The Art of

Drawing Animals
© 2008, 2011 Walter Foster Publishing, Inc. Artwork on pages 8 (value
scales), 10, 11 {except “Negative Drawing” and “Drawing with
Erasers”) and photographs on page 9 © 2006 Diane Cardaci,
Artwork on front cover (horse) and pages 3. 68, 71 (bottom
horse), 70-95 © 2008 Patricia Getha. Artwork on back cover and
pages 10, 18-41 © 2008 Cindy Smith. Artwork on page 8 (except
value seales) © 2007 Christopher Speakman. Artwork on front
cover (dog: “Lexi Norwon”) and pages 1, 11 ("Negative Drawing”
and “Drawing with Erasers™), 14 (dog), 42, 44-67 @ 2008 Nolon
Stacey. Artwork and photographs on page 13 by Mia Tavonatti.
Artwork on front cover (zebra stripes and elephant) and pages

? (“Spray Fix"), 12, 14 (except dog), 15, 96, 98-113 and phote-
graphs on page 6 (studio, sketchbooks, sharpeners, and erasers)
© 2008 Linda Weil. Artwork on pages 114, 116-141 © 2008
Debra Kaullman Yaun. All rights reserved, Walter Foster is a
registered trademark.

Digial edition: 978-1-61059-820-0

Solcover edition; 978-1-60038-130-4

This book has been produced to aid the aspiring artist. Repro-
duction of the work for study or finished art is permissible.

Any art produced or photomechanically reproduced from this

publication for commercial purposes is forbidden without written
consent [rom the publisher, Walter Foster Publishing, Inc.

10 BETH F932
The Art of
Drawing Animals

With Patricia Getha, Cindy Smith, Nolon Stacey,

Linda Weil, and Debra Kauffman Yaun
Designed by Shelley Baugh
Project Editors: Meghan O'Dell and
Elizabeth T. Gilbert
Copyeditor: Rebecca J. Razo
Index by Christy Stroud and Meghan O'Dell

WALTER FOSTER PUBLISHING, INC,

CONTENTS

INTRODUCTION TO DRAWING ANIMALS . ...

Tools & Materials

The Elements of Drawing

Basic Pencil Techniques
Other Ways 10 Shade
Animal Texiures

Drawing from Photographs

Perspective Basics

BABY ANIMALS WITH CINDY SMITH... ....

Bunny

Kitten

Gosling

Foal

Doberman Puppy
Bear Cub

Kitten & Butterfly

Fawn

Lion Cub

Yarkie Puppy
Lamb

Giraffe Call

DoGs & CATS WiTH NOLON STACEY. .....

Cats in a Bag
Bulldog
Dachshunds
Kittens

Cat Portrait
Springer Spaniel Puppy
Husky

Silver Tabhy
Dalmatian

Maine Coon
Orcicat

Labrador Retriever

HORSES & PONIES WITH PATRICIA GETHA

Anatomy & Proportion
Basic Profile Study

Advanced Proliles

Polo Pony

Arabian Portrait

Appaloosa

Foal Standing

Foal Cantering

Standardbred Trotter
American Saddlebred & Rider
Gypsy Vanner

American Paint Horse

Pinto Pony

American Morgan Horse

Dappled Pony

fees

P—

T0

72
74

WiLp ANimALS WITH LinpA WEIL ........

Asian Elephant
Australian Barking Owl
Tiger Cub

Koala

Dingo

Kangaroo

ANIMALS IN COLORED PENCIL WITH

DEBRA KAUFFMAN YAU... ..vivnicnnans

Colored Pencil Tools & Techniques

Rooster

Shetland Sheepdog
Gray Squirrel
Harse

Lory
Leapard

Maine Coon
Alpaca

Box Turtle

Red Fox

Bush Baby

Cow

171025 Hr i ig pe (OR SEP |v 3

CHAPTER 1

INTRODUCTION TO

DRAWING
ANIMALS

Welcome to the exciting world ol drawing animals in pencil! This

compilation of projects from some of the most popular Walter
Foster titles provides inspiration and instruction for creating a vari-
ety of animal drawings, including lovable cats and dogs, majestic
horses and ponies, and the wondrous animals of the wild. From the
fundamentals of drawing to special tips and advanced techniques,
The Art of Drawing Animals is filled with step-by-step demonstra-
tions to guide aspiring artists through the drawing process. There's
evel a section on drawing animals in colored pencil, so you can

try your hand at another medium. The tive artists in this collection
have developed their own approach to pencil drawing, so there are
countless lessons to be learned from their individual and distinct

perspectives. Discover how fun and easy drawing animals can be!
TooLs & MATERIALS

| Ie is not only fun, but it also is an important art form

in itself. Even when you wrile or print your name, you are

actually drawing! If you organize the lines, vou can make shapes;

and when you carry that a bit further and add dark and light
shading, your drawings begin to take on a three-dimensional
form and look more realistic. One of the great things abow
drawing is that you can do it anywhere, and the materials are
very inexpensive. You do get what you pay for, though, so pur-
chase the best you can afford at the time, and upgrade your
supplies whenever possible. Although anything that will make a
mark can be used for some type of drawing, you'll want to make
certain your magnificent efforts will last and not [ade over time.
Here are some materials that will get you oll te a good start,

P Sketch Pads You can buy

spiral-bound, stitched, ar gum-
bound sketchbooks in a variety
of sizes. The paper in most
sketchbooks I< not designed for
finished works — sketching is a
form of visual note taking, and
you should nol worry about pro-
ducing masterpieces with them.
You may want to carry a small
notebook-sized sketchbook with
you 50 you can sketch whenever
the mood strikes, it's a good
idea to carry a larger shetch-

book when diawling on location.

> Paper Drowing paper is

available in a range of surface
textures: smooth grain (plate
finish and hot pressed), medium
grain {rold pressed), and rough
to very rough. Rough paper

is ideal when using charcoal,

whereas smoath paper is best
for watercolor washes, The
heavier the weight of the paper,
the thicker it is. Thicker papers
are barter for graphite drawings
because they can withstand
erasing far better than thinner
papers can, Be sure to purchase
acid-free paper, as acid causes
paper to turn yellow over time.

4 Sharpeners Cluich pencils (see page 7) require

special sharpeners, which you can find at art and craft
stores, A regular handheld sharpener can be used

for wood cased and woadless pencils, but be sure to

have several sharpeners on hand as these pencils can
become dull. You can alse purchase an electric sharp.
ener, bul it affords less contol over the shape of the
pencil tip.

A Work Station You don't need a professional drafting table to stan drawing — mary
brilliant drawings have been created on a kitchen table! You'll need a hard surface
to use as
& drawing board {er purchase a drawing board from an ant supply store), and
something to
prop up the board with, such as a brick or @ stack of books. Good lighting is
essential —it's
best ta weark In ratural ight, but you also can purchase a daylight bulb, which
gives off a
good white light and eliminates the yellow glare of standard bulbs. Make sure the
lighting
is direct and that there are no shadows falling across your wark area. Also, you'll
wank to
haue a comfortable chair that supports your back.

