Vilppu Composition Lessons

Vilppu’s Drawing Demonstration Series
VILPPU DRAWING DEMONSTRATION SERIES NO. 25
This series of drawings is based upon

an analysis of a fragment of Peter
Paul Rubens’ painting “Massacre of
the Innocents”, about 1635.
The line defining the action

(composition) of this group of
figures is the same approach I use in
developing the drawings from the
model.
First get the total, and then go to the

parts. Try to feel how he has
organized the lines weaving the
figures into a total.
1
Rubens, Massacre of the Innocents, 1635
2
The tone in this step is again an

analysis of how Rubens used tone
to enhance the form and drama of
the composition.
The individual figure, of course,

must conform to the total
composition.
Notice how the forms of the

figure are composed using a
basic rhythm leading the eye
through the figure similarly to
the group as a whole.
3
In this series of drawings, I am
dealing with much more advanced
concepts to consider when
approaching your drawing. This is
the same fragment of the Rubens
painting we worked from in the last
lesson.
Use this drawing to go over using

tracing paper and repeat the
diagrams that I am giving you on the
following pages.
I suggest that if possible, acquire a

book on Rubens to see if you can see
the same elements that we are
discussing here in his other works.
4
Rubens was a master in his ability

to show volume and 3-
dimensional space on a flat
surface. One of the most
difficult things to do is design a
picture where the 2-dimensional
and 3-dimensional elements work
well together. On this page I
have diagramed three basic ways
of creating a sense of space.
First, Rubens was able to create
clear, individual volumes. He
made the statement that you can
draw anything using a box, a
sphere, and a cone.
Look at the Diagram A-B. By
thrusting the cylinder of the arm
between the cylinders of the leg
and then casting shadows from
one to the other, he very
effectively diagrams the space.
He uses the same device at point
“B”, where the mother’s arm
goes behind the arm of the
soldier that goes into the space
of the child.
In diagram “C”, the shape of the
mother going over the child
creates a space for the cylinder of B
the child.
The space is also enhanced by

C
the opposition of the soldier’s leg
coming out while the baby goes
in, a simple play of opposites.
5
The main point in the diagram

on this page is 2-dimensional.
Diagram “A” shows two lines

working at opposite each other,
compressing the space between
them. In Diagram “B”, the same
two lines give a sense of moving
against each other in opposite
directions.
This basic idea in many of the

modernist painters of the 20th
century became the primary
focus of their art, emphasizing
the experience created by the two
elements working in opposition.
This is a fundamental element
that we find with many artists,
and Rubens was a master in it’s
use.
On the previous page, I

commented on how the leg of
the soldier came out in
opposition to the baby going in.
The movement of the baby going

in is made strong also by
extending the sense of
movement into the picture with
the lower leg going back in the
same direction as the baby (C-D).
Now, notice how the baby’s right

foot, going under the mother’s
arm, is extending the movement.
The line “E” of the diagram,

moving to the right, is part of the
opposite movement of the other
figures going to the left, in the
same sense that we were seeing
in the previous diagram.
6
Rubens, The Descent From The Cross, 1613
7
In this drawing after Rubens, you

will find the same elements
discussed in the previous pages.
Try to see if you can find a good

copy of the painting and draw
from it.
Many of the European and

American artists made a living,
drawing copies of the old
masters, to send to collectors
back home, while they were
studying.
Rubens even had a large

collection of copies that he and
others had done.
8
Titian, Entombment of Christ, 1523-1526
In this series of drawings, I am In my simplified drawing from I suggest that if you can find a
expanding on the elements the painting, I have emphasized good reproduction of this
discussed in drawing No. 26, some of the major lines of the painting that you should draw
analyzing a painting by Titian, composition focusing on the from it to learn to see how the
“Entombment of Christ”, 1526, rhythm, and how movements are lines flow from one to another.
Louvre, Paris. in opposition to each other, as
discussed in No. 26.
9
This drawing demonstrates the In Rubens, one of the main points was doing the same thing as Titian
same three elements that we was how he created space by since Titian was earlier.
discussed in No. 26 with Rubens. having the arms and legs go over
and under each other. Also notice the strong use of
The leaning figure over the rhythm (“C”) us throughout the
reclining figure is creating a sense As you draw this one you will see painting
of space as in the diagram “A” that Titian is doing the same thing,
and “B”. or more correctly, that Rubens
10
D
A
Looking more closely at the This is a general procedure for Also notice how the line of the leg
painting, you should start to focus many of the Venetian painters, in “D” and the curve of the back
on how all of the parts contribute contrast to the Florentine artists “E” help the strong direction of
to creating the large movements. who had a tradition of doing the figure bending over.
This is a perfect example of going carefully worked out drawings for
from the general to the details. their paintings. Draw from the photo and see/feel
how he has woven this painting
Titian’s method of working was to In looking at the above diagram, together creating a tightly knit
do most of his designing on the follow the lines starting at “A” composition.
canvas by going over the paintings and feel how they lead you up
and making changes for years, through “B” and “C”.
which accounts for the small
number of drawings by Titian that
have survived.
11
In this single figure, I have

incorporated all of the elements we
have been discussing in this series
of drawings.
Trace over it to see how the basic

idea of rhythm is applied as well as
the various methods I have
discussed create a sense of space
and volume.
12
In studying this painting by the

great French artist, Poussin, we will
see that he has used many of the
same concepts that we have already
discussed.
Look at the drawing of the lower

part of the painting and try to see
how the basic elements have been
used, then draw the painting
yourself after studying my diagrams
on the following pages.
Poussin, The Adoration of the Shepherds, 1633
13
In the drawing to the right, the

figure leaning over the child is
essentially doing the same thing as
in the Rubens painting of No. 26.
As the baby comes forward, notice

how the depth going in is created by
the block and the head of the
bearded man.
His head is going back into space in

opposition to the head of the baby,
as well as the mother’s arm coming
forward.
This is a much gentler movement

appropriate to the subject, but still
using the same compositional
device.
Here again, the use of opposing arcs

A is used. The use in this composition
is taking the figure (A) up to the left
as an opposite of the series of
figures dropping to the right.
Notice how the spacing between

B each of the heads expands as we
C move from “A” and including the
object on the ground “E”.
D The progression gives us a sense of
movement not dissimilar to
animation, it includes differences
and a sense of timing.
Also notice how the background

rises in opposition as the figures
descend. The object on the ground
E extends the movement.
14
At the top of the painting are a

group of angels that also use the
basic concepts and tools we have
been discussing for the last few
lessons.
Look at the single diagram to see

how they conform to the
fundamental ideas we have been
discussing.
The ability to create a convincing

sense of space is an important skill
that you need to develop
The single figure to the right uses

most of the tools that we have been
looking at.
15
A consistent theme in the recent The cast shadows are used to Because the paper is flat, we must
lessons has been the diagramming create lines that wrap around the learn to see the lines as creating
of space by simple overlapping of figure, showing the contours of symbols that suggest reality, as
forms. the surface. well as patterns that move the eye,
to give us a sense of movement
In the drawing above, the shadow The drapery is used in the same while describing forms.
of the leg at the left, going behind way, as a tool to describe the
the other leg, clearly shows where form.
the feet are on the ground, as well
as helping to show the roundness When drawing drapery, we focus
of, and placement of, the figure on using it to explain the form,
behind. and as an aid in creating lines to
assist the composition as a whole.
16
El Greco, Resurrection, 1600-1605
In the diagram from El Greco, I You should try to locate a good The elements that you should try
have indicated a few of the simple reproduction of the painting and to see in particular, besides the
elements that we have already draw from it. basic rhythms and opposing
discussed in the previous week. movements, is how he pushed the
My indications are only a simple differences in the drawings of the
Beginning. forms of individual figures.
17
El Greco, Lacoon, 1608-1614

In looking at this painting, start on
the left side. Notice that as the lines
of the figure go up almost to the
top and there are no horizontal lines
to break the movement.
As you move to the right, you are

going through a series of transitions,
as in the simple diagram “A”.
As you move to the right, you also

are dropping down.
As you draw the shapes of the next

figure, you should become aware of
how abstract his forms have
become, not only in the figure itself,
but in the shapes of the forms
around the figure.
The foot of the reclining second

figure is continued into an almost
arrow shaped rock pointing down.
A In going back to the first figure,

notice how the clouds above the
figure are pushing the movement
even further to the corner of the
painting.
18
In continuing the analysis of the

drawing, see how the basic
principles of transition (A), rhythm
(B), and opposites have been applied.
B
As the composition moves to the
right, the background is dropping
down as the figures rise on the right
hand side of the painting.
“C” shows how extreme and at the

same time how basic some of the
differences are used.
El Greco Keeps extending the C

movement past the forms using the
lines of the background as
extensions of the lines in the
figures.
When you draw from the painting

keep your lines moving so that you
incorporate all of the painting.
19
Poussin, Midas Washing at the Source of the Pactolus, 1627
I am approaching this drawing is if paintings by other artists. Art is paintings which has a very similar
I was creating a painting for based upon art. composition.
myself.
In doing this series of drawings, I See if you can follow the basic
The simple diagram at the top am going through the basic steps outline I have done by drawing
shows the basic movement of the that I would go through to create a from the painting yourself. Be
painting by Poussin. painting. sure to let your lines follow
through.
Many artists from the past started In another lesson, I will send a
painting based upon other more elaborate series of drawings I
paintings, not only theirs, but have done for one of my own
20
Now, in this first stage of Look at the simple diagram above This line, even though it is not
developing the drawing, I am and compare it to the drawing. part of the figures, is a major
focusing on how the lines of the element in moving the eye.
figure conform with my Of particular interest is the strong
compositional intentions. straight that runs through the
group of large figures.
21
In carrying the drawing further, I

