The Art of Animal Drawing: Construction, Action Analysis, Caricature

Ken Hultgren

THE ART OF ANIMAL DRAWING Construction, Action Analysis,Caricature

With 759lllustrations

CONTENTS

R.brr Tips on bai". *"inall

h o d ond h.ling Ih. ur sf ti". Me"AMCi, w".h Terhniqu.

m.

wrse

rmmi17

nroaubd, Th. C.I hrnil* t a l ."d hll. Girnff" C,l.

00,i,,0~

Pig, Dog. F*.,

~ w o a Il.b&tl

squirn,, El.ph.nl

Th. b a r Tomil* c3.po.li.n

in *ni.,

0,W.".

TIPS ON DRAWING ANIMALS It

, WLII I.

p.r,.-for.qu.rl.,..

;I .,dl

d,*
Into Are. ball". and rsor

slnc. !h,riso nalurol dins8an. in ochmanno propsr propoilton

Be.,,

hers o t ~ n d s n qlo .b p,gaon-

MO,~haofad onimol,

m.0

rbghdy knock

Divide the skull into three ports olro: ,ha muzzls. the long port of the nose, and ,he base of the skull

Forten ears onto the bock of the head For ~implicitv,indocote the base with on avo1

nostrils, this is a g o o d guide ond correct for most onimalr.

IS

Divide the heod i n the middle for construction; it's o nalurol division. Beor in mind that tho eyes ore usvolly on the ride of fhe heod D r o r your guide liner when constructing.

With bears.

cots. ond dog>, the

ere,

When drowing onimols, try to gat voristy in leg poritionr Note he added interell in a sketch when he legr are placed at different angles, in contrast W ~ Athe stiff, stilted pose with the legs

parallel.

It it b e l l to keep these box forml in mind when working with .ogle .hob. If in doubt about o pose, rough in your box I~ghtly,and check your perspective.

SIMPLIFIED SKELETONS Before concentrating on ,ndividuol animals, 11 8 % helpful to nole some facts concerning the rkalefon on generol. Once you hara orqulred some knowlof the pivot points or joints in a ~kalston,your drawing will corns more eorlly.

Lags are very pliable, copobls of

doubling

up and ~ t ~ ~ f ~ h out ing

On the leop pose below, not. how rhs rib cage clongotes in 0 .belched

4

SKETCHING IN FORMS Once you hove the bosic principles o l the skeleton in mind, you moy proceed with more arruronce in your drawing. In zkefching, i t is helplul to indicote the positions, or pivot points, on the sketch.

.

T-

A diogrom such or the one obove will prove helpful when you hove form. behind one onother Keep rhrr 10 mind when drowlne any onimol in ?hi, pori,ion

MOOD A N D FEELING Evey ortirt is on octor, in thot he conveys

'.

to the observer the mood or ottitude of hts onwnol characters and murf feel the rituatlon bofore he con put 81 down on paper If the mood ir o tenre one, such 08 tho* of the deer group, then you strive for o tout, tenre mood in your chorocterr. At such o time. onimols drop lower on !heir hindquorter~prepared for o qv~ckdeparture 16 the rituation warrants ~h~ ears ond toil ore perked up The whctes of the eye, ore seldom vlrlble ~n onimals except when they ore extremely tenre and frightened. In the deer sketch, the stretched neck also help to convey tenlion.

; " -

In o very tired pore, like that of the horse, the effea requires or much dmop or posrlble Animolr shift their weight from lea to leg when tired. Their hcodr low. ~~~~i~~ the withers high accent, thot sfFect.

hens

To conray excitement, flaring h e mones of the honer wor helpfvl The neshils om sors back, and the whites of h e s p s visible. The nack muscles o n tout.

The best way to sfage the cowering for ths dogs seemed to be to keep the hsodr lor, with their ottent~ondrown up T ~

B

'eor quorfsn are dropped, and the ~a,lrare batwssn the lagt.

. ,

..

. - . ,

..

Ths lions below express o mood of lazy contentment Like their domastic cousins, Ihons lorily rwirh their toils in relaxed moods such 0%th~s*.The head of the fonher onimol on the other cot's bock airas the scene a quiet pence. Whmtevar the mood, see ;Imsntolly befor, you fort to rork.It moy be necesor, to sketin sevaral rough possr befors you find are which you leal ir sdirfoctonl The followlns ore good test questions lo osk yovnelf W811 thlr pose convey the meaning in silhoue~t~s Ir my %login0 cleor? How con I make fh,, POI. ~Irongerz

THE USE

.