<4 Erasers Mistakes are inevitable, so

It's good to have a faw erasers on hand.
Plastic art erasers are good for removing
harder pencil marks and for erasing large
areas, Be careful when using this type of
eraser, as rubbing ton hard will damage
the surface of tha paper. This eraser also
leaves crumbs, so be sure to softly brush
ther away with a makeup or camera lens
brush. Kneaded erasers are very pliable;
wou can mold them eto different shapes,
Instead of rubbing the kneaded eraser
across the paper, gently dab at the arza to
remous of lighten lone. Another great tool
is adhesive putty, made for tacking posters
toa wall. Like 2 kneaded eraser, it can be
molded and wan't damags tha papar.

« Watercolor Paint Black watercolor

paint can add dynamism to your artwork.
Dilute the paint with water ta apply a thin,
light gray tone, called a “wash.” (See
“Watercolor Washes™ on page 7 for more
information.)

» Blending Tools Faper stumps (also

called “tortillons"} are used to blend or
smudge areas of graphite into a lat, even
tone, Be careful when using blending tools,
as they tend to push the graphite into the
paper, making the area difficult to erase.
Ancther good way to blend is to wrap a
chamois cloth around your fingar. Never
usa your finger alone for blending —your
skin contains oils that could damage the
paper.
PENCILS

Soft pencils (labeled “B") produce strong, black tones; hard pen-
cils {labeled “H") create lighter marks. The higher the number
thal accompanies the letter, the harder or soller the lead, (For
example, a 4B pencil is softer than a 2B pencil.) HB and F pen-
cils are used for middle grades. We recommend starting with the
{allowing range of wood-cased pencils: 2H, H, HR, F, B, and 2B,
As your skills develop, you can experiment with different types
of pencils. Some artists like to use clutch pencils (also called
“mechanical pencils™), which require special sharpeners (see
page 6). You can also purchase woodless graphite pencils, which
are great for covering large areas with wne or for making quick
sketches. These pencils are usually very soft, and the graphite
breaks easily. Charcoal pencils are also good for making very
dark black marks. Keep in mind that tones vary among manu-
facturers—one brand's HB may look very different from another
brand's, so try to stick with one brand of pencil for a consistent
range of tones.

Spray Fix A fixative “sets” a drawing and protects it from smearing. Some artists
aveid
using fixative an pencil dranings because i tends ta deepen the light shadings and
dimi-
nate some dalicate values. However, fixative works well for charcoal drawings.
Fhuathe is
available in spray cans ar in bottles, but vou need a mouth atomizer to use bottled
fixative,
Spray cans are more convenient, and they give a finer spray and more sven coverage.

Ha,
sharp point — |
Ha,
dull point HB Pencil An HE pencil with a sharp point produces crisp lines,
offering a good amount of control. With a dull polnt, you can make
slightly thicker lines and shade small areas.
wi
Charcoal
Charcoal Poncil Charcoal is very soft, so it smudges easily and
makes a dark mark.
Clutch oe
pencil Clutch Pencil A clutch pencil doesn't change in weight or
length, so you never need to adjust your feel fort.
Woodless
pencil Weodless Pencil A woodless panel ic a solid care of graphite
covered wilh a thin sheath of plastic, 11is greal For creating broad
areas of tone,
Detail
round brush

Small
round brush
—
Medium Faintbrushes A few good paintbrushes make applying
round brush walergolor washes more enjoyable. Round brushes Fke

these taper to a natural tip— purchase them in a variaty

of sizes, from very small for adding details to medium for
filling in larger areas.
WATERCOLOR WASHES

Incorporating washes of black watercolor paint into your drawings can give them a
smooth, elegant quality that you can’t achieve with graphite or charcoal, Start
by gathering two jars of clean water; one for cleaning your brushes and ane far
adding clear water to your paint. Then find an old dish, cup, or paint palette to
use
for mixing the paint. Thin the paint with water, load a brush with the diluted
mixture, and stroke across your paper. You don't need much paint—start with a pea-
sized amount. It's a good idea to practice manipulating watercolor washes before
applying them to your drawings. Try adding different amounts of water to the
wash and create a range of values. Gel acquainted with the techniques shown below.

A Drybrush Load
your Srush with wash
and dab the bristles on
a paper towel. Pull the
Brush Lightly across the
paper's surface for a
texture that suggests
mane and tail hair.

od Gradation Full Wet on Dry

a horizontal band of I— Faint wat color onto
wash across the paper. dry paper or over a
Add more water 1 your dry layer of color.
brush as you siroke This gives you a good
away, creating a Lramsi- amount of control over
thon from dark to light . the paint's spread,
that ean suggest form. a which is great For
detail
THE ELEMENTS OF DRAWING

rawing consists of three elements: ling, shape, and form, The shape of an object
can be described with simple one-dimensional

line. The three-dimensional version of the shape is known as the object's “form.”
In pencil drawing, variations in value (the rela-
tive lightness or darkness of black or a color} describe form, giving an object the
illusion of depth. In pencil drawing, values range
from black {the darkest value] through different shades of gray to white {the
lightest value]. To make a two-dimensional object appear
three-dimensional, you must pay attention to the values of the highlights and
shadows. When shading a subject, you must always con-
sider the light source, as this is what determines where vour highlights and
shadows will be.

MOVING FROM SHAPE TO FORM

The lirst step in creating an object is establishing a line drawing

or outline to delineate the flat area that the object takes up. This
is known as the “shape” of the object, The four basic shapes—
the rectangle, circle, triangle, and square—can appear to be
three-dimensional by adding a few carefully placed lines that
supgest additional planes. By adding ellipses to the reclangle,
circle, and triangle, you've given the shapes dimension and have
begun to produce a form within space. Now the shapes are a
cylinder, sphere, and cone. Add a second square above and 10
the side of the first square, connect them with parallel lines, and
you have a cube,

Rectangle Circle

Cylinder soners

Triangle Square

Cone Calre

CREATING VALUE SCALES

Just as a musician uses a musical scale te measure a

range of notes, an artist uses a value scale to mea-
sure changes in value. You can refer to the value scale
so you'll always know how dark to make your dark
values and how light to make your highlights. The
scale also serves as a guide for transitioning From
lighter to darker shades, Making your own value scale
will help familiarize you with the different variations
in value, Worl from light to dark, adding more and
more tone for successively darker values (3s shown
at upper right). Then create a blended value scale
(shown at lower right). Use a tartillon to smudge and
blend each value into its neighboring value from light
to dark to create a gradation.

ADDING VALUE TO CREATE FORM

A shape can be further defined by showing how light hits the

object to create highlights and shadows. First note from which
direction the source of light is coming. (In these examples, the
light source is beaming from the upper right.) Then add the
shadows accordingly, as shown in the examples below. The core
shadow is the darkest area on the object and is opposite the light
source. The casi shadow is what is thrown onto a nearby surface
by the object. The highlight is the lightest area on the ohject,
where the reflection of light is strongest. Reflected light, often
overlooked by beginners, is surrounding light reflected into the
shadowed area of an object.

