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    Famous Artists Schools Inc., Albert Dorne, Fred Ludekens, Norman Rockwell, Al Parker, Ben Stahl, Stevan Dohanos, Jon Whitcomb - Famous Artists Course Lessons 12(1954, Famous Artists Schools) - libgen.lc.pdf

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    Famous Artists Schools Inc., Albert Dorne, Fred Ludekens, Norman Rockwell, Al Parker, Ben Stahl, Stevan Dohanos, Jon Whitcomb - Famous Artists Course Lessons 12 (1954, Famous Artists Schools) PDF

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    Animal drawing — the animal in action Famous Artists Course Fomous Artiste Schools, Inc., Westport, Connecticut Lesson Albert Dorne: Fred Ludekens Norman Rockwell Al Parker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helek George Giusti Austin Briggs Harold Von Schmidt Animal drawing — the animal in action ‘When you take up your pen or pencil to draw an animal you join an ancient and a great fraternity of aris, The oldest Cravings on earth ~ drawings that are older than history tll — fare pictures of ania They were painted on the wal of eves in Europe by the artists of the Stone Age, Working with colors they mate fom snneras, with blacks made from burne bones, thee fit artists painted bison and antelope, boars, and horses tvith a vigorous realism, economy ofliné, and freshness of syle that are the envy of many of today’s ats, The beasts then Selves vanished from ie face of the earth thousands of Yeats go, but they al ive on inthe caves Because ofthe sil With Which they were painted Animals fave always had a special meaning for people. Since the day ofthe cave man, the animal has never ceased 0 be a leading subject in ar, in every country and century. Animals Ihave been the symbols of savage bes and feudal lord, of kings anal ations They have been ssc ax symbols of war and peace ‘usades and fine, subbomnest, devotion, and wisdom. They Ihave decorated yates, wall, armor, clothing, jewelry, Has, coins, and cigaretes eis sl thatthe atti of the caves had 2 magical or religious [purpose in painting animals: once the animal was capcured or Elst in piture, ft would in turn be captred or Bille in seal life to supply the cave dwellers with mete and fur. Even today, the ability to capture animals in pictures — that is draw them ‘well means food and security, Whether in the world of mage Zine and book ilastration or in fine arte painting, animals are 4 perennially popular subject. In busines there is 2 eonstant tlemand for drawings of animals in advertiements, booklets posers, package design, rademarks, and in every other kind of ial communication Tr the man or woman who can draw and paint animals with Skill opporcunities are particuatly good case 30 many of foray’ ass, although competent in every other area, have fever lard! how to draw animals, and avoid jobs which call for then. Ye the subject is no mote dificult than any other if you approach it with patience and a willingness to lean, There isa joy and a verse of achievement in dawting am eagle 3 that it really seems to be in fight ~ in portraying 4 massive bufalo paving the ground or charging acioss the prasie~or a dog wagging sal and paring pat his aster wit expectant eyes Animals are exciting to draw —and It pays to know how to brave the, Man and beast — different yet alike In outward appearance man seems pro fondly ferent from the animal, but when we begin to compare them carefully wre see they have auch in common, In Mtucture and movement, in tehavior and feeling, the human being. continvally te minds us of the animal. This resemblance is ingrained in our language. Phrase such ss “he roared like @ Hon,” ried lke a Whipped dog.” “sprang like a tiger” oF lime like a monkey” suggest some of the bane similares, "The rewemnblance between man and the animals can be a great help to you in draw- ing and painting animal subject. Having sttidied aman siatomy and the figure $8 motion, you already posess much of the Enowllge you need to draw animals, Even seat you have learned. about expressing {he human emotions wil help you ia daw ing thoe ofthe animals By trying to fel the same emotion you want to portay, you wil have a good idea of what muscles thou be tense and what body movements te show in your pictures, Lesson Famous Arists Course The first step: we compare basic structures (Our first step in learning to draw animals isto see how they Compare with uuin in physical structure. The parallels ave soning, a6 dese drawings show. Most animals, of couric, stand om all fours. In spite of this Aiference, theit bone sructore is auch Hike mar’ Like him they have skull, baeKbone, pelvic bone, and legs. Their front legs correspond to hi arms. All of this easy 10 see TEven the muscles throvghout the animal's body resemble tose of the human figure. Look at the drawings above and notice how closely the muncies in man and the horse correspond inthe chest, shoulder, back, arms, and les “The resemblances in such areas as che upper ars and upper legs ae harder to find, This s because these parts are fee from the boy shape in man, but not 49 most animals. The animals hhave their upper Limbs encased in muscles that old them so close tothe Dol that heir actual position is hard to make out. "The doce lines in the diageams will help you see where they re and wo will the skeleton diagrams on the next page “To muke unother comparison clearer, we show the man bl anced on his fingers and tocx. This is actually the way-most fimals snd, Look at the joint labeled “wrist” on the front lg of the horse, The portion from this joint to the hoot or respond to the human hand and fingers. The bones in this area Animel drawing —the anime in ction ane fused together and the hoof is actally a large “fingernail.” ‘We fn tssilas sini im she reer lg where the section from the “ake” to the hoof correrponds to the human Foot. ‘This is shown in detail with various animals on page 7. As you an se, most animals actually stand on thelr oes. ‘On the following pages we are going to take a close Took at four animals ~ the hore, dog, eat, and cow ~ and see how they compare in basic trctare withthe human figure: We we these Snitnals becaise each is representative of many similar types For example, with slight eiferences in proportions and size, a cat is similar toa tiger, lion, poma, leopard, jaguar, or bobcat Such animals as the veba, deer, and gralfeare built much Tike the hore. The dog, wolt, and fox are also alike, andl so ate the ‘cow, bison, and water bufal. "These comparisons will prove extremely useful to you. By learning afew basic animal types, you wil gain an understand: ing of structure and movement that you can apply in drawing virtually any anima, a we show you Tater. "Alter you have sie! this lewon you will be able co observe and understand animals mach better, whether you are sketch ing them from life or from photos, You will not have to find the exact positon to copy, but will be able o visualize and construe animals in different positions. YY 2 Oy eons SS Ges oe Variety in heads and feet Theta ames ght Con nd a af Head shapes (One of the easiest ways to understand the character of diferent types of animals isto view their heads as simple profes. The Ineay black line next to each raving empharires this profile oF dhape of the head. By learning these basic shapes fmong animals of the same spedes. Some horses, for instance, Ihave very sagt faces, thers lightly "shed" faces, while still ‘others have a "Roman nose” that curves downward slightly a feneral, however, their faces ate straight compared to hose of fw dog, eat, et ‘Within the dog and cat families there is so great variety, but the general shape ofthe fae difles sill more strongly fom that fof ether animals. Being aware of the similarities and the dit erences is one of the Keys to making 4 convincing drawing How animal feet compare with human hands and feet Cn the opporite page you sae the leg structures ‘of various animals snd how they compare with, {hears aa lege ofa man. Here you se the fect analy in grester detail. Notice that almost all the animals stand. on their toes and “fingers The bear is one of the fee exceptions. The horse ‘We can reduce the horse t© few simple, baste forms just 38 ‘we did the human figure. By learning to use these basic forms, {you will beable to rave horse in any postin. As you study {ee pages, review alo pages 5,6, and 7 to see how the inner structure of bone and muscle detmines the shapes you see on the mirface, 1€ will alo help to look at page 12 There is no ‘ced to draw the skeleton and all the muscles, but you should study them and keep in mind haw their movement beneath the ture causes the bulges and hollows