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
nr oaubd,
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. d,*<d. 4h. body Into Are.
p.r,.-for.qu.rl.,.. ball". and rsor
slnc. !h,riso nalurol dins8an.
;I .,dl in ochmanno propsr propoilton
Be.,, hers o t ~ndsnq lo 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 good guide ond IS
correct for most onimalr.
Divide the heod i n the mi ddl e for
construction; it's o nalurol division.
Beor in mind that tho eyes ore usvolly
on the ride of fhe heod Dr o r your
guide liner when constructing.
With bears. cots. ond dog>, the ere,
When drowi ng 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 ~ A the stiff, stilted pose with the legs
parallel.
It i t bel 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
4
Before concentrating on ,ndividuol
animals, 11 8 % helpful to nole some facts
concerning the rkalefon on generol.
Once you hara orqulred some knowl-
of the pivot points or joints in
a ~kal ston, your drawing will corns
more eorlly.
Lags are very pliable, copobls of
doubling up and ~ t ~ ~ f ~ h i n g out
On the leop pose below, not. how
rhs rib cage clongotes in 0 .belched
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 AND 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 8 1 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 hi ndquorter~ prepared for o
qv~ck departure 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 hens low. ~~~~i~~
;"-
the withers high accent, thot sfFect.
To conray excitement, flaring he mones
of the honer wor helpfvl The neshils om
sors back, and the whites of he 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 l or, with their ottent~on drown up T ~ B
'eor quorfsn are dropped, and the ~a,lr are
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 ;I msntolly 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 si l houe~t~s
Ir my %login0 cleor? How con I make fh,,
POI. ~Irongerz
THE USE OF LI NE
~ . . i ~ ~ l l ~ there arm wo kinds d line
. ,height line ond o curved line of
v.nlng degrob. ~ r i m ~ ~ i ~ y we use line
to build form ond solids ond to creole
morcmsnl
0 Fig. 1 )( Fig 2 ( 1 Fig. 3 ) I Fig. d F' G 1 1 5
uere ore
basic lines used lo burld
forms and solids
An eramde of kg. 1 is lhs cmt Note
F;, 2
Fig 3
F , ~ . 3 is a good one also to Eraale
~ ~ i $ h t in horizonlol view.
Wlh ,hh arc h. dlre~ion, of mars.
ma h a s been stand.
--b
TO build funher. "lo ,he .roigh, 1,nc.
which rclieros tho monotony of oll
cuwe,
In this sfsp, note how the stomorh
line OPPDIL. the I*. I,".. o~p.11110.
8, .Iw.~. good bc..u.e P i s . porf
of good compolilion. Work force,
OQO~",, force,,
Is9 and me lirm of the .,omoch
Remember your hanzon~ob, ranicalr.
0.d dl.son.lr h..~ plc'ur. . h~"l d
harm them.
Ex. . . . ,.,ion
Get the full use of YOU, pose,
ever il may ba. 11 a horw is ,.king 06
in 0 Ibop, re014 r hf r h ia 1s.r. lhror
the h. . d and body ,"to L o tob-off
Here is onolhor eiamplc of rtretch
In Lo si.*rh b.low, n.,e th.
("9 lo. .oi.nr .nd ,he .frafchlne
of IEB' rc..hin. for ,he .round.
Obrewe in me m,ddle d..nnp how
ths right Icg ...<h to ,he wclgh, ~f
the body. Note tho, the left log
st811 .!reah~d, and docrn! rcc.iro th.
welghl of tho body "",,I ,he
Nopa how rlghf lag ond neck
thrown forword far rho next loop
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.
ACTI ON ANALYSIS - IMPACT
~ , k *
boll whlch elongmtes i n fall.
,ng rind rquarher on impoct, so o living body
~ ~ 1 1 ,n ~ ~ r n ~ ~ ~ ~ b l e r~rcvmsfonce* In his
descent. !he horre hor t hr ow his heod back.
, . hlS stretched foreleg^ ore rem.hjng foprspmre, : . . . ..
for Be impoct,ond hh bodlelongoles in his 1. 11
The legs ore firsf to reocl. taking his weight ot
6 e ffrd shock of his loll Hlr heod pulls down-
wr d, ond hlr whole bodv revener 05 he stortr
his ,011. The ball on the rebound elaneotes
~ ~ b i ~ , ~ I ~ h ~ ~ g h no* a, much or in the origin01
fall. since 11 hos. l ot ~ 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 you hove dipped 11 ~n ~ n k The dellre here Ir
drowlns onimol.. Since the fur textures of
to have the tip 01 the brmh flat, with the thin
animalr vory, your brush technique will vary edger of the holm of the brush iurl wet enough
ol,o. To ,how ,he high sheen of . race horse, to
. ,of, ton. The rernors of the brush
f,, exvmpl., I haep my brush stroke thin,
.,,J the pressure of the brush on the paper
close togelher, and eren, leovlne open oreor determine the tone volur you will ochieve.
to rvggert h~gh lightr.
