Never Underestimate the Power of Life

Drawing June 01, 1997

By Glenn Vilppu

It always comes as a bit of a shock for students and artists preparing portfolios

for animation

industry positions that, almost without exception, what the studios first want to

see are figure drawings from life. They don't want to see caricatures, cartoons,

or copies of the studio's characters. They want traditional, classical figure

drawing.

Why traditional figure drawing? First, let us look at what skills are needed in

good animation drawing. At the top of the list is the ability to communicate

movement and personality through drawing. By using simple lines an artist should be able to

give a figure a real sense of life and individuality, not just an action pose or stereotypical

expression. Next on the list is to be able to draw three dimensionally, to make the characters

feel like they are not only individuals, but that they exist in a real world. Since the characters

we create and work with are products of our imagination, the animation professional has to be

able to draw from his imagination. Next on the list is the ability to consistently draw the same

character using the same forms, proportions and details in the particular style that has been set

for the production. As you can see, the list is asking for a high level of skill, and we haven't even

touched on imagination, story telling and inventiveness yet.

Modern Renaissance Drawing

So, how do you know an artist has these skills? Figure

drawing has been the standard measurement of an artist's

skills for hundreds of years, probably from the moment we

first started capturing the living world around us. The

Renaissance artist was judged by much the same standard as

the animation artist is today. The great masters of the past

were first story tellers. They had to be able to create figures

that the viewers could empathize with so that stories were

brought to life with a sense of realism and believability.

Animation drawing is, in essence, the closest thing we have

to classical Renaissance drawing today.

The Renaissance artist primarily created figures to fit an ideal

of perfection using simple volumes to construct figures. The constructions of Raphael are no

different than many model sheets you see for classical animation. In traditional drawing, this is

referred to as plastic drawing, or "using synthetic forms". This allowed the artist to create

fantastic imaginary worlds peopled with figures, in the most part, drawn from imagination. The

beginning compositional sketches of all artists are more similar than they are different. The

goal is the same, to capture the sense of the abstract total. A compositional notation by the

Glenn Vilppu.

"A "Renaissance" style" life

drawing by glenn vilppu.

Mannerist artist Tintoretto would fit in quite well with rough layout and story sketches from our

current major studios. The artists of the past are the inspiration and yard stick of quality that

we still use.

To draw the human figure well from imagination you must first be able to draw the simple forms

of construction -- the sphere, box, cylinder and cone -- from memory, in any position and

combination. The famous Flemish artist Peter Paul Rubens said that "you can draw anything

using a sphere, box, and cone." These simple volumes are the foundation of good figure

drawing, and are the fundamental tools of figure construction. These "tools" not only help you

to draw the figure from imagination but to see the forms of the model. A portfolio will almost

automatically be rejected if the figures inside do not have a clear sense of volume and

unambiguous space based on model observation.

Form and Technique

It is important to understand the difference between animation

drawing and drawing for illustration. As I have already mentioned,

in animation we draw almost exclusively from imagination, and

hence need to be able to construct a figure from the mind's eye. In

illustration, the artist will generally acquire a model or use

photographs to work from if needed. The illustrator also only

needs the one particular view that he or she is going to use. As

such, the training tends to develop a strong ability to copy a model

as well as different techniques for communicating the image. In

my Figure Drawing for Animation classes, I am continually telling

the students that we don't copy the model. We analyze the model.

As for technique, the animation artist must focus on describing

form with as little individual technique as possible. An animation is

a collective work from many artists. Each artist's work must blend in with the direction of the

total production and not draw attention as an individual style.

Geometric volumes are the

fundamental tools of good

figure drawing. Drawing by

Glenn Vilppu.

Of course, another reason for requiring a degree of skill at human

figure drawing is that a lot of animation is based upon human

characters. The ability to change real forms into animation forms

requires knowledge of the former. You cannot draw something if

you don't know what it looks like. Consequently, an animation

candidate's figure drawings must show a fair degree of human

anatomy comprehension. Problems while drawing from a human

model, bring into question not only the artist's understanding of

the figure, but also the ability to be able to follow a model sheet. As

humans, we are so tuned into the subtleties of our forms that a

high level of skill and development are needed by an artist to

create forms that may seem childish. In fact, this feat is often the

culmination of many drawings of the human figure by a talented

artist whose skills have been fully developed.

Of course, there are many exceptions to the above. We have all

seen the success of characters created by artists with very little

formal training. While our industry is better for these exceptions, I,

personally, would bet my career on my artistic skills while I tried to

develop that next Saturday morning superstar. However, keep in

mind that whenever asked a question about a particular drawing,

my late friend Don Griffith, the former head of the Disney layout

department, would first tell you what he would do, and then he

would invariably shrug his shoulders and say, "Its your career!"

Gesture sketch by Glenn

Vilppu

Vilppu Drawing Online

Chapter 1: Gesture

June 01, 1998

By Glenn Vilppu

Introduction

This is the first in a series of articles on drawing for animation. In these articles I will be

presenting the theory and practice of drawing as a "how to" instructional series. The lessons are

based upon the Vilppu Drawing Manual and will in general follow the basic plan outlined in the

manual. This is the same material that I base my seminars and lectures on at the American

Animation Institute, UCLA, and my lectures at Disney, Warner Bros. and other major animation

studios both in the U.S. and in their affiliates overseas. Each lesson will also have short video

clips of me demonstrating the material discussed.

Drawing, as it is practiced in the animation industry today, most approximates classical

drawing in the tradition of Raphael, DaVinci, Pontormo, and other great draftsman of the past.

The drawings of the past were used primarily in planned stages toward the creation of paintings,

sculptures, and murals. As such, they were practical pragmatic steps in representing ideas. The

classical approach of constructing forms in an effort to create the ideal perfect form, along with

the desire for clarity, transition, and ease of understanding, are the same requirements of good

animation drawing. The main difference is in the ideal of the form created.

'Drawing from imagination toward a conceptualized ideal is the norm in animation.'

Drawing from the imagination toward a conceptualized ideal (the model sheet) is the norm in

animation. The drawing that we do from the human model is research that helps us to better

understand the human form and its movements. Unlike the illustrator, learning to copy the

model has very little value for us. Rarely do we work from the model except in training

situations. One of the primary requisites in order to create is the ability to draw from our

imagination. Understanding and being able to create believable attitudes and movements, i.e.

bringing our characters to life with our acting, is the basis of our art. A child, learning to speak,

starts by mimicking the sounds that he hears and slowly develops the relationship of sounds

and meanings that we call speaking. This is unlike most training in drawing given today that

teaches to mimic nature without an understanding of the elements of visual communication. Of

course, there are those individuals who through an innate talent have developed this ability of

communication in the same way that there are accomplished musicians who do not read music.

Alexander Marshack was commissioned by NASA in 1963 to write

a book in collaboration with Dr. Robert Jastrow "to explain how

man reached that point in science and civilization to make it

possible to plan a manned landing on the moon." The research

led to his book The Roots of Civilization. Marshack draws the

conclusion that one of the basic elements that distinguishes man

from most other animals is his ability to think in sequence. He

uses the analogy of sending a man to the moon; in his discussion

he talks about how impossible the task of sending a man to the

moon is when considered as a whole, but taken as a series of

small steps or problems, it becomes possible. As each step is

broken down into even smaller steps, the impossible becomes

possible. The main element is the building of one step upon the

previous in a time factored manner. The pace of learning of any

given subject, after the initial rapid advancement, seems to move upward in ever shortening

steps, while the time between those steps seems to stretch out longer and longer until we begin

to wonder if there is any movement at all.

Everyone talks about being on a plateau, or hitting a new level, or experiencing the learning

curve (a classical example), without actually understanding that each level of development is,

in effect, a level of complexity that must be absorbed before one advances to the next level.

Trying to skip levels of development only slows you down and creates frustrations that

jeopardize the achievement of your long-term goals. Yet to accomplish anything complex there

are three basic elements that are required. First, you need a plan or approach; second, you

need the knowledge to put the plan into effect; and third, you must have the spirit to carry it

through to completion.

'Each step being broken down into even smaller steps, makes the

impossible become possible.'

The basis of my teaching is the development of an approach that

allows you to acquire knowledge and visual skills in a systematic

way, building upon your understanding and abilities in logical

simple steps. I have made a real effort at trying to keep each

step as simple, clear, and logical as possible. In fact, many of the

steps in my basic approach seem so simple and basic that quite

often the student tends to ignore developing these fundamental

skills, feeling that he has advanced beyond them. My experience

has shown me that the majority of students' problems in drawing

are with the basic elements, or tools of our trade. If you think of all the possible visual elements

that you must learn as keys on a piano, the more keys you have, the wider range of possibilities

you can enjoy. Of course, you can make music with just a few keys, but that should be based

on choice not limitations.

Since the basic approach that I use in teaching is one where we analyze the model, and not

copy it, the approach itself helps us acquire the knowledge needed about our subject. I use the

word subject, not model, because the basic elements of this procedural approach apply to

Glenn Vilppu. All drawings in

this article are by and ©

Glenn Vilppu.

drawing anything, be it a tree, interior, or figure. You cannot really draw something unless you

know what it looks like. The more knowledge you have of whatever it is that you are drawing,

the better off you will be.

An extremely important element of knowledge is that we must

develop our ability to use our emotions. Probably our most

important skill is to be able to communicate our feelings through our

drawings and to draw upon our own emotional experiences at will.

One of my favorite sayings is:

'You have to be emotional about your intellect and intellectual about

your emotions.'

A particular difficulty I have in teaching such a systematic approach

to drawing is that the end result can too easily be a mechanical and

boring formula. I continually have to keep reminding the student

that there are no rules. What I am teaching are visual tools and

strategies for approaching the figure, a means for helping students

to understand what they are looking at. In the end, it is up to each

individual to bring to his drawing that spark of life.

You will find me stating over and over again,'There are no rules, just tools.' Visual tools are

fundamental concepts used not only to aide us in drawing but in seeing. These, in some cases,

consist of procedures and, in other cases, elements such as the box and sphere. A large part of

this course is in fact the development of these tools.

I will end this introduction with my favorite quote by an artist which exemplifies the pursuit of

drawing excellence that we can only hope to achieve.

"From the age of six I had a mania for drawing the shapes of things. When I was fifty I had

published a universe of designs. But all I have done before the age of seventy is not worth

bothering with. At seventy-five I have learned something of the pattern of nature, of animals,

of plants, of trees, birds, fish and insects. When I am 80 you will see real progress. At ninety I

shall have cut my way deeply into the mystery of life itself. At a hundred I shall be a marvelous

artist. At a hundred and ten everything I create, a dot, a line, will jump to life as never before.

To all of you who are going to live as long as I do, I promise to keep my word. I am writing this

in my old age. I used to call myself Hokosai, but today I sign my self 'The Old Man Mad About

Drawing.'" (The Drawings of Hokusai, Introduction by Stephen Longstreet, Borden Publishing

Co.)

Lesson 1: Gesture

The action of a figure is usually expressed as "gesture." It means the movement and attitude

of the figure. It is body language and all of those subtle differences that characterize individuals,

whether they are human or animal. In this regard, when I refer to the model, I mean not only

a model posing for short poses of thirty seconds to three minutes, but also people who are not

posing and are in real life situations. We use essentially the same learning procedure in what is

referred to as the "quick sketch." It will be assumed that for the sake of learning, at this point,

they are the same. Other terms used for what we call gesture are "attitude" and "body

language."

'Gesture is the single most important element in the drawing.'

No matter how well a drawing is rendered, without that feeling of

individuality that we experience in looking at real life, the drawing

is nothing more than an academic exercise. Long before we can

actually see a person's face, we can recognize him by all those

elements that make up that individual, such as his general bearing,

proportions of his body, how he dresses, how he walks, and holds

his head.

I am going to present this material in a series of steps stopping to

explain and clarify points as I go. In reality, of course, it is never

quite this neat or simple. Many of the steps are actually done

simultaneously. The total is a summation of the action in simple terms and is essentially what

this lesson is about. The illustrations are examples of this total which is what you should, in a

sense, see before you start the drawing.

'You are not only learning to draw but to see.'

Practice looking at your subject and then drawing it from memory. When doing gesture

sketches, you do not usually have the luxury of models holding still while you draw. Practice

this skill continually wherever you happen to be - on the bus, watching television, or in the

shopping mall. In looking at the action, or gesture, it is important to try to grasp the total

before you put a line down. Practice looking at your subject and then drawing it from memory.