you actully see hd snd wp th ih he bse fee Sy these diagrams carefully and lean to draw these basi forms from all angles Remember to draw through so that they 4 together properly ee You will remember that in the lesions on the figure you fist, lestned to draw an “average” man. In drawing the horse you ‘ill do the same thing. First len to draw the average horse Then you can make the changes in proportion that are neces sary 10 depict various types such asthe show horse or work hare, the racehorse or the Shetland pony an 12 Foo Mis Cone 10 Animal drawing —the animal in action here wil lp you do ths. In the top row yi fon the surface. As you study th {you can see the position ofthe How the horse mi aan ‘Theres bev form and thy inthe ovement of tbe keepin mind hat the horse's legs swing from pivot porns Ts Tone. To understand this movement and ana in won bal. The xt es ving fom ep of esol Convincing action, you mast know how the upper legs and the der Bhades up near the withers sand the back legs swing, from shoulder blades move, The diagrams here illustrate this. Always the hip joint near the top of the hindquarters. 2 Famous Ais Course oe 12 The horse in motion — compared fo other animals When 2 horse walk, trots or runs, it feet tue the ground in definite sequences, Thee movements are called gait Most of these gaits are the same forall animals, but there are some ex: ceptions. On these two pages we show you the basic gaits and fexplain the differences where they occur Tn the gaits pictured atthe top and bottom of this page ~ And rack or pce ~all ofthe animals touch the fer in silos sequence. The gallop, how {ver varies with diferent animals, There ar two difeene gal Tops. the diagonal andthe rotary, shown on the facing page "The diagonal gallop is a “cross” gallop. When the action starts with the TEC reat foot, the next foot striking the ground: trould be the right rear then the left front, and finally the right front. The movement ca also start with the vight rearfoot. The Sequence then would be right rea, left ear right front, and then left front, There isa point in this galt when all the legs A BG BF Animal drawing —the animal in action sane tm tn oy gt etre oe ste under the boy atone time, ad none of them isin omtact with the ground, The diagonal gallop is used by the horse, for, goat hog, camel, ane many other animals “The rotary gallop Isa “round” gallop. The suaplest explana tion of this BUNT of gallop ix tht the scesive feet striking the round go either clockwise or counterclockwise. For example if the animal starts withthe right rearfoot touching the ground, Teen then put dow dhe left ear lft from, and night front in secession, ‘The rotary gallop is wed by the dog, lope, elk, and a few other aniinals as ial gallops, the legs a alternately stretched out and tucket under the body. ‘There is alto a eypical rocking Iotion, At the ae the two forefeet are im contact with the {rove the rear ofthe body ie higher than the fron, giving the Body sm overal forward sant, At the moment she body is being thrust forward from the hind fet ehe opposite slant occurs vn sy) Fano Aris Conse ‘Animal drawing —the animal in action How to draw the dog “The dog is o much smaller than the horse tha it seems a very diferent animal, but what you have learned about the one will help you greatly in drawing the other. In basie structure the two are mic alte, the mai ciferene being inthe proportion ofthe leg bones and the strctare ofthe feet Look st the dis ftams on page 6 and you will quickly see this ‘Above, we have taken an “average” dog and reduced it co is bsie forms. Notie that the “saddle” shape representing the hindquarters is lite longer and inner than in the horse, 2a ere eases e “This i because the dog's “knee” is well below the boy. ‘Of course there are all hinds and types of dogs. Some have Jong legs, some have shor, Some hav long pointed noses others, like the bulldog, have almost Gat ones. The basic structure is the same, however. In some dogs this structure is easy 0 see in to draw the dog propery, or it wil look like a shapelss ball fof fur. Always antyae the structure before you draw Sie eas oes ers see dae 14 ‘Animal drawing —the animal in action 18 brawing the dog's head, The dog is oe ofthe most expesive of animal. ts fae shows every ension a Wot geeurc er tone eps rie ae ae How todraw the