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  1. #121
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    A new MALE skull study from life:
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    Last edited by Jacobo; December 8th, 2010 at 11:02 PM.
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  3. #122
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    So I was curious what this skull would look like once I put muscles and features over it. Once I did, I realized that I have drawn this skull as a hyper-masculine male. In photoshop I have changed the features now to appear like a female:
    null

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  4. #123
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    More skull studies:

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    Last edited by Jacobo; January 25th, 2011 at 12:36 AM.
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  5. #124
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    Scanned in study of skeleton proportions using my own system:

    null

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  6. #125
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    Hey Joshua I've enjoyed looking through your studies. It's really interesting to see someone putting Vilppu's teachings into drawings from Master's like he does. It will be interesting to watch you advance.

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  7. #126
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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.
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  8. #127
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    Hello there. I find your sketchbook very helpful, but those lacks of updates disturbs me. So when we can expect more of your works?

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  9. #128
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    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.

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  10. #129
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    Quick study this evening after Michelangelo on my new portable scanner.

    Last edited by Jacobo; January 24th, 2011 at 05:07 AM.
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  11. #130
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    New 2-step study after Michelangelo:

    null

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  13. #131
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  15. #132
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    I mentioned that I was studying head drawing with Vilppu. Here's a head as promised after Rubens:

    null

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  16. #133
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    After Parmigianino
    null

    Last edited by Jacobo; February 7th, 2011 at 05:28 PM.
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  17. #134
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  18. #135
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    Hey Joshua it's nice to see all theses studies. They look good although I find the shoulder/back area rather confusing on the study after Michelangelo, kinda looks a little bit too long to me. But hey who am I to dispute Michelangelo!

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  19. #136
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    please.
    post.
    more.
    often.

    thx...

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  20. #137
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    Quote Originally Posted by Marian Rowling View Post
    Hey Joshua it's nice to see all theses studies. They look good although I find the shoulder/back area rather confusing on the study after Michelangelo, kinda looks a little bit too long to me. But hey who am I to dispute Michelangelo!
    To which are you referring?

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  21. #138
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    Head study from life in polychromos:
    null

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  22. #139
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    Quote Originally Posted by Jacobo View Post
    To which are you referring?
    Sorry Joshua I meant to post the number #174. It's this area that confuses me somewhat to look at. This last head study is looking very nice.

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  23. #140
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    Quote Originally Posted by Marian Rowling View Post
    Sorry Joshua I meant to post the number #174. It's this area that confuses me somewhat to look at. This last head study is looking very nice.
    What you've noticed is something Michelangelo does frequently with the anatomy of the back. Only a master can break the rules.

    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:

    null

    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.
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  25. #141
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    so are you an art student? where? do you study drawing?

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  26. #142
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    Quote Originally Posted by lolbbq View Post
    so are you an art student? where? do you study drawing?
    Yes, I am a student (aren't we all. ).

    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.

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  27. #143
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    Quote Originally Posted by Jacobo View Post
    What you've noticed is something Michelangelo does frequently with the anatomy of the back. Only a master can break the rules.

    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.
    Thanks for the great explanation Joshua it's very interesting and something for me to have a good think about.

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  28. #144
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    sweet! im jealous. wish i could get that kind of exposure

    Oh well. vilppu is awesome. ive seen like 5 of his videos.

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  29. #145
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    After Vilppu:
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    From Life:
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  30. #146
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    Quote Originally Posted by lolbbq View Post
    sweet! im jealous. wish i could get that kind of exposure

    Oh well. vilppu is awesome. ive seen like 5 of his videos.
    Hey, what can stop you? Following your dreams is all about sacrifice. I would love to see you in person down here.

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  31. #147
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    I really enjoyed this sketchbook.
    Subscribed.

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  32. #148
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    Thank you Arnaldo.

    Here's an offering for the kind words, after a dancer friend:
    null

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  33. #149
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    Great studies! What about long time drawings? Keep on posting!

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  34. #150
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    @Surus, I've done a few. This study was at least three hours for example:

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    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.

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