Timed Model Drawing Session 1 // Instructor: Glenn Vilppu


I’m Glenn Vilppu. This is the first of the
drawing sessions. Now, don’t just watch what I do. Take and try it yourself. Compare
your drawing to my drawing, and I find, do the drawing again or many times. Good luck. First, though, what I’m going to be drawing
with. This is a Namiki Falcon. The ink I use actually happens to be a Montblanc. As you’ll
see it’s sort of a brownish-red. Namiki is probably, for me, it’s the best pen to
use. It’s my favorite. That’s all I use. Okay, in this first pose what I’m—when
I’m taking and drawing I have no interest in terms of copying the model. I’m trying
to feel the action of the pose. I’m taking and analyzing the action. So as I’m going
through the figure, whether it’s a one-minute pose, five-minute pose, or three-hour pose,
I approach them exactly the same. I try to feel the flow of how the figure goes. So the process then is one of getting the total and I start every pose literally the same
way. I’m constantly drawing anatomy, so now as I go back into this, once I’ve gotten
the overall general sense of the action then I come back in and start to focus on the volume
going across the form containing… Now, in this pose I’m taking and instead
of starting with the head, which I normally do, I’m taking—again, feel the flow. Now,
you’re going across the surface of the form. Feel the movement. I’m leading the eye with
the lines. I want you to take and experience what it is that I’m seeing in terms of the
action. So create movement. As I say, I never copy the model. Now I’m coming back in and
start to think of the volume a little more clearly. Come through…Going over the surface
of the forearm. Basically, in a sense, drawing cylinders coming in and back in. I have no
qualms about changing the pose. Okay. Now, really feeling the way that torso
is coming out. So I’ll go across the forearm and show the direction of space and back into
the pelvis and over. Following through. The line is taking and carrying me through the
figure so that I’m experiencing it. The line is doing what my brain is doing. I’m
trying to understand what the action is, and I’m only concerned with the action. As I
have time I will take and come back in and start to deal with the volume. Taking and focusing on directions in space as well. Now, you’ll notice that each of the drawings
pretty much start the same way. What you’ll want to do is have this as sort of a pattern
that you get in your head. You’re training your neurons as you’re going through the figure. Now, this is very much the way I take and approach– and when I’m out sketching
in the wild, I take and first capture the action and then take and go back. As I have
time I will take and go back and refine the elements. Give more information, not so much
refine but clarify what I’ve got going. A very traditional approach. It’s less of
a—it’s obviously not copying, so it’s not what we would call a contemporary academic
approach. Okay. Now in this pose what we’re having
is the way she is suspending herself. Also, it’s a rather subtle play as the body is
actually going back in space, so that becomes the critical moment in the drawing. Then cross
the pelvis, come up legs, going through and going underneath. We build, feel the shoulders
pushing up, come down. I look to where we’re placing them on the ground, where the other leg is
coming through. Again, going back, feeling the ribcage, feeling the belly, coming through
feeling the corners of the pelvis coming across …and around over the surface. As we do longer poses then we would take and be carrying this a bit further. Now a two-minute pose gives us a little bit
more time. Notice I do not start any different, still doing exactly the same thing. Coming
through, I’m going to feel the flow. Notice how I’m leading the eye with the lines as
I’m going through the figure. The lines are duplicating shapes that we see in the
model. It’s really the action that I’m taking and drawing. I’m going through now,
going back over the surface, feeling the direction in space. Same time, containing, going over,
feeling the pinch that is taking place, picking up the back of the sacrum, coming in, going
over the surface. Now, going back in here I want to feel that pinch a little bit more
clearly. Going through, constantly going over the surface, clarifying where the forms are
in space. Now, feel the pinch of the neck, shoulder going forward. I’m going to think
of the scapula pushing up. As I have time, then I go back in, and I start to clarify.
We can take and add a little bit more to this. Progressively, as we deal with longer poses
you’ll find more information being added as I go through the drawing. I go over the surface. I’m always going across the form to give a sense of the volume. As I go back through a drawing, I take and
try to give more of a sense of the 3D and the anatomy as I’m going along. Also, notice the scale of the drawings that I’m doing. There’s really no practical reason for taking
and doing really large drawings. Also, you’ll notice that even though these are short poses,
I don’t really draw very fast. I’m very deliberate about the way that I’m going
about it so that there is very little movement of my hand extraneously. I’m not moving
my arms completely wrong all the time. I’m very directed in the way I approach the drawing. Basically, following mine through the figure. I’m not doing any particularly, like, for
instance, measuring. I just use the eye and the feeling of flow as I go through. Also, the lines that I put down are not restricted to say a contour. In fact, none of the lines that begin with contour lines particularly, lines that indicate the action of the figure
rather than the shape of the figure. Although it’s very clear. You can see very clearly
what the action is and how I build the form up. Feeling the tension, start to feel the
pinch, start to build. Also, I pay very little attention in the beginning to the particular
light source that we have in the drawing. Okay. I get the question that is do I always
start with the head? Basically, yes. Everything else follows from the head. It’s the pressure.