Regordlerr of the technique, I alwoyr hold
Shagginelr, wh r h is o characteristic of
my bruxh or I would o pencil, using wrist octlon
some cornel., dogs, etc, mey be conveyed
for my brush strokes
by o dry-brush rtyle. ~ h i r 8 % obtoined by Here ore some procrlce exercise5 for the
lhlnnlne out your brush on scrowh paper after hro rvle, described
THE HORSE F A MI L Y - Bone St ruct ure
Wt hod knorlodgo of the principles
of bans I ~ T U E ~ ~ E , it would be difl~cult
1. ,how conr,ruct,on, ~nimoflon, or
..ri ..,ura. Nafurallr the .kele,on "0..
is, with the conformotion of each Vpe
olanimnl, bul there i s a boric rimiloriV
in the ~kel el on~ of all onimols. Here 8 %
a s~mpl ~f ~ed opprooch for the skeleton
of . hone.
Now onoch skull.
~ s x t odd the vartabras, simplified
agoin. Note variely in shape The wo
high poinh are support for lag bones.
Vi er t hori ng shape of skull.
Next .,tach ths Arrow
points to ~oc k s t for humerus bane.
19
Add humerus, elbow, and foreleg.
Finished leg.
For sketching purposes, you can think
of it os simply or this.
The SCOPUIO fits around the contour a!
Next step: odd the bock plots Lr remr
the rib cogs.
less. Nole sockoh for logs.
Bone f(1s into socket
Study eoch skeleton with t h ~ related
dr onng Observe how fiankr turn out
ond knee. turn in on h,ndquorterr-
olro slight knock.knea ~n standlng pore.
HEADS
I!.-- i. no --.I
v D bl ~. 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.
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~ke a 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 he 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 t from
a high fall.
n.-.i...o.ds.:d-
8" 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 pr em 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
heor r l oad 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 WWQ~, .
Nok dip of roar 0s legs pull through.
right foreleg p"lling body
Rear legs again take ,velght
Bock lo be~inning al cycle
ROUGHING IN
DRAFT HORSES
The droh horse is massive in neck
shoulders. For show purposes, h e l ags
ore feathered out.
Note widh of raor
COLTS
Colts ore very long-legsed in pro-
port~on to the body. Note bored-in
figures for cornpor~ron. In drorlng
calk, keep in mind lorge ioints on less,
%moll hools. sltghrly Iarser ears, ,hod
*oil and mona. rmoll mulzla. .lleht
dome ol head.
0ec.u,e he is young, there is an ar 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 pl oc, "~ p\rot poinn.
Feeling f o r r n - ~ ~ l ~ d i f y i ~ ~ drawing
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
Tl l s r s bl " ,. o bsour, , ", a,..rno,
because of Ilr deslgn ond morktngr.
N o ~ e that 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 he stripes follow
h e form of the onimol.
Note larger stripes on reor.
- - -
.= 5
*- =.
r, ,
.\ --
, . . . -.
- . v =
-
i/
C'r'G 45
HORSES ond Z E B R A S - C A R I C A T U R E
On the droll hen.. era.gero,a char,
To me, the zebro susgestr cutaners
and decorotiraness The point. of
Note how mall knsss orcent the full.
nes of feather,ng of the legs
To suogorttoll, sleek. orirtocrotic her.
oushbrsd, oll proportions have been
kapt 1l8m ond tapering.
46
T", " .- ,..,. I L v.*rl -
a, . s, b~~!., ,!+ .,-~,l-.~- LA,
knock-knees with large hoofr.
~ h e T , ~ i a n mone occentr the thick neck
of !he drah horse. I slenderized his legs
I, rnc,e~tuate the fullness of the hoofr.
On 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 at nearly o 45'
. angle.
Tr-.'l Is_-_. 1- $Ls_ d - 6
The leg i s very thin betwren tendon
DEER-ANIMATION
WoIk
Dear lih heir lee, hioh ot +he begin
"in. .r . . c h .lop - nor. .r<r
Noto the l o r orc 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.
The bane structure ol the %tog is now
rnllv hoovior thnn thnl af the daa
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
,-\
STAGS
A few lines con suggest many forms.
It is helpful lo hove a strong line of
action, leading born the rear leg to
the haod.
54
T",.". ",- --., .,~l,.",~ I.. ,,,-:. L" I . ~
rtructvre. They ore quite knock-kneed
at an eorly oge Like morl young oni.
