Animated Drawing TM
The Secret of the Animation Industry

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You Need to Think 3-Dimensionally for Your Drawings Appear Realistic

(Most artists are taught to "copy"  what they are viewing 2-dimensionally and this produces a very "flat" drawing)

Glenn Vilppu has been teaching professionals in the animation industry since his early days working at Disney (He worked on The Fox and The Hound as one of his projects). He has maintained a strong presence in the fine-art world simultaneously and many of his clients are professional artists making a living from their art.

Vilppu has distilled the training passed down from the Renaissance Masters, like Michelangelo, Pontormo, DaVinci, (and so on) into a simple method that will teach you to understand the how to draw the human figure so that you can create any pose from any angle from just your imagination!

Most artists today have not learned these techniques that the Old Masters used. During the time when Glenn was in school, studying at Art Center, it was more popular to study "abstract" art instead of the methods of the Old Masters. He was one of very few people who veered in this "unconventional" direction, instead of moving "forward" with the times, going "back in time" to study the great art of the Renaissance. 

As a result of this rift that formed between Abstract vs Renaissance, most artists at that time, who then went on to teach art for future generations, only know the method of "copying" what you see onto paper, as if you are looking through a 2-dimensional surface at your model. You may be familiar with the concept of using a grid to line up different parts of your drawing, looking to see where the shading is on the model and then drawing it where you see it... that sort of thing is the "copying" approach.

Instead, Glenn teaches us a method that actually has us think about what we are seeing - first we analyze the gesture so that we can communicate the Action in our drawing.  Without this action/gesture communicated, the viewer cannot look at the image and see it as "alive" or "real".  (This is one of the biggest reasons animators learn this method - their characters really do need to come across as alive and moving beings.)

He then teaches us to analyze the volumes 3-dimensionally.  In order for a drawing to appear "real", it needs to communicate what we naturally see in real life, which is 3-dimensional.  Interestingly, since the paper causes us to be creating a 2-dimensional rendition of what we are seeing, we need to learn the techniques that help us "translate" from 3-d to 2-d that appears as if it is 3-d.  Further steps, such as in the use of tone and shade can either enhance our communication of this 3-dimensionality or it can ruin the drawing and make it look flat or "off". 

The other aspects of what was passed down from these Old Masters is that of "constructing" the human figure, essentially understanding just enough of the actual anatomy, muscles and structure, to be able to draw a realistic human form. You can and will understand enough of this to be able to draw a figure from your imagination.

Enter your e-mail address to get a 12-day mini course from the Drawing Manual Lecture Series along with the first chapter from the Vilppu Drawing Manual on the #1 skill that will add life to your drawings immediately!

 

 

 

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