DOGS

. 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

S1MPLf: Hl?Al> CONSTRUC TION

FEMININE FIGURE

36

SIMPLE S HAPES FOR VARIOUS TYPES

F EMININE H EAD

40

fEAlURES ANO EXPRESSIO NS

ANIMAL COMICS

41

P UGNACIOU S TYPES

46

C ONTRAST

49

INCONGRU ITY AND DISTORTIO N

50

LAYOUT

51

BR USH TREAT MENT FOR PROPS

52

PROPS

53

H.~NOS
LETTERING

10
12

ANIMATIO N

14

SQ UASH AND STR ETCH

16

WF.IGH1.

17

SIJ.IPLffl ED APPROACH FOR ANIMALS

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

A MANUAL OF INSTRUcnONS AND SUGGESTIONS

ON THE ART OF CARTOONING, INCLUDING ANIMATION.
FOR USE OF BEGINNERS AS WELL AS ADVANCED STUDENTS.

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

studios, where he held positions as animator, layout man,

and story director.
Mr. Hultg ren's war posters, prepa red for the government, attracted wide attent ion and received high recognition in art circles, one of the posters having been
grante d an official gover nmen t award.
Mr. Hultg ren is co-aut hor and illustrator of Dadd y
and the Gol-L111nph, an unusu al, deligh tfully entertaining child' s story book, based upon an imaginative animal
world ; to be published in June, 1946.
THE PUBLI SHER.

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

YOUR. BRUSH OUT

THOROUGHLY WHEN
YOU'RE THROUGH

EVERY CARTOONIST HAS HIS OWN

PR.EFERENCE AS TO THE INSTRUMENT
HE USES. I PERSONALLY L IKE A
BRUSH N0.**'2. OR. NO. 3 FOR

*'

F L EXIBLE RESULTS .
WITH PRACTICE YOU'LL GET CONTROL.

TRY FOR. VARIETY OF WEIGi-iT IN YOUR.

L INE. IT MAk'ES FOR A SNAPPIER.
DRAWING.

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

....... SIMPLE S~APES FOR VARIOUS TYPES c..

( \

....-'."\

r_____

FEATURES and EXPRESSIONS

_ EXPRESSION IS FEELING, ANDPER..HAPSTHE BESTWAYTO
STUDY IT IS TO SE.TA M IRROR IN Fl20NT OF YOUR DRAWING
BOAl2D AND LE T LOOSE WITH SOME GRIMACES OF YOUR OWN.

TRY TO FEEL THAT Tl-lE

FACE IS A RUBBER-LIKE
M ASS, CAPAB L E OF
SQUASHING' AND STRETCHING

/ -~~ Jt,~
\ ~
;

--4--

-'....

11

HAN DS
( CONT)

,.

--

./

12

LE TT ER ING
TOO
CRO WDE D

K EEP YOU R.

LETTER ING IN YOUR.

B ALL OO NS W EL L
SP AC ED .

DONT MAKE THIS

MIS TAK E- PLA N

YOU R. BAL LOO N.

WAT CH S~C ING

BET WE EN WO l2DS
AS WE LL AS BET WEE N
LIN ES.

TH IS IS A

THO UGH T BAL LOO N .

~ '- -. := 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

~__

)(

.;--

DRO P SHA DOW S ARE SIMP LE

ANO ARE E'F'FECT'IVE IN i"IT LES

PRA CTIC E YOU R ALP I-IAB ET......,

MA. KE IT CLE AR AND LEG IBL E:/

13

LETTERING CcoNT.)

a /Jcdefg h!J k!_m~<:[>CA9s~~tuvwxyz

VARIOUS TYPES OF CAPITALS. - ---..

PERSPECTlVE
LETTERING

FOR. W'41SPERIN(3, JUST GO

SM.>.LL LIKE TMIS - IF YOU
MAVEN T YOU!it GLA~S ON

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

FIG. I-NO!: L;::"(; ST'2E1Cl-l

=OR LEG REACHING

"' '

1-4EAD TURN
F IG.i' 1-h:.AD NOl<MAL
FIG. NOTE D RAG OF JOWLS
i=IG.