Higntigat Higniight

Cire
shadow

Cast shadow
Highlight

Reflecied
light

Cast shadaw

Cast shadow
BASIC PENCIL TECHNIQUES

ou can create an incredible variety of effects with a pencil. By using various hand
positions and shading techniques, you can pro-

duce a world of different lines and strokes. If you vary the way you hold the
pencil, the mark the pencil makes changes. It's just
as important to notice your pencil point. The point is every hit as essential as
the type of lead in the pencil. Experiment with different
hand positions and techniques wo see what your pencil can do!

GRIPPING THE PENCIL

Many artists use two main hand positions for drawing, The writing position is good
for very detailed work that requires fine hand con-
trol. The underhand position allows for a freer stroke with more arm movement—the
motion is almost like painting. (See the captions
below for more information on using both hand pesitions.}

Using the Writing Position This familiar position provides the most control. The
accu- Using the Underhand Pesitien Pick up the pencil with your hand over it,
holding the
rate, precise lines that result are perfect for rendering fine details and accents.
When your pencil between the thumb and index finger; the remaining fingers can rest
alongside the
hand is in this position, place a clean sheet of paper under your hand to prevent
smudging. pencil. You can create beautiful shading effects from this position.

PRACTICING BASIC TECHNIQUES

Diy studying the basic pencil techniques below, you can lean to render everything
from the rough, wrinkled skin of an clephant wo
the soft, fluffy fur of a bunny. Whatever techniques you use, though, remember 10
shade evenly. Shading in a mechanical, side-to-side
direction, with each stroke ending below the last, can create unwanted bands of
tone throughout the shaded area. Instead try shading
evenly, in a back-and-forth motion over the same area, varying the spot where the
pencil point changes direction.

Hatching This basic method of shading involves filling Crosshatching For darker
shading, place layers of paral- Gradating To create grated values (from dark to
light),
an area with a series of parallel strokes, The closer the lel strokes on op of one
another at varying anges. Again, apply heavy pressura with the side of your pendl,
gradually

strokes, the darker the tone will be. make darker values by placing the strokes
closer together. lightening the pressure as you stroke.

EE A SERS

Shading Darkly By applying heavy pressure Lo the pen- Shading with Texture For
amoted rexure, use the Blending To smooth oul the Liansitions between strokes,
cil, you can create dark, linear areas of shading. side of the pencil tip to apply
small, uneven strokes. gently rub the lines with a tortillon or tissue.
OTHER WAYS TO SHADE

PRACTICING LINES

When drawing lines, it is not necessary to always use a sharp

point. In fact, sometimes a blunt point may create a more desir-
able effect. When using larger lead diameters, the effect of a
blunt point is even more evident, Play around with your pencils
to familiarize yourself with the different types of lines they can
create, Make every kind of stroke you can think of, using both a
sharp point and a blunt peint. Practice the strokes helow 10 help
you loosen up.

As you experiment, you will find that some of your doodles will
bring to mind certain imagery or textures. For example, litle Vs
can be reminiscent of birds flying, whereas wavy lines can indi-
Cale water.

oe a
Hill 2 NS 1177

Drawing with a Sharp Point First draw a series of parallel] lines. Try them
vertically;
then angle them. Make some of them curved, Crying both shart and long strokes. Then
try
some wavy lines ab an angle and some with shor, vertical strokes, Try makirg a
spiral and
then grouping short, curved lines together. Then practice varying the weight of the
line as
wou draw. 0s, Vs, and Us are some of the most cammon alphabet shapes used in
drawing.

NN Sms upd!
Ml ZZ S iil ii
aE vy > jE
ee ) i If i I if C—— . Er
py ¥ (FT
% 1 ERE 0 of 2 = a
¥ po be V = A 7; —r
MEE a
IE Fs i
Go, VY VY
= il o ( yy :
We mn 0%%% FCG rf
rw 309 “IJ VY

Drawing with a Blunt Point It is good to take the same exercises and try them with
a
blunt point. Even if you use the same hand positions and strokes, the results will
be differ-
ent when you switch pencils, Take a look at these examples, The same shapes were
drawn
with both percils, but the blunt pencil produced different images. You can create 2
blunt
point by rubbing the tip of the pencil an a sandpapar black ar on a rough piece of
paper.

“PAINTING™ WITH PENCIL

When you use painterly strokes, your drawing will take on a
new dimension. Think of your pencil as a brush and allow your-
sell to put more of your arm into the stroke. To create this effect,
try using the underhand position, holding your pencil between
your thumb and index finger and using the side of the pencil.
(See page 9.) If you rotate the pencil in your hand every few
strokes, you will not have to sharpen it as frequently. The larger
the lead, the wider the stroke will be. The solter the lead, the
more painterly an effect you will have. The examples below were
all made on smooth paper with a 6B pencil, but you can experi-
ment with rough papers for more hroken ellects.

PP Starting Simply
First experiment with vert
cal, horizontal, and curved
stokes. Keep the strokes
close together and begin
with heavy pressure. Then
lighten the pressure wilh
each stroke.

P Varying the
Pressure Randomly
cover the area with tans,
varying the pressure at
differant points. Contin ee
te keep your strokes loose.

» Using Smaller
Strokes Make small
circles for the first exam-
ple. This is reminiscent
of leathery animal skin.
For the second exam ple
(at far right, use short,
altermating strokes of
bieauwy and light pressuie
to create a pattern that is
similar to store or brick,

P Loosening Up

Use long vertical strokes,

varying the pressure for
each stroke until you start
0 see long grass {near
right). Nowe create shan
spiral movements with
your arm (Far right, abowe).
Then use 8 way move-
ment, varying the pressure
{far right, balow).
FINDING YOUR STYLE

Many great artists of the past can now be identified by their

unique experiments with line. Van Gogh's drawings were a [cast

» Using Criss-Crossed
Strokes If you like a
good deal of fine detail in
your work, you'll ind that
crasshaiching allows you a
lat of control (see page 9).
¥ou can adjust the depth of
your shading by changing
the distance between your
strokes.

» Drawing Small Doks il

This technique is called PX SRY Ya WIT

1 IR
“stippling” — many small “i = Ps LY 5 §
dots are used to create a . a] } Ws L Pr
larger picture, Make the END a # ="
points different sizes to IT Kas :
create various depths and “we Yale * 4 é
shedingeffocts. Stippling ~~ © 4% "a 3 $
takes a great deal of preci. -
sion and practice.

NEGATIVE DRAWING

Negative drawing means defining an object by filling in the area

around it rather than the object itsell. This method is particularly
useful when the object in the foreground is lighter in tone than
the background, as well as lor drawing hair. You can easily draw
hair using lines, but how do you draw light hair? You draw the
negative shadows between the hairs,

Using Negative Drawing for Hair Once the negative space is shaded (above left),
vou can add texture and tone to individual hairs to give them mare realism and
depth
(above right).

of calligraphic lines; Seurat became synonymous with pointillism;

and Giacometii was famous for his scribble. Find your own style!