This exercise is particularly useful when you don't have your sketchbook with you (which

should never happen), or are in situations where it is awkward for one reason or another to be

drawing. When drawing in your head, go through the same steps and use the same imaginary

lines you would if you were drawing on paper. You draw with your mind, not your hand. Then

when you can, redo the drawing on paper. With practice you will be amazed at what you can do,

but it takes practice.

The Basic Procedure

You should do each drawing using the same series of steps until

it becomes second nature to you, like how driving a car

becomes almost automatic. Start the drawing with simple lines

that take in the total action of the figure, without worrying

about the shape. A simple sequence of steps is indicated in the

following examples. Remember, there are no rules, just tools!

Step One

Start with a simple oval for the head, imagining a central axis so that the oval clearly represents

the tilt and lean of your subject. Use a simple "dot" on the top to indicate when the head is

tilting toward you, and possibly an ellipse for the eyes to help show more clearly the action of

the head.

Step Two

Draw a line from the head, representing the neck. This line is not necessarily any actual contour

or line that you see on the model but a general feeling of the attitude of the model. Continue

this line, representing the neck, pulling from the head, into the upper body down to the hips.

You should be more concerned with the how the lines show the action of the model, rather than

any actual line that you see on the model. Look at the examples on this page to see the variety

of ways that this can be accomplished. These are not the traditional stick figures that you see

in many basic books on drawing. They are lines that show the flow of the movement and

relationship of the parts in a simple way.

Step Three

Continue in the same way, drawing the legs. Notice that all of the lines

do not have to be connected. Remember, there are no rules, just tools.

It is important to remember the simple fact that what the viewer sees

is the lines you put down on the paper. The lines have to convey the

sense of action in your subject by themselves. To give a sense of

movement and continuity, you must draw each line in such a way as to

have one line lead you into the next.

Step Four

Now, add the arms and hands in the same manner that we drew the

legs. Again, they do not necessarily have to be attached but must indicate the movement and

general placement.

In practice, these steps should take you a maximum of 30 seconds with 10 to 15 seconds being

the average.

You should practice these simple steps as often as you can. In a regular day class I will have the

students doing this lesson for six hours.

Continue this simple first step in feeling the form, then go a step further and start pushing

outward with your lines. "Feel" how forms contract and stretch, pinch and expand. Look at the

sample drawings.

The hardest part of this lesson is to overcome the desire to copy the model.

Remember, we never copy the model but analyze it.

Chapter 2: Spherical Forms

August 01, 1998

By Glenn Vilppu

Lesson 2: Spherical Forms

Now that you've "mapped out" the action of the pose, the next

step in the process is to define your figure in 3-D space.

Learning to see your subject in terms of simple shapes and

forms along with values is one of the basic elements in learning

to draw. I refer to this ability to see and use basic forms as

visual tools. These visual tools, like any tool, help you to

accomplish certain tasks. Without the right tools, doing

anything becomes much more difficult.

This course is designed, step by step, to

give you those tools and basic skills in

using them. However, the design of a

course does not guarantee that you will learn those skills automatically.

You have to put in the time and effort to do the learning. To do anything

successfully you must apply three basic elements: first, you must have

a plan of attack or approach; second, you need the knowledge to put

that plan into affect, and third, you must have the tenacity to carry it

through to completion.

"First, you must have a plan of attack or approach; second, you need the knowledge to put that

plan into affect; and third, you must have the tenacity to carry it through to completion."

These first lessons are the most critical and are the most deceptively simple in appearance.

Through experience, I have found them to be the most difficult for the student because of this

apparent simplicity. Everything depends on your putting the time and effort into these initial

lessons. Lesson one was a good example of what seems to be simple but is something that in

reality is only truly mastered after a lifetime of effort.

Let's Get Drawing!

Start by drawing a series of spheres on your

paper: first, singularly, and then, in pairs,

overlapping and changing in size in relation to

each other (See Illustration No. 1). Combining

two spheres as one complete form but still

having, clearly, two parts gives the form a sense

of life (See Illustration No. 2). Have your form walk, bend over, be curious, meet other forms

like it, and create relationships. In short, bring it to life.

Glenn Vilppu. All drawings in

this article are by and ©

Glenn Vilppu

Through all this, you must maintain the sense of volume.

What is a sense of volume? The use of the term

"volume" in drawing generally means three dimensional.

Having a "sense of volume" in a drawing is to give it this

three dimensional quality. There are many different

ways of creating this three dimensionality that we

experience as volume in a drawing. Illustrations No. 1 &

3 demonstrate overlapping, the most basic way to

create a sense of form existing in space. Illustration No. 2 also uses overlapping but in this case

the forms are connected and the overlapping does not completely separate the parts. In

Illustration No. 4 "A," "B," and "C," you can see how important it becomes to decide carefully

which lines overlap. In Illustration 4: "A," the forms go away from us; in "B," they come forward;

and in "C," they create a twist. Still, just making forms overlap in itself will not ensure that the

drawing will exhibit this sense of form.

The most elemental skill is the ability to sense these basic volumes on the flat paper as if they

were actually existing, being created by you as you move your pencil over and around their

surfaces and through the magic space of the paper. Some people have a natural affinity for

doing this and others have to work hard and long to achieve it.

Keep Practicing...

Drawing should be an everyday part of what you do. Look at

other artists of the past and see where you can find

applications of these lessons. The drawings on this page and

the following are examples of ways that you can use spherical

forms. The important thing is that you practice drawing them.

Don't feel pressured into feeling that you have to do fancy

detailed drawings. Being loose and feeling the roundness is

the important thing at this stage of your development. Create characters out of your

imagination, draw familiar things around you, applying the various lessons to what you draw.

Copying or drawing from other artists is an accepted traditional approach to learning in

conjunction with drawing from observation and creating from your imagination.

Each lesson will build upon the previous one, so spend the time on each one and don't rush to

the next until you feel comfortable with the current one. Don't hesitate to go back to the

previous lesson. Each individual is different and there is no set length of time that it should take

to acquire the material in these lessons. Most importantly, have fun with your drawing!

Chapter 3: The Box October 01, 1998

By Glenn Vilppu

The box is like the sphere in Lesson 2. It is a critical form that you

must learn how to draw if you are serious about developing your

drawing skills. The ability to draw the box is a necessary basic skill. If

you don't have a complete mastery of this, it will hinder your

development as an artist. Spend as much time as it takes to become

proficient at drawing them at any angle or in any

combination.

Part One

Start by drawing a series of boxes freehand, i.e.

not using a straight edge. Think of the box

tumbling through space (see Illustration No. 1).

Approach it as if you were animating it so that each

drawing is a progression from the last. Be careful

that you maintain the feeling that the corners are at right angles and that

you have a sense of foreshortening as the sides recede back in perspective.

If you have no knowledge of foreshortening or perspective, or are having a

difficult time with this, you should acquire a good book on perspective and

take some time to study it. This is a skill that is absolutely necessary in your

development as an artist.

Part Two

Now let's take this box we have been drawing and round off the sides so that

it looks like a bar of soap (see Illustration No. 2). Start by tumbling it

through space as we did in Part One. After you feel comfortable, I want you

to see if you can give it life and a personality the same way we did in Lesson 1 (see Illustration

No. 3). Have it bend, twist, walk and meet other boxes. Think of fat boxes, thin boxes; in short,

become master of the box!

If it helps, set up some boxes. You could suspend some from the

ceiling by string or wire. It would even help to make a box

mannequin to draw from, using blocks of wood and wire.

It is easy to relate houses, cars, and other

inherently box-like forms to our simple box. Look

carefully at the other examples on these pages to

see how the box was used to help draw them.

Sometimes we use the box as a starting point when drawing difficult angles.

Remember, there are no rules, just tools. The sphere and box are tools that

help you to understand complex forms and enable you to depict them

All drawings in this

article are by and ©

Glenn Vilppu.

Illustration No. 1

Illustration No. 2

Illustration No. 3

successfully in three dimensional space.

Chapter 4: Introducing Material and Proportion

December 01, 1998

By Glenn Vilppu

In Lessons Two and Three, we developed our skills at

handling spheres and boxes, manipulating them, and giving

them personalities. In this lesson, we are going to combine

them and at the same time introduce two new elements.

Part One

Start by placing a sphere over a box; they should be

roughly equal in size (see Illustration No. 1).

The next step is very important. Draw Illustration No. l-A again, but this time do it as if it were

covered by some form of material. Feel the

form underneath. Feel where it leaves the

surface of the sphere and stretches over to

the edges of the box (B). Now make the

material be a little tight or elastic so that it

comes in at the waist (C). It is important to be

able to feel the form underneath in order to

draw it. Try to imagine that your pencil is on

the surface of the object rather than on the paper.

Now let us start to work with these new forms in the same way we did in Lessons Two and Three,

bending, twisting and giving them personality (Illustration No. 2). Notice the pinch and stretch

as the forms bend and twist. Don't forget the use of overlapping forms in creating the feeling of

volume.

Again, this is one of those exercises that you should spend a lot of time on; the simplicity of it

looks deceptive.

Part Two

Now let us introduce some variety into what we are doing and at the same time open up the

possibilities. In Part One, the sphere and box were roughly the same size. Start introducing

proportion into the drawing in a controlled manner. Proportion is the relationship of various

elements in a drawing which includes sizes, tones, textures, quantities and differences that

give expression or character to the work.

Illustration No. 1 Illustration No. 2

Proportion can be the size of the head to the body or

just simply a large form to a small form. Artists have

spent their whole careers trying to find ideal

proportions in their work. We will look more deeply into

proportion in a later lesson, but for now I want you to

have fun trying different possibilities with our simple

forms. Be as creative as you can be.

Remember, there are no rules, just tools.

Try stretching the distance between the forms. You should be starting to feel a certain amount

of flexibility and confidence in drawing without a model by now. In the next lesson, we will

expand more on this before we start discussing drawing from a model.

Chapter 5: Drawing Ellipses

February 01, 1999

By Glenn Vilppu

In the first four lessons we have basically been dealing with the torso of either human, animal

or cartoon characters without actually calling them that. In this lesson we want to expand on

that direction by adding appendages to these basic forms. The primary skill required to do this

is being able to draw cylinders.

A cylinder is essentially two ellipses connected by straight lines and, of course, an ellipse is a

circle in perspective (Illustration No. 1). Let's first develop some basic skills for drawing ellipses.

To start with, you need to rely on drawing more with a total arm movement than with your

fingers.

Practice drawing ellipses that begin with a straight line and come to a full circle (Illustration No.

2). Visualize a cross section of a hose, or a simple computer wire frame of a cylindrical form.

Albrecht Durer (1471 - 1528) in his Dresdon sketchbook shows many variations on an

analytical, constructive approach to drawing the figure. (Albrecht Durer the Human Figure,

Dover Publications, Inc., New York.)

(Illustration No.2)

Now try some drawings where you make these tubes cross each other and intertwine

(Illustration No. 3).

In drawing a cylinder, the two most important elements are the angle or axis of the cylinder,

and the beginning and end of the cylinder. Illustration No. 4 shows a basic procedure for

approaching the drawing of a cylinder. First, draw a line indicating the centerline. Then, draw

the ellipses defining the ends of the cylinder.

Illustration No. 4

Do a series of drawings, adding cylindrical forms to the ones that we have created in the

previous lessons (Illustration No. 5).

In some of the following drawings you can clearly see the use of the cylinder as a means of

construction. In others, it was used as a means of understanding a complex form and

influenced the way in which the form was used. Again, there are no rules, just tools!

Chapter 6: From the General to the Specific

April 01, 1999

By Glenn Vilppu

In the first five lessons, we have gone through the basic elements, or tools, that we use to

create form. All of the work we have done so far has been on the presumption that we were

doing a procedural drawing where one element was built on top of the previous rather than a

direct type of drawing where each line essentially was the finished line.

A Plan of Action

In this lesson I will outline a basic procedure showing how all of the elements that we have

discussed so far fit in. The essence of this approach is that we go from the general to the

specific, and that you essentially concentrate on one thing at a time. What we are talking about

is a general plan, not a set of rules, but a plan that has to be responsive to the situation or

needs of the drawing. As I mentioned in the introduction, there are three elements necessary

to accomplish anything. First, you must have an approach or plan of attack. Second, you must

have the knowledge to accomplish the task, and third, you must have the spirit to carry it

through to completion. Drawing is essentially a logical and practical process.