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 ~ m. emphorire the short
-
' bodr ond lono lags. Note how the '
crown i s rvgecstcd
To give to the stag on air of rtotelinerr,
56
THE CAT FAMILY
Generally, oll cats ore long ond nor-
To get rhythm tn your cats, work for
row 8" body, with long, ~opsrlng legs
TI.. ncrk "l . . ", . .ppcoi. blend
,
flow of line and topering forms
into ,he body in one eraeeful line
k t c me hrme, , me lower port
of me hind I . , in mmp.risnn xi* me
length of the upper section 11 i s hll
I
~harocterirtrc which gives cots their
spring 8" leop.
The iow ir broad Obsens he poralld
between the common domestic cot
and the wild pvmo ype.
For the feeling ot rhythm, weom your
forms toeether. It not only vnlf~er your
drawing but gives it movement and
grace 0 s wall.
, ,
Porticvlorly on the lion, h e upper lid
~v~~h. ng. quire lor, making . good
vi.0. lor the eye.
' Diflarsncs bshssn nose*
..
saby puma. spotted when young.
Lion Tiger
61
LIONESS
fie lionet~ i s less brood thon he male
~ " d looks more graceful
If the groundwork is right he drawing
rill be solid.
I
i
. . 1:
I '
Lion Cub
Cuts and kitten-like in oppeoronco,
I
the lion cub IS ol roys fun Note haw
body is broken up ~nto three ports
the ~houldsrs and forefeet, the body,
LION
*. I."- t.r... b.=, 0-7 A--iL
sr,. On an adulf I? also growl
soma dbfanca bock on ,he undsr.lds.
LION JUMP
.
Body reody for loop Nofs how hind-
Obsene the shihing of hindquartan
quortan gathe, bendoh him. mady
or animal digs in for jump.
Body in push-off. Note strong line
01 action through tho whole body.
Forsqu.r,sr. draw cbre to body in
forr.rd thru.,.
, -
Forelegs orch up, prsporing lo lond.
Right forelea toke, weight in Imndins
Left foreloo stretches for ground.
Hlndsuo*rl &rough horn shskh
p.,,,,,on
Rlghf hind 1. 9 ~trctchrs ,n landine.Thi3
would I ~ a d rnfo D pose sirnilor
10 "umber one if lhs ..I 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 ~ h lo keep yovr
forms ~n oroosr mrmact8ve
'kJM T b , , mms haded,",
contours of the farms
follow,ng the w/
\c
Th. big=, is long in body, with a ~ s r d r
bock He h. , baout,ful. to.crine liner
0 PYI in striper. I use a wet brush,
".~,"Q ,he presrure to produce bo,h
th,ck ond then lher
CATS
CATS- CARICATURE
I like to emphasize the sleekness ond
rhy~hm of the block pdt her - the
lone, toporing lags and long bod7.
In the com~c hpe above, I emphorized
the rlze of his hsod, mane, ond =he,,
resion. The chin whiskers ore exoger-
roted, and the tip of tho toll IS full
to obtain o flare effect.
COWS and BULLS - Cows
Noture bui l ~ the cow to corv o heavy
load. Note prominent spinal column
Bone structure is very prominent
throughout the body
COWS-CARICATURE
Thsyre rev angubr, Wllh prlrlrvdlng
bone areat and 0 gmot deol of bulk
in h a stamoch. The bo~kst.Iiks draw-
ing 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
0
nice occsnt.
The emphasis here is on the iowh BY
conlrort, the $moll mvrzls points up
,he effect.
79
na neck
shoulden ore l h~ck ond
,,,lid. ~h..e 8 % a good dcol of loole
.kin hon~mg on the mder porl of Ihs
BULLS-CARICATURE
Here I have amohosized the neck
forsqu.rtar Iccnon .nd dwarfed h e
sire 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 ow full 10 s ans os on acconr.
For on incongruous effect, I hove used
very thin Isgs on the characters below
Spredd horns
Long n.ck
Vsw ongular
Knock-knees
Split lip
Vsrl high ot the shoulder
vs v low in rear
Flared toil
ong split hoof
- GIRAFFE- CARICATURE
CAMELS
A come1 has many domino-+ choroc-
lerlsllcs, He Is 0 very leggy onlmol
~ 8 t h a deep chest. TO me, h~s most
unur u~ l feature i s 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 i s . 104 .ub,tance and is
not attached to h e bockbone
.
CAMELS -CARICATURE
Being conco,ure. 8" Lemselvel, come15
are ecor npar ~t i r el ~ easy I emphar ~r e
the following points very small pelvrc
region where hind legs onoch to body,
lone lower lip, hump iaccentuoted by
mokmg i t wider at t op]
I
GORILLAS
I
I
1. . .,:,.. -I .L.:. &.I, ..... A^"., .^
on their forms. The sketch below
shews how fot hones over h e body.
