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. ING
*tJ--"UtlG~~N
l;UN Tl:N T5
PRACTICE EXERCISES
IMPORTAN CE OF LINE
32
ACTION
F ORESHORT ENING
33
APPROACH
P ERSPECTIVE .
34
FEMININE FIGURE
36
F EMININE H EAD
40
ANIMAL COMICS
41
P UGNACIOU S TYPES
46
C ONTRAST
49
50
LAYOUT
51
52
PROPS
53
H.~NOS
LETTERING
10
12
ANIMATIO N
14
16
WF.IGH1.
17
19
ANIMAL HEADS
24
ANIMALS
25
T EXTURE
54
Puu
26
U SE OF BLACK
55
CARICATUR E
29
C HILDREN
B IRDS
30
DOGS
60
ANO TENSION
OF
B7
KEN HULTGRBN
RESEARCH
126 WEST THIRD STllEBT
PUBLISHING
COMPANY
Los ANGELES 13
TH E AU TH OR
Ken Hultg ren is the creator of several popul ar strips
curren tly appea ring in some of Ameri ca's top comic
magazines. His natura l ability as a cartoonist was developed and perfected by years of technical traini ng and by
experience gained in Disney's and other Holly wood
PRACTICE EXERCISES
KEEP YOUR. L INES CRISP AND CLEAN - TRY TO MAKE YOUR..
L INES UNIFORM. DON'T"Fl<EEZE UP' WHEN INKING-RELA'X.
RESPECT YOUR..
MATERIA.LS- WJ.SH
*'
F L EXIBLE RESULTS .
WITH PRACTICE YOU'LL GET CONTROL.
PATTERN
-ACTION
REGAR.DLESS OF 1-lO\IV WELL you MAY !=IN IS~ A
DRAWING/ II= YOUR POSE l-1ASN,T ''PUNCf-14' OR.
DOESN'T TELL Tl-1E STORY, IT,S NOT A COt'v\PLl:TE
SUCCE:SS. 12EW012K YOUR POSE! ESTABUS!4 A
L INE" OF ACTION IN )10Ul2 DRAWINGS .
--
}
/
APPROACl-t
FIG. I SHOWING START- USING O VAL Sl-tAPES FOR. 1-lEAD
AND UPPER T012SO.- FIG. II. r START BY DEVE L OPING
FEA"TUl2~S, HAIR, ETC.-FIG.fil- 15 Tl-l= FOUSl-tlNG-OFl= STAGE,
ADDING DET~1 ....S AS SHOWN.
(, )
li
~XAMPLE-f-lE~E
IS TJ...jE SAME
APPlc:'.OAC!-1 AS
USED IN ASOVE
SETO!=
FIGURES.
'l
AcoMMON
MISTAK'E WIT
&EGINNEl2.S IS
""."HE112. INTEREST
IN DETAILS
W ITI-IOUT Fil2ST
G IVING
rm\ P120PEl2.
\!:::.) il-lOUGI-IT
TO CON~UCTlNG
THE F IGUi2E AS
A WHOLE.
APPROACH
(,
\._
.I
( CON T.)
'I
\L
... .,I
....-'."\
r_____
/ -~~ Jt,~
\ ~
;
--4--
-'....
11
HAN DS
( CONT)
,.
--
./
12
LE TT ER ING
TOO
CRO WDE D
K EEP YOU R.
B ALL OO NS W EL L
SP AC ED .
TH IS IS A
~ '- -. := 0~
ACCENTUATE WOR.DS
INY OU R. D IAL OG UE IT REL IEV ES THE
MONOTO NY OF SAM ENE SS
00
00
r
B R.OKEN BLOCK
LET 'iER ING
~__
)(
.;--
13
LETTERING CcoNT.)
PERSPECTlVE
LETTERING
I CAN TAU<
LOUDER- I ~
FACT I CAN
EVEN
~~'irff
A GOOD
E XAMPLE OF ~W
NOT TO LETTER!
\/J'HATS
W RONG
WITH IT~
ANIMATION
14
"' '
1-4EAD TURN
F IG.i' 1-h:.AD NOl<MAL
FIG. NOTE D RAG OF JOWLS
i=IG.
