Ken Hultgren

THE ART OF
ANIMAL DRAWING
Construction, Action Anaiysis,Caricature

Wirh 759 111usrraliolls

CONTENTS

Pr. face
Ti", on Drowing ""imob
Mood ond fHIino
The \keo! 1....
"
Adion Analysi.
"
In>lh TIKlu'ique
"
no. Hot• •
Th.
family
0.., family ."
The COl Family
"
""
Cow. Dnd Bull.
Gi,,,ff..
eo..../,
Gorilla. B6 "
....
Pig.

,-
"
"
'"
'--
Robbit. '"'08
Squirr.l.
E!.phonl. '"
'"
The s.o, family
Compo. irion in Animol GrOliping '"
".

;,
 TIPS ON DRAWIN G ANIMALS
II i. w.llla divide Ihoo body inla rhr ••
po.1I _ lar.quo.I.", b.lly, and r.ar
qUOrT.rLSinnrhi.i.anal\l.oldivu,on,
it aid. in achi.~ing prap.r proparl,an.
Draw in dOrlol.lrilH'(lino01 ".rlobra.).
Tho. h.lp. la c.nllr th. animol

lleOtl hO~1 a tendency to be pigeon.

toed The POWI 01 me COllomily .proad
alltslighrly

. Masthaal.donimol.aro slighrlyknock .
kneed _ mo •• .a when rh.y·r. yO<lnQ
AI",ay' indical••lol.'an bon ••, Ihuo •
wIUholdth •• lalChtag.,ho •. Qnuyau
a •• lamiliar",ilhth••• Iolj~e.iuof Ih.
~a.iau.banes,d.owingb.cam.loaller
 Fasten ears onto the b k
For simplicity "d' oc of the head
on oval. ' In Icote ,h. bose with

Divide Ihe head in Ihe m"dd

construclion", 'I I' S a natural I division"
Ie for

on the side of the ~ eyes are usually

Bear in mind Ihol Ih
"d I' ead" Draw your
gUI e mes when conslructing
With bears, cols, a nd dogs th"e
are more forw ard" ,eyes
 n a'
l-~r' fff
'--h l .
,
-
' ' 0' i -
,
,
I

When drawing animals, try to gel

variety in leg positions. Note the add",d
inleresl in a sketch when the legs ore
placed at different angles, ,in controst
with the stiR, slilted pose with the legs
parallel.

II is well to keep these box forms in

mind when working with angl~ shols.
If in doubt about 0 pose, rough In y~ur
box lightly, and check your perspective.
 SIMPLIF
8.fo" ,0""""0"" fED SKElETO
,",m,I •. " ,. h.lpf I g '" '"d','d,,1 NS
(oncerning the sk~le~:nn~!e some focls
Once you have at . In general.
edge of the PivolqUlf~d some know!·
{] sk.reton, your d~Ot~ts or joints in
more easily. o .....'"g will come

~~.~~~~~ ~ ... ,

~~c~.'
l.g. " . '" I' •
."",h,,,g '01 \ '\

.~r~~
•' ./ ~>----~ \\ "'-.

; I --, .... ,..~"

0" "b
the the <og
reap
• •pose
10" b.I,w. ",," how •.\
\
fA ~~-;:;;ik
/~ .~
.
l
"'"""
 SKETCHING IN FORMS

U)\"
Once you hove the basic principles of ) -=-- '
the skeleton in mind, you may proceed '\ ~ lJ1\
~~
with more auurance in your drawing t1~ "~ ~
ll'1
. , J:t-t
In .ketching, it is helpful to indicote the
positions, or pivot points, on the sketch
Aft" 10'01;,. Ih ..., d,ow Ih. mo,"

.,-.,~'""
/,
~
(
.y I
~i
~
't-
w
. '"
' ~\
y "-

:11 '\v'\) y~:~

~~ -~' fv \
)~1 f» }J)~ ~

t ~, /~lf';1'.·/
" \
/0
'

