern, then that becomes a, another
element in the process that I can take and work, feel how that comes across.
Picking up the line, arm coming down.
Fingers going in.
And I'm going to turn this a bit.
We build into the next figure.
The hair then becomes the element,
the ponytail type thing.
That can be used.
This should line up pretty much with this head over here.
Basically the, the eyes are the center of that head and taking a vertical, the hair.
This vertical coming up.
Either the idea of the each towel type thing is a convenient
device allows for a lot of
lines, in other words I can take and create the towel doing this.
Well, at the same time I can take and this can be the vertical creating a point here.
Taking that back, what am I running into?
Well, maybe I would carry this down to then that horizon.
Now the pull.
Constantly constantly taking and just, now I'm really playing lines.
Design one line against another.
And, again, figure's maybe leaning over a little bit more.
This is turning out to be fairly formal type of composition.
And I've, I've told the people who take a look at Puvis de Chavannes.
This would be, I would say, almost being influenced by Puvis de Chavannes.
Oh, I like that line now.
All of this stuff.
And then do something with that.
Thinking of this pulling down.
I think if I have this heading for this point,
Hitting this point.
Now I'm looking at the break into
That's not bad.
It's not the obvious shapes.
You can't obviously see it, but it gives a sense of order to the point
here, I want to take and have this figure looking up at the other figure.
Coming in, the leg going back across and we could use the beach towels.
I could take and coming through.
And where this would take and,
I don't know about that.
And I can even play with the shape of the beach here.
Doesn't have to be perfectly horizontal, this could take and have some lines to it,
the horizon line's still coming through.
So I'm getting a dropping and then I've take and tried to probably.
This would take and drop down, then we're going up.
Then I would actually create something down here.
So then I started to work with the vertical up here.
Oh, that's - at this point I need to take and I'm thinking, what
am I going to do with the, the light, light and dark pattern?
And this becomes a parallel that leg becomes a parallel to take
and work with all these lines that I've got going on the other side.
Picking up some of this, and I would take this arm in here.
So you can see that now the metamorphosis from where I
started, I totally abandoned this.
I have none of those figures.
None of this.
I've got this figure and I'm slowly adjusting and changing and you can see
the composition is now evolving into a fairly straight forward classical thing.
I had no, no idea what I was going to do with this.
Maybe I'll take and I'm looking at this.
And her hand up over her head.
And this becomes a line now.
This would take and start to pull into here.
And we got vertical going up into that and
let's now take and pull through.
Tying, tying all the pieces together.
Start, come through.
So now, now I'll take and start to draw this up to a larger scale.
I want to get a rough idea of the proportions here, this is a, I
guess I can use seven inches by four and a half, three to four.
That's like what I was saying.
Let's just take and
I'm going to take four.
I'm gonna take and use seven here.
This is a way of dealing this up.
Now let's see.
What does that come out to?
I take, I've made that from four to seven.
Take and actually what I'll do is I'll take and create a line here.
This is the simplest way to do this
is take and create a line.
Now I'm going to take and
have a triangle right here.
I'll use a piece of paper as a right angle.
Sort of a lopsided line here.
I want to square this off a bit here.
Let's just move this over.
Okay, now, I'm just going to measure this is four
and then this was basically, I'll just go through with a seven.
So these are reasonable things.
So we got four,
then I'll go across out here to seven.
Now, what I want to do is I need to make this a right angle here.
Then come down and I make this just enough to a point.
Here come across.
That was four.
Where's my other line
then - okay I need to
- oops using the wrong line there.
Okay this is gonna be here.
My cock eyed line there to start with.
So now I'll take this and this will be a proportional enlargement.
I'm going to take and carry it out until I hit my line on the bottom.
this will be close enough.
Then I come back.
So there's my, there's my proportion.
So now this is something I typically do.
I don't square it off.
I take and I redraw it.
So that I get a I'm constantly, like I said, I'm constantly redrawing things.
So as I grind through, I can start looking at the distances here.