cat "The cat is a bor climber and leaper. As it moves, chere is a flow of action that runs through its entire body. giving it a special gracelulnes that marks the whole eat family. When you draw the at, keep this quality in, mind and be sue to put down fon your paper the slim, that make 4 ext a cat. "The base forms used in to draw the ext ae similar 10 those of the horse and dog, but diferent in proportion, ‘The a's head is small andthe body long. 1c has a small ib cage and the bottom line of che body goes slmost straight back from ik In ehis respect the cat diflers markedly trom the dog. The dog has the deep chest of longdistance runner, and the Bottom line curves sharply upward fom it, as you ean see on page 17. “There are some intersting diflerences, to, in the heads of the cat and the dog. The average dog's jaws and nowe project in the form of a well-defined mize. The cat's muzzle, by con trast is quite short The dog detects its pre chiefly by “twsefulseaptation for this purpowe. mainly by sight. For ite se, it ha the meateating oF carnivorous animal. ‘The pupils ae narrow slits in bright tight, but at nighe they open wide to ‘admit 2s much light as possible and help the animal to see. The fat’ eyes have a greenish glow in the dark a ihe 1 LZ Animal drawing —the animal in action The cat's muscles ‘These drawings show you how the muscle structure affects the apy pearance of the cat. As you study the muscles, Took at page 25, where the movements ofthe skeleton are analyzed. Observe how the structure fof bone and mule creates curves and sharp angles in the mobile form of the animal (Srnreton bt te by short Te a perro Basic forms in action “Thee base form drawings show how ur method of blocking in can be niet to draw eats in any Scion, Notice thatthe forms act together to create an over-all movement chroughout the boy. 22 Drawing the cat's head ‘Many arts hae found the head of the cat itis strange ees—by ts er, intense, boating, sleepy a asating upto draw, We cn retuce his ‘eal ager an ier dn sigh wi al ping ie {in ron, cantaning the nove and mouth. The eyes se Tan Why the cat is so flexible in its movemet"® ‘in thee diagrams you can ee the characteristics ofthe cas “skeleton which allow it sueh free movement — its small tapering, ‘ib cage, long eile pine and fneemaving shoaer blades felis ‘otc ow sal ihe ib age is at the fot. Thilo he cat move i fovelogs and shone Bas sion wht re Secon tony fran and backoredt rom ie ide feces ate ete eats ely cla ats prey. und eve along in ouched postin Gaits of the cat Gallop — front view se eng mane fe. 23 enon mous Ariss Coun ‘Animal drawing — the animal in action its hea high. Except when the animal lifts tw expres: pt the Hea scully hel igh below the io the back, ‘The horns grow aut of 3b atthe tp of the sul, Like other members oft milly, the cow has ‘noticeable skinfolds beneath the neck and Brisket. Guits of the cow ‘Wolk — side view Pee RH HR A FHA ny pos Gallop ~ ste view TUF WwRN Gallop ~ a ew Gallop — reer view You learn to draw by drawing % 26 Getting acquainted with the animal kingdom So far in this leon we have concentrated on learning how (0 rast four basie animals the horse, dog, eat, and cow. Now you will ase how to ure your knowledge of these four animals to Araw a wide range of other animals ~ the dee, fo, gira, lon, for even sch cretres a alligators and seals ‘Most of thete other animals resemble one of our base fur. For example, the deer i similar to the hore, the fox i lke the ‘dog, the lon {is telly a big cat, Therefor, to start, we will set tp four base group, one foreach of our four basi animals and place in each group the animals most like the basic one. This frouplng is not scent, but ie wll show you how to analyee the physical appearance and action of an animal to we what you how of the basic animal to draw others that ae like it ‘No grouping or analysis of diferent types, no matter how Delp fe may be, can ever take che place of earful intelligent observation and rewareh, Every kind of animal has its unique weet Aye Ti eth shot dy on ng ro features, and you will need 0 stady your animals in ie and in relerence pictures. What we show you here i the key to under: ‘standing the animals so you can draw them convincingly even in postions that ate not pictured in your sap fle or encyclopedia, fF books about animal. ‘When you study an