As I have already mentioned, the basic structure of this approach is going from the general to

the specific. In drawing terms, general means the "total." In drawing the figure, this means the

action or attitude or, in another words, the gesture. Artists throughout history have done

gesture drawing in many ways, this being determined by their personalities and the prevailing

styles for any given time. Yet they all have essentially done so in a similarly logical manner.

What is important at this point is that you concentrate on communicating the action in its

totality, and not get sidetracked into copying details or becoming preoccupied with specific

contours unless they somehow assist in communicating the overall gesture. A fundamental

truth that seems to get forgotten is: the lines that you draw are what the viewer looks at. This

may seem obvious and simplistic but it is true. This was the point of Lesson No. 1. Illustration

No. 1 gives you more examples.

Illustration 1.

Looking Back to Move Forward

At the beginning of the drawing the primary concern is the total action. In Illustration No. 2 I

have tried to show how the kinds of lines you use and the forms that you emphasize affect the

feeling that your drawing communicates. Look at the differences between drawings A, B and C.

Each drawing has a difference in the feeling it communicates. In "A," the lines, in general, go

with the direction of the forms; one line flowing into the next. The general feeling is one of

rhythm and grace. In drawing "B," we have a much sharper feeling and, in a way, "jerkier," if

you can think of a drawing as having movement. The sharpness of the corners give it a bit more

"bite," as we say, and perhaps this harshness is easier to understand. In "C," where the

concentration is on the contours, the actual gesture becomes secondary to the flat shape

created. "A" and "B," though different in feeling, still convey the sense of the movement (since

the movement or gesture was the subject), while in "C," the subject was the contour and not

the flow of the forms (the gesture, in this case, if captured, is a secondary consideration to the

shape). This is not to say that shape is not important. In fact, it is very important, but at the

beginning of the drawing, the primary concern is the total action.

Examples "A" & "B" of Illustration No. 2 are exaggerations of two very common basic

approaches to starting a drawing. "A" is exemplified by drawings of Daumier and "B" by the

preliminary pen sketches of Peter Paul Rubens. These are the two extremes; you will find many

artists who combine elements of both. Again, remember, there are no rules. Illustration No. 3

gives more examples of the approach shown in example B. Illustration No. 4 shows the second

step in the process, clarifying the basic volumes, or masses. This can be carried to the extreme

of cylinders and boxes, as we did in the first four lessons, or can be incorporated into the

drawing in a less obvious way, as they are in Illustration No. 4. The study of boxes, cylinders,

and spheres is the means and tools that help you understand in a simplified way what it is you

are looking at. Again, there is every

extreme inbetween.

Putting It All Together

Illustration No. 5, as well as many

examples in previous lessons, give you a

little bit of the feeling for the variety that

this step can take. In general practice, the

artist will often do a drawing in several

layers. This layering is done in numerous

ways. In the Fifteenth Century, it was

common practice to do all of the

preliminary drawing we have been

discussing in a medium that could easily be

erased, such as a soft charcoal, chalk, or

graphite, and afterwards, going over the

drawing with ink or wash. At this point, the

preliminary drawing would be erased and further development of the drawing would be

continued. Today we use light tables, tracing paper, and opaque projectors to do the same

thing, still using the same materials and methods of the past.

Remember, we are discussing a procedural approach to drawing, not direct drawing. Although

all drawing is, in a way, direct, the point is that the sequence allows you to concentrate on one

Illustration 5.

element at a time and go from the general to the specific. This is a general method, or approach,

to help you organize your efforts. It is not a rule, but a tool. Illustration No. 6 exemplifies this.

Illustration 6.

Chapter 7: The Landmarks of Anatomy

June 01, 1999

By Glenn Vilppu

It is a truism that you cannot draw something unless you know what it looks like. It is also true

that just because you know something very well, it does not mean that you can draw it. I have

taught many medical personnel, including doctors, nurses, and various specialists, with much

more understanding of anatomy than myself. In fact, it took a while for me to realize that you

cannot draw something unless you know what it looks like, but knowing anatomy would not

make me draw better. What I needed was a method of understanding anatomical facts, so that

I could use these landmarks as tools of communication and expression, without violating basic

anatomical reality and thereby, detracting from what the drawing was trying to communicate.

Anatomy 101

Let us first start with some basic landmarks and simple facts about

the figure. One of the most basic and useful facts about the figure

is its symmetry. The symmetry of the figure is an obvious tool that

is too often overlooked. In Illustration No. 1, drawings "A" and "B"

give us the basic landmarks that we need to understand and use.

From the front we have the line created by the pit of the neck,

sternum, naval, and pubic arch, giving us a center line. In the back,

we have the spine itself as a center line. The ends of the shoulders

are basic landmarks from both front and back. Moving down the

front, we have the corners of the rib cage at the bottom of the

thoracic arch, and the corners of the pelvis at the end of the iliac

crest. Going down the back, we have the lines of the scapulas, and

the ends of the iliac crest where it meets the sacrum.

Now let us see how we use these basic landmarks. Thinking of the center of the form is the key

to using symmetry. In most cases, (with the exception of the shoulders which have

considerable independent movement but which generally conform to the basic concept), the

landmarks are at right angles to the central axis of the form. When the central axis of the form

changes, the landmarks move with it and, generally, exaggerate the change. Study Illustration

No. 2 of the torso and notice how the landmark move with the change of the form. Notice the

compression and stretching that takes place when the fixed landmarks move with the changing

central axis. While achieving a clear understanding of the action by amplification of the shift in

the central axis, we bring into play fundamental dynamics of reality as well as basic design

elements. By simply shifting the weight to one leg, we automatically create a curve in the torso,

as we generally shift the rest of the torso to compensate. This shifting doesn't stop there, but

extends to the neck and head, going up, which tends to move in the opposite direction again.

Illustration No. 1

Illustration No. 3

In this simple shifting, you have the basic elements of a classical rhythmic arrangement of

forms combined with the twist that was the hallmark of

Renaissance aesthetics. Look at Illustration No. 3 and take the pose yourself. Try standing with

your weight equally balanced and then slowly shift your weight from one side to the other and

see what happens. If you try to maintain a basic vertical position rather than leaning to one side

or the other, you will look like Illustration No. 3. Notice how one side of the body is stretching

and the other side is compressing. The accordion in Illustration No. 4 is a diagram of this action.

The basic design element involved here is the fundamental concept of opposites, the most basic

of design principles. The use of opposites is a tool that not only creates visual interest, but each

helps to clarify the other. The Italians called this pose "Contra Posto."

Looking at Limbs

The limbs have their own landmarks that we look for and use as tools to help us understand and

describe an action. As in the torso, symmetry plays a key role and, of course, is defined by the

central axis of the form. The most useful clarifying elements are the ends of the bones at the

various joints. First, let us look at the elbow. The uniqueness of the elbow joint creates a very

practical means of showing the direction of the form. Illustrations No. 5A and 5B show you how

this joint is formed.

Illustration No. 5A

The end of the ulna along with the epicondyle of the humerus create three clear points that you

can use in your drawing. When the arm is straight, these points create a straight line. When you

bend your arm, the tip of the ulna drops. This triangle then becomes the end of the cylinder of

the forearm. The axis created by the line behind the condyles defines the orientation of the

cylinder in space. Since the radius has the ability to twist independently of the ulna, the wrist

is often best described as a squared shape due to the flatness of the radius on top. Again, this

is an observation that becomes an excellent tool.

Illustration No. 6

The shoulder is a little different in that we do not really see the humerus clearly. Here we must

use the way in which the deltoid attaches in a semicircle to the scapula and clavicle. The

acromion process at the end of the spine of the scapula becomes the point that we use in

drawing the line across the shoulders. The line created by the spine of the scapula is also very

useful as is the lower corner. Study Illustration No. 6

Illustration No. 7

The knee is used very much in the same way as the elbow in that we concentrate primarily on

the epicondyle of the femur and condyles of the tibia. It becomes quite useful to see this joint

rather squarishly to help show the direction of the leg. The patella functions in much the same

way as the end of the ulna does in the elbow,helping to give direction to the leg. Study

Illustration No. 7.

The way the fibula and tibia fit into the foot in a front view gives a clear indication of which way

the foot is going. Study Illustration No. 8. You will notice that in these illustrations I have

included diagrams that show the flow of the lines created by the basic forms. These "rhythms"

have a corresponding use to the basic structural landmarks in helping us see the total action

more clearly. You should look at these landmarks as ways of helping you see what you're

looking at and not as rules. The point is to develop a strong systematic approach that frees you

creatively. In Part Two (Lesson No. 8), we will discuss further some of the major anatomical

masses.

Chapter 8: Seeing Anatomical Masses

August 01, 1999

By Glenn Vilppu

In the last lesson, we concentrated on the specific landmarks of anatomy we use with the

symmetry of the figure to help us see and draw the action of the figure. The next step in using

anatomy is learning to see the large anatomical masses. In the first four lessons we laid much

of the groundwork by concentrating on simple forms as a means of analyzing the figure as a

total. This lesson is a continuation of that procedure, breaking those larger units into smaller

units, while at the same time adding a new level of believability to our drawings. Of course, we

are also adding to the complexity of our drawing. It is important to remember that these new

forms that we add should not distract from the readability of the action. Any additions of detail

should help to clarify the action and add to our understanding of the subject.

Remember, do not copy, but analyze the model.

Exercises in Form

First, we need to look at some basic ways that forms

connect. Illustration No. 1 gives you some of the basic

situations in which forms interact. The primary

ingredient in achieving any success at this hinges upon

your ability to analyze form. There are two main

elements of this analysis. The first is to be able to see

the total, which has been the primary concern of these

lessons up to now. The second is to develop the ability

to see the surface of the form. This will be a primary

ingredient of the next few lessons.

Illustration No. 1A shows a simple raised area of a form. It is important that you develop your

skill in analyzing this simple kind of form. One way to start doing this is to take some kind of

striped material and drape it over an object or just crumple it up. Now take your pencil and

follow a line going up and down and around, following the line until you reach the end. Do this

for each stripe until you have a clear picture of the surface of the form. This is no different than

a computer generated wire frame drawing of an object. See Illustration No. 2A. Illustration No.

2B may look different but the way the lines go over and around the form are actually very

similar to 2A. The main difference is that the lines are not as mechanical in feeling or

application.

All drawings in this article are by and

© Glenn Vilppu.

Many art school exercises that have become art forms

in themselves are based upon dealing with this basic

problem. To achieve success at this you must visualize

your pencil as actually being on the form that you are

drawing, reacting to every nuance of change in direction

that the surface of the form takes.

When I was in school, I had an instructor suggest that

you should pretend that you were an ant crawling over

the surface. At the time I thought how ridiculous this

was. What I wanted to do was draw like Michelangelo,

not like an ant walking across an arm. The imagery may

have seemed ridiculous but the attitude and skills

developed by the exercise were not. In fact, looking at

the great masters, including Michelangelo, you will notice the incredible level of skill they had

in being able to describe form, be it a building or an arm.

Finding Volume

Now let us look at some of the basic elements that are represented in the examples of

Illustration No. 1. When you are drawing form you are primarily involved in showing the change

in direction of a form. That is why it is so important that you understand and can clearly

describe the surface of the form you are drawing. In Illustration No. 1A, the way in which the

small form overlaps the larger form gives a strong sense of relief or 3D. Look at Illustration No.

3 and compare the

different ways the

drawings were done.

Notice how the

overlapping and

feeling of going

behind aid in giving

a sense of volume

to the form.

Conversely, notice

that by not

overlapping or by

creating tangents

the form tends to

flatten out.

Study the drawing below and the details to see

how overlapping helped to give a sense of volume.

Then compare it with the same drawing at the bottom of the page without many of these same

tools that help to create a sense of volume.

Basic Anatomical Masses Explained

Let us start going through some of the basic anatomical masses we deal with in the figure. Keep

Illustration 2.

Illustration 3.

Illustration 4.

referring to Illustration No. 4 as you read this explanation. Of course, the basic form of the

upper torso is the oval of the rib cage (A). This is the foundation on which we build. The neck

is a simple cylinder (B) and the head another oval (C). In Part One (Lesson No. 7), the clavicle

and scapulas were some of the landmarks that we discussed in our initial stages of the drawing.

Now visualize these two elements as a yoke that slips over the neck and rests on the rib cage

(Illustration No. 5). Next, from the front, look at the pectoral muscles (Illustration No. 6). They

attach to the rib cage and to the clavicles at the top, the sternum in the center, and pull over

to the arms from the rib cage. Do not lose sight of the round mass of the rib cage.