I want to see where the frame, where that leg is going to be.
And I'm thinking with the foot.
I'm not measuring off on here.
I'm trying to - I'm redrawing the whole thing.
I want to get the feeling of how the thing is going to go.
So I'm taking and working really the abstract lines now.
Foot is playing into that.
This is just a horizontal coming out.
The next figure is coming up, arm going through, head, hand going up, drapery,
got the hair going back.
Now I can see here this, pull over the arm going down.
This is a vertical that I'm playing against.
One of the things that this got going up, this was building up that would
take and have a bit of the drapery.
And thinking of this is going to be heading towards a point up here.
The next figure is really pushing up against this.
I want to feel that distance.
I want to feel the distance between this line and that.
Now I can pulling more, really designing this, now coming across, pulling through.
Now this version I would take and if I go into the painting, I will
take and square off for transfer.
But I'm taking, being enough, taking enough care now and taking and doing this.
I think in this painting now that this drawing is a painting for, would
it be built up to about that big.
I've got her taking and reading a book or something.
Mainly it's a line.
That becomes a line and I can tilt it.
Maybe I'll have that also working with this.
Now I'm going across, that surface.
Now I may have to change my proportions here, which is fine.
I want the - I'm more concerned with how the forms fit to each other.
If I have to change proportions of the canvas that's okay.
Now I'm gonna take and working on the figure a little bit more now.
So as I draw the figure, it's not the - the issue now is
not - is it anatomically correct?
I expect it will be.
But more composing, composing the lines of the figure to take and show the
composition or work with the composition.
So feel the lines.
I want the lines here now just to
Maybe we have the belly showing in here.
So this still be - and shoulder.
Arm going down.
I may need to get some more for shortening in the figure.
We have to go in a little bit more but I liked that lifting.
And so we'll stick with what I've got here.
Leg going down.
Go over, we're making this a strong horizontal.
And take the foot now becomes part of the line that's taking and coming through.
So this come through.
The whole flow of this now is going up, through the head is turned.
Now I could do something possibly with this other arm here and the plane.
In other words we're taking this arm and coming across with this arm in here.
Now, we've got started building this into figure in the back here now.
Now we're going to go over,
arm lifting up.
Now after I've gone through this drawing, then I will square it off
and I'll blow it up to a more - I'll take it to do another drawing where
it's really taking and refining it.
But this is a stage now and we're going through.
Okay now through this is a, each step that I go through in the drawing is
carrying it a little bit farther.
I still haven't done anything about how I'm going to work with the light.
Right now we're just talking about the main elements of
how I'm dealing with the line.
So this would be
- would be the type of a careful shape and line that one would take and deal with.
If we were taking and say working with a, a mural, you
have to have very clear contours.
So this is a more - if we were thinking in Italian art, this
is more or Roman or Venetian.
I mean, Florentine and Roman in that it's a fresco concept.
I'm taking now the
drapery, I'm trying to think of how this would be taking and
thinking of the drapery's blowing.
So I can take and make this shape.
Anything I want to make.
Have the frame behind coming up.
And like I said where I can take this now, curve, through.
Now, the amount of time I've spent on this is if this works out,
it's not that long, fairly short.
But we're not there yet.
This leg is coming forward, the one on the left is going in.
And you can see how this is pulling with maybe I would make this figure out here
this way, a bit more.
I think now I can carry these alignments a little bit, follow through a bit more.
The drapery would do that.
It just becomes a part of the line and here I would probably take
and let's see, take the drapery.
That element could take a considerable amount of time, trying
to figure out exactly how all of these parts are gonna fit in.
And back in.
And using the hair as a, as a vertical.
I'm not sure if I want to do that book.
The leg, the other of this figure in the back that I can see where
this could take and overlap behind.
And we've got the line back in here.
So all of these lines in here need some serious - through.
Strong foreshortening here, coming almost to the frame.
Here's our frame.
I was wondering if I hit that arm going back over there.