anita, ake particular note of the profile ling of es body aid ofits head, This will help you to get down the animal's characteristic shape quickly. Here we show these lines in gray. The features we point out ate the typeof detall you must train yourself to lok for. ‘One further point: when yoss draw an animal, don't concen trate merely on its outward appearance. Try to understand its ‘nucture and ite perwonality, too — why it moves and behaves the way it does. Thir approach wil help you not only to draw the animal aeuratly, but to capeure its character and sprit as ‘unique living thing San Saraimas ear peron ia earaaa a pote ngs do Stoning hop an = 12 Fomous Ass Coune 28 ‘Animal drawing — the animalin action ‘Wephaats To block in "he espio) tee he aly ing ad den od "ie Me nd ghee od ih kod ks Yu EI ss on are oe i 2 p < 5 3 E 3 el £ i= 8 5 & 2 3 = = < Lesson 1Z ‘Famous Artists Course 32 Animal drawing —the animal in action esr Fomous Ass Conse : 33 Animal drawing —the animal in action The bird “The bind, with its feathery coat and gift of Might, seems far diferent creature from man. Yet, although itis not a» much like him as the fourfooted animals aey it has anany of the same parts that he does. Take the bird's wings, for example. In heir bony truce they ate quite similar to ur seme Ifyou wil put your hand 0 Your upper chest and bend your wrist own, as in the figure abote, the hones in your arm will actually be in the same pos tion athe bones inthe folded wing. Or try holding your arms out as in the winged gure atthe right. Now you ean ace even more easily how your sem bones correspond to the bones of he wing Like 3 man’s leg, the legs of bind have a “hip” “ne, and *hecl.” Hoveever, che bint is closer to most of the four footed animals in its posture: it stands on is tors with its heel ‘up Eom the ground ‘Carefully examine the bird's skeleton above andl you will sce where the wing joins atthe shoulder ancl where the leg joins at the hip. This latter point i dificult wo obuerve on the living bird because the feathers cover the upper ley from hip 1 knee, to tha the leg sppanee o art atthe he. Tha bird ae lage breastbone, shaped somewhat ike the hel of boat, to which its welldeveloped light moses are attached. “Although diferent species vary in ther proportions, you can sll use baie forms to draw the bir. These forms ean be ‘hanged and adapted tof whatever type of bird you draw ‘este shapes of the ying bird MG = l\ Zz, Sy The bird in flight ‘The basic fying action for all binds isthe same. The wing moves forward and own then back and wp the way your arm does when you swim the cal stoke Teathers loved the wing “bites” into the air just a8 your hand does inthe water when the fingers ate cloed. At the end of your stroke you turn your hund ie through the water to minimize resistance, The bird does a similar (the end of the stoke it lifts the wing and separates and turns the feathers allowing the arto lip through. The bind gains its if or fight sustaining force by creating» vacuum aver the tp ofthe wing, causing the air presure below tothrus it upward Although al bids yin much dhe same way, there are eiferences inthe details fof the movements. The tiny humming bind, for example, beat its wing a rapidly fas two hundred times a second, while de long winged pelican beas them only one ‘or to times a second. In ight the legs extend straight back, The til sin a relaxed, horizontal pos sion except when brought into ase to help contol the direction of fight. f es erin) Famous Ariss Couns lesan 36 2 Animal drawing — the animal in action FAMOUS ARTISTS COURSE Student vorie Lesson 12 ‘Animal draving =~ the animal in action HOW 10 PRACTICE AND PREPARE FOR THIS LESSON Lesgon 12 introduces you to an exciting and in- portant subject -- how to drev animale end birds, You will epproach this subject with greater confidence 1? you (1) note the many an- atonical similarities they share vith man and (2) use the helpful dasso-form method in tack- Ling this new subject, vith its many types end variations. Here are sone specific practice suggestions ‘that vill help you get the most from this les 1. After you have carefully read and studied the text, put to use the things you have learned.’ Make as many sketches of aninals as you can. Dray from Live animale if poseitle

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