A diagram such as the one obove

will prove helpful when you hove
forms behind one another. Keep this
in mind when drawing ony animol in
this position.
 MOOD AND FEELING
Every artist is on actor, in that he conveys
10 the observer the mood or altitude 01 his
animal characters and muSI feel the siluotion
before he con pul il down on paper. If Ihe
mood is a tense one, such as Ihat of the deer
.. group, then you strive for a lout; tense mood in
your charocters. At such a time, animals drop
lower on their hindquarters, prepared for a
quick departure if the situation warrants. The
eors and toil are perked up. The whiles of
the eyes are seldom visible in animals e~cept
when they are e~tremely tense and frightened.
In the deer skelch, the stretched neclu olso help
ta convey tension.

In a very tired pose, like that of the horse,

the effect requires os much droop 05 possible.
Animals shift their weight from leg to le g
when tired. The ir h '~ ods hong low. Keeping
the withers high accents ,hot effect.
 (

(
\~
~

To convey excitement, noring the mones

of the horses was helpful. The nostrils ore wide,
eors bock, and the whites of the eyes visible.
The neck muscles ore lout.

,.
 The best way to stage the cowering pas.
for th. dogs I • • m.d to b. to ke.p th.
h.ods low, with their attention drown up. The
rear quort.rs are dropped, and the toils or.
betwe.n th. legs.

Th. lions b.low express a mood of lazy

contentm.nt. like their dom.stic cousins, lions
lazily swish their toils in relo ....d moods such
as thes • . Th. h.od of the forth.r animal resting
on th. oth.r cot's bock gives the scene a
quiet peace.

Whatever the mood, see it mentally before-

you start to work. It may b. n.cessary to sketcn
several rough poses before you find oroe
which you feel is satisfactory. Th. follow ing
are good t.st questions to ask yourself : W,ll
this pose convey the m.oning in silhoueltll t
Is my staging clearY How can I make th,s
pose strong.r~

10
 THE USE OF LINE
Bo.kolly thoro oro two kinds of line·
a straight line, and a curved line of
varying degree. Primarily we use lin"
to build form and solids and 10 creole
movement.
( ) )( (I
fig. 1 fig . 2 fig . 3
)1 1\
Fig. .4 Fig 5

Here are some basic lines used 10 b~ild

forms and solids.

An example of fig . 1 is the cot. Nole Fig. 2 Fig. 3

heavy lines in these examples.

Fig. 3 is a good one also 10 creole Fig . .4

weight in horizontal view.
The ...,,' u" 01 line . To
the creo'e more mo .... m.n t, r.".ne
wi,h this are tw '~ to ~r.ote motion. are.

m~nt 1m.... been °st:~:~:ons 01 mo". -

..... hich relie ... e:·t~se the Itrooghtline

To build lurth.
curves. e mono tony 01 a li
for rhythm and sweep in your draw.
ings always establish a line or action
Some of the occep.ed lines are .helll

aasically rhe line of aclion is Ihe flow

of a graceful line

The neck and loil ore e;o:cellenl lor

establishing this flow, either can be
used in different ways. In .hlne two
poses, both are port 01 the line 01
action.

In this case Ihetail is used as on accenl

Note leg leoding inlo line of action,

Accents are good, for they relieve

the sameness of now of action -1,l.e
e touch of red on an all.green bock.
ground

13
 Weight

In the ,~etch below'dn~~: !;t~e~;~~ng~

ing leg octioll,' llonfor 'he ground,
0/ leg, reoch, ~ddle drowillg how
Obs<l"'" in th<l ml the w<l;gh, 01
th<l right leg '<lOC~ ;o,he lell leg is
'he body, Note d dOo<l~n" receive the
t
~!iU ~tre'ched, olld ull!ilthe nellt pose,
weight o/the bo ~ ond nec~ ore
Note how 'i9h~ ,,9 ,he "ellt leap,
throw" lo,wor or
 ACTION ANALYSIS -ANIMATION
Feel weight, sIren Clnd strain, action
and reaction

ArC$ ore imporlont in animotion. There

is always a pivot point, bur even that
pivot point is movable, as below. ,

The use of reverse action is good

Note .the bunching up and elongoling

of forms, as in a rabbit taking off.