have used the simple tools of
drawing across the form and simple
volumes to contain.
This has been part of our basic

procedure of first getting the total
(action) both two-dimensionally as
well as three- dimensionally.
Notice that I have not gotten into

any tone so far. I try to focus on
only one thing at a time.
22
This drawing was done a little

differently.
Instead of using wash to create the

tone, I used a soft pastel pencil and
stump.
The box was the primary idea in

using the tone trying to clearly show
the composition—action as well as
the solid forms
23
In this series of drawings, I am At this stage of the drawing, he

working from another Ruben used lines that tended to be
painting. straight, rather than the round
curvy lines that we associate with
In doing this drawing, I am Rubens’ finished work.
approaching it in a typical Rubens
manner, following, at least in the The looseness and changes of
beginning, his general approach to position are typical for this stage in
his compositional sketches done the drawing.
without models.
24
In this second step, Rubens would

typically start to give the forms
volume by going across the form
with lines that would emphasize,
wrap around, and over, while also
adjusting the placement and outside
contours.
25
The third step is a continuation of Because this is a sketch, you should

developing the volume and still not worry about the lines that are
adjusting placement. left from your changes.
It is difficult to just move things As you develop the form, you will
without the urge to erase everything find that the changes fade into the
else. background and actually enhance
the look of the drawing.
26
As the drawing develops, the just the one figure, and of course, lightness of and subtle gradations
emphasis shifts from just since I am drawing on a computer, of the tone on the figure itself, to
placement to concerns about the the possibilities are different, yet help to create the effect that you
overall values and to having the the general approach is the same. see.
forms fit and enhance the overall
composition. The use of the values around the Notice that the adjustment of the
figure are important for the placement of some of the forms
In this drawing, I have focused on general luminosity, along with the has continued to take place.
27
Again, I am using Rubens in this In this drawing, the basic

series of four drawings. elements of the composition are I have not included the horses
laid out. that are part of the original
In doing this set, I am painting by Rubens.
approaching it in the same way Look at all the other drawings
that I would do a drawing myself, that we have been working with in
and, essentially, I am following this series to see how the artists
the logical process that Rubens are using all of the same basic
used in doing his drawings. elements.
28
In this step, I have primarily

focused on showing simple
volumes, enclosing the forms, and
using lines going over the surface to
help connect forms and describe
29
Continuing the development of Look carefully and compare the

the form, I am not only using line two drawings.
going across the figure, but I am
using tone to push the sides back. Even though the last drawing is
not what I would consider a
The next drawing is a continuation finished drawing, there are many
of the process with more small enhancements and
refinement. adjustments in both line and tone.
30
31
In this series of drawings, I am through in drawing from life, in The two main elements of this
using a figure I drew from the particular the first step of composition, to start with, are the
model CDs the beginning point in capturing the action. repetition of the frame (A) and the
creating a composition for a movement created by the use of
possible painting. My approach to capturing the transition (B), as indicated in the
action-gesture of the figure in life diagram above.
As I develop my composition, you drawing is directly influenced by
will notice that I am using all of my approach to composing
the fundamental steps that I go pictures from imagination.
32
At this point in the The diagram to the left

development of my demonstrates elements that
composition, I have added again repeat the frame.
the use of space as a basic
compositional element. They are used to lead the eye
up all the way to the frame,
In the small diagram of the extending the gesture of the
space, notice that I have done standing figure.
two things: divided the
picture in half, and blocked The horizon line helps in
off the right side while giving the kneeling figure
creating depth on the left. direction and aids in the
general movement down to
This is a simple play of the right.
opposites: “mass against
space”.
The breakup of the space

continues to repeat the
outside frame by using
horizontal and vertical lines.
33
As I continue the development of

the painting, I am focusing more
and more on tightening the
organization by focusing on how
each line works with the movement
through the composition.
I am also trying to pull alignments

that help the overall structure.
The tone, or shadows, become

another element that I can use to
make shapes and to create space.
Here, I have used them in a realistic

or logical manner.
However logical the tones and

shadow are, my ultimate decisions
are made by how they can help the
movement and structure.
34
In composing a picture, you are A planar composition is one where The three diagrams above show
organizing, and you have the the main elements are parallel to the approaches that I have taken.
choice of how you organize the the picture plane.
picture. All composition primarily uses the
The opposite would be a recessional play of opposites.
In this particular instance, I have composition, where the main
approached the compositing from elements work diagonally across This is true not only for the visual
a roughly classical approach, using different planes. arts, but applies to music and
a concentric and planar approach. dance as well.
I have used the light and the
Concentric means that all of the direction of the space as You will notice that in this
main elements are contained and opposites. composition, I am using the play
focused within the frame of the between elements, with the
picture. The light is going in to the right, movement itself a primary part of
and the space is moving from the the composition, rather than
The opposite would be eccentric, or closest objects in the right trying to make the eye focus on a
baroque composition, where foreground to the depth on the specific point of interest.
elements are pushing out of from left.
the frame. In a sense, the dynamics of the
composition is the subject.
35
In this drawing, I am composing the main elements were the lines of the composition are not
with the same figure that I have repeating of the frame creating a parallel to the picture plane.
been drawing for the last couple concentric, planar composition,
of weeks. where all of the elements worked In creating this composition, I had
parallel to the picture plane. no idea of what the subject was,
The main point in this lesson is to and focused only on the
contrast the basic elements of the In this week’s drawing, I am doing compositional elements.
composition with those of the last the opposite, by creating an
lesson. eccentric recessional composition, You will see that I still use the
where the elements are pushing same basic tools to lead the eye
In last week’s drawing on the left, out of the frame, and the main through the picture.
36
As I develop the composition

further, my primary concern is the
relationship of the various elements
to the frame.
To get the most impact, or usage of

the pictorial space, I push the
compositional elements to the
extremes by taking the figures past
the edges of the frame.
In the diagram to the right, I am

showing the lines in the same
manner as in lesson No. 54, by
leading one into another and relying
on the concept of transition to move
from one figure to the next.
The direction of the light moving

from the left, into the picture, and
the space moving from the right into
the space on the left is the same as
in lesson No. 54.
The main difference is that the main

movement is in a diagonal rather and dark patterns, gives a strong
than as a plane parallel to the picture feeling of 3-dimensional relief to the
plane. various elements.
In addition, the use of the shadows The use of light and dark patterns is
to create space, by alternating light a basic element of baroque painting.
37
When we look at a painting, we

react to the figures in much the
same way as we do as in reality.
We follow the movements of the

figures and the ways figures relate to
each other, including which way
they look.
We not only tend to follow the

gaze, but read the emotions of the
expressions as well.
In the diagram starting on the left, I

am leading you from (1) to (2) by
the movement of the figures and
the lines of the design.
From (2), we move down with the

look of (3), continued through (4) to
(5), which is looking back.
As the movement continues down

to (6), we have at the same time (7)
moving up, and (8), moving out of
the frame diagonally, opposite the
movement of (1) to (2), and the
depth on the left.
The direction of (9), while going up

to the right, also corresponds to the
direction of the space that is defined
by the parallel lines of the shadows
receding.
The space is again broken by the

mass on the right and the space on
the left.
The head of (8), turning back, ties

the right side to the left.
In general, the fundamental

elements that are being used are the
play of opposites, transition and the
subjective effect of the figures.
38
There are actually elements that I

am thinking about almost from
the start, but were not discussed
earlier that are additional
considerations shown in this
diagram
Starting at #1, notice how the

heads line up, and that the space
between them progressively
becomes greater until the last two,
which are closer.
This is thought of as timing, like in

music, where some notes are held
longer, and others shorter.
At #2, the figure is looking down

as the banner goes down to the
ground.
The line of the leg of figure #5 is #6 is the general movement of In the drawing on the right, you
carried all the way to the frame, the tree and building in the will notice a series of straight lines
extending the movement beyond background, working to bring the that go from the frame and align
the ground. movements back into the picture. with various elements in the
composition.
Figure #5 turns back, looking at I am using the walkway as an
the group of figures, while at the additional method of getting the These are part of the underlying
same time, is out of the picture, eye to move into the picture as structure of the composition that
diagonally opposite the space. well as using it as a device to give the picture a sense of solidity,
diagram the space. and emphasize the basic
From where the banner coming compositional movements.
off the table hits the ground, the You will also notice that each time
movement is carried up with both that I go over the drawing, the At this point they are rough, but
figure #3 and the general angle of way that one line feeds into as the painting develops, all of the
#5 working opposite the group of another is refined. elements would be brought into
figures on the left. the structure.
39
This is a page from my sketch Starting at the top of the page The flow of one figure into the
book of June 1974. with the two figures, I was doing next became a group of figures
two things. moving up and to the right, while
You can see the beginnings of my the shape of the pyramid was
search for a composition in the One, I was having the top figure created by a figure that was also
painting which I ultimately made move forward, with the reclining opposite the movement.
from these sketches. figure completing the movement. The small diagram on the right
shows what I was thinking.
The sketches, as well as the The second thing I was trying to
painting, were all drawn without do was have the two figures The drawing on the bottom went
models, and, at the time I did the creating a rough pyramid. through a lot of changes that were
painting, the only thing I was covered up as I worked on the
interested in was the composition. In the sketches going down the drawing.
page, you can see how those two
The subject matter was just an ideas developed. On the next couple of pages you
excuse for making the will see how I developed this
composition. drawing further.
40
My general way of working at that What I am doing today with the I checked to see where the lines of
time was to use a series of tracing computer is the same as the the different elements hit the
papers, one on top of the other, drawing I did in layers. frame, avoiding repetition of sizes.
and usually having each level focus
on one aspect of the composition. In this particular overlay, you can Also notice that I have used the
see where I was trying to find lines same basic elements of
This is the same procedure that that I could use that tied various composition that we have been
was recommended to me as a aspects of the composition discussing for the last several
student as a way of analyzing old together, reinforcing the basic lessons.
master paintings. idea.
The composition moves from left
Take a good photograph and use Also notice the horizontal lines to right. It is essentially planar.
different layers of tracing paper to drawn across the composition.
analyze as many different aspects I have blocked off the space on the
of the painting as possible. In drawing these lines, I was right and am opposing it by putting
checking to make sure that my the depth on the left.
I would use one each for light and breakup of the space was not
dark patterns, movement, space, equal. The series of lines on the bottom
structure and as many aspects as I of the page show my general idea
could think of. of using the transition from one
form to another.
41
The grid at the top of the page is

an overlay that I put over the
drawing to transfer the sketch to
the canvas. The canvas had a
corresponding grid.
The lines on the drawing at

bottom, though looking like a grid
have a totally different function.
I organize all of the major lines in

the painting to reinforce the
various movements I am using to
move the eye through the
composition.
The lines also are elements of a

forma structure, an approach that
goes back to the Greeks and was a
major component of pictorial
composition of the past.
The question I always get asked is