I don't like that.
Works better coming down.
Maybe arm going across the square and carrying the horizontal.
We can play with the towels, beach.
And here, this can be a plate of glasses.
You can add things.
And when you do that, notice that the minute I added those.
This creates a line and a movement up.
Now I can take and go back to this figure.
And I've got it tilting back.
Now, where were we working on?
This comes to the really obvious play.
We can take and pull the frame in here.
I like that.
That's almost a square, which I like to play with.
Not quite, but we can the have our.
What is this taking and - as on a painting if I'm working on a large painting,
I will actually take and create a chalk line and snap to the chalk line.
This take and vary quite a bit.
Now I'm trying to tie up loose ends here.
Trying to think of where different things will take and go.
This can be wrinkles on a beach toe that become become an arrows.
We have the actual horizontal of the sand.
I want to take and see what kind of tonal arrangements I can start to make on this.
This I'll work on.
We can start using some of the other ones here is as rough, or
I start thinking that adding.
Potential potential potential.
Tone can take and have, tones, shadows.
Create shadows from the figures.
That's a potential, that's a potential, in other words coming around.
I can also, if I start to work with this, the drapery, the beach towels,
et cetera, can all have local color.
They can also have stripes.
They can also have all kinds of elements that I can then take and incorporate.
not particularly limited
You can really start to play with these, with the forms that you have.
it to a larger format or I'll work on carrying it, developing it further.
So what I do is just a very, very simple process here.
I'm using a tracing paper.
Let me show you, in other words, just simple plain tracing paper.
There's many different brands, regular art supply store.
Very transparent, which it's supposed to be.
Tape I'm using just a standard masking tape.
So this is again, something fine at a hardware store or art supply store.
I'm just tearing off pieces here now.
And what I'm doing now is just taking and using a, a 2B graphite, which
sort of my workhorse of graphite, the paper, the tracing paper
this one, what I have here is a little short, but it won't really matter because
I, the part that it's taking and reaching, there's nothing really going on there.
So I'm not worrying well, you'll see what I'm doing.
I'm also, I'm using a non mathematical approach to doing this.
And let me, let me take and explain first.
So first let's get our frame.
What I have as a center here.
So what I want to do, though, I'm taking from here, I'm taking
and I want to establish centers.
So this is roughly six and one 16th or.
So I'm just going to go up here and find
Now with that, I can take you in going through the center here.
Now that's about the extent of the measuring and what I have to take and
deal with, because once I've got the measurements going this way, well, I also
have to find the halfway through here.
There's another way, I wouldn't even actually have to measure that.
In other words I would just take a piece of paper like I have here.
Now I can come through and say, well, okay.
from this point to here
this will give me my halfway point on the side.
Come through here.
I can see where it was unnecessary for me to take and do more in that area.
And what I, what I like about this particular process of doing it, the fact
that it is mathematical, just a question of just starting out with your rectangle
and then progressively breaking it down so all of everything is proportional.
And when I carry this into the next layer of doing the drawing,
you're going to see how this works, the same process will work.
At this pointI don't think there are, what I'm doing is a necessity to
take and carry this part any farther.
Now, where do I go from here?
I take, I want to blow this drawing up to a larger scale.
So what I've done now, and I did this before, just to get
a sense of the proportion.
No matter what size we're going to take and work with what I did taking
this drawing here, the sheet here, you can see that I took and what
I, what I, what I did is I drew
a from here now, this is the main, I just took a diagonal from the corners
here and I carried it out to here.
Then that gives me a proportional breakdown.
I could have done to here, or I could have done it up to
here and gone through that way.
But any place that I take and decide I want to take and move this.
I all, all I have to do is take from that point on then from where
I'm at here and draw a right angle, and I will take and have a direct
proportion of what's underneath.
Then I take and go through this, the same thing.
Now, then I will take and whatever size I'm going to take and draw this a.
I will then square that off.
That will then give me the ability to essentially copy from one squared off
sheet to the next squared off sheet.