''TAKE ,,,
F1G . IANTICIPATION FOi< TAK.E-
15
ANIMATtON (CONT.)
L '~
~~
~FORE LEGS REACHING FOR G120UND.
FORE L EGS
TAK ING WEIGHT,
HIND L EGS
COMINGTHl20UGH
H IND LEGS
HIND LEGS GATI-Ei21NG
STRETCHING
FOR. PUSl-lOFF
=01<. LANDING-FORE LEGS \
PUSHING OFF. )
~~
~,~
BODY' STRETCHING
FOR. TAKEOFF
BODY AT H IGHEST
POINT IN JUMP
BALL ASSUMES
N0i2MAL POSITION
~ IN SLOW POINT
{,,>OF ITS AQC I
'
17
WEIGHT
OPPOSE A HORIZONTAL
L INE W ITH A CURVED
LINE UNDER.NEATH AS IN F IG. I
F IG.I
El2A.L POScS.
f~
-..___
_5__, :5
11
WEIGl-{T(.CONT.)
OBSERVE
f-.0\,\,'
CHIPS WHOLE
BODY 12EACTS
TO WEIGi-iT/
--
SIMPLIFIE'D APPROAC~
FOR ANIMALS.
19
NOTE SIMILARITY
IN SHOULDE12S
AND A'2MS IN
SQU112REL AND
BEAR.
NATURALLY Tl-lE
CONFORMATION OF
E:ACl-l ANIMAL IS
DI FFEREN,: BUT Tl-lERE
IS A PAl<ALLEL IN Tl-lE
~ ONE STRUCTURE .
lsOTH DRAWINGS BELOW WE!:
STAR.TED W ITH AN OVAL
AND BUILT UP F=l<OM
THERE.
HOl2SE
DE:ER.
AN IMALS ( CONT.)
20
k'EEP YOUR
CONST12UCTION
AN IMALS
( CON T.)
21
BASIC CONSTRUCTION
FOR. VARIOUS TYPE S OF
ANIMALS.
KEEP YOUR..
PROPORrlONS S IMPLETRY TO IMA.GINE 1-lOW
YOUR. CHARACTER.
WOULD LOOK IN
S I LI-IOUETTE.- IS IT
C L EA.R."? IS THERE
P L ENTY OF SPACE
AROUND YOU R.C HARACTER..?
....
-.....)
22
ANIMA.LS ( CONT. )
~
!((:;)
,...:/
'
'--'
NOTESMA5
EYES A ND B IG
JO\NLS
"' )('
,,
II
ANIMALS
23
(coNT)
\
'
24
ANIMAL ~EADS
( A S IMPUFIED CONSTRUCTION)
- - - ----
ANIMALS
25
26
~~:$:~$,.~s~
ROPE IN NORMAL PQSIT ION .
FIG. I
NOfE REACTION OF CLOTl-l
WHEN TWO OF ITS CORNERS
ARE PULLED ( AS IN F IG. II )
PULL
..
'
~ ,,
-:-..-;::-,-'"'->7.>,,
,> ':::,.'<..~
~::,-.
- --
ROPE ELONGATE:.S
IN PULL .
-1~~
F1G.NSl-10 WS Cl.On-I
WI-IEN ALL FOUR COl2N!:eS
ARE PULLED.
(._
F IG. IT
FIG. m Sl-10WS
CL.On-l IN UPWAl<D
PULL.
0-:Y
~ / --~
/~
ARRO\'VS DE'10TE
:)IRECT\O OF P LJ:....L
TENS ION IN
F!GUl2E S.
NOTS STI<ESS
~: DS~lNO
S l-1112.T
27
21
P U LL and TENSION
(
CONT.)
I I
CARICATURE
A CARICATURE
29
30
BIRDS
~;:,i:;
k'E!::P ' EM
GRACEFUL'
'
BIRDS (CONT)
STUDY YOUR. PHOTOGRAPHS
OE BIRDS- THEN TRY ro BREAK
THEM DOWN TO SIMPLE FORMS
31
IMPORTANCE of LINE
32
IN FOgES\-lORl"ENED
AROUND TO Sl-lOW
ARM GOING AWJ:;.Y FOOM
READER'S !::)IE.
WEIGi-fr.