~ . . i ~ ~there l l ~ arm wo kinds d line ,height line ond o curved line of v.nlng degrob. ~ r i m ~ we ~ i ~ use y line to build form ond solids ond to creole morcmsnl

OF LINE

0 )( (1 I ) 1 1 Fig.

1

Fig 2

Fig. 3

Fig. d

uereore

basic lines used lo burld forms and solids

An

eramde of kg. 1 is lhs

cmt Note

F , ~ 3. is a good one also to Eraale ~ ~ i $ in h thorizonlol view.

F;,

2

Fig 3

F'G

5

Wlh ,hh arc

ma

h. dlre~ion,of mars.

h a s been stand.

--b

TO build funher. "lo ,he .roigh, 1,nc. which rclieros tho monotony of oll cuwe,

Is9 and

.

In this sfsp, note how the stomorh line OPPDIL. the I*. I,".. o~p.11110. 8, .Iw.~. good bc.u.e P is porf of good compolilion. Work force, OQO~",,force,,

me lirm of the .,omoch

Remember your hanzon~ob,ranicalr. 0.d dl.son.lr h..~plc'ur. . h ~ " l d harm them.

E.x.

,.,ion

Get the full use of YOU, pose, ever il may ba. 11a horw is ,.king 06 in 0 Ibop, re014 r h f r h ia 1s.r. lhror the hd . and body ,"to L o tob-off Here is onolhor eiamplc of rtretch

In

Lo si.*rh b.low,

("9 lo.

.oi.nr

n.,e

th.

.nd ,he .frafchlne

o f IEB' rc..hin. for ,he .round. Obrewe in m e m,ddle d..nnp how to ,he wclgh, ~f the body. Note tho, the left log st811 .!reah~d, and docrn! rcc.iroth. welghl of tho body "",,I ,he Nopa how rlghf lag ond neck thrown forword far rho next loop ths right Icg ..
ACTION ANALYSIS-ANIMATION Feel weieht, strer. ond *,rain, .c,ion ond reaction Arcs are important in anirnotlon.There is olwovr o pivot point, but even that pivot pmnf ir movable, ol below.

.

Arrows indicote the flow of action.

The use of reverm action is p o d

Note.the bunching up ond elongoling

tont foctor in animotion, where park of the body toke different pothr of ocl8on. Note legs.

ACTION ANALYSIS ~,k*

- IMPACT

boll whlch elongmtes in fall.

rind rquarher on impoct, so o living body ~ ~ 1 1 ,n ~ ~ r n ~ r~rcvmsfonce* ~ ~ ~ b l In e his ,ng

,

descent. !he horre hor t h r o w his heod back. ore rem.hjng foprspmre, for Be impoct,ond hh bodlelongoles in his 11 . The legs ore firsf to reocl. taking his weight ot

. hlS stretched foreleg^

6 e ffrd shock of his loll Hlr heod pulls downw r d , ond hlr whole bodv revener 05 he stortr his ,011. The ball on the rebound elaneotes ~ ~ b i ~ , ~ no* I ~ a,h much ~ ~ g or hin the origin01 fall. since 11h o s . l o t ~some of Its momentum. Similarly, the horre in fhir care regotnr more of his narmol or he slaws down in the roll.

:

.

.

.

..

BRUSH TECHNIQUE Brush ond ink is on excellent medium for drowlns onimol.. Since the fur textures of animalr vory, your brush technique will vary ol,o. To ,how ,he high sheen of race horse, f,, exvmpl., I haep my brush stroke thin, close togelher, and eren, leovlne open oreor to rvggert h ~ g hlightr. Shagginelr, w h r h is o characteristic of some cornel., dogs, etc, mey be conveyed by o dry-brush rtyle. ~ h i r8% obtoined by lhlnnlne out your brush on scrowh paper after

.

you hove dipped 11~n ~ n kThe dellre here Ir to have the tip 01 the brmh flat, with the thin edger of the holm of the brush iurl wet enough ,of, ton. The r e r n o r s of the brush to .,,J the pressure of the brush on the paper determine the tone volur you will ochieve. Regordlerr of the technique, I alwoyr hold my bruxh or I would o pencil, using wrist octlon for my brush strokes Here ore some procrlce exercise5 for the hro rvle, described

.

