Glenn Vilppu's Class - Sat 10-31

Glenn is really hot on a new drawing technique - well not new just rediscovered by him when he saw some Rubens drawings this summer in Denmark.

- Start with a 2B/4B pencil the larger the drawing the softer the pencil
(the first pencil lines will disappear after a while) - He also mentioned that Michaelangelo said "Don't measure use the eye).
- Build the form - think in terms of simple volumes (neck fitting into rib cage)
- Go through the drawing several times - each new level of the drawing makes the one underneath disappear)
- Don't overdo the anatomy
- Draw from experience and feeling
- Go across - over and threw
- Use tones around your figure for luminousity
- Lines at first may seem dark but once there is the tonality of the skin it may not seem dark
- Smudge across the whole drawing
- Then put line only where they need to brings things out and work with the kneaded erater
- Go slow - hit accents - sharpen up corners
- Rely on the tone you put down (the more tone the greater degree of contrast)
- At this point the degree of looseness has disappeated
- Draw slower and more darkly (apply darks where the would actually be seen in reality)
- Put a line around the figure to describe the form (tone in the background can do a lot to show lumnousity). The line around the form is not a harsh line.
- Remember core and cast shadow
- Make up a light source
- You can go back over drawing again and again
- Draw with the stump, draw with the kneaded eraser
- Control how dark you let things get
- You can see your own mistakes but turning the drawing upside down or looking at it in a mirror
- Be judiciouos with your darks
- Relook at Mucha and Lautrec
- Push core and cast shadows


GOOD BOOK
- Thomas Sully "American Portrait Painting" talks about how different artists find different features important

Worked on using sanguine polychroma pencil and graphite on these 25 minute drawings.