Illustration 5.

From the back, notice how the scapula floats on top of the rib cage

(Illustration No. 7). The muscles of the scapula (infraspinatus, teres

minor, and teres major) build on top of the basic scapula form. We,

at this point, also have the latissimus dorsi muscle which lies over

the bottom of the scapula, pulls up into the arm at the top, and goes

down to the pelvis at the bottom. These forms pull into the cylinder

of the arm. The top of the cylinder is the deltoid we discussed in the

previous lesson. Notice how the pectoralis major, the teres, and the

latissimus dorsi give a strong sense of 3D by their overlapping. As

the pectoralis and teres muscles fit into the arm, you should be

seeing them as parts of simple cylinders.

You should not miss any opportunity in using lines that go across or

around the form to describe volume. It is also important, at this

point, to look at the trapezius muscle. First, the trapezius helps us

see the end of the neck as it fits into the skull. As the muscle comes

down to the shoulders, it comes around to the clavicles and attaches

around the arc of the clavicles and scapula meeting the end of the

deltoid and continuing down the spine of the scapula. The critical area in drawing this muscle is

the transition across the shoulder to the neck. Don't think just anatomy, but try to use your

understanding of the anatomy to create form.

Illustration 7.

Moving down the back, we have the two large muscles that go along

the sides of the backbone (sacrospinalis), coming from the sacrum up

along the back bone fitting into the ribs. Again, notice how the basic

volume of the rib cage is still the dominant element into which these

forms fit. The buttocks muscles, the gluteus maximus and medius,

attach to the sacrum and the illiac below the crest, and insert at the

hip bone (the trochanter of femur). Depending on the model, these

forms lend themselves to simple spherical forms or boxes. The main

point is to look for the inside corners of the form and pay particular

attention as to how they connect to the leg.

As we start around toward the front again, the external oblique, or

flank pad as it is called, is the dominant form. The bottom margin is

the iliac crest of the pelvis. The top fits into the ribs interconnecting

with the muscles coming from under the scapula. At this point,

concentrate primarily on the basic shape and how it works with both

the pelvis and rib cage. This is the form that we most often see,

stretching and compressing or bulging out. It is important to see how

the rib cage fits into it.

From the front, the primary muscle that we work with is the rectus abdominis (Illustration No.

9) which is attached at the top of the rib cage, and at the bottom, to the pubic arch. The main

elements are the clear boundaries on the sides and down the center. The tranverse line created

by the interrupting tendons are what give the characteristic shape of well-developed stomach

muscles. The planes created by similar lines on the sides, those that separate the rectus

abdominis from the external oblique, are important elements in understanding the major forms

of the front of the torso.

In looking at the connection of the legs to the torso (Illustration No.

10), it is important that you remember that the large muscle in the

front, the rectus femoris, does not attach to the iliac crest but goes

between the tensor and the sartorius muscles. The "A" shape

created by the tensor and sartorius are part of the corner of the box

shape used in seeing the pelvis. The rectus femoris, along with the

vastus lateralis and vastus medialis, are the main elements of the

cylinder of the leg from the front. In the back of the leg, the biceps

femoris, along with the semimembranosus and semitendinosus, are

the main elements of the cylinder. Notice how the adductors pull

from the pubic arch area and complete the triangle from the pubic

arch to the knee. In the back of the knee (Illustration No. 11), the

gastrocnemius, or calf muscle, goes inside the tendons of the biceps

femoris, semimembranosus, and semitendinosus, to create the characteristic squarish shape

of this connection.

In looking at the connection of the legs to the torso (Illustration No. 10), it is important that you

remember that the large muscle in the front, the rectus femoris, does not attach to the iliac

Illustration 9.

Illustration 10

crest but goes between the tensor and the sartorius muscles. The "A" shape created by the

tensor and sartorius are part of the corner of the box shape used in seeing the pelvis. The

rectus femoris, along with the vastus lateralis and vastus medialis, are the main elements of

the cylinder of the leg from the front. In the back of the leg, the biceps femoris, along with the

semimembranosus and semitendinosus, are the main elements of the cylinder. Notice how the

adductors pull from the pubic arch area and complete the triangle from the pubic arch to the

knee. In the back of the knee (Illustration No. 11), the gastrocnemius, or calf muscle, goes

inside the tendons of the biceps femoris, semimembranosus, and semitendinosus, to create the

characteristic squarish shape of this connection.

In the front, the corners of the knee (Illustration No. 12) are

created by the patella with the quadriceps tendon and, to the

sides, the epicondyles of the femur. The angle across the calves

is high on the outside and low on the inside. However, at the

ankle, the outside is low and the inside is high. The arc created

by the tibia and fibula is a primary line showing the connection

of the leg to the foot in front. (Illustration No. 13) In the back,

the achilles tendon attaching to the calcaneus, or heelbone, is

the characteristic look. Try to view the foot as simply as

possible in the beginning, focusing on

simple volumes.

In looking at the arms (Illustration No. 14), try to see the overall

simple masses of the forms as you study the anatomy. It is very easy

to get so involved with anatomical detail that you lose sight of the

whole.

In drawing the wrist, remember as we discussed in the last chapter,

that the radius rotates and the ulna is stationary. The wrist is more

simply seen as a box form.

In teaching the drawing of the hand (Illustration No. 15) I have found

that if you first start by developing your skill at drawing the simple

forms of the animators' hand and then slowly introduce the real

anatomical hand, it is easier to control the complexity and develop a

method to draw and understand the forms.

Illustration 12.

Illustration 14.

Chapter 9: Seeing The Figure As A 2D Object

October 01, 1999

By Glenn Vilppu

The reality of drawing is that we draw on a two dimensional piece of paper; the drawing is not

a three dimensional object. Up to this point, our efforts have been almost exclusively concerned

with creating that three dimensional illusion on a two dimensional surface. We used a series of

tools and procedures that didn't necessarily rely on the model, but on an analytical and

constructive approach to drawing the figure. In drawing from the model, i.e. reality rather than

from imagination or an ideal, we must develop a set of visual tools to help us make that

translation from the real three dimensional world (3D) to the flat two dimensional world (2D) of

the paper. In many ways, this is much simpler than what we have been doing. In general, the

fundamentals of the approach based on direct observation of the model are the same as the

widely used academic method of copying, one of the methods taught in the studios of the

artists of the Renaissance. In this lesson we will use this method to assist us in placing the

forms that we have learned about in the earlier chapters. (Much of what we are now discussing

has been introduced, in part, in earlier chapters.) The drawback of this approach is that you

need the model to do the drawing. In practical application, the camera has come into use as a

substitute for having a model pose for hours while the artist

does his or her drawing.

Early Inventions

Before the invention of the camera, both Leonardo Da Vinci

(1452 - 1519) and Albrecht Durer (1471 -1528) and many

other artists of that period invented drawing machines to

accomplish the same thing. Let us look at Da Vinci's and

Durer's machines as a basis for understanding the approach.

Both artists created essentially the same machine with

slight variations. The basic elements were a frame with

wires stretched over it dividing it into equal units, or a piece of glass with lines drawn on it

sitting upright on a table and a piece of paper having the same equal divisions on it as the

screen. The artist would look through the screen from a fixed viewpoint, either a peephole or

some form of brace, to keep the head from moving. The artist would then copy what he saw in

each square onto the corresponding square on the paper. In 1727, the great anatomist,

Bernard Siegfried Albinus (1697-1770) started his great work on human anatomy which was to

take him 20 years. The following quote is from Albinus On Anatomy, by Robert Beverly Hale and

Terence Coyle published by Dover Books 1988 (reprinted by permission): "Albinus overcame

the problem of obtaining correct proportions between the parts of the body in the drawings of

his artist by using grids or nets made of cords and divided into squares. These were placed at

selected intervals between the artist and the skeleton. One grid was placed almost in contact

with the skeleton by which the artist could draw from a distance of up to forty feet for the

drawing of detail, a second grid with the squares greatly reduced in size, was placed four feet

in front of the first grid. The artist would look through the grid and place himself so that the

cords of the two grids lined up with one another on his view of the skeleton, and could check his

accuracy by means of these lines and their intersections."

This is essentially identical to an artist today taking a photograph, squaring it off, and

transferring it to a canvas. The usefulness of the approach is in its mechanical nature. We

incorporate basic elements of this approach any time we draw from nature. In the previous

lessons I have been incorporating the use of many of the basics, without making specific

mention of the procedure as a whole.

The Approach

The basic elements of the grid are vertical and horizontal lines, plus

angles and measurements. These are the tools of this approach.

Spheres, circles, box/squares, along with arcs are additional aids in

seeing the placement of forms.

A key element in academy training is the length of the pose. Since

a prime requisite for doing this kind of drawing is very careful

observation, the poses were, by necessity, very long. The student

normally would start his or her training by first learning to draw

from plaster casts, as is still done in many parts of the world. A pose,

using the model, could last for a day, several days, or a week. An

hour pose was considered a quick one, used for learning how to start a drawing.

In this lesson, as in the previous lessons, the drawing is primarily done in line. In a true

academic approach, the use of tone would be a major part of the drawing. Each step being a

gradual build-up of values with careful consideration of the direction of the light falling upon the

forms. In the following three lessons we will be discussing tone, but in a more constructional

and analytical approach. In this lesson I am using the academic approach as a way of carefully

translating the three dimensional forms of the model, as we have developed them, to the two

dimensional surface of the paper as accurately as I can.

As in earlier lessons, the most important point is to get the total.

To Begin...

We start first by establishing where we want to place the figure on the

paper. To do this, we must establish the limits of the model and where

these are to be placed on the paper. In "Illustration A," you will notice

that the seated figure has a horizontal axis and the standing figure,

"Illustration B," has a longer vertical axis.

This is not always quite so obvious, so it is important that you carefully

measure to see which lines are longer and place the figures on your

paper accordingly. Notice that I have used a series of straight lines to

"block in" the rough placement of the figure. Straight lines are

essentially easier to see and make judgments with compared to

irregular lines. You "block in" the figure by "eye-balling" it, in other

words, by making simple unassisted visual judgments prior to actually

measuring. As you develop your visual skills, the simple act of making a mental notation is

usually sufficient. Now we have reached the point where we start to place the various elements

of the drawing more accurately.

Very carefully using the head as a basic measuring

unit, find the center of the drawing both vertically

and horizontally on both the model and the paper.

At the end of this chapter is a simple explanation of

how to measure if you are not familiar with this

procedure. It is essential that you be very careful in

doing this because everything you do from this

point on could potentially reflect further errors. It is

a good idea to take a separate piece of paper or a

ruler to help make sure that, in fact, you have

actually marked the center on your paper. From this

point on, the process is essentially one of creating a

grid by breaking each section down, measuring, and

progressively making smaller units. It is important

that you pay as much attention to the width of the

forms as you do to the length.

Make diagonal lines and extend them to see what other forms they

hit. This is the same as checking your vertical and horizontal

alignments and adds another means of checking your placement.

The use of the arc works in the same way as the diagonal line and,

again, is another tool in the placement of the forms.

On the next page, you will see a

visual summary showing the

basic tools of the approach we

have discussed so far. The

accuracy of your drawing will

depend on how careful you are. This approach has very little

to do with talent, relying primarily on careful observation

and patience.

Once you have all of the major elements in place you can

start to break the larger units into smaller units. The limitation of this approach is only in how

small a unit you are willing to create. I have seen artists who work this way carry it down to the

finest highlight in the eye. This approach is, primarily, one of surveying and putting everything

in its proper place.

The value in this form of exercise is developing the ability to reduce your subject to two

dimensional observations.

Recognizing the Elements

Let's look at some elements related to this approach. Since you are

reducing the subject of your observation to 2D elements, the

openings between forms and the space around the forms become

equally important. These are called negative shapes. You could, in

effect, draw your subject by drawing the space around it, i.e. the

boundary between the positive and negative space. The 2D contour

of either the positive or negative space gives us the same

information. Some basic art school exercises to develop this skill in

observation include cutting out the shapes with a pair of scissors the

way children do with a silhouette drawing in grade school, copying

photographs upside down, drawing with your left hand to make you

look more carefully, and drawing a specific contour without looking

at the paper. The point of all of these is to teach you to see 2D

relationships while looking at a 3D object. It is extremely important that you develop a high

degree of skill in doing this. It is this 2D shape or silhouette in your drawing that is needed for

a clear reading of the action. The shape is also the area that most clearly reflects the basic

design of your drawing. The shape of the form is equally as important as the volume.