THE HORSE

FAMILY-

Bone Structure

W t h o d knorlodgo of the principles of bans I ~ T U E ~ ~itEwould , be difl~cult 1. ,how conr,ruct,on, ~nimoflon, or .r.i,ura. Nafurallr the .kele,on "0.. is, with the conformotion of each Vpe olanimnl, bul there is a boric rimiloriV in the ~ k e l e l o nof ~ all onimols. Here 8% a s~mpl~f~ed opprooch for the skeleton of hone.

.

Now onoch skull.

~ s x odd t the vartabras, simplified agoin. Note variely in shape The wo high poinh are support for lag bones.

V i e r thoring shape of skull.

Next .,tach ths Arrow points to ~ o c k s tfor humerus bane.

19

Add

humerus, elbow, and foreleg.

Finished leg.

The SCOPUIO fits around the contour a! the rib cogs.

For sketching purposes, you can think of it os simply or this.

Next step: odd the bock plots L r remr less. Nole sockoh for logs.

Bone f(1s into socket

Study eoch skeleton with t h ~related d r o n n g Observe how fiankr turn out ond knee. turn in on h,ndquorterr-

olro slight knock.knea ~nstandlng pore.

HEADS vD b l ~ . L in a hona'r head, rnnca hen ore so many planes to consider. Once you ore fornillor with the .kull, 6. job w,ll b. I!.--

i.

no

--.I

rolotirely simple, npeciolly since much of rha.bons structure of the head is

very pronounced.

Thinking of the head in two sections may help you. In the lower right-hand sketch, not- how both the neck muscle ond the bone behmd the aye follow around the e m

MUSCLE ACTION

L~kea lout rubber bond, the musde, elonoote in stretched position, crouched po.itions,ar in the first $kekh, the musclst bunch up.

-

When the horse pusher off with his forefeet, not only do h e legs stretch out, but the whole forequarter section as well. The neck becomes longer, with

a lot of tension on the under muselec connectlno to

hl* head

29

Waioht reaction. as in fhm i m ~ a e from t a high fall.

n.-.i...o.ds.:d8" k*ep#"g "our i;g"re. ;n ,,*mp-, Wllhoul if, it'. very cosy to miss.

Arcs in perspective,

0 % shown

below,

o r worth ~ punsng in once you'.+. delsr. mined the perspective of your fsgure. Your eve is o p r e m good judge.

31

,

ANIMATION-JUMP

Note how head mod body lean into

Animoted step in perspective.

As a proctics srsrc8se. give o problem such at o horse pulling a h e o r r load forward Get or much drive in the pore os possible. Then

reverse your Dote by hovino the horse pull aoainrt the lood, backvmrds

Rmahl mor leg and Ish brelsg pushing off, right forsleg toking W W Q ~ , .

N o k dip of roar 0s legs pull through. right foreleg p"lling

body

Rear legs again take ,velght

Bock lo be~inningal cycle

ROUGHING IN

DRAFT HORSES

The droh horse is massive in neck shoulders. For show purposes, h e ore feathered out.

lags

Note widh of raor

COLTS Colts ore

very long-legsed in pro-

port~onto the body. Note figures for cornpor~ron.In

bored-in drorlng

calk, keep

in mind lorge iointson less, %mollhools. sltghrly Iarser ears, ,hod

*oil and mona. rmoll mulzla. dome o l head.

.lleht

0ec.u,e he is young, there is an a r k . word legginesr to o colt's action^. or 1hough he ir never quite sure of h,. bolonce. TW to coplure tho! feeling in yo"' PO"' APP...c~ gening the a*i,vde or pose ond p l o c , " ~p\rot poinn. Feeling f o r r n - ~ ~ l ~ d i f drawing yi~~ Working

the dcta,l of the forms.

BLOCKING IN When you have your horses sketched in and you desire tone, block in your planes. Concentrate on bazic first, and then work to the minor ones When doing this, sketch in your lines following the on tours of the body. If the basic ploner are right, the lsaar ones will not be dilficult

.

ZEBRAS Tlls rsbl"

,.

o

bsour,,",

a,..rno,

because of Ilr deslgn ond morktngr.

N o ~ ethat the hind end Ir higher in

,

Choracferirtlc= of the zebra .re large, round eorr. xhort heod, and, or a rule, smaller hook thon the hone.

porely without outtide construction Ilnes, to rhow how h e stripes follow h e form of the onimol.

