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Inhaltsangabe: As art students, we all spent most of our time drawing the nude figure. As professional artists, we rarely draw the nude figure. In drawing the draped figure, the natural tendency is to copy the pattern of the folds that we see. My focus in this book is to use the drapery as a means to describe the underlying form. Of course, in describing the form, the action of the form is a critical element so the drapery becomes a strong component of communicating the action. The folds created by the drapery fall into predicable patterns determined by the kind of drapery, the form that it goes over, the action of the form and, in the case of clothes, the cut and type.
The predicable patterns are classified into seven basic folds, and combinations of these folds. Understanding these folds, and what causes them, allows the artist to draw the clothed figure from imagination. In drawing from the model, the understanding of the basic folds and their causes, gives you the ability to select the folds that best communicate the action and describe the form.
Über den Autor:
Glenn Vilppu is considered one of today's foremost draftsman and instructors in drawing and painting. Few contemporary artists have thoroughly absorbed the lessons of the great masters of the past and, in addition, none have the ability to communicate and inspire students with such knowledge and understanding.
Trained in the classical art of the Great Masters of the Renaissance, Glenn understands the fundamental language of drawing, and he has kept the Florentine School alive. Studying with him, today, is no different than it was studying with Michelangelo, Rembrandt, or Leonardo. His students go through the same steps, beginning with the structure of the subject, the bones, then adding the muscles, and finally the flesh.
He claims there are no rules, just tools. He continually refines his teaching techniques to make it easier for his students to grasp the essential concepts of drawing. His mission is to empower them with the tools they will need to succeed in their world; his greatest satisfaction is seeing them earning their living as artists, and many do.
His sketchbook is his personal diary and his teaching tool. He constantly draws and he demands his students do the same. He draws wherever he is, whatever captures his attention: his children, the grasses growing outside his door, his wife's flower arrangements, the people at the town meeting. Drawing is his visual language. His sketchbook is his camera. "I draw better than I speak," he says.
His colleagues declare no one draws as much as Glenn, and no one has been able to put down the drawing with his clarity. He personifies his philosophy that one needs three things to succeed: the knowledge, the skills, and the spirit to carry it out.
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