JOWLS S VVING AROUND

AS HEAD SNAPS INTO POSITION

FIG.@ JOWLS NOVY NOl2/\,\~L
AS ACliON END S -

''TAKE ,,,
F1G . IANTICIPATION FOi< TAK.E-

l NOTE SQUt>Sl-tED, BuNCl-4ED UP POSE

CONTRASTED BY ELONGATED POSE
OF FIG. JI

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

FORE LEGS REACH ING FOR GROUND AS

IN FIRST SKETCH

BOUNCING RUBBER BALL

( A S IMPLE ILLUSTRATION 70
SHOW SQUAS\-4 AND STRETCH)

BALL ASSUMES
N0i2MAL POSITION
~ IN SLOW POINT
{,,>OF ITS AQC I

SQUASH AND STRETCH

APPLY 1'0 COMIC STI21PS
TOO. DON'T BE AFRAID
TO E:)(AGGEl<ATE:-.MAKE
WITf-l A TAl.:::E., C HIP!

'

17

WEIGHT
OPPOSE A HORIZONTAL
L INE W ITH A CURVED
LINE UNDER.NEATH AS IN F IG. I

F IG.I

FOR. SOME Pl2ACT1CE

E.XEl2CISES, Dt;?.AW A HEAVY
SACK AND PUT IT IN SE:V-

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

SIMPLE AND DIRECT.

IF= DRAWIN G FROM

Pl-lOfOG RAPHS,
BOXING IN YOUR
CI-V>.RACTER W ILL
l-lELP ">'OU IN
S I-ZING YOLJR
PROPO l2Tl0NS .

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

LINE: OF=' ACTION -

A DEFIN ITE LINE

OF ACTION CAN BECO\t\E
MONOTONOUS UNLESS ~
YOU BRS..K IT BY AN
~
ACCENT.
~ )
__....._::,,,,~-....;~~ )
II I .

NOTE TAIL DOESN/T

FALL INTO GENERAL
L INE OF ACTION, BUT IS
USED AS AN ACCENT

NOTE LEG LEA.DING

IN TO UNEOF
ACTION.

\NORK FORCES AGOJNST

FORCES - T!-ll2USTS
AGAINST COUNTE12THRUSTS.

26

PULL and TENSION

IN TAKING UP Tl-115
S UBJECT, LET'S TA-KE
A PIECE OF CLOTl-l AS
IN F IG. I AS AN EXAMPLE.

ANOTl-lEI< S IMPLE EXA/\1\PLE

TO ILWSTRATE PULL AND
TENSION IN A M Ol<E SOLID
MATERIAL.

~~:$:~$,.~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

Non: 1-bVv LO\lvER PA!<r OF

CLOTI-I lc!:ACTS TO Tl-i i:
PULL.

FIG. m Sl-10WS

CL.On-l IN UPWAl<D

PULL.

0-:Y

PULL and TENSION lCoNT.)

I-JERE A'i2E. SOME
::iltv\PL~ ILLUSTRATIONS

51-IOWING PULL AND

~ / --~

/~

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

IS AN 8<AGGEl2ATED DESIGN OF Tl-IE:

SUBJECT YOU ARE DRAWING - LOOK. FOR OUTSTANDING
FEATURES AND UTI U ZE TI-IEM IN YOUl2 DRAWING BY
EMPASIZING THEM.
Tl-IE FOLLOWING PAIQS
5 1-\0W ow I WENT
FUR.TI-lER TO EXAGGERAT!:-

ANALYZE Youe SUBJECT

AND LET YOURSELF GO.

29

30

BIRDS

~ACI-I TYP~ OF 8 112.D

1-\AS A DIFFER.ENT
FORM. HERE ARE A FEW
SUGGESTIONS FOl2
SOME TYPES-

~;:,i:;

k'E!::P ' EM
GRACEFUL'

'

.T l2Y FOl2. RI-IYTM

AND SWEEP IN YOUl2.
Dl<.AWINGS.

BIRDS (CONT)
STUDY YOUR. PHOTOGRAPHS
OE BIRDS- THEN TRY ro BREAK
THEM DOWN TO SIMPLE FORMS

31

IMPORTANCE of LINE

32

L INE CAN SUGGEST WEIGHT, F012M, MATERIAL AND OTI-IER

TI-IINGS TOO NUMEROUS TO MENTION. 81::LOW Al2!: A
FEW EXAMPLES.