Note larger stripes on reor.

--.= 5-

,

.,..r,i/ -. -

*- =.

v .-

.\ = --

C'r'G

45

H O R S E S ond Z E B R A S O n the droll

hen..

era.gero,a

-

CARICATURE

char,

To me, the zebro susgestr cutaners and decorotiraness The point. o f

Note how mall knsss orcent the n e s of feather,ng of the legs

To suogorttoll, sleek. orirtocrotic her. oushbrsd, oll proportions have been kapt 1l8m ond tapering.

46

full.

T",

"

.-

,..,.

I

L

v.*rl

-

b~~!.,,!+ .,-~,l-.~LA,

as.,,

knock-knees with large hoofr.

O n the colt. I exaggerated tho length of the legs, the shortness of the body, and the high crown ond small muzzle.

The teeth hove it in this one. Hones' teeth do protrude a t nearly o 45'

.

~ h e T , ~ i amone n occentr the thick neck

of !he drah horse. I slenderized his legs I,

rnc,e~tuate the fullness of the hoofr.

angle.

Tr-.'l

Is_-_. 1- $Ls_ d

-6

The leg is very thin betwren tendon

DEER-ANIMATION WoIk Dear "in.

.r

lih heir hc..

lee, hioh ot +he begin .lop

- nor.

.r
Noto the l o r o r c the reor tokes. Observe also how neck ond heod ere bock in drawing where the dear is landing, ond then haw it ~hrow. the forword ~n roke.off

Virgma deer, found ~n the norfhero ond eastern Unlfed Stoler,ate excellent for drorlng They ore tall, lean, ond

Slow motlo" p,.,ure. rove.1 some rev extreme portt~on~, lhke the one obove.

STAGS The bane structure o l the %togis now rnllv hoovior thnn thnl af the d a a Its neck is thicker, the muscles ore -ore

p r ~ m o u ~ c - d ..d ,

i, is LIO.JF~

oenerally thraughoul the body.

/

U

The antlers vary in size ond number OF prongs, in accordance with the oge ond h/pe of deer They furnish o nice decoratwe accent to the drawing

,-\

A few lines con suggest many forms.

54

It is helpful lo hove a strong line of action, leading born the rear leg to the haod.

--.,

",.,~l,.",~ I.. ,,,-:. L " I . ~ rtructvre. They ore quite knock-kneed at an eorly oge Like morl young oni. T",.".

mols they hove o high forehead.

DEER-CARICATURE

. ...

-

'

Keep ~ l e ~ n sweeping , lines. tapering body In the adult. the arched neck conlribufer lo the feelsno of orm~s. F O ~tho f ~ memphorire . the short bodr ond lono lags. Note how the ' crown is rvgecstcd

To give to the stag on air of rtotelinerr,

56

THE CAT FAMILY Generally, oll cats ore long ond norrow

8"

TI..

ncrk " .,"l

body, with long, ~opsrlnglegs

into

,he

.ppcoi.

blend

To get rhythm tn your cats, work for ,

flow of line and topering forms

body in one eraeeful line

k t c

me hrme,,

of me hin,d.

I

The iow

ir broad Obsens h e poralld

between the common domestic cot and the wild pvmo ype.

I

me

lower port xi* me

in mmp.risnn

length of the upper section 11 s i hll ~harocterirtrcwhich gives cots their spring 8" leop.

For the feeling ot rhythm, weom your forms toeether. It not only vnlf~eryour drawing but gives it movement and grace 0 s wall.

,

.

Porticvlorly on the lion, h e upper lid ~ v ~ ~ h . n g quire . lor, making good vi.0. lor the eye.

'

Diflarsncs bshssn nose*

.. saby puma. spotted when young.

Lion

Tiger

61

LIONESS fielionet~i s less brood thon he male ~ " looks d more graceful

If the groundwork is right h e drawing

rill be solid.

I

. i.

1: I'

Lion Cub

Cuts and kitten-like in oppeoronco, the lion cub IS olroys fun Note haw body is broken up ~nto three ports the ~houldsrsand forefeet, the body,

I

LION

*. I."-

A--iL sr,. On a n adulf I? also growl soma dbfanca bock on ,he undsr.lds. t.r...

b.=,

0-7

LION JUMP

Body reody for loop Nofs how hindquortan gathe, bendoh him. mady

Body in push-off. Note strong line 01 action through tho whole body. Forsqu.r,sr. draw cbre to body in forr.rd

.