Overlapping action is another impor-

lant foclor in animation, where parts
of the body loke different paths of
oction. Nole legs.

15
 ACTION ANALYSIS -IMPACT
Like 0 rubber boH wh ich elongoles in fall .
i"g and squashes on impoct, so a living body
..... ill reoel in comparable Clrcums tonces. In his
deleent, The horse hOi Thrown his head bock,
hi' stretched forelegs ore reoching 10 prepare
for the impact, and his body e longotes i~ his' fall. '
The legs ore fint 10 reocl. loking his weight 01
the firsl shock o f his fall. His head pulls down -
ward, and his whole body revel"Ses as he slorts
his roll. The boll on the rebound elon gates
ogo;n, olthough nol 0$ much as in the originol
fall, since it hOI. lost some of ih momentum.
Similarly, the horse in this cose regoins more of
his normal shope as he slows down in the roll.
;:~ohvove
,d "h,dipped
';p 01 it,h.In bink . Th, d";,, hm ;,
" ,:::.01 'h, ho;" 01 'h, b:~':~" w;,h 'he ,h;,
ood h 0 >0" ",e. Th. w 'u,' w,' ,"ough
d.":m~n:'7~""
R
01 ,h.
e lone volu
;:~:;':' ,~. b,u.h
" I e paper
my b"gOldl", 01 ,h, ";h~;oU w;1I o,h;.,•.
I u.h ., I would 0 . que, I olwoy, hold
01 ~y b,u.h "lOk" .,",,1, u,;ng w,;" o,';on
two
~tyles
ere are some procti
described. ce
.
exerCises for the
 THE HORSE FAM llY- Bon e Structure

Withoul knowledge of the principles

01 bone slrucllJre, it would be difficult
to show consTrucTion, onimoTion, or
caricature. Naturally the skeleton vor·
ies with the conformation of eoch type
of onimol. but there is 0 bosic similority
in tne skeletons of all animals. Here is
a sim plified approach for the skeleton
of a hone.

Build on the rib cage (here the rib

details are omitted).

Starting with the spinal column, treo!

it, for the sake of si mplicity, like 0
rubber hose, tapering down 10 a poinl
otthe toil end.

Now attach skull

Nut odd the vertebroe, simplified

again. Note variety in shope. The two
high points ore support for leg bones.

View showing shope of skull.

Ne",! "II"f;h the If;opulo. Arrow

poinh to socket for humerus bone.

19
Add humerus, elbow, and foreleg.

Finished leg. For sketching purposes, you can think

of it as simply as this.

The scapula fils around the contour of Next slep: odd the bock plate for rear
the rib cage. . legs. Note sockets for legs.

Perspective view of bock plote c,.,d

socket.

20
Rone fils inlo sockeT.

With the building downward of Ih e

reor leg, the skeleton i5 completed.

21
Study each skeleton with the reloted
drawing. Observe how lIonh turn out
and knee, turn in on hindquorters-
01$0 ,light knock·knee in stonding pose.
MUSCLE STR UCTURE
Not. u"d ..layer of mUl(lalleCld;~Qt
heod.11 would b. a good UllfC.i.II'
drowin tM ,keleton ovtl,rhil drc","" ~
sinee it would show dearly wh ••, I"l
musd" wrop around ..",;OUS b On!
 VARIOUS PARTS
Thinking of the horse in separate units
will help yov to visualize the animal
01 0 solid, and 10 see the relative size
of ~~rio.ul port,: .; _ "....

Note th e position of the ,copula.

Fit the stomach under.

26
 HEADS
Tj.,.~. :. no .ooy ...... Y 10 1;.1 .. ,,1.. it> ..
horse"s head, since fhere are so many
plane, to consider. Once you ore
fomilio. with the skull, me job will be
relatively simple, especially since much
of me "bone slrvctwe of the head is
very pronounced.