In measuring, unlike most drawing tools we

have discussed, there are some basic rules. First,

measuring is not difficult but you must be

consistent and careful or it will work against you.

The standard unit of measurement is normally

the size of the head, although it could be any

convenient unit that you wish to use. The width

of the head is another popular basic unit of

measurement used by many artists. We are not

talking about inches or centimeters but relative

sizes. Let us use the head size as an example. To find the center of the figure, or any other point

on the figure, hold your arm straight out. You must keep your arm straight. Any variation in

distance between your hand and eye will give you a false size relationship. Study the illustration

below. The top of your pencil should be at the top of the head, the tip of your thumb at the

bottom of the head. You can now move your arm down, turn it sideways, diagonally, placing it

visually anywhere you wish on the figure to establish any point or size relationship in

comparison to the size of the head, i.e. the navel three heads down, or the shoulders one head

apart in this particular pose.

Proportions have been an integral part of the

artist's education for thousands of years. The study

of human proportion has taken two distinct

directions: the real or normal proportions and the

ideal proportions of man. Real proportions are, of

course, average proportions and should be taken

as such. As individuals, we all exhibit slight

variations on this norm, but, in general, we all do

fall fairly close to the average. This average is a

good starting point from which the student to work.

The proportions that I have presented here are a

seven and three quarters head high male figure

and a seven and a half head high female figure.

These are in line with the seven and a half heads of

Richter, the famous French anatomist, and the idealized eight heads of Michelangelo, the

famous Italian Renaissance artist. Many artists have used greater extremes in both directions.

These extremes, or ideals of proportion, are used for expressive purposes. The three head high

figures in animation and cartoons create children's cuteness. Some of the Mannerist artists of

the past, contemporary fashion figures, and super heroes of the comics create ten high figures.

First, get a sense of the real so that you do not make accidental proportional statements that

contradict your intentions. Then use proportions to make your statement.

In the next three lessons the emphasis will be on the use of tone to describe forms in space.

Chapter 10: Using Tone To Draw

December 01, 1999

By Glenn Vilppu

Indirect Lighting and Modeling Tone

The first half of this manual has been primarily concerned with

creating form using line, emphasizing the need to visualize the whole

form and to draw across the surface of the form to show its volume.

In learning to see spheres, boxes, and cylinders, we focused on

seeing the corners of forms and used these basic visual tools to help

us see the orientation of the forms in space and to draw them. In

reality, we see things primarily in tone, not line. I have used tone in

many of my examples to define the forms without explaining the

usage. In this chapter, and the next two, we will discuss three

distinct methods of using tone. The three approaches, which are

indirect lighting, direct lighting, and atmospheric perspective, are

distinct but generally used in varying degrees together. For the

purpose of teaching, I am focusing on each one as a separate and

distinct approach. As you will see, they can be used as separate

methods though they are generally used together.

The clarity of an edge of a form is defined by what is behind it. The

greater the contrast the clearer the contour. A solid black object

against a white background can appear quite flat without a light

source defining the interior corners and the parts that come forward

(see Illustration A). To create a strong sense of volume it is necessary to emphasize these

internal corners that come forward and subordinate those that recede back in space.

Illustrations B, C, and D demonstrate the fundamental elements of the indirect lighting

approach. The part that is facing you is the lightest and the form becomes darker as it turns

away from you. Notice that I said, "Turns away from you." The important point here is the angle

of the form in relationship to you. In Illustration C, the outside contour has also been softened

to make it recede even more.

"What faces you is in light; what turns away from you is in tone."

Illustrations A, B, C & D.

All drawings in this

article are by and ©

Glenn Vilppu.

What faces you is in light; what turns away from you is in tone.

Another way of thinking about this is to imagine yourself as the

source of light.

Illustration E gives an example of this basic principle.

Remember, it is the angle that a particular surface plane faces

that determines its value (degree of light and dark), not how far

away from you it is.

This use of tone, or value, is usually referred to as a "modeling

tone." We model the form using the tone to define itself in

space in the same way a sculptor does. Since our main concern

is to describe form, you must look at the basic procedure as a

tool rather than a rule. We use the tone to push the sides back

on a form.

Let us modify the basic concept now to read: "What faces you, relatively, is in light; what turns

away from you is in tone." The word "relatively" is very important. Study Illustration F. This is

actually an optical illusion. The forms can be seen going in or coming out. The parts of the forms

that are in light do not actually face you, but, relative to the forms that are turned more away,

they do. Notice that there is no difference between those forms that are close to you and those

farther away. Of course, in reality, there is, but for the moment concern yourself only with the

angle that the plane of the form is facing.

The Importance of Values

Before we go any further, you need to develop some basic skills in working with values. One of

the most fundamental skills that you must develop as an artist is to be able to recognize and put

down values with control. The illustration gives you examples of a few basic exercises that you

should do. As a working artist, with over forty years of experience, I still feel it necessary, at

times, to do variations on these exercises today.

It is important that you develop the skill in being able to put down a flat

and even value. We are interested in seeing the value, not the technique.

"We are interested in seeing the value, not the technique."

Every irregularity or change in tone communicates a change in the form.

Do not draw dark lines between values. A line between values will distort

the relationship of one value to another and make it difficult to see their

relationships. Each degree, or step, of contrast between values should be

equal in contrast. Do not underestimate the difficulty or importance of

this exercise. It could take hours to do it right.

Practice drawing simple forms from imagination. Redraw some of the

forms created in Chapters Two and Three, using tone, but no line. Remember, we are using a

specific approach to modeling form. We are not copying the patterns of light and dark that we

see on the model. We are analyzing the forms of the model but are not necessarily using the

tones that we see on the model. As I have said repeatedly,

"Don't copy the model; analyze."

"Don't copy the model; analyze."

Adding to the Basics...

After you have become comfortable using the modeling

tone, as we have discussed so far, you can start adding

some variables that will give your drawings a more natural

look. The first of these variations is to make the tone stronger on one side or the other

consistently. Look at the spheres at left to see the difference. The far left is the way we have

been doing it; the other is an example of emphasizing one side to give a feeling of a light source

other than from directly ahead. A light source from directly in front is sometimes referred to as

"flat lighting." In general, you will find that favoring one side or the other will give a stronger

feeling of relief. In essence, you are shifting the light source to one side.

An example of the

gray scale.

Look at this drawing and try to see it as a series of simple

spheres with the tones pushed to the outside receding

edge.

We started this lesson drawing with no distinction in the distance of a form from you,

concentrating on the angles of the various planes to establish the tone. In the beginning of this

chapter, I mentioned that we will be discussing three distinct approaches, "indirect lighting,

direct lighting, and atmospheric perspective," and that, in practice, we usually use all three

methods together to various degrees. In that context, we are now going to use some of the

basic elements of atmospheric perspective in conjunction with the modeling tone. In Chapter

Twelve we will bring in many more elements of atmospheric perspective than we have

discussed in this chapter. The basic concept of atmospheric perspective is that the farther

something is away from you, the more atmosphere there is between you and the form. The

closer something is to you, the sharper it will be, the more detail it will have, and the greater

the contrast will be; the darks are darker and the lights are lighter. As the forms recede back,

the lights and darks become closer in value and you lose contrast and detail. See the illustration

on the right. A foggy or smoggy day gives you a perfect example of this concept.

"A foggy or smoggy day gives

you a perfect example of

atmospheric perspective."

The forms do not have to have great distance between them. A simple overlap can become an

excuse for using this concept. In Oriental landscapes, as well as in Cubist paintings, this

approach has been used as a basic method of showing space and separating forms. Here you

see several examples of this. Look at the details on the right taken from the drawing on the left

and notice how this simple idea helped to separate forms and give a sense of depth to the

drawing.

Using the concept from the simple

forms, try creating the sense of

depth with more complex images.

Notice the way this idea is used in these

simple forms. In a continuously receding

flat form, the leading edge should be

darker. This idea is carried over into

drawing boxes and cylinders. On this page

and following pages are various examples

of the basic ideas we have been

discussing. Study them to see how they

have been modified and used.

In the next lesson, we will be discussing

direct light. To use direct lighting, you

must first have a good understanding of

indirect lighting. Practice creating forms

from imagination and rendering them

until you have a thorough grasp of the

elements discussed.

Notice how the leading edges in these examples are

darker.

Chapter 11: Getting a Handle on Direct Lighting

February 01, 2000

By Glenn Vilppu

Direct Lighting

In the last chapter, we discussed indirect

lighting, the modeling tone, and started on

atmospheric perspective, which we will be

dealing with more in Chapter 12. Direct lighting

is what we normally see when we have a strong

single light source. Sunlight on a clear day is an

example. The basic elements of direct lighting

are highlights, halftone, core, reflected light,

and cast shadow (see Illustration No.1). The

luminosity of a drawing is affected by how the

reflected light is surrounded by the core and the

cast shadow. In thinking of the reflected light,

each surface that the light reflects from is, in

essence, a light source. In practice, it is

generally a good idea to use only one reflected

light and one direct light. It is important to

always keep a clear distinction between the

direct light and the reflected light.

All drawings in this article are by and ©

Glenn Vilppu.

"Try to visualize the forms as simple sylinders and spheres."

Illustration No. 1

The core tone, which is created by the area

between the direct light and reflected light that

does not get any light, is a potent tool in describing

how forms fit into one another. The core functions

as a broad tonal line that helps delineate the form's

surface with its changes in sharpness (describing

the suddenness of change in the surface).

The core helps to emphasize the corners of the

form. As you move the light sources, you will see

how this core describes the form in conjunction

with the reflected light.

The cast shadow works hand-in-hand with the core. The primary difference is that the cast

shadow has a sharp edge and the core has a softer edge since the core is created by the turning

of the form, while the cast shadow is created by forms blocking light from other forms. The cast

shadow changes in relationship to how far it is from the object that is casting it. It is sharper

and darker closest to the object and softer and less intense as it moves away from the object.

It also functions as a line that describes the

contour of the form.

Be careful that you don't give the core a sharp

edge unless the form has a sharp edge.

Conversely, keep the cast shadow sharp next to

the form that is casting it, slowly softening it as

it moves away from the source. Look at cast

shadows as opportunities for making lines going

over the form, describing the surface.

"Notice how the core clearly defines the corner of

the form without being a straight line."

The highlight should vary like the core, being broad when

the form is broad and sharp when the form is sharp. The

accent of the highlight can be used to show the pressure

of a bone pushing to the surface, and the sharpness of a

crease. It also becomes a useful tool in showing the

bottom of a fold where the form changes direction.

In the drawing to the left, the core and the edge of the

cast shadow on the face have become the main elements

of the drawing. The shadow side is completely left out,

with the exception of minimal descriptive line. In the

drawing below, notice how the core clearly defines the corner of the form without being a

straight line.

The lines, in general, correspond to the surface describing the form.

Notice the variation in the thickness of the core.

The simple basics of boxes and spheres is the foundation for developing clear tonal drawings.

If you do not understand the three dimensional qualities of the form, you cannot successfully

render the form in tone.

Chapter 12: Using The Idea Of Atmosphere

April 01, 2000

By Glenn Vilppu

Atmospheric Perspective

In the last chapter, we discussed direct lighting, and in chapter 10 the modeling tone.

Atmospheric perspective is normally discussed in conjunction with landscape painting since its

true effect is primarily seen in nature in conjunction with great distances in space. The

figurative artist has taken this sense of atmosphere and developed it as a strong tool of

expression by abstracting the main elements and learning to use them while describing form.

In the last two chapters, I have already indicated some of the main elements involved in

atmospheric perspective. First, the graying and loss of detail as objects recede in space due to

more atmosphere coming between the viewer and the object. Second, the use of this

phenomenon in a formulaic manner by artists to separate forms. In this chapter, using the idea

of atmosphere will be expanded upon to include its use as a basic element of design in the

drawing to enhance the action of the figure and to clarify the three dimensionality of the form.

Illustration No.1 All drawings in this article

are by and © Glenn Vilppu.

In Illustration No.1, notice how the tone expanded upon the basic rhythm of the figure.

Compare diagram A and B in the illustration. I refer to this usage of tone as amplifying the

action. The tone in "B" emphasizes the action and makes it feel stronger. The use of

"atmosphere" in this illustration would generally be referred to as "just tone." The main point

here is that the atmosphere around the figure is being manipulated as a compositional element

to enhance the action. In "C" you will notice that the "core" part of the dark and light pattern is

also an element in making the action stronger.