IN FOgES\-lORl"ENED

NOTE Tl-IE WEIGi-iT

OR. THICKNESS OF LINE

ON UNDEl2SIDE- IT/S
USED10 ACCEN"TUATE

A.RM- Nari: '.-J.OW

LINES WRAP IN AND

AROUND TO Sl-lOW
ARM GOING AWJ:;.Y FOOM
READER'S !::)IE.

WEIGi-fr.

~p//

!-4ERE LINE IS USED

TO SJ.ON PERSPECTIVE.

Tl-IE EXAMPLE ABOVE

l LLUSTl2ATES Tl-IE USE
OF LINE TO EMPHASIZE
STRESS AND STRAIN OR
RELAXATION OF MATERIAL.

NOTE CONT12AST IN

LINE USED IN Tl-lE

BRANCl-l lNT\.4E FOREGROUND AND Tl-IE
Bl2ANCl-l IN Tl-IE
BAClc:::GROUND.

33

FORESHORTENING
TI-IIN K OF YOUl 2SEL F AS A

CAME RA WITI-I YOUR LENS

NEAR Tl-IE OBJE CT IN FRON T
OF YOU, WI-IIL E E REST OF
Tl-IE OBJE CT RECE DES -

IT'LL GIVE YOU A DQAM ATIC

FEELI NG AND DEPT ~!

~ER E ARE A FEW EXAM PLES T12EES ARE AN EXCEL.LENT SUBJECT

TO WOR K O\I. TRY SOME Win-I
Tl-IE Bl2AN C~ES 12UNNING INlD
CAMEl2A WI-IIL E ~E'2 S DIMIN ISl-l.

~~

rOR. Tl-1AT FEELI NG OF

DISlAN CE USE. FOREGl20UND
Pl20PS AGAINST BAO(GROUND.

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.

II DRAW IN Tl-IE Cf-lARACTER

YOU W ISH TO 8E TALLEST
IN YOUR PICTURE.

ill ESTABLISI-I YOUR VANISf-tlNG

POINTS ON Tf-lE 1-lORIZON LINE.
( Tl-1E PLACi:MENT OF Tl-lE
VANISl-llNG POINTS DEPENDS
ON THE PERSPECTIVE
DESIRED.)

N DRAW LINES FROM YOUR

VANISI-UNG POINTS TO Tl-IE TOP,

BOITOM AND MIDDLE OF YOUI?

TALLEST FIGUl2E

(~\:l;fji\:il~: \s

:1: PUT IN OTHER. CI-IARACTEl2S

YOU DESIRE AS SI-IOWN

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~

,,......'

W~E N DRAWING THE

Tl-IE NEX T STE P-FEMININE FIGU12.E, FIR.ST' PUT IN THE MAIN
TRY FOR. 11-lE ACT ION
ACT ION LINE S AS
O F THE POS E
IN NUM BERS I TO
ISZ". TI4E N PUr IN
THE MAIN ACCENTS
IN Tl4E FIGU RE .

THE THIRD sr.A GEPULL IT TOG ETHE R..

37

FEMININE FIGURE

LINE OF
ACTION AS IN
FiGUR.E Ir

1
\

\
TRY FOR. ACTION

lN YOUR.. POSE BY
ESTABLISHING A
DEFINITE LINE OF

AVOID DRAWING YOUR

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
,

NOTE F1Gu12E is sJ[

HEADS H IGH- NOTE
,:__ PROPO RTIONS

.I

KEEP YOUR G IRLS

GRACE FUL. TRYS HIF=TING THEIR. WEIGH T FR.OM
ONE LEG TO A..NOTHER..
IT'LL GIVE MOVE MENT
TO YOUR. OR.AW INGTRY FOR VARIE TY IN iHE
POSIT ION OF THE ARMS,

LEGS/ ETC.

NOTE TAPERING LEGS

AND THIN ANKLE S

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.