Thinking of the heod in two sections

moy help you. In the lower right-hond
sketch, not" how both the neck musde
and Ihe bone behind the eye follow
around the eor

27
A common mistake of b .
place the eye of Ih eglOneu is 10
forword. When rou : . hO.rsfl 100 fa r
~
check the di."isions 109 .n the heod,
p~o~e.~ pe.r.sp~c!;"e~ ~e ; ........
sure il is in
..
',

28
 MUSCLE ACTION

l ike a louf rubber bond, the muscles

elongate in stretched positions. 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 101 of tension on the under muscle s
connecting 10 his heod.

29
 Always think of the elasticity of I
...- ~ Even the rib cage is plioble for sq
/ and elongo/ion.
. ~- "' ~ "f .;.: .......... .:..•• ~ . . ~._... -..,."J, .. .

Tendonl also ploy on imporlont POri

There ore points 10 remember in dra w

ing oction poses, some of which ho ve
been mentioned before but o re
worth repealing. They or.:
Siren and $troin
Bongoting and bunching of form
Weight
Action and readion
Wllian! fAochon. O~ in Ihlt im"oet fro m
a high fall.

30
8o.,n"in..... h"'_nh .. ~ ... ;... O .... "e ... ;".
in keeping your figures in per~pecl;"e .
Without iI, ir"s very eosy to min.

Arcs in perspective, os shown below,

ore worth puning in once you 've deter.
mined the perspective of your figure .
Your eye is 0 pretty good ludge.
 ANIMATION-JUMP

Kick
Animated step in perspective.

32
As a practice exercise, give yourself
a problem such as a horse pulling 0
heovy lood forword . Gel as much
drive in Ihe pose 05 possible. Then
revene your pose by hoving the horse
pull against the load, bockwords.

33
TROT
 CA NTER

Righ I reor leg end left fo releg pushing Note dip of reor os legs pun through, .
off, right foreleg toking weight. right foreleg pulling body.

Sock to beginning of cyde.

\ \
", I
Fee'- YOur drawmgs! Gjve plenty of
p''''ch '0 th. ot'.'ch.d I_g •• and put
renslon In the pulls on muscles. ,
~ge i;~~~ pose mentolly before rough-
 DRAFT HORSES
These boxed -in drawings show the
difF. r onco in size ond ",,,,, f or",,,,j;,,,"
between the draft and sadd le types
of horse.

The draft horse is mauive in neck and Nole width of rear.

shoulders. For show purposes, me legs
ore Feathered oul.

39
 COLTS

Calls are very long _legged in pro -

portion to the body. Note bO)led -in
figures for compo rison. In drawing
colh, keep in mind large ioinls on legs,
small hooF$, slightly larger ears, shorl
to il ond mone, $moll muzzle, ond slight
dome of head.

(
l

'0
Because he is young, there is on owk·
word legginess to a colt's (Ktions, as
though he is never quite lure of his
balance. Try to capture that ~eeling in
your poses.

Approach : gettil"lg the attitude or pose

and ' placing pivot points.
Feeling form - solidifying drawing.
Workil"lg in the detail of the Forms.

"
 BLO~KING IN
When you hove your horses sketched
in and you desire fone, block in your
planes. 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.
44
 ZEBRAS

. d end is higher in
~r~:ortion
thol the hm
than thot
f the horse.
0

.. f the zebra ore lorge,

Chorocleml':~O~1 head, and, os a rule,
round ears, f, than the horse. •
smallerho~ .

.~
b low was done p.ur~
The drawing e "d conslrucllo
osely without outs~ee stripes follow
f.thenes,form sh~7h:::jmol.
10
0

Note larger stripes on rear.

 HORSES and ZEBRAS - C ARICAT URE

On 'he draft horse, exaggefa'e ches'

and try to keep on oll·orovnd sharI

To me, the zebra sugges's cutenen

and decafoti"enen. The points of
exaggeration Ofe : large eon, small
muzzle, short body, Jorge rear, rather
small, tapering legs, and smoll feet.
The end of ,he toil is fuJI and bushy.

NO'e how small knees occen' the full·

ness of feathering althe legs.

