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. 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 in 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 ~ A the stiff, stilted pose with the legs parallel.

It it 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 ~kalston, 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 hindquorter~ 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 h e 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 lor, 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 lhoue~t~s

Ir my %login0 cleor? How con I make fh,, POI. ~Irongerz

THE USE OF LINE

~ . . 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 is . 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~" ld 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 h f 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 o f 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.

ACTION ANALYSIS - IMPACT

~ , k * boll whlch elongmtes in 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 h r o w 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- w r 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. lo 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 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 ~ g h lightr. Regordlerr of the technique, I alwoyr hold Shagginelr, w h 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

T H E HORSE F A M I L Y - Bone Structure

W t h o d 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 is a boric rimiloriV in the ~ke le lon~ 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.

V i e r thoring shape of skull.

Next .,tach ths Arrow points to ~ o c 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 L r remr the rib cogs. less. Nole sockoh for logs.

Bone f(1s into socket

Study eoch skeleton with t h ~ related dronng Observe how fiankr turn out ond knee. turn in on h,ndquorterr- olro slight knock.knea ~n standlng pore.

HEADS I!.-- i. no --.I vD 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 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 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 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

heorr 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 WWQ~,.

N o k 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 lags 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 ark . 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 loc ,"~ 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

T l l s r s b l " ,. 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

H O R S E S 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. o f

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 is very thin betwren tendon

DEER-ANIMATION WoIk

Dear lih heir lee, hioh ot +he begin "in. .r ..ch .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 is 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 is hll I ~harocterirtrc which gives cots their

spring 8" leop.

The iow ir broad Obsens h e 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 . n g . 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 olroys 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 , , m m s 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 p d t h e r - 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 ~ c k 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 o w full 10 s a n s 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

v s 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 u n u r u ~ l feature 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 . 104 .ub,tance and is

not attached to h e bockbone .

CAMELS -CARICATURE

Being conco,ure. 8" Lemselvel, come15 are ecornpar~t i re l~ easy 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 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

~utsness. 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 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 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 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. ~sntianol and the humonizsd ypsr.

In the above sketch poinh of siag- 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 le 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 toil is very imporlonf 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 lO"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 eors 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 lcbrol 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 clcvl tor~t~ urr big us14 bulky, don't be ofra~d to move them around. O n 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 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...

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-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 ~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 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 . 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 g i rh 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 w i ~ 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 horizontal lines is em- phasized. 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 iogonal to 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 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 l ine of his left foreleg. The left foreleg of the reor horre giver o vertical line to the, picture.