All of the parts move with the head. I’m not drawing any shape particularly. I’m
drawing an action, and so they’re I’m concerned with how the parts relate to each
other. In that sense I focus on the head to begin with because that takes and gives us
a lead to what the action of the rest of the figure is doing. Also, my approach to drawing
is really or the end goal is to take and be able to draw from imagination. So the approach
that I’m pursuing then is applicable to taking and drawing from the imagination. It’s
also very, very traditional. It’s a Renaissance approach to drawing rather than an academic
approach. So in that sense it’s really very, very traditional drawing. Now I’m going
over the surface. I’m going to feel the pinch of the forearm that are compressing.
Like I said, I have no qualms about adjusting, changing things, and making it stronger. Feeling
the push up and the ribcage or the scapula there. Going around. Constantly adjusting.
Now here, I can see I want to come back and pull this in a bit more. Feel the ribcage
going in. I look for condyles. I look at this bone. Look at the wrists. Okay. Now, let’s start. Feel the pull. Here, for instance, I would be going into the spine. I’m trying to lead the eye with the lines.
I’ll take now and come back. Going out and over the surface, coming across. Pull… Pull over, feeling that shoulder. Often, whenever I have a situation like hands like that I
would actually come out and draw the placement of the hands very early and then take and
add the arms as a connection. Now, I want to come back. I want to feel the ribcage.
Feel the stomach. Think of the pelvis pulling over the surface. Now, you’ll find that if you look at art
history and go back then you’re going to see a very, very consistent. If you look at
the way artists work, and the way they develop their paintings, you’re going to feel an
awful lot of drawing that has a strong affinity to exactly what I’m doing. I’ll look at
the drawings of Honoré Daumier, Heinrich Kley. These are artists that are looked upon
as examples, and particularly in the animation industry. Okay. Now, this pose is a little different
in that we have such extreme foreshortening. I will take and right away I’ll start to
work with simple spherical forms leaning back into the picture. In drawing the basic tools
that we use, but we always change according to the lay of the land. In other words, we
approach the drawing what seems to be the most rational way of taking and approaching
it for the given situation that we’re working in. So here, although I’m drawing a little
small here, still going over the surface or getting things in, looking at where the corners
of the forearm. The fact that we’re overlapping again. The arm is going in, so we’re going
over the surface. The way I draw over the surface like this it would be interesting
and educational to take and look at the drawings of, say, da Vinci. You’ll find that this
is a very, very basic element. Even the Michaelangelo will take and come through. The idea in terms
of measuring, Michaelangelo is the one who said don’t measure; use the eye. So I rely
on the eye rather than measuring particularly in a quick pose. We don’t really have time
and take and spend a lot of time measuring. Particularly when I’m working with a pen,
I use a lot of the crosshatch as a means of taking and describing where the forms are
in space, dropping the forearms back. That’s a pretty funny looking hand there. Now, before we get started here, this is a
Faber-Castell Polychromos, and it’s a Royal Sanguine. Okay, now, this is the same as when
I was dealing with the shorter poses. Now, this is still short, but I’m still taking
and following through. I started with the head. I can feel the flow of the figure. At
the same time now I’m taking and going across the form as it goes back in space. I’m going
over the surface. I’m always drawing anatomy. I’m really trying to feel construct an anatomy,
construct, feel the flow of how it’s going. I’m drawing now exactly the same way when
I was drawing with a pen. There’s really no difference. As I go back into this then
each time I go back into the drawing I carry it a bit farther. I’m always adjusting,
correcting myself. Now, I want to focus on the 3-D volume containing form. So I’m going from side to the other as I pull through. Generally, I work very light. So I’m pulling one form fitting into the other. It’s a simple cylinder-type form.
