THE ART OF. ANIMAL DRAWING. Construction, Action Analysis, Caricature. With Illustrations. Page 2. i. CONTENTS. Preface. Tips on Drawing Animals. The art of Animal drawing. 52 Pages · The_Whole-Brain_Child_-_ The Whole-Brain Child Art of Drawing the Human Body. Ken Hultgren THE ART OF ANIMAL DRAWING Construction, Action Anaiysis, Caricature Wirh usrraliolls CONTENTS Pr. face Ti", on Drowing ""imob.

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Body in push-off. Note strong line Forelegs orch up, prsporing lo lond. I Right forelea toke, weight in Imndins Rlghf hind Thi3 Left foreloo stretches for ground. I use a wet brush, ". The chin whiskers ore exoger- roted, a n d the tip of tho toll IS full to obtain o flare effect. Iiks draw- ing 01 the top ,ugs. 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. The sketch below shews how fot hones over h e body. The nose is looser, the eon are more erect.

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From the bock the wort hog closely resembles the common pig. Jowls ond all-oround basfinass ors good points of exaggemt,on, 03 well 03 m o l l srss ond heavy, floppy son. On the psg below urns of chs5t ond how hmod is buried the "orrow ,houlde,, ornphal,. Contrast esablishas types more definimly.

They ore flexible in body. 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. FOXES s In the above sketch poinh of siag- esration ore: small, pointed nose, slender lags, small feet, pointed. The body is short and rmoll.

The toil is long ond pointad and quite full at. 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. But studying motion-picture frome, reveols thot lhey are copoble of reolly spreading out. Bunnies ore olwoys fun to draw. It is well to use a dry brush for sohnerr. Jump Not. 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.

The ooorooch. O n actson drawings below, how ,he h;,d Idos and trunk ore I. 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.

To create ,comic effects, I. 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..

Work lines or posible when drowino them-the tendency is 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. Their bodies are short, and rney ore sllgnrly plgeon.

The polor bear seems to lend rtrelf to o 5blized drawing. Here, I exogget- oted the lone neck, pointed nose, and heavy, Iong foreless. A sood piclure rhould be the use of curved 1,ne. There rhould be oppo,,. A" occ. Then Iworked out the rest of the p,ctura so or lo intensify ,hot eflsct. Note the liner of composition. To show tbe powerlul bulk of these draft horses. I used a three-quorter front perspective.

The grooves in the earth give movement to the picture. 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! 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.

A strong line of action from the right hind leg of the rear horre follows through to the leh foreleg of the front horre. The points of exaggeration Ofe: The end of ,he toil is fuJI and bushy. Note ROfe gj"en to toil for 0 peacock.

J knock. On the colt, I exaggerated the length of the legs, the shortness of the body, and the high crown ond small muzzle. The teeth hove it in this one.

The Trojan mane occents the thick neck of the droh horse. Ienderized hi. IQ accentuate the fullness of the hoofs. The bone structure is very prominent in the legs.

Its neck is thicker, the muscles ore The cntlers vory in size and number of prongs, in accordance with the age cnd type of deer.

They furnish a nice decorative occent to the drawing. A few lines can 5uggesl many farms. II is helpful. It is this spring in leaps. It not only unifies yOU; drawing but gives it movement on groce os well.

Baby puma, spoiled when young. Nole how. LION fl On an adult lion, il also grows lome dislonn bock on the undenide.

Index of /public/

RighI foreleg lak. Righi hind leg slrelches in Igndino. This left foreleg stretches lor ground. See that your forms relate to each other. The lines are shaded in, following the contours of the forms. He hOi be: The open mouth 01 the left gives 0 comic effect. Note prominent spinol column. Bone structure is very prominent throughout the body.

By The emphasis he. I e effeci. The leng;he o,ip of Ihe foil exaggerated, and II mode very full 10 serve as on accent. The upper lip is split, and the eyes protrude lomewhot Irom The ,ide 01 the heod. The hindquorter settion is set low, in tontroil to the high withers.