To suggest toll, sleek, oristocrotic thor·

oughbred, all proportions ha", bee n
kept slim and tapering.

Note ROfe gj"en to toil for 0 peacock.

like impression.

46
t"u. u .... ".1 .... rr~ ... , 1 I·.~ __ w •• .J ...
:l.... u1 b "' .. I.., .1,: ........ 1., l~~u. I.. ... .J...... .J
knock.knees with large hoofs.

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. Hones'

teeth do protrude at nearly 0 45°
ongle.

The Trojan mane occents the thick neck

of the droh horse. 1.Ienderized hi. leg.
IQ accentuate the fullness of the hoofs.

47
 TH~ D~ER ~AMllY
Tbe deer is slender, graceful, and
angular in body, Work for tapering
forms . The bone structure is very
prominent in the legs.
['1 _ _ ' , , _ _. _ , , 1,_ , 1, ___ ..I: ¥:.: __ • • , ,1,_

boJyl

The leg i$ very thin between tendon

ond le g bone.
 DEER - ANIMATION

Ju mp
Note the 10 ..... arc Ih e e
Observe 01$0 how neck reor lok !..
bock in drawin wh and head ore
landing, and the~ ho:r~ the de. r is
forward in toke-off. throws them
 Work for rhythm - their bodies ore
fu ll of it.

Slow. molion pi .. lur •• r."eal $ome "ery

e~treme positions, like the one ohove.

52
 STAGS
The bone struclure of the slog is nalu·
rnll v hOClvior thtIPI thl'lt b~ Iha tl..",.
Its neck is thicker, the muscles ore
.... o~. pronov"".d, ond oJ •• brood",r

o"erolly throughout the body.

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.toth ve
action, leading rom
~estrong
reor
line of
leg to

the head.
 DEER - CARICATURE
Keep clean, sweeping lines, fopering
body In the odulr, the arched neck
co ntr ibule. 10 the Feeling of gro,,8.

. :~~d;h~n~i;~g·~:~.o~:~e I~:;hlhr; .
crown is suggested.

56
Goo"all,. all ,"1> aeo I THE CAT FAMILY
To get rhythm in
row In body with long end nor- flow of line 0 d your. cots, work for
~I'" .......... (_up ~ng, tapering legs, n tapering forms.
tnlo the bod . f' ..... " .. '''' bl .. "g
Y In one graceful line.

: ' e rh~ $hortnen of !he

the hInd leg in com . lower port
length of the up porl~n with me
characteristic w~e~ section. It is this
spring in leaps. IC gives cols their
For the feeling of rhythm, weave your
forms together. It not only unifies yOU;
drawing but gives it movement on
groce os well.
\
 Particularly on the lion h
overhangs quite far ,I.e upper lid
visor far the eye. ,making 0 good

Difference between noses:

Baby puma, spoiled when young.

lion Tiger

61
63
 Head of lioness

!i~b:r;ol~d~work is righI, !he drawing

65
 l ion Cub
Cule ond' killen . like in oppeoronce,
the lion cub is olwoys lun. Nole how.
body is broken up inlo three ports:
the shoulden ond forefeel, Ihe body,
Ihe hindquorters.
 LION
fl........ n . ... p .... b .."I.. .._ •• Io,._;.1o,
en. On an adult lion, il also grows
lome dislonn bock on the undenide.

B.ecou'o h;is heavy and lolid,rh. lion

appearl 10 be .horter · bodied than

67
 LION JUMP

80dy in push-off. Nole slr~ng line Forelegs arch up, pre poring 10 t'lnd.
of action through the whole body.
Forequarters mow cion to body in
forward thru$l.

RighI foreleg lak.s weight in landing. Righi hind leg slrelches in Igndino. This
left foreleg stretches lor ground. pose would lead inlo (I pose similor
Hindquarters pull through from streIch 10 number one if the col ...... r. to jump
position. again.

69
 BUILDING A HEAD
Work for brood plones of fint. See
that your forms relate to each other.
Dividing the head down the middle
will help, since it will give you a line
of comparison by which to keep your
forms in proper penpecliv~.

