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 ~ n d s n qlo .b p,gaon-

MO,~haofad onimol, m.0 rbghdy knock

Divide the skull into three ports olro: Forten ears onto the bock of the head
,ha muzzls. the long port of the nose, For ~implicitv,indocote the base with
and ,he base of the skull on avo1

nostrils, this is a g o o d guide ond IS

correct for most onimalr.

Divide the heod i n 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 ~ Athe stiff, stilted pose with the legs
parallel.

It it b e l 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 ing
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 A N D 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 81 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~ckdeparture 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 h e 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~ondrown up T ~ B
'eor quorfsn are dropped, and the ~a,lrare
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 ;Imsntolly 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 silhoue~t~s
Ir my %login0 cleor? How con I make fh,,
POI. ~Irongerz
 THE USE OF LINE

. l l ~ arm wo kinds d line

~ . . i ~ ~there
,height line ond o curved line of
v.nlng degrob. ~ r i m ~ we
~ i ~ y line
use
to build form ond solids ond to creole
morcmsnl
0 )( (1 I ) 1 1
Fig. 1 Fig 2

uereore
Fig. 3

basic lines used lo burld

Fig. d F'G 5

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 $ inh thorizonlol view.
Wlh ,hh arc h. dlre~ion,of mars.
ma h a s been stand.

--b

TO build funher. "lo ,he .roigh, 1,nc.

.
In this sfsp, note how the stomorh
which rclieros tho monotony of oll line OPPDIL. the I*. I,".. o~p.11110.
cuwe, 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 ~ " l d
harm them.
 E.x. ,.,ion

Get the full use of YOU, pose,

ever il may ba. 11a horw is ,.king 06
in 0 Ibop, re014 r h f r h ia 1s.r. lhror
the hd
. 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 m e 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.iroth.
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.
,ngrind rquarher on impoct, so o living body
~ ~ 1 1 ,n ~ ~ r n ~ r~rcvmsfonce*
~ ~ ~ b l In e 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 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 ~ , ~ no* I ~ a,h much~ ~ g
or hin the origin01
fall. since 11h o s . l o 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
drowlns onimol.. Since the fur textures of
ol,o. To ,how ,he high sheen of
f,, exvmpl.,
.
animalr vory, your brush technique will vary
race horse,
I haep my brush stroke thin,
close togelher, and eren, leovlne open oreor
to rvggert h ~ g hlightr.
Shagginelr, w h r h is o characteristic of
some cornel., dogs, etc, mey be conveyed
by o dry-brush rtyle. ~ h i r8% obtoined by
lhlnnlne out your brush on scrowh paper after
you hove dipped 11~n ~ n kThe dellre here Ir
to have the tip 01 the brmh flat, with the thin
to .
edger of the holm of the brush iurl wet enough
,of, ton. The r e r n o r s of the brush
.,,J the pressure of the brush on the paper
determine the tone volur you will ochieve.
Regordlerr of the technique, I alwoyr hold
my bruxh or I would o pencil, using wrist octlon
for my brush strokes
Here ore some procrlce exercise5 for the
hro rvle, described
 THE HORSE FAMILY- Bone Structure

W t h o d knorlodgo of the principles

of bans I ~ T U E ~ ~itEwould
, be difl~cult
1. ,how conr,ruct,on, ~nimoflon, or
.r.i,ura. Nafurallr the .kele,on "0..
is, with the conformotion of each Vpe
olanimnl, bul there is a boric rimiloriV
in the ~ k e l e l o nof
~ all onimols. Here 8%

of.
a s~mpl~f~ed
hone.
opprooch for the skeleton

Now onoch skull.

~ s x odd
t 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 tfor humerus bane.

19
Add humerus, elbow, and foreleg.

Finished leg. For sketching purposes, you can think

of it os simply or this.

fits around the contour a!

The SCOPUIO 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
d r o n n g Observe how fiankr turn out
ond knee. turn in on h,ndquorterr-
olro slight knock.knea ~nstandlng pore.
 HEADS
I!.-- i. no --.I vD b l ~ . 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~kea 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 from
t
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
h e o r r 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 N o k dip of roar 0s legs pull through.
off, right forsleg toking W W Q ~ , . right foreleg p"lling body

Rear legs again take ,velght

Bock lo be~inningal cycle

ROUGHING IN
 DRAFT HORSES

The droh horse is massive in neck Note widh of raor

shoulders. For show purposes, h e lags
ore feathered out.
 COLTS
Colts ore very long-legsed in pro-
port~onto the body. Note bored-in
figures for cornpor~ron.In drorlng
calk, keepin mind lorge iointson less,
%mollhools. sltghrly Iarser ears, ,hod
*oil and mona. rmoll mulzla. .lleht
dome o l head.
0ec.u,e he is young, there is an a r 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 p l o c , " ~p\rot poinn.
Feeling f o r r n - ~ ~ l ~ d i f drawing
yi~~

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
Tlls rsbl" ,. o bsour,,", a,..rno,
because of Ilr deslgn ond morktngr.

N o ~ ethat 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 h e stripes follow
h e form of the onimol.

Note larger stripes on reor.

--.= 5- *- =.
-
,
.,..r,i/
-. v
.-
--
.\ =
C'r'G 45
 H O R S E S ond Z E B R A S - CARICATURE

O n 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.

n e s of feather,ng of the legs

To suogorttoll, sleek. orirtocrotic her.

oushbrsd, oll proportions have been
kapt 1l8m ond tapering.

46
T",

as.,,
" .-,..,. I

LA,
b~~!.,,!+ .,-~,l-.~-
L v.*rl -
knock-knees with large hoofr.

O n 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 a t nearly o 45'
. angle.