“do I use dynamic symmetry?”.
No, but that does not mean I
don’t use some forms of
geometry, though I do not use it
as a rule.
The important thing is how the

various elements work in the
composition to create a sense of
the whole.
In using structural composition In the diagram at the top of the The real composition, in my
lines, they are generally tied to the next page, I am showing how I terms, is the dynamic movements
frame, but can extend to converge used the square two times, first to created.
outside the frame to expand reinforce the movement to the
compositional movements. right, and second to move the The structural elements are the
composition to the left. architecture that we hang the
Quite often, these structural composition on.
elements take on basic The squares are additions, extras,
geometrical forms such as not the primary composition. If you look back at the first page
pyramids, or reinforce contrasting of this lesson, you will see that my
movements, such as having Quite often, this structural part of initial step in creating this
elements on one side of the a composition is confused with composition with the two figures
picture going up, while those on what I call the actual composition. at the top of page was a simple
the other side are going down. pyramid.
42
The final painting, below, follows

very closely the development
sketches of the previous pages.
To reinforce the compositional

focus, I have simplified the figures
taking out any unessential detail,
and put the emphasis on the
composition itself, which was the
primary intent from the beginning.
43
Illustration No. 1
In this lesson we will add more In “D”, the addition of simple
basic tools of visual lines to the surface of the form
communication. gives us the feeling that each
sphere is facing a different
Illustration No. 1 is an example direction.
of other useful descriptive tools.
Combining the two spheres in
“A” is a simple sphere, a “E” creates the feeling of a twist.
fundamental way of containing
form. The use of a cross access going
around each of the spheres in “F”
The additional of a line on its communicate the tilting back of
surface in “B” gives it a front that the top part and the tilting down
shows direction. of the bottom.
The overlapping of two spheres The overlapping of the forms,

in “C” gives us the sensation that (“T” principle) is a basic part of
one is on top of the other. the three dimensional feeling for
these examples.
Illustration No.2 is a simple

example of the use of these tools.
I have kept “A” loose so that you

can see the basic use of the tools in
the beginning of the drawing as the
primary elements of description.
“B” shows the forms simplified and

is the actual way I think of the
forms as I do the drawing.
It is important that, in your

thinking, you visualize the forms
that you are drawing as having
volume, rather than flat shapes.
The tools we are using are what we

experience in reality and gives us the
ability to create the illusion of three
dimensions on a flat surface.
We create shapes in the same way

that they are created in reality -the
shape is the outside edge of a form.
44
Leading the eye using simple In illustration No. 4, I have

forms does not stop at the edge introduced several new Illustration No. 3
of the form. fundamental tools - opposites and
subjective meaning.
The drawing or painting is on a
surface such that the wall, paper Since I have used figurative
or canvas determines the limits of symbols such as heads, ears, lines
your work. indicating eye placement and
general human like proportions,
Illustration No.3 “A” we readily identify the forms as
demonstrates how the eye is led figures rather than just spheres.
starting with the leg moving in,
twisting through the torso and We see the figures as turning and
head, and continuing into space looking toward each other.
with the additional box that is
catching the movement and Additionally we feel the figures
taking it farther. leaning away from each other, a
simple form of opposites.
Illustration No. 3 “B” is doing
the same thing using simple The use of opposites is the
spherical forms. primary means of clarifying and
strengthening a statement.
Notice how easy it is to indicate
simple figures in space with a Controlling the way we see
minimal amount of information. things, as I have illustrated, is
accomplished by more than just
There is only a simple indication leading the eye from one line to
of an ear and line showing the the next.
axis of the eyes, and relatively
human proportions of the parts It is important for the artist to
of the body. understand the way forms create
emotional responses and are
These fundamental tools of perceived.
description and composition
apply no matter what you are
doing, be it animation or fine art. Illustration No. 4
In using drawing as visual
thinking, there is always a
purpose to what you do.
45
In the drawings to the right, you can
see a simple application of the
points discussed so far.
The drawing was done from

imagination, without reference.
The first step is a general flow of

the lines focusing on leading you
from the lower left, into the picture
to the right, then back to the left.
In the second step, I have relied

almost exclusively on simple
spherical forms as indicated below.
Notice how I have overlapped the

volumes and indicated anatomy on
the back, primarily to show the
twist.
In addition to the differences of

front, back, male, female and small
child, I have used a typical
Renaissance device in the female
figure.
The figure goes through a

progressive twist to the right and
then turns her head to the left.
This is a variation on what is

referred to as contro posto.
46
In developing this sketch farther, opposites and continuity, along dark, light, dark shadows to help
I have extended the basic lines with transitions from one form to the movement into the picture.
and movements of the figure into the next.
the background. In general, I have repeated the
In the diagram on the right, line frame with simple vertical and
Two main considerations in “C” is an extension of line “AB”; horizontal transitions from the
developing the background were: “D” is an opposite. frame.
relation to the frame, and making
the movements stronger and “E” leads into “F” and “G” I consider this a simple beginning
clearer. extends the movement, with “I” compositional sketch. In the next
being an opposite. lesson I will develop the figures
A basic part of making the farther, expanding on the use of
composition clearer is the use of I have used a simple series of basic tools.
47
The surface we draw of paint on is The concept of looking through a The boxes do not closely
like a window that we look into. window was a major element in represent the actual look of the
The surface is referred to as the the developing of perspective in figure.
picture plane. Try to visualize the 14th and 15th centuries.
surface as a pane of glass. In this approach, I am not
Everything we draw is in relation In this lesson I am going to focus concerned about how the parts fit
into this plane. on the use of the box and its into each other, but how they
relationship to the picture plane as relate spatially.
Illustration No.1 is a schematic a major tool in showing form and
view of the picture plane. Box composition. In computer animation, figures
“A” is parallel to the picture plane have basic movements worked out
while box “B” is diagonal to the Illustration No. 3 is an application in simple unconnected forms that
picture plane. of the box form to the female then are joined together later.
figure in Illustration No.2.
Illustration No. 1 The second approach to the use
It is important to remember that of the box is its application to
the box is a tool for understanding describing form itself.
forms and constructing forms in
space. In computer 3D The box, or, more simply, the
construction the box is the basic corners, are where a surface
starting point. To do anything in changes direction in space.
perspective you must have points.
This second approach has been
In Illustration No.2, the box In my drawings, I am going to use used by artists for thousands of
representing the pelvis of the the box for two separate purposes, years.
figure is diagonal and receding which determine how I draw the
away from the picture plane, as is box. We see examples of Roman,
the figure as a whole. The bed Greek, Chinese and even
that the figures are on is also at a First, as in Illustration No. 3, I am contemporary graphic artists using
diagonal to the picture plane. The using the box to show the basic simple box forms to give the
wall with the picture on it at the orientation of the figure in space. illusion of three dimensions.
end of the room is parallel to the
picture plane.
Illustration No. 2 Illustration No. 3
48
The ability to see a box in space
gives us the foundation for being
able to render the form from
imagination.
As in the simple boxes in Illustration No. 4

Illustration No. 4, we can make the
light source come from wherever
we choose.
Drawing it in it’s simplest form

shows the change of the direction
of the form in space.
The rendering focuses on the

corner, or edge, of a plane.
A box also has another asset to its

usefulness, and this is symmetry.
We see the tilt or angle of

something by comparing one corner
to another.
In drawing the figure, we use

symmetrical elements, such as Illustration No. 5
shoulder, the corners of the rib B
cage, or the line across the brow to
communicate angles.
A
Compare Illustrations No. 5 A & B.
Notice how I have used the box in
“A” to emphasize the corners of the
form.
The dimples created by the back of

the pelvis become symmetrical
points that help to show the angle.
When actual symmetrical points do

not exist we create points for the
eye to relate to.
As the drawing develops, we bring

the form into smaller and smaller
segments of boxes, referred to
simply as planes.
49
Illustration No. 6 is a development
of the box forms over the rest of
the female figure.
Illustration No. 7 takes this Illustration No. 6

construction using the flat planes of
the box to the next level of detail.
Illustration No. 7A diagrams the

step in an exaggerated form, similar
to what you would see in a 3D
computer rendering where all of the
points are indicated.
In this illustration, I have only