Let's look a little closer at our example. Illustration No. 2 is a

close-up of the hip area. Now you will see that the tone from

the background actually moves over the hip and in

combination with the accent and fading of the line separates

the forms of the hip from the waist.

Illustration No. 3 illustrates the same point and is also an

example of using alternating tones of light and dark to give

depth and separate forms.

Illustration No.4 Illustration No.5

Illustration No. 4 (above) is a more standard use of atmospheric perspective. The shadow areas

have been combined by bringing the values closer together and simplifying detail. Notice how

the core and cast shadow have been used to show the roundness of the forms and to contrast

the sharp accents with the subtleties of the shadows and reflected light, thus giving a

luminosity to the whole. Illustration No. 5 shows how the overall tone is wrapped around the

form, giving the feeling of form emerging from a fog.

Illustration

No.2

Illustration

No.3

Illustration No.6 Illustration No.7

Illustration No. 6 is an example of strong usage of tone as atmosphere. The tone is not realistic

but gives a strong feeling of form. Remember that we do not copy the models but use them for

information. This drawing, though drawn from a model, is primarily conceptual in the use of

tone, relying on concepts of rendering and analysis that we have been discussing. Illustration

No. 7 has an even stronger sense of atmosphere than No. 6. Notice how you feel the tone

coming between the shoulder and the hip, making them both come forward while pushing the

waist in. The same is true for the head and shoulders. This next series of examples, done with

various materials, uses the ideas discussed so far. Study them and see if you can discover

which concepts were being used.

Closing Words of Advice

One of the most important ideas that I hope you have acquired in these twelve lessons is

something I have not given to you: a set of rules. Though artists as a whole have more thinks

in common than separate them, it is the differences that are more often noticed. All artists, in

a sense, have the same list of elements that they must deal with in their creative work. It is the

hierarchical arrangement of these elements that creates the differences.

These lists, made up of the elements that we use, are not only visual but intellectual and

emotional as well. To one artist, shape is the most important; to another, color or tone; and a

third may feel subjective implication or symbolic relationships are the most important. It is the

priorities chosen when putting these lists in order that later constitute the differences between

one artists and another, as it does for one epoch or culture and another.

Using The Idea Of Atmosphere

(continued from page 4)

This course has focused on the fundamentals of describing forms and basic procedures. It is

important to keep in mind that these fundamentals, i.e. boxes, cylinders, spheres, atmospheric

perspective, etc. are tools. As tools, these basic elements can be used in many ways in the

service of your needs. As the tools and basic procedures become part of your thinking pattern,

you transform them into a personal language of communication. A basic drawing course is, in

essence, a basic visual-thinking course.

This manual was designed as a twelve week course in basic figure drawing. When I teach in the

classroom, my students take this course many times, some even taking the basic course for a

number of years. My goal is to give you the tools to keep studying whether in a class or on your

own.

For many disciplines it is a simple truth that the more advanced you become the more

important the basics are. It is no different when you learn to draw.

Remember: knowing the basics provides the tools for expression.

Using The Idea Of Atmosphere

(continued from page 5)

Let's Sketch on Location June 01, 2000

By Glenn Vilppu

This is the first in a new series of bi-monthly articles

about sketching on location. The articles are based on

my Sketching on Location Manual.The manual was

developed as a series of lessons that I use on my guided

sketching tours of Europe, and that I use as material in

my regular drawing classes. As such the lessons can be

part of a regular course or can be used by individual

students as a practical learning guide.

These lessons are meant not only for the beginner. More

advanced students and possibly professionals will also

find useful tips, new approaches and reminders of old

ones neglected.

Each lesson in this Sketching on Location Manual is a practical approach

that will help you get more enjoyment out of your sketching, improve

your skills, and give you more of an understanding and appreciation of

artists of the past. The lessons are not only "how-to instruction," but are

actually a series of visual tools that help you organize what you see in ways that create

drawings that are interesting to look at and express your feelings for the subject at hand.

You will see a variety of materials and techniques used. There is no one correct way to sketch,

as there is no one correct kind of individual. There are no rules, just many tools that can be

used in as many ways as there are artists using them.

These eleven lessons are organized so that each lesson builds upon the skills of the previous

one.

Initially, these lessons were developed for the students that accompany me on my sketching

tours and regular classes of eleven or twelve weeks that I teach. Now I also have in mind the

many students around the world that have the Vilppu Drawing Manual and have asked not only

for material related to sketching figures, but landscapes as well.

As a professional artist the approaches that I develop in this series of lessons are the same as

those that I use in drawing from imagination, the first lesson being the exception. The rough

quick indications, the use of ink and wash, the contrasting of textures, and all of the other

elements that I discuss are methods that have been used by artists for centuries.

Point to Point

Point to point is one of the most fundamental developmental

and useful skills for sketching anything, be it a still life or the

interior of an airplane.

The main skill you are developing is being able to reduce what

you are looking at to a simple two-dimensional image that can

be drawn. In doing this, you sharpen your perceptive skills by

having to judge angles and lengths two dimensionally from three-dimensional objects.

Since this is the first lesson, and much of what follows is based upon it, I will give several

different examples explaining and demonstrating the approach.

I am presenting this approach in the context of making a sketch where you are trying to capture

a specific subject before you. The experienced artist may approach his subject using the exact

same method, incorporating concepts of design and composition. The selection of what

elements to put in or leave out becomes the element of individual expression. In later lessons

you will also make these considerations, but now I wish to concentrate on the point to point

method.

On a sketching tour the first place you generally find yourself is at the airport, in planes, trains

and coffee shops.

Step One

Pick a specific point of what you are looking at. In this first example I am starting with the ear

of the passenger in front of me. In drawing your object there are several levels that you can

approach the drawing from. You could draw the total ear as a simple shape or you could start

with just a line showing a fragment of the ear. Regardless of which degree of detail you decide

upon, the approach is the same.

Look at your subject as if it were a photograph that you were tracing. You need to see each line

that connects to your original line. Look carefully at line two to see its relationship to line one.

In teaching students who have never drawn before, I sometimes ask them to look through clear

plastic sheets, and with grease pencils, draw on them as if they were tracing a photograph. In

chapter nine of the Vilppu Drawing Manual, I give a basic historical discussion of the process

related to drawing the posed figure.

In the drawing above I started with the ear of the seated figure on the left. The numbered

drawings on the right and next page show the steps that I went through in doing this drawing

while we were waiting for the plane to depart at the Rome airport on one of my sketch tours.

The important point in this approach to sketching is that you pay careful attention to the angles

of your lines and their attachment to the previous ones. Continuously compare each line by

either holding up your pencil horizontally and vertically, or use a convenient line of comparison

in the subject itself to help you see the angles you are drawing.

The drawing may look complex, but the process is simple.

Some More Tools

Below is a simple check off list that will help to remind you of the

points you should be looking for. In time, these points become

second nature as you draw, in the same way as driving a car

becomes a normal process.

(In chapter nine of the Vilppu Drawing Manual there is a more

complete discussion of the use of these reminders.)

All of the following drawings were done using the basic approach

of this chapter.

While doing these drawings, I never knew how much time I had

to do them. People, cars and any number of unforeseen

situations arise, from curious observers standing in front of you

to see what you are doing, cars moving or simply lack of time for

drawing. I try to approach the drawing with the attitude that the point that I start with is what

I'm after and any additions I can make to it are frosting on the cake. Getting the scale of objects

is a critical element in the drawing, so it is always important to keep looking at the lines you

draw comparing any object in relation to the objects that it is touching two dimensionally.

In the drawings on this page, the point to point method that we have been using has been

changed; as I was drawing, I extended each line as I went, so that I got a more general feeling

for the whole. In doing this, my main concern was to try and understand the flow of the rhythm

that Michelangelo had gotten in his sculpture. I was trying to capture the feeling of the

sculpture rather than a pictorial duplication of a group of figures. In a sense, it was like a

gesture drawing with my subject holding still.

In looking at these drawings, keep in mind that they were done while

standing in a crowd.

More examples of

this technique are

available in the

following page.

Chapter 2: The Thumbnail Sketch

August 01, 2000

By Glenn Vilppu

Moving On...

In the last lesson we used a point to point method of drawing. The

main purpose was to reduce your subject to a series of

two-dimensional observations starting from a single point. This

lesson is similar; now the main thing is to be able to see your subject

in simple two-dimensional shapes, only this time in the context of the

total picture.

The first step is to decide the limits of your

drawing; in this sense we are doing the exact

opposite of the previous lesson. Instead of

starting from a part and building outward, we

are starting with the total and going to the

parts.

There are many ways to establish a beginning context for your drawing;

in other words, to set the outside limits or framework that you are going

to be working within. Two right angle paper corners with a paper clip

holding them together is a simple method. A small clear plastic

rectangle also works well; likewise, putting up your hands with thumbs

extended creates a frame. With practice you learn to establish your

picture limits easily without any external guides.

Doing a series of simple "thumbnail sketches" to try out your ideas

gives you the opportunity to see what your sketch will look like before

committing a lot of effort. The thumbnail sketch also brings into play

the idea of "drawing-as-thinking." You make choices and selections, not just copy an arbitrary

view.

To Begin

Start by making a frame out of the borders of your paper about 1 inch deep by 2 inches long.

The proportions, of course, can be any you wish to make. Now in looking at your subject, select

two or three simplified major lines in your subject. Ignore any detail and, as in Lesson One, pay

particular attention to the basic angles and lengths of these elements. Look at the examples

and notice that you can get a general sense of what the picture will look like, yet there is no

detail. These thumbnail sketches can be done in any medium, from a carpenter's pencil to

paint.

All drawings in this

article are by and ©

Glenn Vilppu.

All of these drawings are

reproduced actual size. In the

drawings on the left you will

notice simple diagrams that I

did trying to think out the

formal elements of the

composition, primarily dealing

with visual balance. The

paintings on the next page are

also reproduced actual size,

though the originals were in

color. These were done

directly without any

preliminary drawing, yet were

done as thumbnails, drawing

the simple shapes directly

with watercolor.

The above drawing was done with a fountain pen; the wash was added by bleeding the ink with

water. This, again, is reproduced actual size.

This drawing of the piazza of Orvieto with the duomo combines both a thumbnail and a detail

of the thumbnail.

The drawing below is of the local citizens later arguing politics on the steps of the duomo. In

doing the drawing of the detail above and the figures below, I used the approach discussed in

Chapter One.

Now, in these thumbnail sketches, I have employed many of the elements we will be discussing

in the following chapters. A strong component in the drawings is the light and dark pattern. In

fact, some of these drawings were done with brush and wash where the only thing drawn was

the pattern of the darks. Look at the variety of materials used: pencil, pen, as well as

watercolor.

Take Note

Sometimes to aid the memory, it is useful to write information about the colors, textures and

materials that you see. This page is a general visual exploration of a location which includes

drawings of detail, compositional possibilities, and notations. These drawings were used while

painting in the studio months later.

The camera, of course, becomes a great aid in recording detail. Yet drawing from the subject

itself is still the best way to get the sense of what you are looking at.

View more examples on the following pages.

Chapter 3: Organizing and Creating Space

October 01, 2000

By Glenn Vilppu

A Sense of Space

In the last chapter we developed the "Thumbnail Sketch," now

that we have learned to reduce our three dimensional world to

two-dimensional shapes for a two-dimensional surface, we will

develop a series of ways to create the illusion of three

dimensions on a flat surface. The first step in creating this

sense of space is organizing it.

The most universal approach is to

separate the various elements into

foreground, middle ground and background (see figure 1 and 2). This

is similar to the front of the stage (downstage), the middle of the

stage (midstage) and the background (upstage) in the theatre.

Start with thumbnails like we used in the previous lesson, but now

separate the elements into planes, as they are usually referred to. To

show these planes, we can separate them by actually using different

materials for each one -- pencil for one, ballpoint for another and ink

for a third. Look at the following illustrations to see the effect.

This concept of planes will be a basic element in the next lessons. A plane parallel to the picture

plane, in contrast to planes that recede into the picture, is one of the basic elements in

discussing periods of art and individual works within these periods.

The thumbnail can now be expanded, blocking in the overall

composition, and then developing its parts and organizing the

space by the use of planes. In the examples, I have separated

the planes by using different materials for each one. In the first

example, I have used pencil in the background, ballpoint pen in

the middleground and a fountain pen in the foreground, as I

suggested earlier. The different colors in the originals give an

even greater degree of separation than the illustrations indicate.

