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December 8th, 2010 #121
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December 29th, 2010 #125
December 29th, 2010 #126
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 09:41 PM.
January 16th, 2011 #127
January 16th, 2011 #128
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.
January 24th, 2011 #129
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January 25th, 2011 #131
January 27th, 2011 #132
February 7th, 2011 #133
February 7th, 2011 #134
February 8th, 2011 #135
February 8th, 2011 #136
February 8th, 2011 #137
February 9th, 2011 #138
February 9th, 2011 #139
February 9th, 2011 #140
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 12:45 PM.
February 9th, 2011 #141
February 9th, 2011 #142
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.
February 10th, 2011 #143
February 10th, 2011 #144
February 13th, 2011 #145
February 13th, 2011 #146
February 13th, 2011 #147
I really enjoyed this sketchbook.
February 13th, 2011 #148
February 13th, 2011 #149
Great studies! What about long time drawings? Keep on posting!
February 13th, 2011 #150
@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.