shown a small portion of the figure.
Notice how the planes step down

and fit into each other.
The overlapping becomes clear and

the corners of the forms are guides
in determining where you render to
show the change direction.
Illustration No. 7
Illustration No. 7A
50
In developing the overall In Illustration No. 8A, each form baby to look at the mother and
composition farther, I have leads to the next. In No. 8B the raised the mother’s head to look at
decided to change the gesture of boxes fit into each other. No. 8C the baby.
the baby to flow with the action of is the same idea with the twist
the mother. added. By making the baby gesture with
the left arm (Illustration 9E), the
In Illustration No. 8, I have Illustration No. 9 shows the twist becomes stronger, and by
diagramed the basic idea using application of the basic concept of having the head turn back
boxes to show how the flow may transition applied to the boxes. (Illustration 9C), we get a play of
be maintained. opposites that make the general
In addition, I have turned the composition more interesting.
Illustration No. 8
Illustration No. 9
51
As I continue to develop this
composition from the previous two Illustration No. 1
lessons (Illustration No.1), I have
decided to turn the male figure
(Illustration No. 2) so that it
becomes an opposite to the female
figure.
As the female figure twists in, the

male figure twists out.
Notice that in the beginning of the

drawing, I am using box forms as a
way to clarify and aid me in the
drawing of the figure.
In this lesson, I am also doing more

to combine the use of spherical and
box forms, using them as needed to
draw the figures. Illustration No. 2
The use of opposites is a universal
element of design. Opposites
clarify the elements being used.
Big-Small, tall-short, simple-

complex, and in-out are only a few
obvious examples of opposites.
Each artist develops for himself the

opposites that he works with in his
art, be it painting, dance or music
(Illustration No. 3).
Illustration No. 3
52
In developing the male figure in The two-dimensional
illustration No. 4, the drawing is consideration is how the line of
continuously adjusted to get the the contour of the female figure’s
feeling I want. leg and the arm of the male work
as opposites.
I am having one arm coming
forward, raised above the other Also, notice how the lines of the
arm. drapery are included in the
composition (Illustration No. 6).
Illustration No. 5
Illustration No. 4
Illustration No. 6
53
Illustration No. 7
Illustration No. 8
At this point in the drawing, I am
focusing on the rendering of the
form, including the expressions of
the figures.
Look at the difference between

Illustration No. 7 and the detail of
the head as it is developed in
Illustration No. 8.
I have also added a ground color

and am using white in rendering the
form.
54
Study this page and the previous my construction, they are not At this point the drawing is at a
page to see the changes that have what you see. stage that could be used as the
been made. foundation of a more finished
The tools are what help you work, or as a completed work in
Notice that even though I have accomplish the work, the work itself.
been using boxes and spheres in itself is the important thing.
55
This next series of drawings is opposite movement indicated by In Illustration No. 2, I have
based upon the photographs the “B” red lines. indicated a preliminary plan of the
above. subjective use in conjunction with
In Illustration No. 2, I am using the diagonals.
In using these photographs, you the direction that the people are
will notice that they are just a looking as a compositional device. Besides the compositional
starting point, the possibility of a elements, the drawing lesson will
picture. The viewer of a picture will tend focus on the use of folds in
to go with the direction of a gaze. drawing the figures.
What appealed to me was the This subjective element is an
potential for creating a movement important compositional tool. As you will notice, I have already
across the picture using similar departed from the photograph.
angles indicated by the “A” lines Degas and Daumier are two artists The photograph is only a starting
in my diagram of my rough that you can look at for their point.
(Illustration No. 1) and the strong use of subjective elements.
56
It is important when drawing
drapery that you focus on using the
drapery to draw the underlying
figure. The natural tendency is to
just copy the folds.
The first step is the gesture, as it

develops from the needs of the
composition.
The next step is to see the figure as

simple volumes (Illustration No. 3).
These simple volumes then dictate
how the drapery is drawn.
The folds, along with describing the

underlying volumes, are used to
develop compositional lines.
Illustration No. 4 is a first step in

describing form with drapery and
using the lines of the drapery as part
of the composition.
The first use of the drapery is to

show the simple cylindrical forms of
the neck and arms (Illustration No.
5).
As you draw over and around forms

make sure to have clear overlapping
lines as in Illustration No. 6.
57
The half-lock fold, shown in
Illustration No. 7, is one of the
basic 7 folds that we use to help Notice the creation of the half-
describe form using drapery*. lock fold during this bending.
Illustration No. 10 shows all of
This fold is created by a tub such as the elements discussed so far.
sleeves, panes, or dress of any
material that is going over a curved
surface that bends.
Study the examples in Illustration 7.
In illustration No. 8, I have added

the half-lock fold to the first figure
diagram.
Every fold has a point of origin and

completion.
In Illustration No. 9, drawing 1, the

drapery hangs as a tube from the
hips.
In drawing No. 2 the bending of the

leg creates tension as the pants
stretch from “A” to “B” as the knee
pushes out, and then again from the
knee to the calf at “C”.
In drawing no. 3, you can see how

the folds wrap around the cylinder
of the leg.
58
First, it is important to point out Rather than working right on top In exploring this figure, I first
that I do not normally start a of the original sketch, I have constructed it as simple volumes
composition by developing just started a second sketch. and than applied the clothes over
one figure, as I have in this lesson. the form, describing the volumes
As I redraw the figures, I feel the as well as the action with the folds.
For the sake of demonstrating the relationships leading to alternative
use of drapery, I have worked on possibilities. In using the tone, the main point
the one figure beyond what would is to indicate the simple volumes.
be appropriate in capturing the At this point, the bottom drawing
total. has a more fluid quality and a Notice that the hair is also
better feeling for the scale of the approached as a simple volume.
As the composition develops I figures.
may have to go back and make The 3D volume of the hair
major changes to this first figure The drawing to the left below wrapping around the neck adds a
as a strong direction to the left. explores the possibilities of the strong sense of volume to the
central figure of the composition. whole figure, as well as the
composition.
59
This lesson is a continuation of
Lesson No. 86 (Illustration 1),
where I developed the left hand
figure in Illustration 2.
In this lesson I have decided to

change the right hand group to
make a stronger movement to the
right.
The Standing figure's arm and the

gesturing figure’s arm create a
strong line with the exiting standing
figure.
Look at Illustration 3 and the

diagram.
Each time that I redraw the

composition, I become more
sensitive to how the parts relate and
try new variations on the
arrangement of the figures.
60
As I develop the central seated figure The bare waist creates an opportunity
of this group, I am also looking for for more lines wrapping around the
more interesting clothes. figure, as do the folds going over the
leg, pulling off of the hip.
The development of the figure
follows the same basic procedures; In Illustration 6, I have also
first construct simple volumes and suggested use of tone to give the
then use the drapery to describe form more volume.
those volumes.
The simplicity of the hat with the

divided shape of the hair going
around the neck are interesting
additions.
Illustration No. 6
Illustration No. 5
61
In Illustration 7, I have moved the Illustration No. 7
figure on the left over to see how it
would work with this figure. See
Illustration 8 below.
I don’t plan on leaving it there, but

it would be an interesting possibility
for another picture.
Quite often a particular project may

generate many other pictures, being
the starting point for a whole series.
In Illustration 9, I have changed the

transition figure in the back to go
along with the basic movement.
Study Illustration 10 to see how the

flow is created with all of the figures
on the right creating a strong
movement to the right.
Illustration No. 8
Illustration No. 9
62
In looking at where the composition
is at this point and redrawing it
below, I have decided to make some
major changes.
The spacing of the heads are all too

similar, particularly in the three
figures in the right group.
In the rough sketch below, I have

raised the male seated figure in the
back, this will help to make the
movement stronger. Illustration No. 11
I am also thinking of adding a
secondary movement with the
standing figure in the back going in
the opposite direction.
The development of this

composition and the previous one
illustrate clearly the necessity of
being able to construct the figure
from imagination.
The design of the total composition

is the most important element in
your work, rather than the copying
of a particular detail.
Drawing is thinking towards a

purpose and is a tool of
communication.
The three basic element of

accomplishing anything are, first,
have a plan, second, to have the
knowledge to put the plan into
action, and third, the spirit to carry
it through to completion.
In the next few lessons, I am going

to focus on figure construction as
well as the use of drapery.
I will return to this composition in

later lessons.
63
Anthony van Dyck, Samson and Delilah (1628-30)
64
Illustration No. 1
The basis for this lesson on tone is become lighter, have less color In A the shape behind is faded
a drawing that I did (Illustration and less detail as they recede into out. As it goes behind, the lines
No. 1) after Anthony van Dyck’s the distance. The moisture in the do not touch.
painting Samson and Delilah air coming between us and the
(1628-30), which is at the objects creates this effect. B is the opposite of A, as tone is
Kustistorishes Museum in Vienna. used between the two forms and
In essence anything put between behind the second form to give a
One of the primary means of forms in space will assist in feeling of space.
creating the illusion of depth is the separating them.
use of what is referred to as C uses the basic concept that as
atmospheric perspective. Atmospheric Illustration 2 below gives a series forms recede in space, they get
perspective is what we see on a of simple examples of this lighter.
foggy day when objects appear to concept.
Illustration No. 2
65
Illustration No. 3 is a detail of Illustration No. 3
Sampson’s leg and torso area.
Illustration No. 4 diagrams the

simple basic volumes. A is a simple
line drawing without tone, B
indicates the way tone comes
around the torso and over the leg.
C is an exaggeration of the space
created as the torso leans over,
pushing the pelvis back; as the leg
comes forward, the tone flows
through the space created.
In its simplest form, the tone can be

thought of as smoke wrapping
around the forms. In fact the
Italian term for it is sfumato which
means smoke.
Illustration No. 4
Illustration No. 5
Illustration 5 shows how using ac-

tual three dimensional forms to
come between, wrap around and
cast shadows helps describe round-
ness and create space.
66
Illustration No. 6 demonstrates how
the use of opposites create space.
The simple boxes of A are flat. B
shows how the movement of boxes
in opposition create a sense of
space.
Illustration 7 combines the use of

atmospheric tone with the use of
opposites.
Study how the application of this

simple idea is used by Van Dyck in
the diagram (Illustration 8) and the
detail in illustration 9.
67
Study Illustration No. 11, using
Illustration No. 10 as a reference.
Look at the way the tones have

been used in separating the forms
and movements.
Drawing from the old masters is an

excellent way to not only learn
composition, but drawing as well.
68
A very large part of the
development of my skills and
knowledge as a draftsman have
been developed by studying and
drawing from the old masters.
The basic logic of approach to the

study of drawings and painting is to
look carefully at the composition
and the description of form.
In this lesson, I am drawing from a

fragment, ‘The Rest On the Flight
Into Egypt’ by Anthony Van Dyck,
at the Hermitage Museum in St.
Petersburg.
I have worn out several books of

collections of old masters in my
studies drawing from them. Anthony Van Dyck, The Rest on the Flight to Egypt.,1630
In drawing from paintings and

reproductions of paintings, I try to
approach them in the same way that
the masters themselves approached
the creating of the paintings.
The painting is first a composition.