~p//
NOTE CONT12AST IN
33
FORESHORTENING
TI-IIN K OF YOUl 2SEL F AS A
~~
34
PlE RSPIECTUVIE --
VANISl,tlNG
l'>OINT
~p
~~
___.ci~ - = ===:!:z:::::::icf.ttc3:::zc:=::=-=:::!:J.~___:_I--IOR.IZON _
TO KEEP YOUR.
Cl-lARACTERS ANCH012ED
TO Tf-lE Gl<OUND, DRAW
IN YOUR. PERSPECTIVE
LINES.
CI-\ARACTERS.
IN PERSPECTIVE
I F IR.ST DRAW IN YOUR
HORIZON LINE.
TALLEST FIGUl2E
(~\:l;fji\:il~: \s
ABOVE.
PERSPECTIVE ccoNT.)
'
~
..z-,',
W!--lEN PERSPECTIVE
DIMINlSI-IES IN A GRACEFUL
ARC IT Mi.\;(ES
A
PLEASING PATTERN .
roe
r~
- -==--:-=~k --l.t"
~7
""""\
35
36
FEMININE FIGURE
(APPROACH)
_J
J
1~
,,......'
37
FEMININE FIGURE
LINE OF
ACTION AS IN
FiGUR.E Ir
1
\
\
TRY FOR. ACTION
lN YOUR.. POSE BY
ESTABLISHING A
DEFINITE LINE OF
FIGURE IN A STRAIGHT,
STIFF POSE.
]IT
NOTETl-!E
ADDED INTEREST
IN FIG.NOYER..
FIG. m: BECAUSE
OF ITS
MOVEME:NT
ACTION.
38
FEMININE FIGUR E
,
.I
LEGS/ ETC.
39
(I I
KEEP
HANDS GRACERJL
PRACTICE QUICK ACTIONS LI KE
THESE.
(/};,
(/ fV
v
40
FEMININE ~EAD
U S ING A. C IRCLE FOR.A START.
.
I
I
I
, ~~
~)'
\
'
ANIMAL COMICS
~'
r~~,
< ,;-;;f~
~#ii,., ~ \~
Ji'/~l
41
42
ANIMAL COMICS
(CONT. )
ANIMAL COMICS
( CONT.)
43
44
ANl~A AL COMICS
CON T.
ANIMAL COMICS
45
lCON T)
II
II[
II
III
46
PUGNACIOUS TYPES
ANIMAL COMICS
GORILLA TYPE
ON HEAD, NOTE
EMPHASIS ON JAW
AS W!:LL AS
PR.OT12UD!NG
I~
.,._,.._,,,,v v
LOWER UP.
EXPRESSION
DON'T BE AFRAID TO
EXAGGEl2ATE IN E><'Pl<ESSIONL ET THE BODY TEL L Tl-IE
N OTE:A
C~IPMUNIC IN A
,, wou=tSl-l // POSE .I
1-lERES
ANOTI-IER ! NOTE
T I-\E REAC'TlON
ON BOTl-l OF US
ON THIS ONE!
(ANIMAL CO'AICS)
NOTE
ATTITUDE
AND
EXPRESSION
ON CI-IIP.
48
( CONT )
~ -- -
POS E!
~\)
'
\
---~
WE LL r TI-IIN K
TI-IA T'S ALL
t
ABOUT EXPl2ESSIO'lS .
CONTRAsr
49
r,
'
~ MO~ONIC,
IMBECILIC
TYPE!
T1-1E/'v\s
PUrzTY
WORDS
TOO'
I NCONGRUITY
50
IJ
51
LAYO UlT
IV\Ak:E YOUl2 SCENES
I T E2ESTING ~GET
VARIETY
I.
l21G~T
IT
LONG SHOT
MEDIU1\;\
LONG S H OT
MEDIUM SHOT
1
-I HE'KE S NO SET
g u LE IN PLANNING
YOUl2 PANELS IN
COMIC STRIPS, B UT
YOUR. R~DER. LI kt:"$
VARIETY. G IVE IT
TO l-HM .
fv'1EDIUM CLOSE
UP
C LOSE UP
t, J/
/, 4
v ;/
,,,.,
f,,/ h,/
WO OD
NOTE FIN E UN ES
OF WO OD
PO LE :
FO R THAT ROUND
EF'FCECT, SHA DO WS
CA N BE US ED .