The lines are shaded in, following the

contours of the forms .
The tiger is long' b TIGER
boc~ .. He hOi be:ul;~u~Y'with 0 th"irc/y
ond 's pleosonl to • 'opering line,
hi, grocefulneu. wolch becouse of

71
DOMESTIC CATS
As in all baby animals, the body is
short, the forehead forge.
 CATS - CARICATURE
I like to empholize the sl.,koess and
rhythm of the block panther - the
long, lope ring legs and long body.

The open mouth 01 the left gives 0

comic effect. In this sketch, I mode the
mouth brood at the top and narrow
01 the bottom 10 give vorie~ of shope,
and 10 emphasize the open, stretched
position.
In the comic ~Pheod mone, ond chest
· e above, I emphasized

the ~ize of hlh' whtskers are elloger.

~:~~~~. :~~ ~h:n tip of the tail is full
to obtain 0 flare effect.
 cows and BUllS - Cows

Nature built the cow 10 corry a heavy

lood. Note prominent spinol column.
Bone structure is very prominent
throughout the body.

77
~aking
nice the ti p of the lail full gives a
accent.

c:nlrasl, Ihe sm~jl IS on the jowls. By

The emphasis he .
I e effeci. muzz.le points up

79
 BULLS
The neck and shoulders ore thick and
$olid. Ther. is 0 good deal of loose
.kin honging on Ihe under porI of the
nett

so
H e I have em~hoJi%ej t~:;~~~ 0th~
lo~:qoo"" ~:"~: .~~.
size of the leg
mo" boll
h f the horns IS
I~
the body. The leng;he o,ip of Ihe foil
exaggerated, and
II mode very full 10 serve
as on accent.

For on incongru0'h$ hor~clers below.

effect I hoy. used
very thin legs on I . c

81
The gl,oHe IS very ongulor onimol, wITh
o wide jaw and a pointed, V.shoped
nose. 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.

82
 GIRAFFE- CARICATURE
Points of exaggeration:
Spre~d horn,
Long neck
Very ongulor
Knock-knees
Split lip
Very high ot the ,houlder
Very low in reot
Flored tail
_ong split hoof

83
 CAMELS
A cornel hOI many dominont charoc-
tenstlcs. 'He is a very leggy ammol
with 0 deep chesl. 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.

84
The hump il a fatty substance and is
not attached to the backbane.

CAMELS -CARICATURE
Being caricatures in themselves, camels
are comparatively easy. 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. like body.
The cheekbones are very pronovnced,
the eyes deep and inset, the nO$l(il$
wide, and the forehead low.
 GORILLAS- CARICATURE
For the comic type,l have exaggerated
the size of the chesl and arms, in
relation 10 the small legs. The points
which I believe give this drawing a silly
appearance or8 : the long upper lip,
brood mouth, smail pointed crown,
and long arms in (onlrO$llo short legs.

To convey the feeling of formidable

powe r to this "menace" type, t hove'
exaggerated his powerful .shoulders
and arms. 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 .~ : '- .r ',.. II~ ...._ .l ....... ·t 0 .... I ......
.I.~:~
round on their forms. The sketch belo_
shows how fat hangs o . . er the body.

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.

89
 WART HQG~

The bone sTructure is very similar to

,hot of its domestic cousin. 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.

90
 PIGS-CARICATURE -

Jowls cnd oll · around beefiness or.

good points of exaggeration, 0$ ...... 11
OJ small eyes ond heavy, Happy ears.
On the dowager type above, the top
of the head is smoll so thol the curls In "menau" wort hog type, not. vol.
will hove more flore. On the pig betow ume of chest and how head is buried
the norrow shoulders emphasize, by right in the chest.
contrOl!, the size of the stomach.
In caricature, mok. use of controsling
types 01 much as possible. Controst
establish.s types more definitely.
 DOGS
Dog$ 'lory in conformation cnd size,
but are closely alike in many respects.
Below ore two simplified slcelelons for
!wo different typel. They are kepI the
some lIlIIe.pl for r.lo'ive .i",. of paTh
of the skeletons. Keep in mind the
chorocler of the dog - for a.ample,
th. long bock and shorl legs of 0
doc;hshund contrasted with the relotive
shorl squaT.nen of on English bull
DACHSHUND
 ENGLISH !lULL
T~e English bulldog is brood of ch I
Wlth 0 flat nO$e ond over-all bl:~;
feolurel.