» Sketching Circular
Scribbles If you work with
round, [pose strokes like
these, you are probably very

Pot dr >
experimental with your art, [Er iA SLE
These losping lines suggest =F Ler T
a free-form style that ts more Cop Tey =
concerned with evoking a a

mood than with creating

precise details.
» Simulating Brush-
strokes You can create the
illusion of brushstrokes by
using shor, sweeping lines.
This captures the feeling of
painting but allows pou the
same control you would get
from erosshatching, These
strokes are ideal for a stylis-
tic approach.

DRAWING WITH ERASERS

Graphite is very easy to manipulate with erasers. Not only can

you correct mistakes, bul you can use them Lo soften lines, create
lighter shading, pull out highlights, and even draw. You can also
use erasers to lighten objects, suggesting distance. The process of
creating light areas or shapes on a darker graphite hackground is
called “lifting out.”

Drawing Lines with an Eraser Quickly Drawing Hair To create this hair tex-

stroking the adge of a hard eraser across ture, apply a sclid layer of shading.
Then
graphite results in a clear Una that can be usa the tip of an eraser to pull out
short
used to suggest highlights lines in the direction af hair growth.

Smudging is an important
technique for creating shading
and gradients. Use a tortillon

or chamais cloth to blend your

strokes. Itis important to not use
your finger, because your hand,
even if clean, has natural oils
that can damage your art.

SMUDGING

+ Smudging on Rough
Surfaces Use a 66 pencil on

rough paper. Make your strokes

with the side of the pencil and

blend, In this example, the effect

is very granular,

4 Smudging on Smooth
Surfaces Use a 48 pencll
an plate-finish paper. Stroke
with the side of the pencil, and
then blend our strokes with 2
tortillon,
ANIMAL TEXTURES

here is a vast range of textures you can create for skin and hair, and each
requires a slightly different technique 10 achieve a real-
istic effect. The samples below breal down the process of drawing six different
texiures into steps. Most of these techniques are
used in the “Wild Animals” chapter of this book, so you may want to refer to these
pages when following the step-by-step projects.

SHORT Fur

Step One Create alight

undercoat with a series of
Swill, short pencil strokes
and a very sharp 2H

5 mam mechan ical pencil.

(Every pancll must be
very sharp lo achieve this
effect.) Draw the strokes
in the direction of the fur
growth and avoid forming
obvious patterns.

LoNG Halr

Step Two Mow use a

sharp HB lead to create
the second ayer, using
the same technique as in
step one, Don't Allin the
entire area; irstead
leave some of the paper
showing through the
lines for highlights.

Step One Use avery

sharp HB .5 mm mechani
cal pencil io draw a series
of long, cursed strokes
te make a “clump” of 20
to 30 Fnes, Draw all the
lines in a clump in the
sane direction and at
about the same length.
Each clump varies in
direction and length and
often overlaps another
clump,

Step Two As with the

short fur, use a sharp HB

lead For the second layer,

making your strokes

mare random than with
the short fur. Sgain,
leave areas of white
showing through the
strokes.

ROUGH, WRINKLED SKIN

Tai
wid

Step One With a blunt

F pencil, lay down 2 light,
even tone, Then use a
clean tortillon to blend
and soften the tone,
eliminating much of the
grain” of the paper.
Try to keep some areas
lighter and some darker
50 you don't create a
flat tone.

Step Two Use a sharp

3K and the “zcrumbling™

technique (ses page 103)
10 COVET C83 TN areas
with a squiggly fine that
vou make without lifting
wour pencil. This creates
the illusion af a bumpy
texture. Then switch to
an HB ta draw slightly
darker horizontal lines

ver the squiggly lines.

Step Three Switchioa

28 pencil to work over the
area again with the same
shont, swifi strokes. This

deepens the tone and

creates a realistic texture.
The darker 28 helps make
the untouched areas look
like lighter, individual
hairs. This is used for the
kangaroo on page 110.

Step Three Swilchtna

2B pencil to build up dark
areas using long strokes.
Create the darkest areas
near the lightest linas and
in amas where you want
the deapect shadows.
This contrast forms ratu-
ral “hairs” and highlights.
This method is ideal For
drawing dogs with long
hair.

Step Three Alienate

between an HE and a 286,
adding mare linas ard
scramble lines over the

first layer. This technique

works well far elephant,
rhinoceros, and some
reptile hides. It can also
be used to create leathery
affects for noses and faat-
pads if the undercoat is
created with a B pencil.

SHORT, PATTERNED Fur

Step One Use a blunt

F pencil to fill in spots

with very light, solid
tone, Then switch to a 2H
pencil ta work in a similar
Manner as in step one

of “Short Fur," but build

up dark areas by placing
dark 2H strokes close
together.

WHITE Hair

Step Two Now switch

Step Three Intensify

to an HE pencil to make the dark spots with a

shart. strokes that fol- sharp 28 pencil and

lowe the direction of fur many closely placed

growth. In the spotted strokes, varying the
areas, koop tho strokes pressure on each stroke,
close together; in the Build up the tone a bit
lighter areas, keep the mare in the lighter areas
strokes farther apart. with a sharp HE. This
Leawe some paper white method is used for the
far highkghts. tiger's fur on page 103.

Step Ome When draw.

ing white hair, the white
of the paper does most
of the work far you. You
really only need to draw
the shadows and the
negetive areas. Create
the undercoat with a
sharp 2H lead, but lay
down strokes arly in the
cast shadow areas. Keep
your strokes very, very

light

REPTILE SKIN

Step Two With a sharp Step Three Switchto a

HE lead, carefully create sharp 2B to carafully cre-

the shadows cast by the 10 the darkest shadow
hairs, following the direc: 5,055 These contrast
tian of hair gmwth, Don't with the white of the

draw toa many lines, as

wou don’t want ba fill in all
the white areas.

paper, creating the illu-

sion of white hair. Now
use the tip of the 2H to
add some light strokes
to give the hair mare
definition. This is used in
the lightest areas of the
kodla on page 105,

Step Ome WithazH

pencil, draw a series of
lines in ane direction and
anather series of lines

in the apposite direction

far a diamond pattern.
Use a blunt F pencil to

fill in each diamond with

hatchmarks. Leave 2
slight white autline and a
highlight in the upper Left
corner of ezch diamond.

Step Two Use the 2H Step Three Finally, use

to stroke in the opposite a 2B 10 create the darkest

direction an top al the F shadow areas in the lower
sirakes to blend the tone. right of each diamond. Then
Add circular strokes with use an HB to add circular
an HE in each diamond, strokes over the previous
concentrating on the tayer, evening out the tone.

lower right of each shape.