T I me, his most unusual feolure is the very small oreo on which the hindquarters ore set. Unlike most animols, the angle of the eye is different from tho I 01 the mouth. The eyes are wide -set, and protrude from the head, somewhot like those of the giraffe. I emphasize the following points, very small pelvic region where hind legs aNoch to body, long lower lip, hump accentuated by making it wider at top. Mou;ve and barrel.

The points which I believe give this drawing a silly appearance or8: To convey the feeling of formidable powe r to this "menace" type, t hove' exaggerated his powerful. The head is buried right in the body, and the size of the mouth is exoggerated. The smoll crown helps to accentuate, by controst, the mossive- ness of the body.

PIGS In. Note the breaks on the bock. I use this division for all animo Is. The piglet's high forehead glV8S him cuteness. Keep the body relatively short. The nose is longer; the eors ore more erect, end do nol hong like the domestic pig's. There is hair running from the fore- head olmost 10 the middle of the bock. From the bock the wort hog closely resembles the common pig.

On the dowager type above, the top of the head is smoll so thol the curls In "menau" wort hog type, not. On the pig betow ume of chest and how head is buried the norrow shoulders emphasize, by right in the chest. In caricature, mok. Controst establish. Below ore two simplified slcelelons for!

They are kepI the some lIlIIe. Keep in mind the chorocler of the dog - for a. Nole the bowlegs. They are extremely flexible in body. When you hove several together, work lor opposite types. This will make each one Jlo? Dachshund Bloodhound Exaggerated length of body, long EJl: The eOfS ore low 10 give 0 heavy eHec!. Bulldog Sheep Dog Exaggerated heavinen of chell, short, Exaggerated woolliness.

The tail wos stocky bowlegs, and mossive iow. Rared for occent. The spiked collar helps in this cose to establish the chorocler of the dog. Here I have illustrated both the more con- ventional and the humanized typn In the above sketch points of exag - geration are: For cuteness I emphasize the large head with the eyes set low, giving more forehead. The body is short and small, thus further exaggerating the size of the head.

Head and ears ore similar to those of the deer. Use this. When spotting your darks, ploy your lights agoinst the darb. Bunnies are always fun to drow.

It is well to use a dry brush for sohness. It is especially interesting to work with their jowls and muzzles. The buckteeth odd 10 the comic effect, and their ears can be used in various ways for expression.

Hong Ihe ears for sodneu; stretch them bock in a surprise toke, etc. Fa"'te""' keep ,au,d a,d lull. There is a very prominent On underside af trunk, nale Aatness a nd haw it is divided. The opprooch: Finish off. JU I bCl;uuu: Various shopes for voriouJ type'. For standing positions, think of the three units which I have indicated below. The high point of the withers breoks the flow of form between the neck and ,he bock.

Observe the use of diogonal and curved lines in this ske tch. CUBS Cubs ore small in muzzle and high in crown, which gives them a high fore. Their bodies are short, and mey ere slIgtllly plgeon -Ioed hke lhelr parents. Keeping Ih. For cuteness in small bears keep Ihe body short and dumpy, Ihe forehead high, eyes low, cheek and stomach full, and Ihe moulh shorl and smoll.

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In the I. Except in abstract compositions, it is new, I should like to summarize some the use of curved lines is nalural throughout fundomenrol painlS. A good picture 5hould be the picture. There should be opposi. An otcenl tion, such as a verTical opposing 0 horiz.With the building downward of Ih e reor leg, the skeleton i5 completed.

What a great event, lots of fun!

Observe the right foreleg of the horse in the leod. Do not rub the lines created for the outline of the picture before your drawing is completed.

Unlike most animols, the angle of the eye is different from tho I 01 the mouth. Here, I exogget- oted the lone neck, pointed nose, and heavy, Iong foreless. By The emphasis he.