The lines are loose and generally,
create a feeling for the relationships
The second step in the process is to

clarify the forms in space
In each step of the process there are

many things to be learned.
In this lesson, I am pointing out

some of the specific things that can
be learned from this work as I draw
from it.
69
My instructors in school often The basic points isolated in Illustration No. 3
taught by using the old masters Illustration No. 3 are:
and drawing from them in class. (A) the lines showing the flow and
This lesson is then a continuation basic compositional
of this approach. relationships as they lead the
eye.
This is also the approach that was (B) Simple volumes to show the
the basis of the training of the old spatial relationships of the
masters themselves, copying and forms.
working from examples created by
their masters and those of
antiquity.
Anthony Van Dyck, The Rest on the Flight to Egypt.,1630
70
As I develop the drawing in
Illustration 4A, the tools to be
learned as I draw from the painting
are:
(B) The way in which the sense of
volume has been created by
overlapping forms.
(C) The gesture of the pose is
emphasized by the simplification.
The gesture is stronger and
clearer in direct relationship to
the simplicity of the forms.
(D) We see how the arm and neck
are simplified as simply cylinders.
This helps in understanding the
direction of the form in space.
(E) Diagrams the simple volumes
used in combination with tone to
show how volumes fit into each
other.
(F) Is the application of this basic
idea.
In Illustration 5, as the drawing is

carried further, study the way the
same tools are applied to the next
figure in.
Pay particular attention to the simple

volumes of the torso and how they
overlap.
71
In drawing from the old masters, In this drawing, you will notice These drawings were done over a
it is actually better to not trace, adjustments as the drawing period of several days. Each time
but draw from them in the same develops and as I see the that I came back to the drawing I
way you would from a model. relationships more clearly. was able to see it more clearly with
a fresh eye.
In Illustration No. 7A, I have The red arrows in Illustration No. dimensional level while, three-
simplified the forms to simple 7B indicate the use of continuity, dimensionally, it works as an
volumes in order to bring out two as one form leads to the next, opposite.
basic compositional tools: the use creating the movement felt in the
of opposites and transition as a dancing figures. The blue boxes indicate the
means of leading the eye to create opposites to the red, both three-
movement. The green line (down the center of dimensionally as well as the overall
the character’s chest) is actually movement.
part of this series on a two-
72
The addition of tone followed a The addition of cast shadows and No matter how complex a subject
very basic concept. atmospheric tone in Illustration 8 becomes, you will find this as a
are the next step in defining these beginning point in rendering the
As the form turns away from you forms in space. form.
it goes into tone, as shown in
Illustration No. 9. This is the same approach used in
Illustration 4E & F a couple of
pages back.
73
Peter Paul Rubens, Lamentation of Christ,1617-1618
74
This lesson is a study of a draw from any other object.

painting by Peter Paul Rubens,
the great Flemish Artist. I do not try to copy them,
rather I endeavor to approach
I have drawn from this them in the same spirit that
painting many times in class the artist did in creating the
while discussing composition. work.
In doing this drawing, I am The first consideration is the

using it as an example of both total compositional effect the
composition and drawing. artist strived for (Illustration
No. 2), the basic arrangement
In general terms, the drawing of the forms within the frame.
is being done using the same
basic procedure that I would Illustration No. 3 is a simple
use to do a drawing from the diagram of the primary
model. elements I felt in doing this
drawing.
My drawing from the model is
actually developed from The arrows marked A show
studying the compositional the major rhythm from the
drawings of the old masters, lower right corner through the
including Rubens. Christ figure, following in the
depth at the upper right with E and F are indications of a
As I go through the drawing, I the angle of the heads going general use of verticals and
will point out compositional back in space. horizontals repeating the frame.
elements that I find interesting
as well as discussing basic B continues the general As I go through the
drawing points. upward movement. development of the drawing I
will expand on the
When drawing from paintings, C and D work as opposites compositional elements that
I approach them as I would to moving back into the picture. interest me.
75
One of the things that you should Illustration 5A diagrams the Notice that in doing the drawing
notice is that as I develop the simple concept of transition, of I am developing the total
drawing, I am continuously the way the lines create a sense drawing, rather than finishing
adjusting the relationships of the of movement. any one part.
lines and shapes.
In the fragment, Illustration No. My interest is upon the total
When drawing from paintings, I am 6, I went back over the drawing composition rather than any
continually seeing how the parts and began the further particular detail.
relate to each other and the total. development of the forms.
Each time I draw something, it is a

new learning experience.
I try to feel how the parts relate

rather than copy.
In Illustration No. 4, I have

indicated the large simple forms.
At this point, you can see more

clearly the tilt of the various heads
in space, as well as how some of the
lines of the drapery and anatomy
contribute to the general flow of the
total composition.
Illustration No. 5 is a simple

diagram of the forms as they
contribute to the basic movement.
76
In Illustration No. 7, you can see Illustration No. 10 continues the Illustration No. 11 shows the
the beginning of the use of tone to development of form and rhythm of the arm as well as the
separate forms in a manner similar addition of tone. complimentary use of the
to Van Dyck, as shown in lesson straight against the curves.
No. 105. Van Dyck worked with Particularly interesting is how
Rubens for many years. Rubens combined anatomical
detail in the development of the
Illustration No. 8A diagrams the basic movement.
basic idea of separating forms in
space, while 8B shows how the tone
can also extend the basic sense of a
movement.
The Italian term for this use of tone

is sfumato, which means smoke. In
Illustration No. 9, we see the further
development of form by the
addition of detail.
Detail is not only used to describe

form, but to communicate story
content, in this case, expression, the
emotional content.
77
In the final drawing, I have added Use this drawing to study the The main point of this lesson is
the use of white in developing the various compositional elements the way all of the steps contribute
form. discussed in the previous pages. to the total.
78
This lesson is a drawing done figures and their relationship to The difficulty at this stage of the
from life during a church knitting each other (Illustration No. 1). drawing is maintaining scale.
group.
This step in the drawing needs to It is important to register the
As I started the drawing, one of be done very quickly. The natural figures to elements that you know
the group was explaining some tendency is to start focusing on are not going to change. In this
points of interest to the other two detail, instead keep to large drawing the couch and chair are
members of the group. generalities. the fixed elements that I used to
register the placement of the
My first step was to quickly As another member of the group figures.
establish the gestures of the three arrived, I added her (Illustration
No. 2).
Illustration No. 1
Illustration No. 2
79
Illustration No. 3
Illustration No. 4
The next step in the drawing is to
start diagramming the forms three-
dimensionally (Illustration No. 3).
In showing volume, I use details

that show the roundness of the
forms.
The dark lines in Illustration No. 4

indicate the kinds of line that are
useful for this purpose. Collars, the
ends of sleeves and folds going over
legs and are useful lines to work
with.
The key to this step is to visualize

the forms as simple volumes—
spheres and cylindrical variations.
Use drapery to draw the forms,

rather than thinking of drawing
folds.
80
In Illustrations No. 5 and 6, I have I am not only adding more detail, This stage of the drawing is being
begun to develop the figures but am also adding tone done completely from memory
further. atmospherically, as I have two weeks after the original steps
illustrated in the last two lessons. on the previous pages.
Illustration No. 5
Illustration No. 6
81
Illustration No. 7 develops the I will often make several variations In a future lesson, I will expand
detail and tone further. of tonal patterns as I develop a on this drawing to see what
drawing, with the intention of possibilities it offers
In Illustration No. 8 I have turning it into a rough for a compositionally.
introduced both light and shadows painting.
to the picture.
This drawing started out as a
The feeling of light as if there sketch. If I had begun the
were windows outside of the drawing with the idea of making
picture shinning into the room it into a painting, I would have
creating a shadow pattern which made various thumbnail sketches
did not exist is my own invention. before I started the drawing.
82
In the last lesson, I took a sketch I have made this change to create many paintings of the past has
and developed it using basic a lead into the picture. Using the relied upon basic geometrical
drawing principles, but not interaction of the figure with the forms such as squares, spheres
making major adjustment to the animals is a means of pulling your and triangles.
figures themselves, for attention to the left as a contrast
compositional purposes to the next figure pulling to the Do not think of this element of
(Illustration No. 1). right. the composition as the total
composition, or as any type of a
In drawing any subject, you make The series of lines criss-crossing rule. Remember “no rules, just
artistic choices as to what seems are construction lines that I will tools”.
to lend itself to being an use to align various forms, thus
interesting design. giving order to the basic The architecture of a composition is
movements and compositional only a part of the composition
In this drawing, the three figures points. that creates the total experience, it
on the couch worked as a unit and in itself is not the composition.
the single figure on the left was a These structural lines are often
nice contrast. referred to as compositional
architecture. The architecture of
It seemed to have possibilities for
further development.
In this lesson, I will use basic

compositional tools to develop
the drawing further.
Illustration 2 is the first step I