That point was the end of the iliac crest. I come through and I start to feel the way
the leg is pulling out. Essentially just a simple cylinder to start with, about the end
of the knee over the surface. Feel the buttocks on the backside there. Going over, through… Now, as I’m doing this I basically only
have several essential hand movements. I’m going across the form. I’m pulling a line,
and the other part is I’m containing. I’m going around, over, across the forearm and containing. Now, I’ve gone through the drawing twice already. Each time now as I go back
into the drawing I carry it a little bit farther. She has breasts, so will put those in. Now,
at this point, I’m going to start to take and really with a little bit more care, coming
in, going over the surface of the forearm, feeling, fitting in, feel the pull coming
across and going underneath. Okay, so now as I’m going in I’m trying
to constantly fit. Notice I’m going over the surface and pulling the form, creating
a sense of volume then coming across. So I come out to the end of the knee. I’m taking
and going across the form. In a sense this is the, if you’ve taken, looked at any of
my other stuff, you’ll see video with box forms, cylinders, spheres. This is essentially
bringing in the box form. You want to feel the compression that is taking place at this point. Now, this is just a five-minute pose. I don’t
take and concentrate at all about whether I finish the drawing. It’s not going to
be a finished drawing. All I’m doing is trying to explain clearly what it is at that
point that I’m actually drawing. I want to communicate or understand the pose. This
is the critical part. It’s not copying. I’m trying to analyze the action and the
forms as they come through. Coming across, feel the heel coming in, over. Now, again, going over. I’m going to feel the belly going down and over going down and over the surface constantly
using lines going across the surface, going back in, through. Now here, I want to take
and feel more so than you actually see in the model. I’m going to take and push the
scapula up. Give it a little bit more tension. Feel the ribcage going behind and then the
head pulling back a bit, and we want to show how the muscles coming off the chest, the
pectoralis are pulling up. Now, feel the flow…up Again, very, very simple, focusing on the gesture. Going over the surface of the form. Now, it’s a very tricky, tricky
pose here, and the way the pelvis is actually taking and turning, coming across, going to
feel the pull. That leg is coming across, pulling through, go over the surface. Again,
exactly the way I was drawing with the pen. No different. Notice also the way I hold the pencil. I’m taking and it’s my—my fingers don’t move. It’s my arm that takes and moves. Again, Michaelangelo said the artist does not draw with his hands. He takes and draws with his brain. Okay, so now at this point, we have it coming
down. I’m going to take and carry this a little bit farther. The head is dropped forward.
Feel the bandana here around the eyes, nose. Thinking of where the 7th cervical vertebrae
is back and through. Feel the scapula pushing up. Feel the building up to take and first
I want to get that ribcage really pulling through. They go from one side. I go follow
through to the other side. I really don’t see very much of the ….. Almost none of
the ribcage on the other side. But I want to feel how this is now fitting into the waist.
Feel the scapula. I should say the pelvis is sticking up. We can feel the pinch. So
I’m focusing on the pinch. Feel it coming around the form. Going over the surface of
the form, coming through. It’s going behind. I’ll come back to the knee. I’m going
across the condyles. I’m going to feel the pull coming through. Pinch, compression, come through. I’m very much focused on how the parts relate to each other. Coming through, feel the leg coming out again, going across the form and going through. Now, we need to get that scapula. Now, here,
I’m going to take and deviate a little bit from the pose. I’m really pushing that scapula
out. I want to feel the neck coming out from in between the ribcage to take and give it
a little bit more emotional content to it. The breasts are down in here, and I would
be pushing the ribcage a bit more. Looking to where the elbow is at, and I’ve been
hitting a point. I will follow this back up. Coming through, picking up where the deltoid
comes down. Here it’s important to show. Now you can show that that elbow is not on
the ground. So to do that, this would be like having the feet. You take and throw a shadow
underneath just to show that it is not on the ground. So the point there is that you’re
giving information. We can feel the head is back a little bit farther more now. Now, let
me go back into this. I can come through and I’ll push, I want to give it a little bit
more strength to that for myself. As I’m doing this, this is feeling these forms come
through. We have to feel the pinch while the forearms go behind. So I would take and actually
create lines that don’t exist on the model. In fact, the model doesn’t have lines. She has forms. Part of the idea is that instead of copying forms I take and create forms, or I should say contours. Instead of copying contours, I create forms that create contours that come through. Feel this pinch a bit more coming across and emphasize the corner of that knee. A little bit stronger coming through. Over, pull across. The foot is really turned
in here, so I’m thinking of going across that form and going back in, and feel the
heel. Think of the Achilles tendon there and start coming across with the foot here, the heel coming through. The shadow that we see on the model is a means
of helping to show the roundness of the form. Just keep in mind now that there aren’t
any rules. You have a series of basic tools that you use, and they will be varied and
changed and adjusted according to the needs of the drawing at the moment. Now, push stronger, pull down. Okay. Now that you’ve gone through and watched
me doing these drawings, it’s not magic. It’s practice. It takes time. We have fun
doing it again, again, and again. This is a whole world of art that is available through
New Masters Academy. Just click on that button and go to the New Masters Academy and begin
a lifetime of education that will continually be opening up in front of you as you’re
taking and going through all of these lessons that we present to you.

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