~ h e T , ~ i amone
n occentr the thick neck
of !he drah horse. I slenderized his legs
I, rnc,e~tuate the fullness of the hoofr.
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 hc.. .lop - nor. .r<r

Noto the l o r o r c 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.
 ,-\
STAGS
The bane structure o l the %togis now
rnllv hoovior thnn thnl af the d a a
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
 It is helpful lo hove a strong line of
A few lines con suggest many forms.
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 ~ memphorire
. 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, ~opsrlnglegs , flow of line and topering forms
TI.. ncrk "
.,"l .ppcoi. blend
into ,he body in one eraeeful line

k t c me hrme,, me lower port

of me hin,d. I in mmp.risnn xi* me
i hll
length of the upper section 11 s
I ~harocterirtrcwhich 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~eryour
drawing but gives it movement and
grace 0 s wall.

,
 .
vi.0. lor the eye.
.
Porticvlorly on the lion, h e upper lid
~ v ~ ~ h . n g quire lor, making good

' Diflarsncs bshssn nose*

..
saby puma. spotted when young.

Lion Tiger

61
 LIONESS
fielionet~i s less brood thon he male
~ " looks
d more graceful
If the groundwork is right h e 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 ~houldsrsand forefeet, the body,
 LION
*. I."- t.r... b.=, A--iL
0-7

sr,. On a n 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 Forelegs orch up, prsporing lo lond.
01 action through tho whole body.
Forsqu.r,sr. draw cbre to body in
forr.rd thru.,.
, -

..I
Right forelea toke, weight in Imndins Rlghf hind 91
. ~trctchrs,n landine.Thi3
Left foreloo stretches for ground. would I ~ a drnfo D pose sirnilor
Hlndsuo*rl &rough horn shskh 10 "umber one if lhs wsrs D ivmp
p.,,,,,on 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 ~ lo h keep yovr
forms ~n oroosr mrmact8ve

'kJM T b , , m m shaded,", follow,ng the

contours of the farms
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 o f the block p d t h e r- the
lone, toporing lags and long bod7.
 In the com~ch p e above, I emphorized
the rlze of his hsod, mane, ond =he,,
resion. The chin whiskers ore exoger-
roted, a n d the tip of tho toll IS full
to obtain o flare effect.
 COWS and BULLS - Cows

Noture buil~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
,,,lid. ~h..e 8%
shoulden ore lh~ckond
a good dcol of loole
.kin h o n ~ m gon the m d e r 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 10s a n s os on acconr.

For on incongruous effect, I hove used

very thin Isgs on the characters below
 - GIRAFFE- CARICATURE

Spredd horns
Long n.ck
Vsw ongular
Knock-knees
Split lip
Vsrl high ot the shoulder
vsv low in rear
Flared toil
ong split hoof
 CAMELS
A come1 has many domino-+ choroc-
lerlsllcs, He Is 0 very leggy onlmol
~ 8 t ha deep chest. TO me, h~s most
u n u r u ~ lfeature 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
not attached to
. 104.ub,tance and
h e bockbone .
is

CAMELS -CARICATURE
Being conco,ure. 8" Lemselvel, come15
are e c o r n p a r ~ t i r eeasy
l~ 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.L.:.
.1. &.I,... A^"., .^
on their forms. The sketch below
shews how fot hones over h e body.

The piglst'r high foraheod gives him

~ u t s n e s s .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 m o l 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 h o w 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 ~ b ~r ~~~ ld 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
loropporila hpes This wtll make soch
one stand out more defin,telr

Dachshund Bloodhound
Exoggeroted length of body, Ions Eroggeroted ongulor body, sire o f
pointed head, and length o f earl. 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 $piked collar helps tn this core
to ettobllsh the chorocrer of the dog.
 FOXES
s--. ,Lo cho..c,-.;.,:c. -,-.
o rrnoll, pointed rnurrle ond nose,
donled eyes, large pointed son, and
.moll feet.
 FOX-CARICATURE
The tor #$verytlerlbie to hondle, Here
I hove illu5tratsd both tho morn con.
~sntianoland 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 ~utsnsrsI 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 irrmall, and the forelegs

hang, rodent-like. Heod and cars ore
~irnilorto 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. 11will give
you o strong line 01 action, and odd
sweep to your drawing

M O ~ I ofthe 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
P0lltlO"l
In rilting positions, you'll notice gen-
orally tho, there's a bvnchlng up o l
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 e o r 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 c b r o lcolumn
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
 ~ big us14
J u n becoux c l c v l t o r ~ turr
bulky, don't be ofra~dto move them
around. O n actson drawings below,
how ,he h;,d Idos and trunk ore
I.- th. limeof
To make thir pose inlerest8ng.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.
 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 ~ Z D of the e o n - o r ,he
 THE BEAR FAMILY
R ~ n r rore fun lo draw. since rhelr
,;+A..
forms so and compoct.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.
\-
 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= The m e 01 heavy lowls works nicely
torso and marrivs "ormr. By keeping on beor, For a silly effecf, l e w e o u ~
legs rhort,yo" Occenfuote size of body the chln on your character.

For EuleneSr in small bears keep the

badr short and dumpy, ,he forehead
high, eyer low, cheek ond ~tomochfull,
ond the mouth short and rrnoll.
 For the com~ctypes, 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 o f
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
the use of curved 1,ne. .
01 the picture Except in obrtroct compositiont.
the p,cl"rc. It 8. odri,.blc .
noturol throughou,
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 lconcerned myself with
o rotirfoctory pose, in v h ~ the h obrerver
weuld be looking up.Then Iworked out the rest
of the p,ctura so or lo intensify ,hot eflsct.
is used ..
Note the liner of composition. The g i r h hair
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 *(reof 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 ~ hthe
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 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.)
 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 line of his left foreleg. The
left foreleg of the reor horre giver
o vertical line to the, picture.