have taken in reconsidering this
drawing.
First notice that I have turned the

figure on the left directing her
gaze at the two animals.
83
In Illustration No. 3, I have begun The combination of the central The head on the left tilts out, the
to clarify the composition. two figures creates a triangular second tilts in, the third tilts out
upward movement. and the head on the right is level.
The figure on the left, along with
the cats, creates a strong vertical. I have pulled the figure on the Study the Illustration No 4
right back as a contrast to the diagram.
The cat sitting on the floor defines figure to its left.
a general low point for the picture.
In addition, I have tilted the heads
This is good lead into the picture. to create a play of opposites.
84
Once you have the general

placement of the figures, then it is
necessary to compose the parts to
work with the total. Compare
Illustrations No. 5 and 6.
This is a critical step in the

drawing; paying attention to how
each line leads to the next,
contributing to the total.
Illustration No. 7 is a diagram of

what I am trying to accomplish The green arching line of the Compare Illustrations No. 6 and 8.
with this part of the composition. chair, along with the tilting head, Notice how the addition of the
The red arrows show the work as an opposite to the general movement in 6 has given the
transitions leading the eye from movement to the right. figure a much more relaxed and
the lower left corner through the natural feeling.
arms of the figure. The blue vertical lines of the chair
are essentially neutral and are a
Notice that I have extended the repetition of the frame. The
arms to carry the movement into verticals help to clarify the
the next figure. contrasting movements.
85
Composition means organization.
Notice that I have carried most of

the lines to the frame. In any
composition, the frame is the
starting point. The first line you put
down is in fact the fifth line, since
we have the four lines of the frame.
The drawing of the vertical and

horizontal lines as you are
developing your composition help
you see the two dimensional
breakup of your picture plane.
This helps you to identify where you

are making equal visual breakups of
your space and/or are making
everything fit into small fragment of
your picture. center, of a series of heads, or At times I will use actual
even whole figures, furniture, geometric breakups of the
It is preferable to have variety in doors, windows, anything that is surface to give the composition a
your breakups rather than repetitive an obvious line. Then, carry specific feeling, but this
equal breakups. these lines to the frame. geometric break up is not the
composition.
The composition evolves the whole What I try to do then is to collect
picture plane, not just a fragment. the various forms and lines to It is a tool and part of the
emphasize the main point of the composition, not the actual
In going over your drawing, look composition. composition itself as is often
for obvious alignments like the presented.
86
This lesson is a continuation of the Illustration 4C is an example of I view this element of the
last two. Illustration 1 shows the the way I like to feel the lines composition as an element that
drawing as just a simple playing against each other. This ads a certain sense of tension and
development of the sketch, basically particular interaction of parts design.
as I viewed the subjects on lesson does not necessarily lead the eye.
No. 107.
Illustration 2 is where I left off in

lesson No. 108, with a more
complete development of the
composition, along with a primary
plan of geometric architecture.
Illustration 3 continues the

refinement of relating the parts of
the composition to the total. The
total is always the overriding
consideration when developing the
parts.
In Illustration 4A, as indicated by

the arrows, I am focused upon how
one line leads into the next. As I
develop the drawing, the way the
eye is lea is always a primary
consideration.
Illustration 4B and 4D show how I

am adjusting the lines to strengthen
basic lines of the geometric
architecture.
87
Illustration 5 shows the Illustration 6 shows how the
drawing at the point where I angles of the various legs create
have worked through the a transition, helping to lead the
composition and am eye in the same way that I have
developing the remaining been using one line to another.
figures.
Illustration 7 shows a series of
In creating the general rough values exploring possible
movement, I have also used ways to use the light.
transition in another way.
88
There are a variety of different with the intention of painting it, I I would then sit back with my
approaches to using the light would transfer the line drawing to sketch book and start to draw
compositionally. a prepared canvas or panel, from the drawing on the canvas,
deferring the use of the light for second guessing what I am doing,
This composition generally flows the moment. while also making adjustments to
from the left front to the right, back the composition with pain.
into space. Once the drawing was on the
canvas, the change in scale from a The drawing on the next page
Illustration 9A has the light going small drawing to a larger canvas represents the sketches done
with the general direction of the usually necessitates adjustments while rethinking the composition.
composition. to the composition.
Illustration 9B is at right angles to

the composition and in general
works as a good opposite of the
primary movement.
Illustration 9C is a somewhat
ambiguous use of the light, but
generally coming down from above,
similar to a spotlight in a stage
setting.
Remember there are not rules to

which way the light should go.
Each way can be used to advantage.
The difficulty with Illustration 9A is

that you are carried very quickly to
the right. At this point in the
composition, there is no real
effective counter movement to the
left that is sufficient to keep the eye
moving. I feel the picture would
end up focused upon the group in
back.
In Illustration 9B the light moving

from right to left gives more of an
opportunity to push the movement
toward the left, opposite to the
strong movement to the right.
Illustration 9C has the advantage of

being able to separate the groups
with tone and creating opportunities
to use shapes and tones in different
ways.
At this point, using this drawing
89
In doing the sketch above from the

composition, as it would be drawn
on the canvas, I have made quite a
few changes that would improve the
overall composition, without
actually changing the basic design.
In looking at this page of sketches,

compare it to the previous page.
First, notice that I have raised the

arm of the figure on the left. In
raising the arm, along with the cat’s In the next figure, I have changed
gesture, the action is much stronger the hands also to show the opposite
and adds to the human interest. movement tilting forward.
The arm now flows with the line of In looking at the original drawing
the chair to the left and at the same starting this series of lessons, you
time is much clearer in indicating can clearly see the effect of how
the movement to the right. composition changes the experience
that the viewer would see.
In the second figure, I have raised
the hands so that what she is The final result at this point in the
holding tilts up, going along and picture is that it feels much more
helping the general movement back natural than the original that was
into space. done from the actual knitting group
scene.
90
In lesson 109, a major component B is clearly a figure. The addition the direction of the forms in
of composing the picture was the of a simple volume for a head and space. The lines that go across the
way on line leads into another. lines that clearly indicate limbs form also indicate the simple mass
communicate a figure in a specific of the volumes that are being
In this lesson, we will see how this pose. drawn.
is used in capturing a gesture. The
gesture of a single figure is the Yet, there are no shapes or They are a rough indication of the
basis of what you are trying to contours showing what the figure cross section of the volumes.
communicate about the figure. looks like, but we do feel the These cross sections are being
gesture. drawn of volumes that you
The lines of the gesture are similar mentally visualize, but have yet to
to the basic compositional lines of This seems like a very simple step, draw the outside contours of.
a painting. yet many find this quite difficult.
The difficulty is that you are not In drawing from the model and
The lines themselves are drawing what you are generally from imagination, these two tools
abstractions that, in sequence, taught to (shapes, contours, form the foundation of describing
create the feeling of the action. tones), but are as using a tool to everything that follows.
create movement to draw with.
The lines are not copies of shapes, One of the first statements I make
contours, tones, etc., but segments As we look at the figure, we need in teaching figure drawing is that
of a movement that create a to feel the action of the figure we we do not copy, we analyze the
feeling. are drawing and lead the eye figure.
through the figure, recreating the
Illustration 1A is a simple example feeling. The lines are composed Of course, drawing from
of lines that create a movement, to create an experience. imagination we rely on feeling and
but are not associated with a experience to communicate what
figure and are purely abstract lines C shows the addition of lines we desire.
creating movement. going across the form that indicate
91
Illustration 2 and 3 follow the visualize the form that the lines Both of these series were
same steps discussed on the are going across. Do not copy the completely drawn with lines going
previous page, with one contours, visualize the form. across and around to describe the
exception-I have used more lines volumes.
wrapping around the forms. Leonadro da Vinci did a famous
series of drawings of Leda and the Illustration 5 is done almost
Illustration 4 show how the lines Swan, also a series of anatomical completely this way. All of the
going across the form can go in drawings of a baby inside the drawings in this lesson are being
many directions. In drawing the womb. drawn from imagination.
lines going across the form, you
92
The next step in the drawing is to Illustration 6a shows how the Illustration 7 shows the
contain the forms that you have form can be bracketed in the same application of this step without
been visualizing as you draw way that you would parenthesis the steps leading to it.
across them. marks around a word.
Illustration 8 shows the
In containing the form you Illustration 6B and C show how combination of all the steps.
visualize the whole form, the lines the way that you overlap the
are drawn so that if you continued forms will indicate whether the
drawing a fragment of a form it form is coming toward you or
would complete the form. going away.
93
In doing the drawing above, I This drawing was done without space as well as the anatomy.
have used the basic tools the model, going through all of
discussed on the previous pages. the basic steps discussed, with the This drawing is a return to ideas I
idea of possibly doing a lithograph had played with many years ago.
Notice how I have used the lines from it. The basic element is the interplay
going across the form in various between abstract and realistic
directions. It has many abstract elements in forms.
both the way I have used the
94
For me, using pen and wash is the compositional possibilities that I the road works as an opposite,
quickest way to capture a scene, be was attracted to in looking at the starting from the lower right and
it figure or landscape. In this lesson scene. receding into the picture to the
I am focusing on landscape. left.
The compositional elements were
Pen and wash offer a broad range of what prompted me to take the The use of wash is a quick means
effects that artists over the centuries photo originally. I consider the of developing a light pattern and
have used to capture the world photo my first compositional separating planes in space.
around them. note.
Notice that in Illustration 1A, I
In drawing landscapes, the first In studying Illustration 1 A & B, have added a light moving across
consideration is the composition of look at the diagrams in the picture at a diagonal from left
the scene. Illustration 2. to right. I am not a slave to what
is in front of me, but view it as
Just as I focus on the gesture in The main elements of the the raw material in picture
drawing the figure, similarly, in composition were, first, a series making.
drawing a landscape, I focus on the of overlapping planes receding
flow of the elements creating the from the lower left to the upper As I develop the drawing, I will
image. right. explain more fully my
consideration in composing the
So, since the first consideration is At the same time, the direction of drawing.
the composition of the picture,
doing a thumbnail sketch is the
essential beginning step.
(though I will often feel the

