This series follows along with the
chapters in the Vilppu Drawing Manual. Each
DVD covers one chapter. All
combine for an excellent study of drawing and Glenn's philosophy around drawing
(which even extends to the way he lives).
Note that there is only a slight
difference between one of Glenn's lectures and his demonstrations.
In his lectures, he thoroughly explains the steps, while he is always drawing,
showing you every one of the steps and concepts. In a demonstration, he
takes one drawing from beginning to completion, while commenting on what he is
doing the entire time. So he is ALWAYS talking and drawing together so you
can both hear and see the process simultaneously. Both lectures and
demonstrations are included on all of his DVD's.
We apologize, and want you to be aware,
that because these videos were filmed in a classroom setting, there is
some classroom noise in the background.
We use only professional, archive quality
discs in the manufacture of these DVD's
Drawing Manual Lecture
Series Set
Chapters 1-12 (chapters 7 & 8 not included).
This series will
ensure that you can review nearly every chapter of the book
(not included in this set, since you probably already have it), as
frequently as you like. This set includes
bonus E-mail Subscription Drawing Lesson! This set comes in our special Library Edition Cases at no
extra charge!
A value of
$359.00.
Note: Chapters 7 & 8 are not included.
The price does NOT
include Ch 7 & 8. Unfortunately, Ch 7 & 8 have never been released in DVD
format, this means folks have been waiting on these two chapters for 4 years
already. We do not recommend that you wait to purchase the set, just to
have these two included. You could spend years missing out on all of the
valuable information that is in the other 10 chapters if you do. When
these two are released, the price of the set will increase accordingly.
Please note that if you purchase this set now, we make a commitment to you to
send you a special set-only offer so you can add those two to your collection at
NO PENALTY as compared to if you bought it after the set were completed.
We sincerely apologize for this delay, and realize how important this is to you,
so we are working on making these available as quickly as we can. We do
not yet have an estimated release date for these.
Your Price:$269.95
Purchase any 5 DVD's or more and
get a bonus 4 months (8 lessons, sent out every other week) of the Vilppu E-mail Subscription Drawing Lesson!
Our DVD's come standard in thin-line
cases. If you have someplace special
you would like to display them, you might want to order them as a set, or you
can add our Special Library Edition Cases
here!
Chapter 1, Gesture
"Gesture is the single most important element in the
drawing". The action of the figure is usually expressed as
"gesture". It means the movement and attitude of the figure. It is
body language and all of those subtle differences that characterize individuals,
be they human or animal. Glenn breaks this down into a series of steps
that are easy to understand and apply.
Contains: Lecture #1: 36 minutes, Lecture #2: 25
minutes, Demo #1: 20 minutes, drawings to view, and models to draw.
Price: $29.95
Chapter 2, Spherical Forms
Now that you've mapped out the action of the pose, the next
step in the process is to define your figure in 3-D space. Learning to see
your subject in terms of simple shapes and forms along with values is one of the
basic elements in learning to draw. Glenn breaks this down into a series
of steps that are easy to understand and apply.
Contains: Lecture #1: 41 minutes, Lecture #2: 32
minutes, Demo #1: 15 minutes, drawings to view, and models to draw.
Price:
$29.95
Chapter 3, Box Forms
The box is like the sphere in Lesson 2. It is a
critical form that you must learn how to draw if you are serious about
developing your drawing skills. The ability to draw the box is a necessary
basic skill. If you don't have a complete mastery of this, it will hinder
your development as an artist. Glenn breaks this down into a series of steps
that are easy to understand and apply. Contains: Lecture, demonstration and a model to draw.
Price:
$29.95
Chapter 4, Combining Spheres and Boxes
In lessons 2 & 3 we developed our skills at handling spheres
and boxes, manipulating them, and giving them personalities. In this
lesson, we combine them and at the same time introduce two new elements.
Glenn breaks this down into a series of steps that are easy to understand and
apply. Contains: Lecture, demonstration and a model to draw.
Price:
$29.95
Chapter 5, Ellipses and Cylinders
In the first four lessons, we have been basically dealing
with the torso of either human, animal or cartoon characters without actually
calling them that. In this lesson we want to expand on that direction by
adding appendages to these basic forms. The primary skill required to do
this is being able to draw cylinders. Glenn breaks this down into a series
of steps that are easy to understand and apply. Contains: Lecture, demonstration and a model to draw.