Obsene the shihing of hindquartan or animal digs in for jump.

Forelegs orch up, prsporing lo lond.

thru.,.

, -

Right forelea toke, weight in Imndins Left foreloo stretches for ground. Hlndsuo*rl &rough horn shskh p.,,,,,on

..I

Rlghf hind 91 . ~trctchrs,n landine.Thi3 would I ~ a drnfo D pose sirnilor 10 "umber one if lhs wsrs D ivmp ogd".

BUILDING A HEAD work for brood planes ot f ~ n t 500 thot yovr forms relate to each ofher Dwldtng the head down !ha m~ddle wtll help, rmce 81 wrll gtvs you a llns of componsoo by r h ~ lo h keep yovr forms ~n oroosr mrmact8ve

'kJM

T b , , m m shaded,", follow,ng the contours of the farms

w/ \c

Th. big=, is long in body, with a ~ s r d r bock He ,h. baout,ful. to.crine liner

0 PYI

".~,"Q

in striper.

I

,he presrure

th,ck ond then lher

use a wet brush, to produce bo,h

CATS

CATS- CARICATURE I like to emphasize the sleekness ond rhy~hm o f the block p d t h e r the lone, toporing lags and long bod7.

-

In the com~ch p e above, I emphorized the rlze of his hsod, mane, ond =he,, resion. The chin whiskers ore exogerroted, a n d the tip of tho toll IS full to obtain o flare effect.

COWS and BULLS

Noture buil~the cow to corv o heavy load. Note prominent spinal column

Bone structure is very prominent throughout the body

- Cows

COWS-CARICATURE Thsyre rev angubr, Wllh prlrlrvdlng

bone areat and 0 gmot deol of bulk in h a stamoch. The bo~kst.Iiks drawing 01 the top ,ugs.,tr the m.nnsr in which the weight hangs from !he spinal

~0l"rn"

.

,

Moklng the tip of the toil full nice occsnt.

0

The emphasis here is on the iowh BY conlrort, the $moll mvrzls points up ,he effect.

79

na neck ,,,lid. ~h..e

shoulden ore lh~ckond 8%

a good dcol of loole m d e r porl of Ihs

.kin h o n ~ m gon the

BULLS-CARICATURE Here I have amohosized the neck forsqu.rtar

Iccnon

.nd

dwarfed h e

of the lees lo give more bulk to the body. The length o l the horns is er~ggerated, and the tip of be fail Ir mod* r o w full 10s a n s os on acconr.

sire

For on incongruous effect, I hove used thin Isgs on the characters below

very

Spredd horns

Long n.ck

Vsw ongular Knock-knees Split

lip

Vsrl high ot the shoulder

vsv

low in

rear

Flared toil ong split hoof

GIRAFFE- CARICATURE

CAMELS A come1 lerlsllcs,

has many domino-+ chorocHe Is 0 very leggy onlmol

~ 8 t ha deep chest. TO me, h~s most u n u r u ~ lfeature is the very mall ore0 on whlch the hlndquorterr are set. Unlike most onimolr, the onale of the eye ir different from lhot of the mouth. The eyer ore wide-set, ond protrude from the heod, somewhat lake those of the giraffe.

.

The hump is not attached to

104.ub,tance and h e bockbone

is

.

CAMELS -CARICATURE Being conco,ure. 8" Lemselvel, come15 are e c o r n p a r ~ t i r eeasy l~ I emphar~re the following points very small pelvrc region where hind legs onoch to body, lone lower lip, hump iaccentuoted by mokmg it

wider at top]

I I

I

GORILLAS

...

.,:,.. -I.L.:. &.I, A^"., .^ on their forms. The sketch below shews how fot hones over h e body.

.1.

The piglst'r high foraheod gives him ~ u t s n e s s .Keep ?he body relatively

short.

WART HOGS The bone xtruclurs

is r e v

similar lo

that 01 its domestic cousin. The nose is looser, the eon are more erect. nnd do not hona Ilks the domestic pig's

There is hair running from the forehead almost to the middle of ~ h s bock.

From the bock the wort hog closely resembles the common pig.

--

PIGS-CARICATURE.