In figure 3 I have taken the previous illustration and simply outlined the middleground and the

foreground to give them an even greater degree of separation. This is a simple device that has

been used for hundreds of years. In the Uffizi gallery in Florence, Italy, look carefully at

Michelangelo's oval painting of the Holy Family and you will see that the group of figures has

been carefully outlined to separate them from the background. The Art Nouveau artist

Alphonse Mucha, and the many artists he influenced, give us other good examples of the use of

outline to separate elements within a picture.

The above drawing (figure 4) was done using a ballpoint pen for the background, fountain pen

for the middleground and soft charcoal for the foreground.

In the animation industry this simple method, which uses different materials, including colored

pencils, is employed as a way to separate various levels of animation in the developmental

stages of designing scenes.

Other Techniques

In figures 5 and 6 I am not using different materials to separate the planes. In the one below,

notice that the foreground plane is distinguished by the table that recedes into the background,

and yet is not parallel to the picture plane. You still get a strong separation of elements created

by the scale differences of the foreground and background figures. In the drawing above,

besides by the emphasis of differences in scale, you also get a strong feeling of depth by the

way the shadow and general tones pass behind the foreground.

In the drawing above (figure 7) I have used the strong concentration of light as a way of

separating foreground from background, in addition to using the well-defined horizontals to

give a sense of overlapping depth. In figure 8, the sense of scale between the figure in front

compared to those in the back effectively separates the planes.

In figure 9 and 10, I

have used large open

spaces to create depth

and separation between

the planes. In the

drawing on the top of

the next page, you see

the combination of the

strong diagonal of the

wall with a horizontal

shadow, plus a large

empty space which

gives a clear separation

of planes.

The segments of the wall along with the strong perspective carry the viewer's eye from the

foreground to the background.

In figures 11, 12 and 13, I have used the basic elements that we have discussed earlier for

creating and organizing space, with the exception of using different materials for the planes. In

the above, I used scale, where a row of figures has passed behind the foreground figures. In

the drawing here on the left, there is a clear separation of foreground, not only by scale but also

by the use of clear empty space between the planes. In the drawing on the right, space is

produced by strong horizontals created by the separation of the water and the bank, as well as

by the dark shadow passing behind the figure. This alternating dark and light pattern (as I'm

sure you have noticed in the previous chapter's thumbnails and in this drawing) is a strong

instrument for creating space. In the next chapter we will go into this further.

Chapter 4: Light and Dark Patterns

December 01, 2000

By Glenn Vilppu

Dark and Light Patterns

Now that you see your subjects as a series of planes in

space, one of the most dramatic and useful ways of

expressing them is by seeing them as alternating in

darkness and lightness. Visualize shadows being cast

from outside of the picture, throwing these planes

alternately in shadow and light. This is one of the most

useful and traditional means of creating depth in your

picture. Look at the examples and compare the

drawings with shadows added to those without shadows.

The example in figure 1 is the drawing of an abandoned

church from the previous chapter.

In the two other examples (figure 2 and figure 3), you will notice that I changed the order of the

light and dark pattern. Instead of going from dark to light, I went from light to dark and then

light again. Remember, "There are no rules, just tools." The point is to create a sense of depth

by separating the planes in space by the use of shadows. Be careful, and don't confuse dark

shaped objects with shadows.

Figures 4 and 5 are another set of examples where I have used different patterns to separate

the planes. You don't have to accept the way the light is on the subject; you can make the light

come from any direction you wish. These drawings, as well as the ones in figure 1, 2 and 3,

were done in line only, with the wash added later. When I did the drawing in figure 6 and 7, I

was giving a lecture to explain the use of planes and shadows which create a more dramatic

and spatial picture.

Compare these drawings to see how the tone adds depth and gives a more complete feeling. Go

back and look at the drawings in the previous chapters and see where I have been using this

tool. This is one of the most practical and useful tools an artist can have to give the illusion of

space.

Glenn Vilppu teaches figure drawing at the American Animation Institute, the Masters program

of the UCLA Animation Dept., Walt Disney Feature Animation and Warner Bros. Feature

Animation, and has been sent to teach artists at Disney TV studios in Japan, Canada and the

Philippines. Vilppu has also worked in the animation industry for 18 years as a layout,

storyboard and presentation artist. His drawing manual and video tapes are being used

worldwide as course materials for animation students.

Chapter 5: Texture as Planes in Space

February 01, 2001

By Glenn Vilppu

Bringing in Texture

Another widely used way of separating elements

and organizing your picture is through the use of

textures. The basic principle we have been using

is that contrast applied to planes organizes the

elements of the picture. The use of textures

serves the same function. Pierre Bonnard is a

good example of an artist who consistently used

them as a way of organizing his paintings and

drawings. A texture can be the fluffiness of a

cloud, the gravel of a walkway, the variety of

shapes of leaves, or the peeling of paint on a

wall. We don't have to make up textures for they

are all around us. Every good gardener employs

this concept in organizing how the flowers in his

or her garden will look, one against another, and

as a whole. Photographic books are full of artists' depictions of one texture against another.

In drawing we make deliberate contrasting marks to show clear differences. While the subject

itself gives us the direction to take, at other times, it may be necessary to create arbitrary

marks with our pencil or pen to clarify an object's place

in space.

In looking at the examples, notice the variety of

textures used. The use of contrasts or differences is a

fundamental element of artistic expression. Reducing

your picture to a series of stripes, each different in size,

texture, quality of color and value is an incredibly useful

tool in picture making. Consistently looking for these

contrasts will also give you much more enjoyment and

appreciation for what you see.

While doing these drawings, I applied many of the ideas we have discussed in the previous

chapters, particularly the alternation of darks and lights in the planes stepping back into the

picture. It is not necessary to see this dark and light pattern as just a product of shadows.

Pushing the differences between one plane and another is the important thing.

View more examples in the following pages.

All drawings in this article are by and © Glenn

Vilppu.

Chapter 6: Pencil Technique

April 01, 2001

By Glenn Vilppu

Pencil Technique

One of the most useful tools for sketching is the

soft broad lead pencil. A pencil and a sketchbook

are the fundamental tools of an artist in the field.

With a simple graphite pencil you can capture

almost any subject, be it a cityscape or a careful

portrait. All we have to do is to look at the

drawings in pencil by Ingres, Degas, Sargent

and Mentzel to see the possibilities of the pencil.

The 2B pencil has a good general purpose range

of values if you are just using one pencil. The HB

and 6B pencils will give you a bit more flexibility,

but for myself, having had for many years

pockets full of pencils, I now carry just one, a 2B.

The next point is that you need to sharpen the

pencil properly. By sharpening "properly," I mean that you need to be able to make both broad

tones and thin lines with the pencil. Essentially, this requires that you have a fair amount of

lead showing and that you blunt the end at an angle so that you have the ability to use the side

as well as the tip to make strokes. Look at the diagram to get an idea of the way the end of the

pencil should look. I carry a pocket-knife for the sole purpose of sharpening my pencil when I

am out in the field. To get the flat side, almost any rough surface, from the sidewalk, a stone,

to an extra piece of paper will work. You will quickly see why this is referred to as the "broad

pencil technique."

In lesson five we dealt with different textures. In this lesson we will continue to use different

textures and also incorporate the use of contrasting darks and lights in both defining planes and

creating patterns. You will find it useful to practice creating different kinds of textures. In a

rather short time, you will build a repertoire of useful kinds of strokes to indicate a variety of

surfaces and materials. Look at the examples and see how varied the strokes can be. In doing

the drawing, try to think of each stroke of the pencil as if you were putting down a brushstroke.

Remember, "There are no rules, just tools."

View more examples on the following pages.

All drawings in this article are by and © Glenn

Vilppu.

Chapter 7: Drawing Groups of Figures

June 12, 2001

By Glen Vilppu

Above, you see the figure with which I

started the drawing. When I decided to

develop the drawing further, I quickly

added the wall and step behind her as a

solid reference point in case she left.

Then I started drawing the seated man behind her. At this point she got up and walked away.

Since I had the figure behind her giving me the scale for the other figure and the wall in

reference to her, I was ready to continue adding to the picture.

The difficulty in composing a picture this way is placing other figures and elements in the

drawing in such a way that they seem natural and unposed.

All drawings in this article are by and © Glenn

Vilppu.

The two main points that I tried to look out for

were, first, to get differences in the spacing of

the figures and, second, to get a natural feel to

the arrangement. As the crowd was passing by,

I would pick out figures that I could use in the

drawing. Since they were walking for the most

part, I had to do most of the drawing from

memory imagining the figures as types. As I

added each figure, I paid particular attention

to place them so that they had a natural

feeling among the group. The architectural

elements in the background were used to tie

the figures together and help in getting the

proper scale of the figures, one to the other. The addition of the paving stones helped to give

a sense of space. Look at the completed drawing at the beginning of this chapter. The final large

figures in the right foreground of the first picture, help give depth to the whole.

Using Compositional Concepts

The drawing on the next page was done quite differently than this one. The location was at the

Los Angeles Zoo where I often go with my animal drawing class. While you are out sketching,

you will often find situations that have a natural sense of order to them and suggest formal

compositions. In this drawing I was able to use several traditional compositional concepts, so,

in a sense, the total was set from the start, contrary to going from point to point (as I did in the

drawing just discussed).

I still consider this drawing a sketch as it was done rather quickly. The overall design of the

picture was conceived more by recognizing it, rather than creating it. Then it was completed by

improvising on the main idea.

As I added the elements to the drawing, I worked in much the same way as the previous

drawing, except I had formal compositional elements into which to fit the parts. While the

people and the animals were rearranging themselves, they gave me opportunities to work

them into my decided ideas about the composition.

The first thing that caught my eye was the way the seated figure in the foreground was leaning

to the left and her drink was leaning to the right. This suggested to me the idea of using the play

of opposites as a theme for the drawing. Also the clear division of the foreground,

middleground and background, as we have been studying, was already clearly defined.

Next, there was a general strong vertical and horizontal structure that I would develop further

if I were to make this into a painting. In a more developed composition these divisions would be

very carefully worked out.

Part of this basic structure was the way the foreground figure led into the tree and the figures

directly in front of her. The umbrella gave a further direction to the movement with the tree

heading to the left in a play of opposites. The leading of the eye by the forms described above

and the interaction between the movements of these forms is what I refer to as "composition,"

rather than the mathematical breakup of the space. The dynamics, or play of the parts, one

against the other, and the orchestration of the whole, is what interests me.

Now look at how the head of the giraffe has kept the movement going.

In the diagram above, I now indicate opposite elements. Below I indicate yet another set of

opposites. Throughout the drawing I have tried to find a variety of contrasting elements: darks

against lights, complex against simple, etc.

Using these elements of composition in the

sketch gives the drawing a feeling of

completeness. Though this drawing was loosely

done, it was guided by fundamental ideas of

composition.

In a future manual I will develop more

compositional ideas along with a general study

of traditional figure composition.

View more examples on the following pages.

Chapter 8: The Quick Sketch

August 06, 2001

By Glenn Vilppu

Everything we have done so far can probably be called "quick sketches." In this chapter I am

using the term to describe the capturing of an individual or group of figures as quick notations.

In the classroom we might call it gesture drawing. When drawing in the field, the quick sketch

is more than just capturing the gesture of an individual. There is usually something about what

we are drawing that grabs our attention. This "hook" can be any number of things: the tender

way a mother is holding a child, a funny clown in the park, or the romantic couple at the table

next to you. The late Isabel Bishop almost made a career out of drawing people walking. It is

what catches your eye and interests you that counts.

All drawings in this article are by and © Glenn Vilppu.

Another Approach

As usual, there are no rules. What I am presenting in this chapter is another general procedural

approach to drawing. The first step is to identify to yourself what the subject of the drawing is.

By subject, I'm referring to that particular element that has caught your eye. The subject can

be a particular pose or action, an interesting shape, or an expression.

The next step is to capture the totality of that element as broadly and as quickly as you can. In

doing this, you must make your point as clear as possible. I have found that if I try to

exaggerate what I see, I usually end up getting closer to reality. Below are a few examples of

this first stage of the drawing.

Above you will see a variety of approaches for indicating the subject. Notice how loose and open

the drawing in the upper left corner is. Compare it with the same subject to the right. These two

drawings were done when my wife and I were at the airport in Toronto, Canada, and she was

doing a little last minute shopping. The one on the left is very general, but it still captures the

basic attitude and shapes, plus a suggestion of the background. The second one goes a bit

further by the development of the shapes of her raincoat, luggage and display case. Its

evolution was determined by the length of time she was standing there. Both drawings

captured the whole of what I wanted.