And I do it in a sort of a rough way.
So that allows me to take and I'll really want to start working on it.
So now we need to go from here and start on a clean sheet and build that up.
Now, I've taken, what I'm doing now is I want to transfer this
to a larger format, the exact same proportion, but just larger.
And I'm gonna use it the same process that we're taking it and working with here.
First, I established it by taking a diagonal off the thing as I showed.
Now, from here, I'm taking and I measured this out.
This is 16 inches and a half.
It was eight inches.
This is a sort of a jumping off point.
I'm going to keep, you can go back and draw over all of this.
So, what I'm doing now is just taking and I'm going to take and
just do a very, very simple diagonal here just to get a - find the half.
Now at the same time I've created this halfway point here.
So I'm going to take an established the, again where the half is on here.
First, just a simple, simple line.
I've taken and break this down.
I have four units here and then I break each one of these in half.
And this will give me my breakdown of eight verticals as I was measuring
as I marked on the previous one.
Okay, so start measuring done, marking here one, two, three, four, five,six.
This would have been seven and eight up here.
Get a little bit more refined over in the corner here.
So I actually break one of the larger ones down to a finer point.
I think we've pretty much established where everything is.
Now is where I'm taking and go back in and start to redraw the whole process.
So, now as I'm doing this I'm going to take and be referencing.
So I'm just going to have this sitting over here for a second.
I'm just going to work on the first part just putting it down.
And this is literally just to get my, the position now what I will
do as I go through this, like, see, there's another line here, but
as I come through.
I look to see where things are and I will, once I get up to size, then
I will take and start to redraw.
So I'm just drawing right over this now.
And just literally just to get the position, just get
where, where the forms are.
And then once I get started, then, then I would basically
ignore all the lines underneath.
And it doesn't it - what happens when you're drawing you the lines underneath
that you put and I using graphite, for instance, you will find that
these lines will tend to disappear.
And build it up.
Of course I could have taken and drawn many, many more rectangles in there, but
again, I'm not going to copy this, that literally I'm going to come back in.
And redrawing it.
I use this, the opportunity of redrawing things is a means of helping to refine,
refine the line as I'm doing it.
This part is sheer labor.
Just getting plenty of placement, or might say that.
Need to add a few verticals in here, which I didn't have.
Now from here on in
what I will be doing is going back and refining the drawing
as I work, I'll work from one fragment, work from one side to
and there's several things,
very likely I will do.
One is as I'm doing this as I'm putting up these lines, I may
come down it and rub this down so that I
end up with more of a tone and at the same time, the graphite
lines will start to disappear. But so as I start with this
then, let's just get a sense now.
I'm going back in and I'm really redrawing the
whole thing, but it's taking and -
Oh by the way, I'm what I'm redoing this with with
everything I've been doing drawing was the polychromos
Faber-Castell sanguine. The royal sanguine.
so gonna be paying particular care to now, how the parts work
one up against the other.
And think that when you, when you blow things up in size,
the change and proportions will tend to look different,
spacing in between.
I remember one of my professors
suggested to take and learn how to take and compose of something is
to do some large pictures.
And the reason for doing the large picture is that
small - you can make any small picture work that we do. We see
the total, getting it.
When you start going up and scale, you have to work much
harder to take and make everything work
more clearly. So that you're really making the eye move from
one point to the next.
And so this really becomes the job and and this is where I
mural painting design is using the long line.
And so often when your taking and composing,
you find the people will take and refer to the long line. And
that's - and that's what you're dealing with the long lines
that carry the eye through the composition.
So now I can see, I'm going to make this much more curved
coming through here.
I come down and
I think okay now everything now is it - as I'm
it really becomes more critical, all the little
nuances in the drawing
then start to become more important.
Still very, very simple.
Look at my lectures on the spherical form. You find that
basically so much of this is just simple, spherical forms.
