THE ART OF ANIMAL DRAWING KEN HULTGREN PDF

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Ken Hultgren. THE ART OF. ANIMAL DRAWING. Construction, Action Analysis Preface. Tips on Drawing Animals. Mood and Feeling. The Use of Line. Ken Hultgren THE ART OF ANIMAL DRAWING Construction, Action Anaiysis, Caricature Wirh usrraliolls CONTENTS Pr. face Ti", on Drowing ""imob. The Art of Animal Drawing - Ken Hultgren. Uploaded by. Breana Melvin. Burne Hogarth - Dynamic Wrinkles and Drapery. Uploaded by. Mirthyn. burne hogarth.


The Art Of Animal Drawing Ken Hultgren Pdf

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The Art of Animal Drawing - Ken Hultgren - Free download as PDF File .pdf), Text File .txt) or read online for free. Download the art of animal drawing - ken pensugetheatcie.cf Art - The Art of Animal Drawing, Construction, Action Analysis, pensugetheatcie.cf DownloadReport. Published on Apr View Download AddThis .

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.

The Art of Animal Drawing : Construction, Action Analysis, Caricature

It it b e l l to keep these box forml in mind when working with. 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. At such o time. 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. 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 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.

How con I make fh,, POI. Wlh ,hh arc h. Obrewe in m e m,ddle d.. Note tho, the left log st! 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. Note legs. The legs ore firsf to reocl. Similarly, the horre in fhir care regotnr more of his narmol or he slaws down in the roll.

Since the fur textures of to have the tip 01 the brmh flat, with the thin ol,o. To ,how ,he high sheen of f,, exvmpl. 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.

Nafurallr the. Note variely in shape The wo high poinh are support for lag bones. V i e r thoring shape of skull. Finished leg. For sketching purposes, you can think of it os simply or this. Nole sockoh for logs.

L in a hona'r head, rnnca hen ore so many planes to consider. Once you ore fornillor with the. Thinking of the head in two sections may help you. Your eve is o p r e m good judge. As a proctics srsrc8se. 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.

For show purposes, h e lags ore feathered out. TW to coplure tho! Concentrate on bazic first, and then work to the minor ones When doing this, sketch in your lines. Note larger stripes on reor.

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'. They ore quite knock-kneed at an eorly oge Like morl young oni. I in mmp. 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. On a n adulf I? Obsene the shihing of hindquartan quortan gathe, bendoh him.

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.

Fit the stomach under. Y 10 1;. Once you ore fomilio. Thinking of the heod in two sections moy help you.

When rou: In crouched positions, as in the Fiut sketch, the muscles bunch up. When the horse pushes off with his forefeet, not only do the leg s stretch oul, bUI the whole forequarter section as well. The neck becomes longer, with a of tension on the under muscle s connecting 10 his heod. They or.: Without iI, ir"s very eosy to min. Arcs in perspective, os shown below, ore worth puning in once you 've deter. Your eye is 0 pretty good ludge.

Gel as much drive in Ihe pose 05 possible. Then revene your pose by hoving the horse pull against the load, bockwords. Sock to beginning of cyde. Gjve plenty of p''''ch '0 th. The draft horse is mauive in neck and Nole width of rear. For show purposes, me legs ore Feathered oul. Note bO led -in figures for compo rison. Feeling form - solidifying drawing. Workil"lg in the detail of the Forms.

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Concentrate on basic plenes first, and then work to the minor ones. When doing this, sketch in yoor lines , following the contours of the body. If the basic planes ore right, the lesser ones will not be difficult. 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. 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.

The Art of Animal Drawing - Ken Hultgren

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.Then revene your pose by hoving the horse pull against the load, bockwords. Draw in dOrlol. The nose is longer; the eors ore more erect, end do nol hong like the domestic pig's. Arrows indicote the flow of action. Their bodies are short, and mey ere slIgtllly plgeon -Ioed hke lhelr parents.

I e effeci. The bone structure is very prominent in the legs.

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