The piglst'r high foraheod gives him
~ut sness. Keep ?he body relatively
short.
WART HOGS
The bone xtruclurs is r e v similar lo
that 01 its domestic cousin. The nose i s
looser, the eon are more erect. nnd
do not hona Ilks the domestic pig's
There i s hair running from the fore-
head 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 mol l srss ond heavy, floppy son.
On ths dovoasr type obova, the top
of the hsod is small so that the curls
In "menoce" wart hog type, no* vol-
will how more flare. On the psg below
urns of chs5t ond how hmod is buried
the "orrow ,houlde,, ornphal,.e, by
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 ~ ~ ~ l b r ~ ~ d 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
Exoggeroted length of body, Ions
pointed head, and length of earl .
Bloodhound
Eroggeroted ongulor body, sire of
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 woolliners. Ths toil wo,
stockv bowlegr, ond marrive iaw.
flared for accent.
The $piked collar helps tn this core
to ettobllsh the chorocrer of the dog.
FOXES
s--. ,Lo cho..c,-.;.,:c. -,-.
o rrnoll, pointed rnurrle ond nose,
donled eyes, large pointed son, and
.moll feet.
FOX-CARICATURE
The tor #$very tlerlbie to hondle, Here
I hove illu5tratsd both tho morn con.
~snti anol and the humonizsd ypsr.
In the above sketch poinh of si ag-
esration ore: small, pointed nose,
slender lags, small feet, pointed .or$,
slanted eyes, and full toil
,
For ~utsnsrs I 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
~irnilor to those of the deer. The toil
is long ond pointad and quite full at
. the bose where it is onochsd to the
bodv. The toi l is very i mporl onf l o
tnngorool, rlnce thel use it or a rud-
der ond la help suppan their welght
Becourc of its prominence. 11 will give
you o strong line 01 action, and odd
sweep to your drawing
MO~I of the bulk of the konsoroo is
carrisd in his strong hindquarters.
RABBITS
Their bodies ore very elort~c, and they
doubls their length ~n stretched-out
P0l l t l O"l
In rilting positions, you'll notice gen-
orally tho, there's a bvnchlng up ol
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 is
well to use a 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 eor s for sadness; stretch
them bock in a surprise toke, etc.
SQUIRRELS
Squirrels-Coricatura Q>
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 cbr ol column
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 The lesser forms ore added
rounded In
Finish off
Jun becoux cl cvl t or ~t ~ urr big us14
bulky, don't be ofra~d to move them
around. On actson drawings below,
how ,he h;,d Idos and trunk ore
I.- th. lime of
To make thir pose inlerest8ng.I oppored
the position of the heod to tho, of
the l he 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...
as examples. The upper dmwing Ir in.
I
congruous because of the u5a of
long legs ond large feet. In the lower
drawing, ths emphmlir is on ths huge
bodl and Ions trunk. A numbor of
0th.. point. could bs amph..,z.d,
such .I ,he I ~ZD of the eon-or ,he
THE BEAR FAMILY
R~ n r r ore fun l o draw. since rhelr
forms so and compoct.Work
,;+A .. lines or posible
when drowino them-the tendency is
10 ule loo many 6uner8
Remember the three body breaks; note
bear below.
Observe the we of diagonal ond
curved lines in thtr sketch
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.
The brown bear is brood ond mosrive.
\-
CUBS
Cubs ore *moll in muzzle and high in
crom, which gwes them a hqh fore-
head. 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-CARI CATURE
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 we 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 ~tomoch full,
ond the mouth short and rrnoll.
For the com~c types, 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 <he.,
area In the upper sketch, the thin neck
contrortr absurdly with the bulk of
the body.
The polor bear seems to lend rtrelf to
o 5blized drawing. Here, I exogget-
oted the lone neck, pointed nose, and
heavy, Iong foreless.
COMPOSITION I N 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 . defi-
nite 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 l concerned myself with
o rotirfoctory pose, in v h ~ h the obrerver
weuld be looking up.Then I worked out the rest
of the p,ctura so or lo intensify ,hot eflsct.
Note the liner of composition. The gi 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 *(re of 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 wi ~ h the
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 hori zontal lines is em-
phasized. A strong vertical, such as
the l ef t forel eg ot 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
of the horse in the lead. It furnishes
a good di ogonal t o the picture, as,
ell or extending in the direction of
the rear 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 l eg 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 t he l i ne of his l eft foreleg. The
left foreleg of the reor horre giver
o vertical line to the, picture.