-WATER
WA TE R. CA N BE SUCCESS!=UL L
Y
SUGGESIED BY ~W ING TI- H: WAVES
PR OG ~S SIV EL Y L.A 12G ~ AS TI- EY
CO ME CL OS ER . TO YO U~ EY l:S
NO TE SEE -SA W PATIE:k!N AS WA.VE
S
CO ME CLO SE R. TO )'O U.
RO CK S
ROCie:$ O!= FEl 2 V.A i:2. l~Y
tN SH AP ES AN D PA TTE gNS
C0 88 LE ST ON I;
53
PR.OPS
.
- -1
1
'~~J
/f..
___,-==-~ ~
PLA.N YOUR.
DIR.ECTION OF
LIGHT. NOTE LOCATION
OF Sl-lA.DOW ON
CACTUS.
~~ ' ~)
54
TEXT URE
SILK
P R.ESSE D
UNPRE SSED
K EEP MATERIAL
NOTE THA.T
MATERIAL HERE IS
\IERY ZEGULA R -
UNES AR E CLEAN
AN 112.REGULA.::.
PA"iTE.12.N
',
CUT.
I>
---~
{}'j)'i
,(v
('. ----
:'
'
i~, .~ ~
.
..
v--~1
.<: ..
..
.J1
L_,,
FU R...
( LONG HAIR.ED )
..
WOOL
( OR COAQSE:: f'v!ATERJAL)
CURT AIN
(_ LIGHT WEIGH T
MATERIAL)
KEI::::;:> LINES LIGHT
Ai'lD LOOS :
- ,~-,..
___
55
USE OF BLACK
tSLACk S f-lOULD ALWAYS BE USED IN CONTRAST TO
\NHITE. BELOVV ..~RE EXAi\i\PLES U S ING BL.A CK IN A
;:>ATTt:::RN.
,_
.~,.I
I
W.:;:.1<.e/s A
SIM PLE
I LLUST i2.~TION S~OVVING HOW
BLACk'. IS USED TO f-.lQD
F IG U12.ES T0GE:."T!-iEl2.
_()
I "'
I
A GOOD EXAMPLE
OF POOR. SPOTTING OF=
B L ACK.
'
t~, -"'-r ,/ .
\ )
'-..,
I
~Ek::E TI...JE' BLACK:
PATTERN IS USE:D W1Tl-l
SA!v\EN ESS- IT BECOIV\ES
M ONOT ONOUS.
EX,A;'v \PLE OF
BLACK usi=D IN
CONT!2AST TO
\ Nf...\ \TE.
56
USE of BLACK
(CONT.)
MY DRAWING AT LEFT
IS USED HERE TO
TO Wl-llTE .
DIRECTION
of LIGHT
IN PLANNING A
PICTUl2E WHERE
ST120NG SHADOWS
AQE REQUllc?EDESTABLISI-I YOU!<.
L IG14T POINT.
A SIMPLE EXAMPLE
OF l-10W IT CAN BE
USED.
~\I
-
57
CI-HLDREN
5
HC::-~DS IN HEIGH T
FOR. A VEl<Y SIMPLE CONSfRUCTlON, I STAK I WITH A
Cll<::CLE FOR. TI-\E HEAD AND A PEAl2 SI-\A.PE FOR Tl-IE BODY
NOTE LENGn-1 OF
F012EI- IEAD IN
l2i::L.AT10N TO
LOWEg PART OF
H':AD.
58
CI-HLDREN (CON T)
Cl-llLDREN
59
(CON T.)
~ ----,_
DOGS
60
SIMPLIFIED ANAlOMY
II
.
~..
I , --:::..::-.....-
I -I
i
- --
FORELEG
_____x
(
. (~
\ II
~rjt~
J
~
_rt_~
IN MOTION
('' ( \(
~ ~
B U LL,
GREYI-IOUND
'I
\J
DACI-ISI-IUND
OR. WHIPPET
VARIOUS TYPES
( NOTE B OvV LEGS)
I\
,,
1
"
1\
1
,.. (
~l
''ti
DOGS ( CONt)
_ _,
61
62
D O G S (coNT.)
DOGS ( C O N T .)
WEIGHT