Price:
$29.95
Chapter 6, Basic Procedure
In the first five lessons, we have gone through the basic
elements, or tools, that we use to create form. All of the work we have
done so far has been on the presumption that we were doing a procedural drawing
where one element was built on top of the previous rather than a direct type of
drawing where each line essentially was the finished line. In this lesson,
I will outline a basic procedure showing how all of the elements that we have
discussed so far fit in. The essence of this approach is that we go from
the general to the specific. Glenn breaks this down into a series of steps
that are easy to understand and apply. Contains: Lecture, demonstration and a model to draw.
Price:
$29.95
On Hold!!
Chapter 7, Using Anatomy, Part I
It is a truism that you cannot draw something unless you know
what it looks like. It is also true that just because you know something
very well, it does not mean that you can draw it. I have taught many
medical personnel, including doctors, nurses, and various specialists with much
more understanding of anatomy than myself. In fact, it took a while for me
to realize that just knowing anatomy would not make me draw better. What I
needed was a method of understanding anatomical facts so I could use these
landmarks as a tool of communication and expression without violating basic
anatomical reality and thereby detracting from the drawing what it was trying to
communicate. Glenn breaks this down into a series of steps that are easy
to understand and apply. Contains: Lecture, demonstration and a model to draw.
Send us an e-mail if you are waiting for this DVD.
On Hold!!
Chapter 8, Using Anatomy, Part II
In the last lesson, we concentrated on the specific landmarks
of anatomy we use with the symmetry of the figure to help us see and draw the
action of the figure. The next step in using anatomy is learning to see
the large anatomical masses. In the first four lessons we laid much of the
groundwork by concentrating on simple forms as a means of analyzing the figure
as a total. This lesson is a continuation of that procedure, breaking
those larger units into smaller units, while at the same time adding a new level
of believability to our drawings. Glenn breaks this down into a
series of steps that are easy to understand and apply. Contains: Lecture, demonstration and a model to draw.
Send us an e-mail if you are waiting for this DVD.
Chapter 9, Combining 2D & 3D Observations
The reality of drawing is that we draw on a two dimensional
piece of paper; the drawing is not a three dimensional object. Up to this
point, our efforts have been almost exclusively concerned with creating that
three dimensional illusion on a two dimensional surface. We used a series
of tools and procedures that didn't necessarily rely on the model, but on an
analytical and constructive approach to drawing the figure. In drawing
from the model, i.e. reality, rather than from imagination or an ideal, we must
develop a set of visual tools to help us make that translation from the real
three dimensional world (3-D) to the flat two dimensional world (2-D) of the
paper. Glenn breaks this down into a series of steps that are easy
to understand and apply. Contains: Lecture, demonstration and a model to draw.
Price:
$29.95
Chapter 10, Indirect Lighting and Model Tone
The first half of this manual has been primarily concerned
with creating form using line, emphasizing the need to visualize the whole form
and to draw across the surface of the form to show its volume. In learning
to see spheres, boxes, and cylinders, we focused on seeing the corners of forms
and used these basic visual tools to help us see the orientation of the forms in
space and to draw them. In reality, we see things primarily in tone, not
line. In this chapter, and the next two, we will discuss three distinct
methods of using tone. The three approaches, which are indirect lighting,
direct lighting, and atmospheric perspective are distinct but generally used in
various degrees together. Glenn breaks this down into a series of steps
that are easy to understand and apply. Covers the concept of modeling tone.
Price:
$29.95
Chapter 11, Direct Lighting
In the last chapter, we discussed indirect lighting, the
modeling tone, and started on atmospheric perspective, which we will be dealing
with more in Chapter 12. Direct lighting is what we normally see when we
have a strong single light source. Sunlight on a clear day is an example.
The basic elements of direct lighting are highlights, halftone, core, reflected
light, and cast shadow. Glenn breaks this down into a series of steps that
are easy to understand and apply. Covers the concepts of; core, cast shadow and reflected light.
Price:
$29.95
Chapter 12, Atmospheric Perspective
Atmospheric perspective is normally discussed in conjunction
with landscape painting since its true effect is primarily seen in nature in
conjunction with great distances in space. The figurative artist has taken
this sense of atmosphere and developed it as a strong tool of expression by
abstracting the main elements and learning to use them while describing form.
In the last two chapters, I have already indicated some of the main elements
involved in atmospheric perspective. First, the graying and loss of detail
as objects recede in space due to more atmosphere coming between the viewer and
the object. Second, the use of this phenomenon in a formulaic manner by
artists to separate forms. In this chapter, using the idea of atmosphere
will be expanded upon to include its use as a basic element of design in drawing
to enhance the action of the figure and to clarify the three dimensionality of
the form. Glenn breaks this down into a series of steps that are easy to
understand and apply. Contains: Lecture, demonstration and a model to draw.