Join Our Newsletter
Upcoming Events
Featured Story
Dear Glenn Vilppu, I have been purchasing an number of your DVD's lately and I feel Compelled to tell you why, although it is likely a story similar to many others you've heard. In art school, I was tought by drawing training. Mostly, they plopped us in front of the model, gave little instruction or focused on contour drawing. When I entered an MFA prgoram, I asked, "Who teaches anatomy?" and was told, "You'll need to do that on your own." So I did as best I could. I found tapes of Robert Beverly's Hale's lectures stuffed away in the library, but they were in a deteriorated condition and some were missing. I kept attending fugure drawing classes in which I wasn't enrolled, trying out different teachers and getting time with models. And I gradually acquired a library of books on the subject. Now I teach beginning figure drawing in a large art program at a University, one of 6 or 7 faculty who teach the same course. I'm well regarded, but to me, my student's work always seemed flat and lifeless. They developed accurate observation and measuring skills, we talked a lot about line variation, different rendering techniques and composition, but their work was rooted in drawing just what they saw and it consistently lacked a sense of movement, rhythm, and volume. I think you see where I'm headed... I found your web site by chance while surfing the net - it was link on an animation artist's page that one of my student's asked me to look at. I've been working with your techniques over the summer and started using them this fall with my classes. We have a special display area for freshman class work and, luck of the draw, I happened to get one of the earliest slots - 5 weeks into the semester. This is generally undersirable as the work has not had much time to develop. The response has been very gratifying, with accolades from many faculty. In fact, another instructor opted to not put up his class' work alongside mine (that was too bad). But here's the cherry on top: a couple of my former students were admiring the work when I came by. One said, "Boy, this doesnt look like what we did in class, ours didn't look nearly as good." So I asked, "Well, what is different about these drawings?" The student paused thoughtfully before replying, "They all move, and they feel real, they have volume." I could have kissed his perceptive forehead. So Thanks. The anatomy DVD's are the clearest reference I've found for understanding how the muscle and skeletal structures work when the body in action. The chapter by chapter DVD's are terrific. I see the results of them in my own drawing and in my students work as well.
— Jill Eberle, Vilppu Method Professional & Instructor, NC-
Articles
- Drawing Drapery: Action, Composition and Tone, Step by Step Demonstrations
- Drawing Drapery: The Inert or Dead Fold
- Drawing Drapery: The Flag Fold
- Drawing Drapery: The Zig-Zag Fold
- Drawing Drapery: The Spiral Fold
- Drawing Drapery: The Half-Lock Fold
- Drawing Drapery: The Diaper Fold
- Drawing Drapery: The Pipe Fold
- Drawing Drapery: Analysis of Folds
- Drawing Drapery: Procedure
Archives
Categories