Use the HE ta fill in the
white outline around
each diamond, creating a
shadow between each.
DRAWING FROM PHOTOGRAPHS

A nimals are always on the move, which means these cap-

tivating subjects can be challenging to draw [rom life. To
capture a fleeting pose—as well as the lighting and mood of the

moment—you may choose to work from photos. Always snap

photographs from different angles and under different lighting to
give yoursell plenty of choices for your drawing—or use artistic
license {the artist's prerogative to alter the photo reference) and
combine several references to complete one drawing. Don't ever
{eel as if you have w be a slave o any given reference; artistic
license allows you to alter the composition—aor even the subject
itsell—however you please! For instance, vou may use one photo
as a reference for the pose, another for the texture of the fur, and
your memory for the shape of the eye. Its all up to you!

Combining References The artist

used two reference photos ta com-
plete the drawing below. The photo of
the reclining cat above clearly shows
the animal's pose —providing a great
reference for the cat's shape and
proportions. But the artist referred to
the photo at right for a better view af
the details, including the car's facial
features and the texture of Its fur.

Copying a Portrait
This drawing was based an
the photo reference shown
above. [I captured the
noble gaze and chiseled
physical charactenslics

of this particular horse.

Because the photo was so
clear, the drawing follows
It faithfully — aside from a
small hil of artistic license
the artist took io give the
bluntly eut farelock a more
natural look.

TRACING AND TRANSFERRING

Place a sheet of tracing paper on top of your phate reference and trace
the major outlines of the animal. Then use transfer paper— thin sheets of
paper that are coated on one side with an even application of graphite—to
transfer the image to your drawing paper. Place the transfer paper on top
of your drawing paper, graphite-side down, holding the transfer paper in
place with artist's tape. Then place the {racing paper on top of the transfer
paper (you may need to enlarge or reduce the image on a photocopier to
fit your drawing paper) and lightly trace the lines with a pencil ar a sharp
object that won't leave a mark, such ac a stylus or the pointed edge of the
handle of a thin paintbrush. The lines will transfer to the drawing paper
below.

You can purchase transfer paper at an art supply store, or you can make
wour own, Just cover the back of the traced image with an even layer of
graphite, place the graphite side on top of the drawing paper, and lightly
{race the lines of the sketch to transfer them. Check underneath the trans-
fer paper occasionally to make sure the lines that have transferred aren't
fon light or too dark,
PERSPECTIVE BASICS

or a drawing 10 be considered realistic, it needs to give the impression that it

inhabits a three-dimensional space with depth and

distance. To do this, employ the rules of perspective in your drawings. The first
(and most important) rule of perspective is that
objects that are closest to the viewer appear larger than objects that are farther
away. Here youll find demonstrations of linear perspee-
tive (one- and two-point perspective), as well as atmospheric perspective and
foreshoriening, For more information, see William F.
Powell's book Perspective (AL13) in Waller Foster's Artist's Library series.

«4 One-Point Perspective In one-point perspective,

there is only one vanishing point (VF), or the point at which
all perspective lines converge and seer to vanish. First
draw a herizontal line on your paper lo represent the hori-
zon line (HL), or eye level (meaning the height of your eyes,
not where your eyes are looking). Then place a dot to the
far left on the HL for the VP. Next draw a vertical line In the
far right that Intersects the HL at a po-degres angle. About
three-quarters of this line should be above the HL, and
about one-quarter should be below it. Imagine that this
vertical line is a standing giraffe. Now draw a line from the
top of this giraffe to the VP, and another from the bottom

Aree —f-- of the giraffe to the WP. This V-shaped guide allows you to
is TEE see exactly where the top and bottorn of each successive
giraffe is located.
ve ¥ - - NA -
.— i | 9 aes
a } |

Two-Point Perspactive In two-point perspective, there are two vanishing points. The
best way to demons: rate this is by drawing a three. d mensional cube. First draw
an HL, and place
one VP on the far left and another VP on the far right. Draw a 9o-degree line that
bisects the HL at about the halfway point for the center “pos.” This line should
extend abave and below the
HL at zn equal distance. Draw lines from the top and bottom of the post that extend
to each VP. Draw twa more vertical lines to the left and rght of the center post,
These uno new posts iep-
resent the corners of your cube, At the point where each corner post intersects the
VP lines, draw a new line back to the opposite VP. These lines form the back edges
of your cube, and the
place where they intersect guides you ta the position of the final back comer post,
completing your cube. | sketched a baby elephant in my cube to demonstrate how
animals are affected by
perspective. The alephant's fect are positioned on the bottom comers of the cube,
and the perspective of the VPs directly affects their positions.

PB Atmospheric Perspective Another good way to create the ¢

illusion of depth and distance in your drawings is to use atmo-

spheric perspective, which states that, due ta particles in the air,

objects in the distance appear less disting and with softer edges by
than they would if in the foreground. So, in addition to appear X
ing proportionately smaller than objects closer to the viewer, an iL id
objectin the distance should also appear lighter in value. In this ‘ Js ?
example, the artist farmed adhesive putty (soe page 6) Into a

ball and rolled it evenly over the entire dog (kell) ta lighten TL
FORESHORTENING

As yon learned with linear perspective, things appear smaller the farther away they
become; the same is true with pars on objects. Foreshoriening causes the closest
part

of an object to appear larger than paris that are farther away. Foreshortening
pertains
only to objects that are not parallel to the picture plane, Because of your viewing
angle,
vou must shorten the lines on the sides of the nearest object to show that it
recedes in
the distance. For example, il vou look at someone holding his arm straight down
against
the side of his hody, the arm is perfectly vertical (and parallel to the picture
plane), so it
appears to be in proportion with the rest ol his body. But if he raises his arm and
points
it directly at you, the arm Is now angled (and no longer parallel to the picture
plane), so
it appears disproportionate to the rest of the body. {The hand looks bigger and the
arm
looks shorter.) So you would draw a large hand and an arm with shortened sides.
That's
foreshortening—naow just apply those rules to the animals you draw, when necessary.

Pp Visual Example To see foreshartening in action, hold a dinner plate straight out
in front of vou, It appears as a circle,
Naw tilt the plate slonly away from you. The plate now appears much shorter; this
shape is called an “ellipse.”