composition directly in the same
way I would a figure gesture
drawing).
The main difference is that in doing

a landscape, I consider the
composition as it relates to the
frame, be it implied by the
boundaries of the paper or, as in the
examples, a drawn frame.
I am drawing from the photograph

on the right for this lesson. In
working from nature, I would do
nothing different in approaching the
drawing.
The location is about 5 minutes

from my home in Southern
California.
The thumbnail sketches in

Illustration 1 are a testing-out of the
95
I made the light pattern much
stronger and changed the shapes to
make a more dramatic design in
Illustration 3.
Illustration 4 is the beginning of the

actual drawing. This drawing is
based upon the thumbnail, and
again, I focus on the way the
various parts relate to the total. I do
not copy the thumbnail sketch, but
build upon it.
As I begin to actually do the

rendering, the focus is upon making
the lines convey the basic
compositional movement.
The diagram for Illustration 5 gives

you a sense of what I am trying to
do with the rendering.
I am using both simple

crosshatching and the descriptive
lines of leaves, branches and trees to
create tone. As the drawing
develops, I will work back and forth
between using pen and wash.
96
In Illustration 7, I have continued to One of the main compositional
develop the light and dark pattern tools I am using in this drawing is
by creating broad tones with pen alternating dark and light planes.
strokes.
In my Sketching On Location
When working with crosshatching Manual, I have devoted a whole
pen strokes, you must take into chapter to this fundamental
consideration the way wash will compositional tool.
affect the pen stroke. The bleeding
of the pen strokes softens and
works to blend them, creating
general tones.
Another consideration is that the

amount of ink applied affects the
value of the resulting wash. The
more ink you put down, the darker
the wash will be.
Study Illustration 8 to see how the

lines were affected by the addition
of water.
In applying the wash, I use the

waterbrush that I have mentioned in
previous lessons.
97
In going back over the initial wash
with the pen, I continue to develop
detail and reinforce the pattern
(Illustration 9).
In Illustration 10, I again went over

the drawing with a wash, this time
adding some color to the wash. I
have also added the mountains in
the background.
The final wash was worked over

with the pen, creating strong
contrasts and more detail.
Illustration 10 is the actual size of

the drawing.
An additional compositional play of

differences is the upward movement
of the general shape of the elements
on the right, contrasting the
downward movement of the space,
mountains and the road to the left.
98
In this lesson, I am combining This simple composition It is often useful to do simple
figures and landscape. The location accomplishes two things. First, value sketches, as in Illustration
is a picnic area of the Los Angeles the movement encompasses the 1B, to help visualize the overall
Zoo. whole sketch. Second, the pattern.
simple use of opposites is
I work from photos in the same way demonstrated by having the The use of overlapping dark and
as I work from life. The first step is farthest space in opposition to light patterns to create depth in
the use of thumbnail sketches to the closest object (the figures this sketch is diagramed in
visualize the composition. moving in). Illustration 2B.
In looking at the sketches and

comparing them to the
photographs, you will see that I use
photos as a reference, not as
something to copy.
In fact I have combined 2 different

photos, flipping the lower one and
giving movement to the figure to
suit the composition.
Illustration 1A is a quick indication

of my approach to this particular
drawing.
Illustration 2A shows the basic

movement into the picture,
beginning with the figure on the
left.
The perspective receding from right

to left is a complimentary counter
movement.
99
In Illustration 3, I have roughed in In Illustration 4, again using my Notice that I go over the whole
the composition with my pen pen, I have developed the drawing sketch rather than focusing upon
(many artists prefer to do this step a step further by giving more any one element in the
using a pencil that can be erased definition to the various elements. composition.
later).
100
In Illustration 5, I have added the It is very easy at this stage in the As you compare the drawing with
basic light and dark pattern. drawing to start rushing—don't!! the photograph, you can see that I
Notice that the lines I use to add take many liberties in doing the
In this drawing, I used regular textures and patterns are carefully sketch.
watercolor and brush rather than put down. Avoid the temptation
my waterbrush. to “scribble”.
In the final step (Illustration 6) I This drawing is reproduced actual

added considerable line work. size.
101
The sketches on this page were The sketch below was at our Notice the compositional
created on location. The drawing local 4th of July parade. It was similarities between these three
above was done on my lunch sketched very quickly with a sketches as well as the differences
break while teaching an animal pencil first. I then drew directly, in feeling created by spontaneity,
drawing class at the zoo. with shapes of color, using value range, and color. They are
patterns of dark and light as my reproduced close to actual size.
primary descriptive tool.
102
Artists, past and present, have first The thumbnail sketch allows us scenes, is a basic step in
visualized their projects using to think visually, tying variations, visualizing a film from the script.
variations on what we call the as we evaluate the birth of our
thumbnail sketch. conception. Are both Illustration 1 and 2
thumbnails? Both are small and
These small drawings, usually In my Sketching on Location were done quickly. NO!
enclosed within a frame, indicate the classes, I give the students clear
kind imagery that the final work will plastic rectangles, 2x3 inches and Illustration 1 was done
present. 3x5 inches, used to draw frames considering the fame and its
on their paper for thumbnail potential as a painting, and, as
Individual figures or groups of sketches. such, can be considered a
figures begin as sketches showing thumbnail.
the gesture and their relationships. Creating simple frames to work
in has, for many students, shown Illustration 2 is a quick sketch,
This is referred to as the lay-in. It to dramatically improve the work. capturing the moment. It could
indicates the essence of the total be the inspiration for a painting
In the film industry, including that would be developed further
A thumbnail is this essence enclosed animation, the use of storyboards, in a series of thumbnails.
within a frame, indicating the which are actually thumbnails of
context in which it will be seen.
The thumbnail is the first visual

representation of your concept of
the total.
In working from nature, landscapes

for example, the thumbnail is a
means of selecting and organizing
our subject, giving us the
opportunity to try various
approaches, without the expenditure
of much time, to see what our work
will look like.
These sketches can take many

forms, from the most abstract
notes, to more complicated and
developed ideas.
The ultimate goal of the thumbnail

sketch is to, as clearly as possible,
communicate your concept of what
you wish to achieve.
In practical terms, it often takes

many variations and adjustments of
elements to achieve a clear
direction.
103
Detailed, diagrammatical and loose,

the thumbnail sketch can take many
forms (as usual, no rules).
The visual conception of the total is,

in its essence, an abstraction.
The form that an abstraction takes

is directly related to the concept you
with to represent.
As humans we have a common

heritage of visual thinking, which
translates into a visual language.
Composition is the application of

this visual language to expression.
The transition from abstraction to

figurative is shown in Illustrations 3
and 4.
The thumbnail sketch is the visual

equivalent of an outline in writing,
capturing the sense of the total.
104
These four compositional
thumbnail sketches were all done
using different media and represent
different degrees of finish.
The bottom sketch is actually a

rather detailed storyboard.
The main compositional idea used

in all of these sketches was to create
a strong sense of depth, using
overlapping planes stepping back
into the picture, separated by dark
and light patterns.
105
In counseling students, I try to The thumbnail sketch is a In Illustration 4, I have gone
impress upon them that one of fundamental tool that allows you through a series of visual
their strongest assets is to be to visualize possibilities before possibilities that could be pursued.
flexible. your point of view has become
too fixed. In 4A the foreground is dark,
It is important to look at your while the background is a series of
subject in as many ways as you Keep in mind that your aim is alternating darks and lights.
can. making a picture, not copying the
object before you.
In 4B, I have reduced the

foreground dark to a small band,
leaving the trees light against a dark
background.
In 4C, I have actually expanded the

frame as my idea expanded. This
was a conscious decision based on
the compositional demands of my
new idea, not a random
meandering over the page.
Illustration 5 and 6 are the same The major difference is not in the For me the thumbnail sketch is
group of trees, but how different media used, but in the conception the exciting part of the creative
they appear! Illustration 5 was of the total. Both repeat the process.
done using ink and wash, while 6 frame, but 5 has a more flowing
used watercolors. feeling.
106
The compositional element The first step in approaching the In this drawing, I will follow the
discussed in connection with drawing is to analyze the pose. same basic procedure that I
thumbnail sketches in the last lesson This analysis can use many tools: demonstrate in the Vilppu
and the use of overlapping dark and line, volume, pinch, stretch, Drawing Manual.
light planes to create a sense of feeling the flow of the forms and
space is such a fundamental tool shape. I approach teaching drawing as a
that we should discuss it further. series of clear steps, each building
The shape helps us to see the upon the previous.
Overlapping permeates any drawing placement of the forms we create.
conceived in three dimensions. In practice, as you build your
Consequently, it is not constrained In drawing on a two dimensional skills, you will do many things at
to any particular subject matter. surface, we have to learn to look the same time, some mentally,
at the subject both two- allowing you to focus upon the
In developing the use of dimensionally and three- feeling you wish to communicate.
overlapping, I will focus upon how dimensionally.
it is used in conjunction with flat
forms, three dimensional forms, and
compound forms usually associated
with the human figure, along with
the way we separate these
overlapping forms.
The simple dropped shadow used

by computer software to give a
sense of relief is a good example of
both overlapping and separation of
planes (Illustration 1).
Compare Illustration 2A with

Illustration 1. In 2A, I have
flattened out the letter by moving
the shadow, creating a tangency. In
2B I have defined and emphasized
the space between and under the
planes, using tone.
Atmospheric tone is a fundamental

tool for describing form. The
atmosphere can also be shown by
fading forms and lines (2C).
In approaching the model,

