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Thanks, Marian. Vilppu would be the first to tell you that his teachings are derived from the Old Masters, which I think makes studying them in the way that I do especially beneficial. I really try to analyze what the artist was thinking and what "tools" he used.
Last edited by Jacobo; December 30th, 2010 at 08:41 PM.
Glad you like the sketchbook. I've certainly been producing a lot of works. I'm studying head drawing with Vilppu this month. Scanning these things in (especially when the format is larger than my scanner) is a bit of a pain. I ordered a portable scanner online. Once it arrives there will be more updates.
The scapula should be pulled further forward in order to support the anterior extension of the arm, but he keeps it back in place. Why? Because having the shoulder blade there better communicates the position of the ribcage mass through symmetry. Michelangelo is essentially "fronting" the form of the ribcage so that it reads as its proper orientation. Observe him doing the same thing here:
As an artist, you picked up on the problem but I assure you that most laypeople would not. The Old Masters did this sort of thing all the time. It's not important whether or not a piece is perfectly anatomically accurate.
What is important is that it looks right, that it reads, and that it communicates an idea, an action, a state of mind.
Last edited by Jacobo; February 9th, 2011 at 11:45 AM.
I have been studying fine arts for three years after going through some life-evaluating experiences. I have drawn since I was a young child, but it was never something that I did frequently and I certainly had no training.
Currently I am studying draftsmanship, sculpture, and painting.
I study with Glen Vilppu in Los Angeles and I have recently studied anatomy with Scott Eaton and at Anatomy Tools with Andrew Cawrse. In March I will be in SF for the Antomy Tools workshops for three weeks and this month I will be taking some classes with Karl Gnass for the first time. This said, most of my curriculum is self-assigned and self-taught. I have studied heavily after Bridgman, Hale, Richer, Lombardi and other long-dead artists. I spend a good deal of time studying the old masters both abroad and here in my home in Newport Beach, California.
I really enjoyed this sketchbook.
Great studies! What about long time drawings? Keep on posting!
@Surus, I've done a few. This study was at least three hours for example:
I will continue to do more of these. I don't want to get caught in the trap of spending a lot of time on pieces at this stage of my training, though. It seems to me that the real learning is taking place at the earlier stages.