¥ Recognizing Foreshortening This sketch of an iguana is a good example of

foreshorlening. Molice the difference in
the size of the iguana‘s right foot compared to its left fool. The left foot was
drawn much larger because it's closer to the |
Viewer.

facorect

Drawing Ellipses An ellipse is merely a circle that has been foreshonened, as

discussed above. It's impertant for artists to be able to correctly draw an
ellipse, a5 itis one of the most
basic shapes used in drawing. Try drawing a series of ellipses, as shown here,
Start by drawing a perfect square; then bisect it weth a horizontal line and a
vertical line, Extend the horizontal
lines created by the top and bottom of the square; also extend the center
horizontal Une to the far ight. Create a series of rectangles that reduce in width
along the harlzontal line. Go back
to the square and draw a curve from paint 1o point in one of the quarters, as shown
here. Repeat this same curve in the remaining quarters (turn the paper as you draw
if it helps), and you
will have created a perfect cliche within the square. Repeal this process in each
of the narrowing rectangles 1o produce a range of ellipses, Use this exercise
whenever you have difficu ly
drawing a symmetrical ellipse or circle.
CHAPTER 2

BABY ANIMALS

WITH CINDY SMITH

A native ol Boise, ldaho, Cindy Smith has been producing artwork

since early childhood. Although wildlife is her favorite subject,
Cindy enjoys the challenge of creating remarkably realistic pencil
drawings of anything—from people and buildings to flowers and
automobiles. She also employs a variety of other media, such as

oil, acrylic, and watercolor pencil; her collection of works even

includes digital art and videos. Passionate about the great outdoors,
she spends many weekends camping, fishing, and taking photo
references [or her art in the mountains and deserts of Idaho with
her family. Some of Cindy's other hobbies are basket weaving,

crocheting, cross stitching, and carving rhea eggs.

Step One | begin by using an HE pencil to skeich the bunny freehand. The basic
roung- Step Two Now | switch toa 2B pencil and start defining the eye (see “Shading
the Eye”

ness of the banny's head and body makes this an easy lask Then | indicate {or “map
out™} on page 19), nose, and pars. Then | use an H pencil lo place the whisker
markings and

the areas of darkess fur, whiskers, | use the same pencil 0 begin laying down short
strokes In the darkest areas
of fur, as well as add the cast shadow under the bunmy.

Step Three With a 4B pencil, | fill in the darkest areas of fur. | ese quick,
short, tapering Step Four Next Ll in the miclone areas of fur on the head and body
using 28 and H
strokes, careful to leave opanings for the lighter and midtone areas of fur. |
concentrate pends, occasionally blending the strokes with the bristle brush, For
the darker area around
on drawing in the direction of fur growth, and | apply longer strokes for the hair
around the nose, | use an H pencil. Then | create various ¥ shapes throughout the
fur to achieve a
ihe belly. lising a large brictle brush (sometimes called a “gesso brush™), | blend
the soft “chumpy” leak, and | begin adding some Fur bo the edges of the bunmy's
left sar.

4B strokes to create a soft midtone. Then | darken the whiskers, using a 2H pencil
for the
lighter whiskers and an H for the darker ones.
»- Step Five | continue applying the dark and midtone
fur an the feet and ears, and | use a tortillon to blend the
soft, fleshy area inside the ears, | retum to the pendl and
ga aver the entire bunny, defining shadows and shapes.
Then | farm my kneaded eraser into a point to “draw”
the lightest hairs, | also use the kneaded eraser to lift
oul lighter shapes in the fur on the belly, chest, and
around the eyes.

Step Six To create greater contrast, | accent all the dark 2nd light areas in the
fur, Then | add some plants and pebbles to “ground” the
bunny. | build up the pebbles and sand with a 45 pencil and then use a tortillon to
blend the tone. | shape a kneaded eraser info a point and
use it to dab at the rocks to create highlights.

SHADING
THE EYE

A
ef

Step One First | use a 2B w

darken the outlines of the eve and
pupil. | am careful to avoid the high-
light, wich averlaps the iris for a
more natural appearance.

Step Two | use a zB to fillin the

iris and blend it with a tortillon: use
a 48 to Till in the pupil. | also define
the rim around the eye with a 2B and
blend the tone with a tortillon.

Step Three | used 48 to coftan

the edges af the fim, leaving &
lighter strip in the middle (0 give the
tim a rounded look. | add a touch of
light shading to each comer of the
eye with a 48. Then | add a layer of
H ta slightly darken the iris. | am
careful to darken the iric mare at the
upper lid to set it back into the eye-
lid. Then | use my kneaded eraser to
ligtitan the highlight, Finally, | use

4 48 to make the pupil as dark as

possible,

Step Four For the while areas

around the rim, | use a 2B to add
radiating lines; then | use the tor-
fillon to Blend them outward from
the rim of the eye.
4]

KITTEN

Step One | place a sheet of tracing paper on top of my reference photo and lightly
trace
the outline and facial features of the kitten, being careful to kesp the outline
light. also
autline the fur, following the direction of the Fair growth. Once the outline has
been estab-
lished, | freehand the whiskers and the stripes in the fur.

Step Three | continue shading the kitten, using a 28 pencil to emphasize the
darkest
areas of the fur with quick, shart, tapering strokes that are lifted at the end. |
create the
whiskers by drawing around them (sae “Magative Drawing” on page 11). Next | add
tone
to the eyes with an H pencil, leaving highlights in each. Then | use a tortdlon lo
soften the
irises,

Step Twa | transfer the outline to my drawing paper (see “Tracing and Transfering™
on
page 13) and then begin defining the facial features, paying particular attention
(o the eves,
as they will be the fecal point of this drawing. | reinforce the darkest areas of
the face using
a 28 pencil, but | am careful to leave a highlight In each eye. | want these
highlights ta be
the lightest areas of the drawing, with thie pupils being 1he darkest.

[
- 3 sae

Step Four | layin the midione areas of the fur with an H pencil and use a 2H pencil
for the
slightly lighter fur. Next | blend the dark areas and midtones together with the
bristle brush,
using a sweeping back-and-forth motion.
4 Step Flve | lift out highlights from the fur with a kneaded eraser pinched to a
sharp
edge. | also use the pinched edge of the eraser to lighten the whiskers. With an H
pencil, |
darken the areas at the base of the whiskers, Next | add some grass under the
kitten using
a1 H pencil 50 it does not appear to be flaating in the air. Then | switch to a 2B
pencil to All
in the aeas between the grass blades, blending them with the bristle brush.

B= Step Six | go over the darkest areas

with a 48 pencil, and | lift out graphite
with my kneaded eraser in the lightest
areas for greater contrast. | make sure the
highlight in each eye is as bright as it can
be. Although | use an electric eraser for
the brightest highlights, a kre aded eraser
shaped inte a point will alsa worl. Finally,
I add mare detail io the grass, using an

H pencil to define the blades. | am careful

not to render too much detail in the grass.
as the focus of this drawing should be the
adorable kitten,
GOSLING

> Step One | start by placing a sheet

of tracing paper over my reference photo
and tracing the gosling, Then | fieehand
ithe water ripples and the rock. | am careful
nob io make & solid ouiline for the gosling,
Instead. | use short, quick strokes to indi-
cate its sofl feathers. Next | transfer the
outlines to a piece of drawing paper.