NOTE HOW I--IEAD IS

BURIED INTO BODYARMS LONG AND POWE12FUL- BARREL Cf-lESTEP
AND Sl-lOR.T STOCKY
LEGS-

EXPRESSION
DON'T BE AFRAID TO
EXAGGEl2ATE IN E><'Pl<ESSIONL ET THE BODY TEL L Tl-IE

$TOl2.Y ;::,s W ELL AS FACIAL

EXP12.ESSION

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.

EXPRESSION ANIMAL COMICS

48

( CONT )

~ER E S ONE M012 E !

NOTE I--IOW ~ EAD
FLAT TEN S IN CONTACT,
AND NOf E OFF-BALANCE

~ -- -

POS E!

~\)
'
\

---~
WE LL r TI-IIN K
TI-IA T'S ALL
t
ABOUT EXPl2ESSIO'lS .

CONTRAsr

49

CoNTl2AST BETWEEN c~RACTER.s CAN BE s~ovvN

BY OPPOSITE PROPOl2TIONS. Tl-HS GIVES A RE'ADEI<
A MORE DEFINITE PICTURE: OF YOUR CI-IARACTER.

J\Ml(E' YOU!< Cl-lARACTEi:25

1

DEFINITE - IF 1-ll:; $ WEAK,

M A.Id: HIM \/VEA',(-TRY

TO EXAGGERATE THAT

QLJl:>.L1TY IN EVERY WAYTl-IE S,AME NATURALLY

APPLIES IF 1-lE'S STRONG

E;OASTFUL, ARROGANT, ETC.

r,

'

-AND C i-HPWELL, ~E:S Tl-!E

~ MO~ONIC,

IMBECILIC

TYPE!

T1-1E/'v\s
PUrzTY

WORDS

TOO'

I NCONGRUITY

50

T H:: 1v \0!2E IN CONGRUOUS' Tl-\E C f..-1.AR .A.CTi::R., T l--lE S IL LIEI<

W ILL EsE T l-lE S F FECT .
'

IJ

51

LAYO UlT
IV\Ak:E YOUl2 SCENES
I T E2ESTING ~GET
VARIETY

!VIO Vf= Al<OUND IN YOUR.

P IClURl=S-ALL Ml=DJUM
S !-IOTS \NOULD Bl=
1\1\0NOTON O US -......

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

BRUS~ TREATMENT FOR PROPS

t, J/
/, 4

v ;/

,,,.,

f,,/ h,/
WO OD
NOTE FIN E UN ES

SUG GES 'TlN G GR AIN

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

TO GIVE YOUR DRAWING LOCAL

COLOR, PROPS PLAY AN IMPORTANT
PART. IN MOST CASES YOU CAN
SUGGEST BACKGROUND
~ BY VIGNET TES.

/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)

You CAN SUGGEST

THIS BY g~E'Al<'ING
U P Yoc..lf2. LI E:'.

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

Sl-40W 'r-lOW BLACK 15

USED IN CONT12AST

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.

NOTE HOW Sl-lADOWS

~\I
-

VAr:2..Y AS LIGI-IT" POINT IS

FAIZTI-IER. AWAY FROM
S UBJECT.

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

DRAW MY K IDS FROM 3Ji TO

NOTE LENGn-1 OF
F012EI- IEAD IN
l2i::L.AT10N TO
LOWEg PART OF
H':AD.

UStNG OVAL SI-IAPES

YOU CAN CONS TRUC T
A 1-\EAD AT ANY ANGLE.

58

CI-HLDREN (CON T)

Cl-llLDREN

59

(CON T.)

~ ----,_

k lDS 1-lA\JE A GENE !2AL

LACK. OF CO-O RDIN ATIO N-

DOGS

60

SIMPLIFIED ANAlOMY

II
.

~..

N ATURALLY ALL DOGS VARY IN

CQ'-l!=ORMATION, BUT T'"1ERE 1$ A SUvllLAR
J:,.PPROACl-l 10 USE IN Tl-!Ell< STRUCTURE:.
I STA.RT W IT ~ AN EGG SHAPE ( NOTE.
Dl2AWING), AND BUILD MY PROPORTIONS
FROM Tl-V\T .

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

\J~i' GREAT DANE

''ti

DOGS ( CONt)

_ _,

61

62

D O G S (coNT.)

DOGS ( C O N T .)

WEIGHT