Nole the bowlegs.

 GREYHOUND
In ,he greyhound gnd whlppe, breed),
the bone structure is very pronounced.
They are extremely flexible in body.
COCKER
97
 GREAT DANE

98
LULLIt

99
 DOGS- CARICATURE
Dogs ore morvelou$ for caricature
because of the many contrasting types.
When you hove several together, work
lor opposite types. This will make each
one Jlo?d a,ul more definitely.

Dachshund Bloodhound
Exaggerated length of body, long EJl:oggeroled angular body, size of
pointed head, and length of ears. nose, and loose skin on the head. 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.
101
102
 FOX-CARICATURE
I he loll, IS very tlexlble 10 hondle. Here
I have illustrated both the more con-
ventional and the humanized typn

In the above sketch points of exag -

geration are: small, pointed nose,
slender legs, small feet, pointed ears,
slanted e~es, and full toil.

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.

103
 KANGAROOS

The rib cage is small, and the forelegs

hong, rodent. like. Head and ears ore
similar to those of the deer. The IOit
is long and pointed and quiTe full 01
the bose where it is onoched 10 the
body, The toil is very i mporlont 10
kangaroos, since they vse il as a rud·
der and 10 help support their weight,
Secause of ils prominence, it will give
you 0 slrong line of action, Dnd odd
sweep to your drawing.

Molt of the bulk of the kangaroo is

carried in his strong hindquorterl_

104
 kongo~:~ · leg
NOle porollel in ' .
deer and oclion of

106
 KANGAROOS- CARICATURE
Points of exaggeration: square nose,
lorge hili eors, thin neck. (Use this. for
co nlrosl with the very large hInd.
quarters.)
Their bodies ore v RABBITS
double their ten ~~.elosrj(, end they
positions. 9 In strelched-oul

~~
In the lower sk e1ch '
basic units- he d • nole ,he thr
low::
port of body. (] , chesl, and the
In sitting positions, you'll notice gen -
erolly that there's a bunching up of
forms _ Bul studying motion·-pic ture
fromes reveols that they are copoble
of really spreading out.

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.

Jump
Noto tho bunching up ond olongol;ng
of the rab bit on the toke_off.

~
: ~I > <.oZ
-. 2' " '~ . . ... ,-
I [/L. _ I. ~ , - -
 RABBITS - CARICATURE

Rabbits are excellent for humanized

types, their heads and badies ore so
flexible for expression. 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.

110
 SQUIRRelS .

. ~i ~[
~1
};~~"
Squ;".I,-Co';colu,.

Fa"'te""'
keep ,au,d a,d lull.
.. .

111
 ElEPHANTS
Work for big, lweeping formt. The
elephonT i5 0 very angulor animol in
'pile of ill tremendous bul~. There is
a very prominent .... rt.bral column
on 'he bod:.
r... ~ .:mpl•• l. ...:. t......... "... 1. Ih •• L.lch
aT the righl.

On underside af trunk, nale Aatness

a nd haw it is divided. Refer to skeleton
drawing _ it will u plain the hallow
cheek.
The opprooch : the moin forms ore The lener form5 ore odded.
rounded in.

Finish off.
JU)I bCl;uuu: CIClJhUIlIl UI C Liy UI1J
bulky, don 't be ofroid to move them
around, On action drawings below,
nole how Ihe hind legs and Irunk are
u •• d ro~ the I;n. or oc!;on.

11 5
T ke this pose interesting, I oPP05e~
thOe m;osition of the heo~ :~ethbo~d~.
the line of mo ... eme~t 0 n heod
Note pull of loose skin betwlu left
and chest in the drawing at ower .
Various shopes for voriouJ type'.
 THE BEAR FAMilY

Remem ber the three body breob; nole

beor below.