Jowls ond all-oround basfinass ors good points of exaggemt,on, 03 well 03 m o l l srss ond heavy, floppy son. On ths dovoasr type obova, the top of the hsod is small so that the curls will h o w more flare. On the psg below the "orrow ,houlde,, ornphal,.e, by

In "menoce" wart hog type, no* volurns of chs5t ond how hmod is buried right 4" the chert In caricature, maka use of conhosting was or much 0s pos~ible.Contrast esablishas types more definimly.

DOGS

DACHSHUND

ENGLISH BULL The English bulldog ir broad of chest, r l t h 0 flat nose and over-all blunt

,

GREYHOUND I" Ih. grayhound and l h l ~ b ~r ~~~ ld l , the bons structure 1% very pronounced. They ore flexible in body.

GREAT DANE

DOGS-CARICATURE Dogs ore momelour for caricolure because of the mony con,rarting Iypes.

when you hove serer01 together. work lor opporila hpes This wtll make soch one stand out more defin,telr

Dachshund

Bloodhound

Exoggeroted length of body, Ions pointed head, and length o f earl.

Eroggeroted ongulor body, sire o f nose, and loose rkin on the heod. The eorr ore low to give o heavy effect

Bulldog

Sheep Dog

Exoggsrotsd heoviners of chest, short,

Eioggeroted

stockv bowlegr, ond marrive iaw. The $piked collar helps tn this core to ettobllsh the chorocrer of the dog.

flared for accent.

woolliners. Ths toil wo,

FOXES ,Lo cho..c,-.;.,:c. -,-. o rrnoll, pointed rnurrle ond nose, donled eyes, large pointed son, and

s--.

.moll

feet.

FOX-CARICATURE The tor #$verytlerlbie to hondle, Here I hove illu5tratsd both tho morn con. ~sntianoland the humonizsd ypsr.

In the above sketch poinh of siagesration ore: small, pointed nose, slender lags, small feet, pointed .or$, slanted eyes, and full toil ,

For ~utsnsrsI emphos~za the lorse hemd with the eyer set low, giving more forshsod. The body is short and rmoll. thus further eiosgsroting h e r i l e of the heod

KANGAROOS ~ h . rib cogs ir

.

rmall, and the forelegs hang, rodent-like. Heod and cars ore ~irnilorto those of the deer. The toil is long ond pointad and quite full at the bose where it is onochsd to the bodv. The toil is very imporlonf l o tnngorool, rlnce thel use it or a rudder ond la help suppan their welght Becourc of its prominence. 11will give you o strong line 01 action, and odd sweep to your drawing

the bulk of the konsoroo is carrisd in his strong hindquarters. M O ~ I of

RABBITS

Their bodies ore very elort~c,and they doubls their length P0lltlO"l

~n stretched-out

In rilting positions, you'll notice gen-

orally tho, there's a bvnchlng up o l forms. But studying motion-picture frome, reveols thot lhey are copoble of reolly spreading out. ,

When rponing your dorkt, ploy your lights ogoinrt the dorkr.

Bunnies ore olwoys fun to draw. It well to use a

is

dry brush for sohnerr. Jump

Not. !he bunching up ond alongotina of the robbit on the toke-all

RABBITS Robbits arc excellen1 for humonired types, thew heods and bodies ore so flexible lor expression. It is etpeciolly interetlinp to work wjth their jowls ond The bvcktasth add to the comic dfect, ond their eors can be used in various woyr for expression. nang the e o r s for sadness; stretch them bock in a surprise toke, etc.

SQUIRRELS

Q>

Squirrels-Coricatura For cufenerr, keep round ond

full

ELEPHANTS Work for big, sweeping forms. ~ h . elephant IS o very ongvloi on~mol,n rpcte of 11s tremendous bulk. There a wry prommnent r ~ r l c b r o lcolumn on th. back.

\

on ""der.ide tmnk, note nobell ond how it is divided Refer to skeleton drawing-it will explo8n !he hollow cheek.

The ooorooch. the ma," forms ore rounded In

Finish off

The lesser forms ore added

J u n becoux c l c v l t o r ~ turr ~ big us14 bulky, don't be ofra~dto move them around. O n actson drawings below,

how ,he h;,d I.- th. limeof

Idos and trunk

ore

To make thir pose inlerest8ng.I oppored the position of the heod to tho, o f the lhe of movement of the body Note pull of loose skin beheen head ond chert in the drarlng or lover lek.