Also, the design aspect of that is simple playing straights
Now just trying to get a little bit more subtlety into the
forms themselves. I'm going to come back in and render,
render these forms then so that it's going to start getting
closer and closer as I develop the drawings
to the original.
Okay now as I go back into this,
and it's always you're trying, you're trying to feel the flow
now. Go back here a bit. I'm taking seeing that actually, I
really wanted this going in, so you sort of got a led astray a
little bit here, I want this leg going in a bit more.
If only to get the feeling this is going in a bit more.
Shape and I'm heading for a point here.
Here you can see I'm taking picking up that back line,
I'm just going to just barely go behind the shoulder here.
Then start pulling this up.
Going through, thinking of the rib cage underneath.
And now feel the scapula pushing out.
But I'm more concerned with the line and how it goes. Now
I'm going to carry these two figures fairly far
and then come back in and see
how I work - I like that this is the
right now for me, it's the
critical point to see how this is gonna - how
this stuff is going to look.
The other figure behind.
Thinking of this line carrying through.
Feeling the line.
Even taking the hair, how the hair is pulling back.
That line really follows through now. I really like
Got the pull.
So, you getting my dialogue with myself here
of elements that
I like the way that the design of that pulls through, then we
have this back arm coming down that strong vertical and I'll
pick that up into the drapery up into here
pull this across.
And we start to pull.
Pull this volume.
I originally had a
drapery coming down here is the part of the vertical. I may
keep that I'm not sure. And using this
really strong straight.
And drapery coming from behind this figure.
That could take and be pulling off of this line now.
So the drapery could be coming across.
Now what you're seeing is really the advantage of taking
and redoing things even though the scale is not that much
bigger, it is the process of taking and developing it now
is a little bit larger
and I can see
line, now I can think, come through with any of this.
Now what I was doing there was, I was going through a
progression, carrying the fold in, distance of this to that to
that getting smaller
and then trying to see
a little variation in how it's done.
This could even be brought in then and come through the fold
here dropping over the fold, maybe this can even be a
I'll leave that for later consideration.
Now what I'm going to do this time I'm going to take care and
I'm going to use the stump on this. I'm gonna see
if I can work this out. I want to see these particular
figures a little bit farther, so I'm going to take and
rub this down.
Part of the thing of rubbing this down I can use a kneaded eraser
to take and start to pick out lights.
And I can go back into this and I can rub it down. I want to
start to I'm really feeling - I want the two dimensional
line, but the same time I want the
sort of the reality of the forms. I want that one show
anatomy of the drawing,
but I also want the
design to be really
I pull over these surfaces.
But what will probably evolve or should have evolved on this
kind of light that I actually want to take and show.
Once I have taken in
carry the drying out as far as I want at this level.
Then I will take and do a painted rough
Then I will take and from that and I will take and do
a painted version of a section maybe this section here up to
full scale of what I would like to eventually someday do the
Here you can see the way this line pulls in. And then
I'm going to take that and pull into
the line, some of the line of the foot.
Now pulling this in, make this even stronger.
Keep working over
over the form.
And actually, this could be the arm of - the other arm of the figure.
Let's see. I want to carry this line through.
Well, I'll leave that decision to later.
As I work on the drawing, things, new possibilities
continue to arise
as you're doing the work.
and here even thinking you may be playing the hair or
partially going over the other side so that I could another
line that's taking and coming across.
I'm taking like the tail of the drapery. It's all being pulled
together in my imagination here.
So that'll be require a study of the detail of how that is
going to go.
But here, everything everything takes and has to
into the basic flow
of the composition.
Please know you looking design-wise, you look at these
are too repetitive, too much the same size.
Here's where I can take and
add a different
Or the beginning of one anyway.
This distance is here to here, that's not good. I have to
break this up and maybe create lines in here that can go,
maybe like a surf, something in here. And then,
the lines here would tend to go with.
Now that next figure is really
sort of a critical transition here.
This is essentially a strong vertical.