In the drawing in the lower left, the whole point of it was determined by the shape of the

woman shopper. In the drawing of the standing man, the pose was what caught my eye. The

interesting point of the group in the lower right corner was the grouping itself.

In all of these drawings you see very little detail. The general overall shapes of the forms tell

the story. In the end, what makes the drawings interesting is the fact that they all have an

individuality about them. What you see is a traveler shopping, a rather plump middle-aged

woman; a man holding a cap over his heart, probably for the flag salute; and students

sketching. You are less conscious of the method than the subject itself.

To take the drawing a little further, you can take two directions. First, you might want to bring

out the subject more clearly and, second, clarify the form in space. Saying this more simply,

first, capture the action. Next, develop the form.

By developing the form, you essentially make it feel roundish or three dimensional. Look at the

drawing above and its reproduction to see where I have diagrammed how I used the simple

idea of the cylinder to draw the lines going around the arms and waist. Notice the head where

the lines of the glasses work in the same way as the lines on the side of a box, which create the

illusion of three dimensions and the feeling of going back in space.

Now notice how I have selectively developed the detail in the drawing above. The legs and most

of the body are very simply indicated, while the head and the large bag over her shoulder

attract our attention. In the drawing below, of the clown twisting balloons, the hands are only

barely indicated; it is the expressive shape and overall liveliness of the drawing that attracts us.

In the drawing below look at how the lines going around the cylinder of the neck give it volume.

You should try to feel the lines wrapping around the form. Try to follow through and make the

lines go over the edges of the contours, as if you can see around the corners.

A Different Take

Another helpful idea, which has often been

called the "T" principle, is to create

unambiguous lines that make obvious junctions

so that we see them as belonging to separate

forms and avoiding tangent lines.

In the drawing to the left, look at how this "T"

principle was used. First, in the visor part of the

cap, you see a clear overlapping of the two sides.

As the ponytail comes out of the hat in back, I

have used the same approach as I did in the

above drawing of the neck. The lines go around

the hair clearly defining it as a cylinder, and also

create clear "T" connections as they go behind.

In drawing the shoulder area, the combination

of seam, shoulder strap and folds going under

the arm all work together to bring a feeling of roundness to the form.

Clear examples of the "T" and "wrapping" idea are indicated where the jacket goes around the

leg and where the pack and leg come together forming angles.

Look at the drawings and diagrams throughout the following pages in the context of what we

have discussed. Most of these drawings are shown at actual size.

Chapter 9: The Silhouette - Positive and Negative Shape

October 17, 2001

By Glenn Vilppu

Moving On...

In the last lesson we discussed the quick sketch. The main purpose was capturing the moment

of both individual figures and groups of figures focusing on a logical step by step approach of

first capturing a gesture and then describing the volume and shape of the subject.

Our ability to recognize someone from a block away (when all we can actually see is the

silhouette) is an example of the power of shape in communication. Positive and negative

shapes are just complimentary parts of a silhouette. We call the space around something

"negative space," but in terms of drawing on a flat surface, nothing is really negative. In the

drawing above, the fence was drawn by the tones behind it. Learning to see a simple contour

is a fundamental element of drawing. Chapter one and two essentially were directed at learning

to see the contour of forms. The ability to see three-dimensional shapes two dimensionally is

done by not only looking at the shape of the object's contour, but also by seeing the space

around it as form. The emptiness between things many times is as important as the things

themselves.

All drawings in this article are by and © Glenn Vilppu.

The watercolor sketch on the above left was painted directly with minimal preliminary drawing,

and totally with both positive and negative shapes in mind.

On the right, in the watercolor of the boys on the rock, the wave behind the boys is an example

of both a positive and negative shape. I used the white of the paper to silhouette the boys and

then used the dark of the water behind it to draw its contours.

With practice you can develop facility in using the negative and positive shapes in your

drawings; however, first, you need to spend time analyzing the shapes themselves.

Look at the simple contours of these figures on the right. The

difficulty in drawing them was making the shapes clear. The

natural tendency is to understate and average things out. I

have found out that if I purposely try to exaggerate, I will

actually get closer to what the subject really is. The key to

seeing shapes is to compare one shape to another. Avoid

ambiguous statements. If something is almost straight, make it

straight; if one shape is slightly larger than another, make it

clearly larger.

Even though the simple figures on this page have very little

detail, you still get a clear idea of the figure. A slouching woman

in a chair, an unusual hairdo, a man with a goatee and a girl

with a ball cap are each individual and distinct. In the simple

watercolor to the right, the subtle gesture of my wife on the

beach, as well as the glare of the sun reflecting off of the water,

are both clear shapes without detail.

The drawing below was done completely with shape in mind, and the addition of tone was used

to give a difference between shapes and textures such as foliage. The tone in the foreground

not only becomes a shape as we discussed in an earlier chapter, but it also is a simple means

for giving depth.

The drawing of the palm trees on the right uses shapes and

negative space a little differently. First, notice how I have

simplified the shapes as the trees recede into the background.

The shapes of the shadows are used both as positive and

negative space. In the tree in the foreground I have used the

shadow to outline the leaves in front. Now notice how I let the

atmosphere come between the first and second tree so that we

have a clear silhouette of the shadow side of the first tree. I

could have drawn the leaves in the light of the second tree

clearly, instead of leaving them white; yet I have drawn the

shadow in a similar way as in the first. In the third background

tree, the light and dark are simple shapes, both being positive

in this context.

In the drawing below, the contours of the figures were added to a very loose drawing, thus

giving them more shape. The drawing itself was done in the same way as we discussed in

earlier chapters, registering one point to the next.

Look at the examples on the following pages and notice how I have used shape.

Chapter 10: Three Dimensional Figures

December 12, 2001

By Glenn Vilppu

In the last lesson we discussed "The Silhouette -- Positive and Negative Shape." The main

purpose was the use of two-dimensional elements in a picture; contours being a useful tool in

expression and as a strong picture-making tool.

Let's Get Started

In the chapter on quick sketch, we discussed

creating volume by drawing over and around the

form seeing how lines are able to create a

feeling of three dimensions. In the real world we

live in, we see volume described not only by the

surfaces of the forms which go around, but also

by the light and the shadow that distinguish the

sides of figures, or the planes, as we call them,

artistically speaking. To create this same

intense feeling of reality in our drawings, we

need to be able to see our subjects as having

tops, fronts, sides and bottoms. The simplicity of

the box is the starting point for visualizing these

planes. The use of the box for simplification is a

traditional approach with a long history going

back into the Renaissance and beyond. Luca

Camiaso and Albert Durer are good examples of artists that used it to great advantage.

Look at the examples on the following pages to see the progression from the box to the

developed sketch. Our next step will be to define these planes with values of tone that give the

illusion of light falling on them. When we are working in the field, the direction of light is usually

established for us. As we discovered in earlier chapters, we do not necessarily need to take the

light that is given to us, but have the option of making it come from wherever we need to have

it come from for our purposes. Although we aren't stuck with the direction of light given, we

should try to be consistent in our light source.

When working in the field, I find using a simple watercolor wash the quickest and easiest way

to create a sense of light that describes form. The tone can also be applied when you get home

or at a later time. As you notice in the examples, pencil works equally well.

All drawings in this article are by and © Glenn

Vilppu.

In the next chapter I will discuss using the wash more thoroughly. Compare the drawings

above to see how the wash helped to show the volume of the figures.

Continue on to see more examples.

Chapter 11: Atmosphere

February 13, 2002

By Glenn Vilppu

In the last lesson we discussed "Three Dimensional Figures." The main purpose was the use of

tone to create the illusion of 3D form, this was one of the corner stones of the Renaissance and

a useful tool in expression and as a strong picture making tool.

All drawings in this article are by and © Glenn Vilppu.

Adding the Unseen

Atmosphere, the air around us, is one of the more difficult concepts to understand. Even

though the air that we breathe and are surrounded with is transparent, we still need to use it

as an element that can be manipulated and made to serve our purposes. The transparent wash

is my preferred medium to work with.

The simplest tool I have found to use while sketching is the fountain pen, with brush and water.

I have even used coffee and wine on occasion for a wash.

The fountain pen is my favorite because the ink used will bleed when water is applied to it.

When using pens with waterproof ink, an extra color wash is needed, and traditional watercolor,

or sometimes even coffee as I mentioned, will work.

Many of the drawings in the previous chapter were done with just my pen, brush and clear

water.

The first method we are looking at is the application of wash to separate forms. Look at the

diagrams and examples; notice that the wash is not restricted to the form but is a general tone

which comes in between and separates the forms. This is probably the most difficult hurdle for

many students to overcome; that is, there is difficulty putting tones or lines where they don't

see them. Combining this technique with the use of tone discussed in the previous lesson is a

very effective way of working.

In the second approach

we will use the tone as a

compositional element

to enhance the action of

the figures. This

approach can be

combined with the

previous one. Take your

cue from the action of

the figure itself. The

tone is used to amplify

the basic action of the

figure and clarify the

direction of the

movements. It also can

work as a complement

to the action. Look at

the examples on the

following page to see

which approach was

used in each drawing.

In these landscapes and some of the other illustrations, the atmosphere is depicted as a fog

separating forms. The white of the paper represents the air between the elements.

In this drawing using ballpoint pen, the line is used in the same way as the wash going between

and around forms.

Chapter 12: Using Photographs

April 10, 2002

By Glenn Vilppu

In the last lesson we discussed "Atmosphere." The main purpose was the use of atmosphere to

create the illusion of 3D form, this was one of the corner stones of the Renaissance and a useful

tool in expression and as a strong picture making tool.

All drawings in this article are by and © Glenn Vilppu.

The Camera As A Tool

Many times while traveling the camera becomes the main tool for gathering information. We all

have stacks of pictures taken with the intention of one day turning them into drawings or

paintings. The professional artist has organized scrap files of not only his or hers photographs,

but also photos clipped from magazines and newspapers that could one day be of use in a

project. Since its development, many artists, including Degas, Paul Gauguin, Alphonse Mucha

and Maxfield Parrish, have used the camera as an integral part of their creative process. Many

photographers have started out as painters. Keep in mind that the camera is a tool and, like

any tool, there are practical as well as impractical uses for it. My objective in this manual is not

to discuss the photograph as an art object in itself, but as a tool and resource for the artist who

sketches on location.

The camera does a great job of gathering information if you know how to use it. First, the

camera cannot be surpassed for speed and convenience in "capturing a location" for future use,

but, with the speed and convenience, come certain pitfalls.

The biggest difficulty in using a photograph is the natural tendency to copy it as it is. This

copying generally ends up giving everything in the photograph equal importance and emphasis.

Of course, while looking at a scene and sketching on location, we do not give everything equal

weight of importance. Another difficulty is the speed itself. In general, when we draw a subject

we spend muych more time looking, allowing interesting details or unusual views to be

discovered. Being aware of the difficulties goes a long way to help us to overcome them.

This chapter hopes to minimize these difficulties in using the camera while taking advantage of

its usefulness as a tool. The key to the usefulness of the photographic reference is to treat the

situation as if you were actually at the location in the photograph. It is important to remember

that the drawing or painting is the point of your effort, not the photograph.

Don't Copy -- Use the Photograph

The first step should be to do simple thumbnail sketches from the photograph. In doing these

thumbnails, compose the elements developing your visual ideas; another words, don't copy --

use the photograph. In the following pages you will see examples of this approach using many

of the elements discussed in previous chapters along with the photographic references.

In the following, I have combined elements from different photographs. The places as drawn

exist only in my imagination. Working in this manner will give you endless possibilities for

creating drawings and paintings. Remember that you are using photographs and should have

no qualms about changing their elements. The camera allows you to continue your sketching

tour for years as you go through your photographs, remembering the enjoyment of your trip

and giving you a chance to do those drawings you just didn't have time for.

Glenn Vilppu first wrote for Animation World Magazine in the June 1997 issue, "Never

Underestimate the Power of Life Drawing." His drawing manuals and video tapes may be

purchased in the Animation World Store.

Glenn Vilppu teaches figure drawing at the American Animation Institute, the Masters program

of the UCLA Animation Dept., Walt Disney Feature Animation and Warner Bros. Feature

Animation, and has been sent to teach artists at Disney TV studios in Japan, Canada and the

Philippines. Vilppu has also worked in the animation industry for 18 years as a layout,

storyboard and presentation artist. His drawing manual and video tapes are being used

worldwide as course materials for animation students.