> Step Two With a 48 pencil, | outline

the eye and fill in the pupil. Then | use a
2B to Bilin the is and blend the tone
with a tortillon. | use 2 28 to establich the
shadow areas on the gosling, following the
direction of the feathers. Next | darken

the area where the gosling's body meets

the water. Then | begin refining the gos-
ling's fluff with an extremely sharp 2B
pencil. | use 2 28 for the darkest areas and
an H for the midiones, | apply the lighter
areas last with a 2H. | use sharp, quick,
tapering strokes overlapping each toned
area, starting with the darkest areas. |
sharpen my pencil every few strokes,

P Step Three | continue rendering the

fluff on the gosling's head, working in

the same fashion as on the body. | use an

H pencil for the subtle shadows around
the eyes and on the bill, Then | go over
the entire gosling, emphasizing shadows
and lifting out highlights with a kneaded
eraser. Using a 48, | begin placing the
darkest darks in the water and blend these
with a tostillon. | also indicate the darkest
areas of the rock with the gf. Then 156A aut
some soft feathers slong the outline of the
gosling with a kneaded eraser.
» Step Four Next | dip a tartillon in
graphite powder (shavings | collect from
sharpening all my pencils) and softly
spread the powder (which Is a combina-
than of different grades of pencil) in the
midtone areas of the water, | lift out high-
lights in the water using a kn=aded eraser
pinched to a sharp edge. Then | use a 4B
to strengthen the darkest areas of the
waiter and rach.

» Step Five | create the rock with the

same techaiques | used for the water: |
use a 4B for the darkest areas, dip a tortil-
lam in graphite powder for the midrones,
and pull out highlights with a kneaded
Braser.

Step Six After leaving the drawing alone for a few days, | come back to It with
Fresh eyes. | notice that the gosling blends in with the water, s¢ | use an H
pencil to darken lighter areas of
the water and & 28 pencil for deeper areas. Then | lift out some tane from the
gosling's chest to create greater contrast with (he water, Now | can see the
gosling mare clearly. It Is often ben-
eficial ta come back to a pieca after a few days and make any necessary
adjustments.
J n, Ls -
/ 4 id
i po Gee oF
Step One Using tracing paper, | outline the foal and its facial features, and then
| free- Step Twa With a 2B, | begin isolating the darkest areas, use varying
degrees of pressure
hand the identifying markings on the rest of its body. This helps me map out the
light and te give the drawing some depth. | concentrate on refining the initial
outline and placing the
dark values of the body, Next | transfer the outline to drawing paper. eyes and
other facial Features,

y5 42

Step Three Next | darken the eyes, nostrils, and ears with a 4B. use a 2B for the
muzzle Step Four | finish the head with a sharp 28, using short strokes and
blending with the
and start the head and neck with the same pencil. | blend the muzzle with a
tortillon to bristle brush, Then | apply the midtane areas of the body and legs
using # 28. | continue
make IL appear smooth. On the neck, | ce short, quick, tapering sirkes and blend
with the varying the types and directions of my strokes, blocking in the patterns
and hair types.
bristle brush. | fill in the darker areas of the bady and legs with 2 £8. Using the
“map" from Ther | blend the tons with a tortillan,

step ane as a guide, | follow the direction of hair growth, | vary my strokes for
the different

types of hair; soma strokes are short and tapered, whereas som« are mare of a
scricble.
» Step Flve | begin refining the darks and lights in the hair patterns, | fillin
the lighter
areas of the hair with an H pencil and then go back over the same area with a 28 or
42
depending on the tone, treating a series of layers. In the lightest areas, | use my
kneaded
eraser to lift out the highlights, | pinch the sraser to a sharp edge and, with a
flick here and
there, lif aut graphite for individual lighter hairs. For the tail and mane, | use
a 28 io lay in
the lighter hair and a 48 te create depth. Then | biend the tone with the bristle
brush.

« Step Six Now | ga over the entire

horse, defining the light and dark areas
and giving the hair its final depth and
texture. Then | add a simple ground with

a 4B, quickly indicating rocks and gravel

and then blending with the brietle brush ta
spread the tone, Finally, | use a kneaded
eraser to lift out subtle highlights. My goal
for the ground = to make it simple and nat
detract from Lhe foal.
DOBERMAN PUPPY

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Step One To begin this drawing, | place a sheet of tracing paper on top of my
reference
photo and lightly trace the outline and facial features of the puppy. | also map
out the
major value areas, such as the patches of light fur on the chest and paws, as well
as the
light eyebrows. Then | transfer the outline to drawing paper.

Step Three Using a 4B pencil, | add long, linear strokes to the darkest areas of
the

ears, face, paws, and body. As | draw, I make sure my lines follow the direction of
the hair
growth, nating where the hair swirls and changes direction (mostly on the chest and
upper
areas of the front legs). With a 28 pencll, | re-autline the claws, and | add small
dots on the
muzzle to indicate the whisker markings. To create the whiskers that hang down from
the
muzzle, | simply draw around thase areas when shading the upper chest.

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Step Two Starting with the eyes, | outline and darken the pupils with a 48. Then |
fill in
the iris with a zB, smocthing the tone with a tortillon to achieve a glossy look. |
use the
same 2B {o begin creating the bumpy texture on the nose, being carelul to leave the
top
and front of the nose lighter to belp create the form, Then | use a 48 to darken
the nostrils,

{See “Drawing the Nose and Muzzle™ on page 27 for more information.)

Step Four | continue to build up the darkest areas on the chest, shoulders, and
foce
with the 48 penil, placing more pressure on the pencil] for darker areas and using
less
pressure for lighter areas. | avoid adding tone to the light areas | established in
my
Inicial sketch.
Pp Step Five Next) use
amunded 2B pencil and
create the lighter tones

in the areas | had pravi-

ously avoided: the legs,
paws, chest, muzzle, and
eyebrows. | use the same
pencil to further shade
the upper part of the face,
adding two or three layers
of graphite for a darker
tone, For areas in shad ow,
I blend the tone with &
tortilla.

«4 Step Six Now | use

a #B to further darken the
body, upper part of the
face, ears, and upper part
al the fren! legs. Where
neaded, such as along
the edges of the front
leas and shoulders, | Lift
out tone with 2 kneaded
efaser to create highlights.
Returning to the eyes, |
mzke the pupils as dark
as possible, lifting out a
highlight in each when
finished. | also add mare
tone to the top of the nose
and nostrils. As a final
touch, use a 2H ta shade
lightly under the pup’s
chest and front legs, and
1 blend the tone with a
tortion.

DRAWING THE NOSE

AND MUZZLE

i
—

Step One | start by sketching the shape of the

nose and muzzle, including the whiskers and the
vertical crease through the middle of the nase.
Then | use a zB pencil ta indicate the maln areas
of shadow.

Step Twa | use a dull 2B to cover the nose with

small circular strokes, Note that | shorten the vertical
crease a hit at this stage.

Step Three | add another layer of circular strokes

in the micktone areas. Then | switch to a 48 and
add mare circular strokes to the upper part of the
nose, being careful rot to create any solid areas of
graphite, These harsh separations between light
and dark give the nose a wet appearance, To add
lone to the muzzle ares, | use an H pencil and a light
touch. Then | add small dats to indicate the whisker
markings.