Build on your oV~:ough

forms when
on the
you
line
storl,~nd fol~:l:w. from
of oC'Ion a s
the rear leg
to front leg,

these qUic'k sketches, nole how

~~m$ follow through.
 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.

120
The brown bear is brood and massive.
 CUBS
Cubs ore small in muzzle and high in
crown, which gives them a high fore.
head. Their bodies are short, and
mey ere slIgtllly plgeon -Ioed hke lhelr
parents. Keeping Ih. eyes low in Iheir
heods ';dd, to the effect o f culenos;.
POLAR BEARS
 BEARS - CARICATURE

On the odult, exaggerate the lorge The use 01 heavy jowl, work, nicely
rorso and massive "arms"· By keeping on 6eo", For a silly effect, leave out
legs short, you accentuate size of body. rhe chin on your choraCler.

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.
 mic types, I hoye us~d two
for the co k h the mom moss
extremes. I~ one $Io~~; area, while in
is carried I~ t:e carried in the chest
the other, It , k I h the Ihin neck
area. In the I.Ippe~ s e ~h' the bulk of
conlrosts absurd y WI
the body.

The polor beor ~eem Here I exogger-

s to lend ilself to
o stylized drowmt oinl~d nose, and
oled Ihe long nec , p
heavy, long forelegs .

127
 COMPOSITION IN ANIMAL GROUPING
Composition may be on old story to many certain direction is repoa~d in another port
reoders, but for the benefit of those 10 ..... hom of rhe picture. 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. It is advisable 100, 10 hove ('I defi·
on effective combination of vertical. horizontol. nite line of oclion in your picture sa Ihol Ihe
and diagonal lines. There should be opposi. viewer can follow the movement. An otcenl
tion, such as a verTical opposing 0 horiz.ontal is always importont, since il tends to breok
line. and repetition, where a line moving in a the monotony of a line of oclion.

The problem in th is elephant picture was

how to stage it most effectively. Believing that
on underneath shot would give the desired
dramatic effect, t first concerned myself with
a satisfactory pose, in which the observer
would be looking up. Then I worked oullhe rest
of the picture so os to in tensify thot effect.
Note the lines of composition. The girl's hair
is used as an accent.
~ '.
\
\
To show the powerful bulk of these draft
horses, I used a three-quarter front perspective_
For dramatic eHect, the camero ongle is low,
thus accentuating the size of the forequarters
and the height of The withers of the horse in
the foreground. .

The grooves in the earth give movement to

the picture. The grooves, running downhill
in the foreground create contrast with the
up-angl., of the foreground horse.

130
The arrows indo
!he panther's !Cote the paths
IS used os th heod;n the b of oct;on.
e accent, ackground
In Ihil leyeul, Ihe use of diogonal,
vertical, and horizontal lines is em -
phasized. A strong vertical, such as
Ihe lelt foreleg 01 Ihe horse ,n Ihe
foreground, tends 10 hold the picture
together. Note how it leods into the
three heods. The recr hone 's head is
the occent. Observe the right foreleg
of the horse in the leod. It furnishes
a good diogo,nol.to the picture, as,
well as extending in the direction of
the rear horse 's head. (See arrows
in sketch .)
••• •1. ,_ ... . : __ J . __ :__ .l_ 1: ___ £ _ ...:_"
:. ,.".r;"~ Irl"lm thto d~A't ritlnt rear lea
through the bUC~'S left foreleg. To direct
attenflon fO fhe fawn, the mother lo

head is turned to ii, and the fawn

is ploc.d in another line of molion.
Observe the usc of diogQna15 and
verlicalt, and Ihe repelilian of both.
 Again in this drawing, the various paths
of action are indicated by a r rows,
A strong line of action from the right
hind leg of the rear horse follows
through to the left foreleg of the fron t
horse, Here, the rear horse's head
works as an accent. The ang le of
, the front horse's heod is in opposition
1o the line of his left foreleg, The
left foreleg of the reor horse gives
a vertical line to the, picture,

134