ELEPHANTS-CARICATURE An elephant hos so many unusual chorocter,.t,cs tho, he i. co,y ,o caricature. To create ,comic effects, I .,-d ro-ple,-l, h..

I

as examples. The upper dmwing Ir in. congruous because of the u5a of long legs ond large feet. In the lower drawing, ths emphmlir is on ths huge and Ions trunk. A numbor of point. could bs amph..,z.d, such .I ,he I ~ Z D of the e o n - o r ,he

bodl 0th..

THE BEAR FAMILY R ~ n r rore fun lo draw. since rhelr

..

forms ,;+A

so

and compoct.Work lines or posible tendency is

when drowino them-the

10 ule loo many 6uner8

Remember the three body breaks; note

bear below.

For rtondine positions, think of the three unltr which I hove indlcoted below The high point of the witherr breaks the flow of form beween the neck and the bock.

Observe the w e o f diagonal o n d curved lines in thtr sketch

The brown bear is brood ond mosrive.

\-

CUBS Cubs ore *moll in muzzle and high in crom, which gwes them a hqh forehead. Their bodies are short, and

rney ore sllgnrly plgeon.loed llke lhelr

.

paren~,Keepins Be eyer low in their haod. adds to the effect of cu,cner..

POLAR BEARS

BEARS-CARICATURE On the odulb exaggerate the lors= torso and marrivs "ormr. By keeping legs rhort,yo" Occenfuote size of body

The m e 01 heavy lowls works nicely on beor, For a silly effecf, l e w e o u ~ the chln on your character.

For EuleneSr in small bears keep the badr short and dumpy, ,he forehead high, eyer low, cheek ond ~tomochfull, ond the mouth short and rrnoll.

For the com~ctypes, I hove wed two extremes In one rketh, the main mart is corried in the lower oreo, whrle rn the other, it ir carried in the
The polor bear seems to lend rtrelf to o 5blized drawing. Here, I exoggetoted the lone neck, pointed nose, and heavy, Iong foreless.

COMPOSITION IN ANIMAL GROUPING Comporttion may be on old stow to many reoderr. but for the benefit of those to whom t IS new, I rhould lhke to rvmmortze some fundomental pomn. A sood piclure rhould be on combin.tion olvenic.l,horizont.l. ond diagonal lines. There rhould be oppo,,. tlon,ruch or a verticol opposing o horirontol line. ond repeflllon, where o line moving in o

csnoln direction is repeated in enother pod 01 the picture Except in obrtroct compositiont. the use of curved 1,ne. noturol throughou, the p,cl"rc. It 8. odri,.blc too, to hare definite line of oction in your pidure ro that the viewer can follow the moroment. A" occ.n, ir olwoyr irnportont, since ~t tends to breok the monotony of o line of oction

.

.

The problem in this elephant picture was how to stage it moa effectively. Believing !hot on underneath shot wbuld gwe the desired dramolic effect. I f ~ r r lconcerned myself with o rotirfoctory pose, in v h ~ the h obrerver weuld be looking up.Then Iworked out the rest of the p,ctura so or lo intensify ,hot eflsct. Note the liner of composition. The g i r h hair is used 0. accent.

..

To show tbe powerlul bulk of these draft horses. I used a three-quorter front perspective. For dramatic effect, the cornera ongle 15 low, thus accentuotin~the *(reof the lorequortsn and the height of the withen of the horse in tha foregraund.

The grooves in the earth give movement to the picture. The grooves, running downhill in the foreground creote contrort w i ~ hthe up-angle of the foreground horse.

The arrows indicate the of action The panther's head in the background

is used or the accent

In this

layout, the use of diagonal,

vertical, and horizontal lines is emphasized. A strong vertical, such as the left foreleg o t the horse !n the foreground, tends to hold the picture together. Note how it Ieods into the three hcodr. The rear horse's head is the accent. Observe the right foreleg o f the horse in the lead. It furnishes a good d i o g o n a l t o the picture, as, ell or extending in the direction of the r e a r horse's head. (See orrows in sketch.)

Agoin in this drawing, the various po~hs of oction ore indicated by arrows. A strong line of action from the right hind leg of the rear horre follows through to the leh foreleg of the front horre. Here, the rear horse's head works as on occent. The ongle of the front horse's head is in opposition to the line of his left foreleg. The left foreleg of the reor horre giver o vertical line to the, picture.