Step Four Now | make the dark areas even darker

with the 4B pencil. | darken the upper area in the
nostnls, leaving the outer edges ligntar, Then | use
small, tight circular strokes an the front of the nose
and larger circular strokes on the dark strip above
the nose. | Lift out tone in areas with a kneaded
eraser for highlights. | add more tone to the muzzle
with the H pencil, and | further define the whiskers
and whisker markings. Then | fzather short strokes
from the top of the nose Up onto the bridge.
BEAR CUB

> Step One | outline

the basic shape and facial
features of the cub using
tracing paper. Then | free-
hand sketch the tree and
the identifying marks of
the cub. Now | transfer
the outlines to a piece

of drawing paper.

b= Step Three | continue

working on the head with
a 2B, using short, tapering
strokes that follow the
direction of hair growth,
Then | take my 4B and go
back ower the head, adding
darker strokes for depth.
Hex | blend the tones
together with the bristle
brush, | use a 28 and an H
for the muzzle and lighter
areas of the face. Then |
use a 2B 10 stan identify-
ing the darker areas of
the fur, such as under the
arms, under the chin, on
the back leg, and between
ithe oes. For the longer,
darker fur luse a 4B with
tapering strokes; for the
fuzzier fur {such as under
the chin, | use a dull 4B
and a scribbling motion.

&

» Step Two | begin the

eyes by outlining them
with a 4B Luse a 28 for
the irks, being careful to
leave highlights, and then
1 blend with a tortillon. |
use an H pencil to identify
the area zround the eyes
and a 4B pencil for the
nostrils. Using circular
strokes, ll in the rest of
the nose with a 28. | use
wry 4B with short, tapering
stiches an the ears, and |
add the darkest areas on
the paws, back leg, and
parts af the tree. Then |
use the bristle brush to
Blend the graphite.
b Step Four How | use
avery sharp 28 10 lay in
same midtones on the
cub’s body with shore,
tapering strokes. | spread
the tone often with the
bristle brush. Then | use a
kneaded eraser to pull out
tone lor the lighiest areas
of fur,

o
P Step Five Mext|go
back and reinforce my
previous work with a

2B pencil, adding mare

sirgkes for depth in the
midtone areas. Then | use
a 4B to define the dark.
est darks. | am careful to
vary my sirokes, as some
areas of the cub's fur are
wavy or malted rather than
straight.

» Step Six | continue

adding depth to the cub
by filling in the darker
areas with a 4B and using
a 28 to fill in mora of the
midtone areas, | build up
several layers to make the
fur appear more dense,
Now | start developing
the tree by identifying the
dar crevices with a 48. |
use my tortillon to spread
and blend the tone. Using
H, 2B, and 4B pencils and
a sequence of light and
dark scribbles, | create the
textures of the bark,

A Step Seven To finish, | emphasize all the darks with a

48 and Lift out highlights where needed. | take a step back
and view the drawing from a distance—when I'm pleased
with the dark values and light patches of fur, sign my
drawing.
jo

KITTEN & BUTTERFLY

> Step One | start by

tracing the octline of the
kitten, including the facial
features. This kitten is
looking up at a buiterfly,
which I'll add in step 6.
| freehand the markings
on the kittens body,
and then | transfer the
outlines to drawing
paper.

> Step Three With a

48, | fill in the dark shad-
ows in the ears. use my
kneaded eraser pinched
to a sharp edge lor the
long hair inside the ars,
I don’t need to draw
evens hair, as the
viewer's eye will fill

In what Is missing.

Next | use a zH to

draw the light hair

on the face, avoiding

the whiskers. | also
darken the stripes an
the head. To emphasize
the whiskers, | lighten
them with my kneaded
eraser. Then | begin the
siripes on the kittens
body by stroking with
ail.

Bb Step Five mont uso

a 2B for the midtones of
thi kirten"s body. | Use the
same tapering strokes as
with the £8. | occasionally
usa an H for the lighter
hair, such &s in the chest
area, and a 2B for the
longer hair on top of

the back. I continue to

leave spaces for the
lightest hairs, Ones all

the fier has been laid in,

| go back with a 48 and
blend the darks with
longer, smaoiher strokes.

PF Step Two | outline

the kittens eyes with a

4B and fill in the pupils,

leaving a highlight in each.

Than | usa a 28 for the

iris and blend the tone

with a tortillon to achiew

a smaoth, glassy loak. | \

fillin the nese with a 2B WN "a
and circular strokes, and h
I darien the nostril with
a 4B. Then | use the 28 ~
Lo Start defining the dark
stripes on the head.

> Step Four How

darken and refine the
dark sfripes. | uge a sharp
4B with tapering strokes
in the direction of hair
growth, being careful 1o
leave spaces for individual
white hairs, Then | use
# 2B for the midiones
in tha neck area, alsa
leaving spaces for
lighter hairs.
P Step SIx | use my kneaded eraser
to lift out highlights. Then | go back over
the entire kitten with a 4B 10 accent dark
areas for depth. Nest | deaw the butterdly
above the kitten's head. | use a 28 fo
shade the cuter wings, the dark areas
of the body, and the antennas, | create
the spots by drawing around them
(negative drawing), and then | go
hack with a kneaded eraser io
lighten the spots a bit.

P Step Seven Continuing with the

butterfly, | use an H pencil for the lighter
areas of the upper wings, a 2H far the
center of the lower wings, and a very
sharp 48 for the darker areas, Finally,

| use a 2B to create the shadew under

the kitten, and then | blend the tone with
a tartillon far a smaath finish,
FAWN

Step One | begin by using tracing paper to create the basic outline of the fawn,
including Step Two | fill inthe pupils with a 4B and use a 2B for the outline
around the eye, which |

the facial features. After | freehand the identifying markings ard map oul the
values, | Erans- blend with a tortillon. Then | fill in the nostrits with a 4B and
shade the top of the nose with

fer the outline to drawing papar. a 2B, using circular strokes for textura. Next |
use my 28 to start defining darker areas an
the rest of the fawn.

"4

Step Three | continue to emphasize darker areas of the fawn with 2 26 and a fairly
lignt Step Four Now | turn my attantion to the fawn's haad, First | lay in the
darker, deeper
touch, 50 I can 0 back later and make any necessary comections, | work an the ears,
using hairs with a 2B pencil. use long, tapering strokes and am careful to follow
the direction
an H pencil and tapering strokes for lighter areas, 2 3B for the midtones, and a 48
for the of fur growth.

darkest areas. Then | blend the fone with the bristle brush.

Step Five For the lighter midtones on the head, | use a 2H pencil and the same
long, Step Six | begin developing the dark areas on the fawn’s back with a 4B,
using long,
tapering strokes that | used for the darker tenes, Then | work on the foreleg and
lighter tapering stokes. | leave some areas light for now, as Ill come back to them
later, Af this
areas of the body using the same techniques that | did wiih the head, adding depth
with point, | concentrate mere on following the direction of hair growth than
perfecting these
a 4B pencil. dark areas.