Feel the pull
of one thing. I'm trying to see if I can feed that line. So
here we go. Now I'm seeing
this pulling up then we can take and pull this out and now we
can go back up, feel the drapery.
We're getting getting the movements.
I'm going to try to pull this hair here on a straight
And then we've got the hair coming down, come to the strong
So what I'm getting is now is a painting a square.
And I'll see how I can work that in.
why, why are you doing that?
I like the play between spherical forms of the idea of
It's just a sense of order that you play against. It's like the
difference between a
Bach fugue and
This is a different
form of visual experience, the kind of organization that I'm
trying to create
create a different feel.
And it's the weaving, weaving together of all of these parts.
Gonna pull this right into. Now I'm starting to actually carry and
getting carry fairly far here now.
Take this stump, rub this down here.
So we get these elements.
Notice what happens in doing this, you can do
this just for the regular drawing in a drawing class.
And you're rubbing it down, it gives it a
more developed look. It looks brings the tones together
and you also then end up having a tone that you can take and
work with an eraser to pull off the lights.
And you're working on white paper without
not using any kind of toned paper. So it works just as
And I believe I have some demonstrations showing how to
They're really thinking of the hip.
Now the trick to this is going to be to
get the -
get the action
and maintain the strong two dimensional quality to the
to the painting
have it have a fairly natural
feel to it.
And so in a
sense the Holy Grail of
painting and drawing is to have a well-composed
drawing, have a strong two-dimensional
sense to it. And at the same time, take and
hold on to 3D
sort of a naturalism to it.
So tis is going to be to be a trick.
taking and giving myself a
That's where the fun comes in.
Remember this whole series now started from just a
one and two minute sketches.
And so as I started working with those sketches
suggesting a possible composition,
opportunities to making a painting
that now those sketches are evolving into
arrangement of forms and the actual,
what's left of the original sketch
artifacts of it are probably just this one figure.
I'm taking the hair here and
looking to see what I can do with the shape with this.
Coming down. Going over the shoulder
and maybe even having the hair coming down
Trying to think of which way that hand would go best this
That way for the moment.
Okay. So beginning.
Let's switch over to the other figure up here.
visualize this figure is taking and
turning its head looking away.
Also, what this is is demonstrating
artists in the past, as you can see taking and developing
developing the work
without the model.
in general, this is one of the hallmarks of my teaching
is to be able to - is taking in teaching the ability to take and
draw without a model.
To create works without having
the need for a model to start with. So
now, if at some point in doing this, I felt there was a need
that I had to have a model. I would take in, I would get
So I'm not
adverse to taking and having
but I only
get it if I need it.
Because there is such a natural tendency to want to become a
to your sources.
So, I go out of my way to
limit that as much as possible and rely on my own resources.
To take and - that way I can take in compose and design
feeling any restrictions.
The actual the exciting part about taking and doing a
is for me is the actual clue what I'm doing now, the actual
figuring it out.
going beyond, going beyond just the painting sometimes
you've already figured it all out, and then it just becomes a
But that's not really true because I do, I really do
actually enjoy the process of painting also but this is the -
I also enjoy the intellectual challenge of trying to take and
figure the work out.
Right here just know you can see
how just using the tone
and this is like a live report that one of the things that you
with the sanguine
polychrome that you can't do very well with a
prismacolor because you they don't smear. This does you can
take and move it around,
and you can come back in like and pick it up with a kneaded
eraser start getting lights out of it.
so it has a lot of advantages.
Let's even here, I'm taking pick up the line straight
and so as I starting with this figure here, now I need to
get beyond just the fact that it's a
standing figure and
Pull in some of the basic sense of rhythm that I've got going
the other form so now she's taking and leaning towards us
on the top. That pelvis is high the sides so I need to create
a sense and get the
compression she's stepping down on one side. You can feel this
start pushing down. I want to feel the fact this is coming
out and I'll add a little
And so now, this is going to be - gonna start to push
feeling the rhythm.
Feel the pull
Now this one's going to be, as often is the case
it's what you would consider the simple pose
sometimes becomes the hardest one.