(Illustration 3), I am going to focus
on using this essential tool for
separating forms, using atmosphere
to create a three dimensional
drawing.
107
The first step in the drawing Illustration 5 shows the way I was
(Illustration 4) is an analysis of the visualizing the figure as simple
action using lines that lead you volumes while developing the
through the figure, then lines that go drawing further (Illustration 6).
across and around the forms.
108
In developing the drawing, I have
focused on defining the forms
three-dimensionally, using line, but
not the tools discussed on the first
page of this lesson.
Compare illustrations 7 and 8. To

give a more clear sense of space
between the arm and the body, I
have let lines fade away as forms go
behind and strengthened the lines
that belong to those in front.
In Illustration 9, the application of

tone makes a dramatic jump in the
sense of three-dimensions in the
drawing.
Study the drawing on page 4 to see

how these basic tools have been
applied. As you compare it to the
photograph, notice that I have not
copied the lighting.
Now copy my drawing, then do

your own drawing from the photo,
always keeping these tools in mind.
Remember, “as I think, so I draw”.
109
In a later lesson, I will develop this
drawing further, focusing upon the
same tools, using them to clarify the
parts.
110
Jacopo Tintoretto was used by In fact, artists such as Pontormo, It is not necessary to draw the
Lorser Feitelson in a lecture while Da Vinci and Rubens were even whole sphere, but you do need to
I was a student, introducing the more obvious in using these have the concept of the sphere in
basic concept of the enclosing simple spherical volumes. you head, using the lines to
spherical form. indicate it as if you were drawing
Illustration 1 gives and example of the whole form.
This one lecture has been a bracketing and going over the
cornerstone of my approach to form, the basis of this lesson. This also applies to lines going
drawing the figure. over and around the form.
Bracketing is similar to using ( )
In looking at other artists, I marks enclosing a word. You will notice that the drapery is
realized that most of the artists of used as a means of describing the
the past used this concept in underlying form in the same way
various ways. as line is.
111
The majority of these drawings are
done from a book on Jacopo
Tintoretto and the Scuola Grande
of San Rocco in Venice.
I have sketched there several times

and will visit again in 2009 as part of
our annual Italian Sketching Tour.
In doing these drawings, I am

approaching the subject in the same
way that I do when drawing from
the original paintings.
I am using the basic tools discussed

on the first page of this lesson, as
well as the addition of wash to help
clarify the forms and space. The
addition of the wash creates a more
finished and detailed feeling.
112
In looking at the drawings on the
previous page, the tendency is to
view them as complex and detailed.
This impression is created by the

clearly defined movement of
volumes in space, accentuated by
the wash.
Study the examples on this page.

The red lines superimposed over
the drawings show how the simple
forms, bracketing, and wrapping
contour lines were used.
These drawing tools are just that.

Tools used in drawing, not the end
in themselves.
The main point in doing these

drawings was the analysis of the way
the figures relate to each other and
the general composition of the total.
113
In this analysis of a fragment of a Chapter 3 of the Vilppu Drawing As you study the works of artists
painting by Tintoretto, I have used Manual. of the past, you will find only
another of the basic drawing rarely that an artist does not take
tools-the box. Tintoretto used the The box becomes an into consideration the box.
box as an essential part of his indispensable aid in establishing
figure construction. the relationship of figures in space It is also used extensively in the
compositionally, as well as an aid animation industry. The box is, of
In my own training this was establishing the placement of course, one of the primary
constantly presented in the descriptive tones and shadows. building blocks of computer
process of analysis in both animation.
drawing and painting classes. Other artists to look at for the
analysis of forms using boxes are
The box as a tool is covered in Albert Durer and Luca Cambiaso.
114
Illustration 1 is part of a series with movement, expression, form, 2A is simply a wavy line, but with
the centaur as subject, which I will tonal quality, rendering, spatial the addition of the straight line
use to show some of the finer considerations, etc. below it in 2B, we experience the
points in drawing. rise of the line from a base,
Illustration 2 shows simple similar to mountains rising from
My approach here is a continuation examples of a couple of basic a desert plain.
of the procedure discussed in lesson tools I will be applying in the
178 about using accents. development of this drawing. In 2D we see a wavy tube, while
in 2E the addition of the straight
I have done an underlying rough lines give solid structure.
drawing using graphite, then added
the sanguine pencil on top of the
graphite. I will also use the graphite
as a dark tone in the drawings, as
indicated already in the head.
In this lesson, I would like to point

out the difference between what I
refer to as visual structure, as opposed
to anatomical structure.
Visual structure is accomplished with

the tools that we use to represent
the anatomical structure, the way we
create the impression of three-
dimensional objects upon a two-
dimensional surface.
We use these visual tools to create

an experience, rather than just
copying our subject. (Obviously for
this drawing, done from
imagination, there was no subject/
model to copy.)
Each of us can focus on different

elements in the drawing which are
of personal interest: gesture/
115
In Illustration 3, I have indicated The arm is an example of the use Illustration 5 shows how the
how the tools discussed in of 2E, while the lines on the placement of these tones play
Illustration 2 have been applied. contour of the torso show the use against the contour to amplify the
of 2B. movement.
At this point, they are exaggerated
for clarity. As the drawing Compare Illustrations 3 and 4.
progresses they will be integrated, Notice that the addition of the
but should still be obvious. tones of the abdomen in
Illustration 4 makes the torso
gesture stronger.
116
In Illustration 6, I have gone over

the surface with a stump. The
drawing now has a more unified,
overall tonal quality.
This is a good foundation for the

next step, Illustration 7. Here the
accents are reinforced.
Notice that the thoracic arch has

been strengthened, giving more
dimension to the torso.
The reflected light on the arms is

heightened by emphasizing the core
and accents.
117
In this final step, I have gone back

and added a varied, accented line in
graphite (Illustration 8) and a tone
in the background (Illustration 9).
Both the outline and background

tone assist in creating a luminous
quality in the figure.
Notice the way I have used accents

in the hollows so that we feel the
forms pushing out.
This drawing is only a fragment of

my composition.
In the next lesson, I will add

another centaur and discuss the
development of the group.
118
This illustration shows a complete Composition is the proper term for

drawing, the right hand side of which our subject since we are organizing
was the subject of the last lesson. In how one part of the drawing works
this lesson, I will follow through with with the other, and the use of accents
the rest of the composition. as tools of composition.
119
The main problem with using the The lines of the figure on the right Notice that the arrows indicate
two figures was to compose their lead the eye in a continuous this movement as well as the
interaction and bring out the movement into the figure on the gesture of the figure on the left.
story. left.
120
The addition of the tone in the Notice how the tails wrap around Another feature that helps to give
background accentuates the and overlap the two figures, continuity to the figures is the
movement from one figure to the defining their spatial relationship mirrored action (indicated in red).
other, by enclosing it in an implied and also working with the
circle. background tone to create and The blue arrows indicate the
arabesque. subjective tie as they gaze upon
It also creates contrast of light each other.
against dark tones.
121
In the detail and diagram to the left,

notice the accents that are placed in
the hollows of the form.
The alignment of these accents

creates a line that helps to
strengthen the action by leading the
eye.
Go back to the first page of this

lesson and study the finished
drawing to see where these accents
have been used and why.
The detail to the right shows

another use of accents, which is to
create luminosity.
The capturing of the reflected light

(C) between the core (A) and the
cast shadow (B) makes the reflected
light seem brighter because of the
value contrast.
In this example, the cast shadow

also shows the change in direction
of the surface form. I have used
this throughout the drawing.
Copy the drawing on the first page

of this lesson, paying particular
attention to the use of the accents as
discussed.
Start out very lightly and slowly

build the drawing up as I did, saving
the accents until the last step.
122

Vilppu Composition Lessons

Uploaded by

Copyright:

Available Formats

Vilppu Composition Lessons

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Vilppu Composition Lessons

Uploaded by

Copyright:

Available Formats

Vilppu’s Drawing Demonstration Series

VILPPU DRAWING DEMONSTRATION SERIES NO. 25

This series of drawings is based upon

The line defining the action

First get the total, and then go to the

Rubens, Massacre of the Innocents, 1635

The tone in this step is again an

The individual figure, of course,

Notice how the forms of the

Use this drawing to go over using

I suggest that if possible, acquire a

Rubens was a master in his ability

The space is also enhanced by

The main point in the diagram

Diagram “A” shows two lines

This basic idea in many of the

On the previous page, I

The movement of the baby going

Now, notice how the baby’s right

The line “E” of the diagram,

Rubens, The Descent From The Cross, 1613

In this drawing after Rubens, you

Try to see if you can find a good

Many of the European and

Rubens even had a large

Titian, Entombment of Christ, 1523-1526

In this single figure, I have

Trace over it to see how the basic

In studying this painting by the

Look at the drawing of the lower

Poussin, The Adoration of the Shepherds, 1633

In the drawing to the right, the

As the baby comes forward, notice

His head is going back into space in

This is a much gentler movement

Here again, the use of opposing arcs

Notice how the spacing between

Also notice how the background

At the top of the painting are a

Look at the single diagram to see

The ability to create a convincing

The single figure to the right uses

El Greco, Resurrection, 1600-1605

El Greco, Lacoon, 1608-1614

As you move to the right, you are

As you move to the right, you also

As you draw the shapes of the next

The foot of the reclining second

A In going back to the first figure,

In continuing the analysis of the

“C” shows how extreme and at the

El Greco Keeps extending the C

When you draw from the painting

Poussin, Midas Washing at the Source of the Pactolus, 1627

In carrying the drawing further, I

This has been part of our basic

Notice that I have not gotten into

This drawing was done a little

Instead of using wash to create the

The box was the primary idea in