I'm picking this one up. I need to sort of back off here for a
and look at how I want to play with these of the basic
structural elements here. So that mean
laying in this very low.
Horizon going across.
where some of these elements now, I started out with
working with lots of alignments and things. So now I've got this
figured out and really pulling
this point and here, we've got this building up, got this
building up but we're also taking and this is taking and working
towards the center.
And so I want to take and reinforce that center a little
bit, maybe I'll take and
heading something in here, maybe pulls.
Maybe I need to take and pull back.
Of course I'm thinking about how this figure is going to maybe this
arm's going to be start heading towards. That's when you need
think is this what I want to do, but I want that center.
But you get, this is a general sense heading for that.
Through. I got this point here. We can start to see this leg
sort of the center of this leg is heading -
it's not the center anymore. Trying to pull to see
where these lines are headed, that that's a very strong point
And this is also giving us - we have a very really strong point
Okay, so now I'm taking an thing that point going.
Maybe this drapery really needs to be going here and still have
Look at this might be overly - maybe we need to have
that drapery coming from behind.
And so now as I just drawing that line there
what I'm creating is a whole
sense of a movement here.
And it does another thing for me, it creates a excuse for not
breaking this, not bringing horizontal, I'm breaking this
line, I can let this drapery take and be coming through.
And so this is now, this is a like that notice now, as
you look at this, you can see this whole unit here. Now we
have, this is very strong with all this becomes a secondary
thing though, that is building and going that way, which this
was a part of that. So now you're really seeing the
of a composition.
As I'm building through. The way the shapes are expanding on
this thing now.
That's that's fun.
Okay, so now we've got this we can start to play now a
little bit more start thinking. So I've got that going, maybe I
would even take the, this hair
coming back this way.
Okay now this becomes a secondary movement. Got this,
I've got this pulling through coming across.
Now, you can see why this is not just a copy
of the previous thing. We're taking and expanding the whole
Into the line of the breast carrying through, that carries
through into the leg.
And we start to see
now that this
I can take and feel the
this now becomes a whole
Maybe I'll take and change this moving in a little bit more.
And come through.
Look at that. I can take and talk to carry this leg
feeling these lines
now carrying in.
Well, this is really the mirrorless long line thing
we talked about.
And so this leg can even drop more.
Now what I'd actually get into painting
you will see that this will go through even another
is the application of paint.
The physical way of taking and putting it down
will take and effect that basic sense of shape, form, light,
as you're doing it. So
this becomes a
process. You probably all heard about the idea of
you after a certain point, the work
is talking to you.
But that's what you're seeing here is the
drawing. The drawing is taking and coming back
demanding that I make certain
so as I'm doing this then
thing okay here I'm thinking of be the drapery.
across the drapery is
It's not so square.
Is what normally happens as you go to the beach, does take and get
And as I'm pushing the stuff around, we can see
and now I start to build it.
I'm going to get some kind of relationship going with
we can have some other elements in here that can take and come
my first thought in terms of going with
the whole area up here which is to leave it alone.
Maybe I'll take and add some clouds, something going off.
Direction up there.
I don't know.
Maybe it's best just to leave it alone once solid
or blue gray.
I can take and have
in the background here we go to see, I could take and we
mountains, the island.
I can see now see how those lines that I put in how that
But again I'm building up.
There's a whole new flow to the movement now that we're building
I have her
maybe too much towel stuff, but she could have something coming
down here. I think I need to leave this alone for a little
bit and think about it.
I think it's at a point where
I have to look at it.
Give it some time to gel. Which is the way I
normally work, I will take and start something and
put it aside
for a week, a few days, maybe a month,
and let the idea sort of
I can get rid of some of this distraction in here.
Still there, but...
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2. Brainstorming Thumbnail Ideas15m 2s
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5. Transferring Drawing to Larger Scale Study22m 14s
6. Refining the Drawing of the Compositional Study1h 2m 47s