- Lesson details
In the second part of his Drawing lessons, Glenn teaches you how to draw your friendly house pets and their wild cousins. He focuses on capturing the gesture and making a truthful structure. The last chapter is a timed assignment for you to practice what you’ve learned. Premium members have hi-res downloads of the same references that Glenn uses, plus others.
Glenn’s approach to drawing animals is similar to his approach to figure drawing-– start with the gesture, then construct and use light to describe form and accentuate movement.
Instead of copying what you see, you will learn the skills necessary to draw animals from imagination. Glenn will start with Comparative Anatomy between humans and animals, and then break down specifics of animal anatomy. Specifics such as knowing what an animal eats and its place in the food chain can be discovered by analyzing its anatomy and structure.
By taking this structural point of view, you will be able to draw any animal from your imagination. This is beneficial to all artists, whether their interest is in Fine Art, Animation, Comics or other fields.
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we'll deal with some dogs too. Okay. Cats and dogs.
And this is something that everybody has around
but what you can do and if you please
take and if you get a cat or get a dog and actually
start to take and feel it, take and feel the
bones, feel where the scapula is. Particularly the scapula. So now
when we look at the cat here
this is really what we need
to take and focus on. The shapes,
pattern, coming down, the head, the neck,
these basic volumes. And I'm gonna go through
this stuff again. And to start seeing - you can see
units that we're working with. We got the head, we got the
neck, we got this. Notice again how narrow - I really tried to
make a point on it last week, at how narrow
the ribcage area is and that each
section of the spinal column is
unique so that we get the neck region
here, three of the bones are actually different.
Then when we start here and we get the thoracic region you can
see that we get this is very different
from here. And then from that
we got into the lumber region here, again
it's very unique shape series of the way these things work.
And then particularly at the pelvis. I tried to make a big point
of the pelvis, when you look at the pelvis, that it's
a long, narrow thing. So these
are sort of the basic elements that we're gonna be looking at
and you take and as you're doing the drawing this is the foundation
now for everything. So we're gonna be looking at some tigers.
So the difference between the
tiger and the house cat, they're really
the same. The only big difference is
scale. That was another thing we talked about, the fact that
the big difference between the tiger
and the cat is the scale, size,
that affects everything. So that's not gonna be such a big
issue today when you're dealing with domestic areas but we will be looking
at some tigers. And so that scale
takes and comes into play. So let's just go back over
some of the basic elements now.
We got the point. Now first and
foremost - and that's why I had you drawing mice, okay.
The whole point of drawing mice or squirrels
or hamsters was the gesture. We always
start - we always start the drawing
with a sense of what the
action is doing. Now, that action -
as I'm drawing this,
I'm already taking into consideration
the basic flow
of all of the elements drawn. That's
already there. Okay. So what we
built into this is taking this cat
as you're looking at, we got these very clear
distinct sections that we're working with. So
to start with then we're taking and seeing - and I'm gonna do a
schematic now. So we're looking at the top, the head
the neck, the
ribcage, narrow at the top
and broadens out as it goes back
the waist. Now cats
have a real clear, clean waist and when
we look later at - when we start talking about horses and things like that,
we find that they have frankly no waist.
Okay the tail. So you've got these distinct sections that we're taking
and working with. Okay so now we take and
go from this. Now if I take and
let's look at this sort of three quarter view again now. So
we're looking at the cat as we're
going back in, going through, taking away the scapula,
the scapula fits over the way, this
columns of the neck goes down, fitting into the ribcage
in here. Okay now so the first
element that is - we're talking about
the head. Now keeping this very very simple to start with.
So we've got a look at the
eyes. Cats are predators.
So we've got the wide cheek,
whether we're talking about the tiger or a domestic
cat. They have strong muscles attaching to their jaws
because they're a stabber and
a slicer. Okay.
So we've got cheekbones coming out, three of them.
Here. Got the back of the head, notice
that we got - and I mentioned this - we have the back -
we've got this plate back here that the muscle's attached to.
Okay. Now as it goes back in
now I'm drawing this as a simple - as a very, very, very
simple volume now. This is just a - think of the spine
going back in and fitting into
the ribcage. Think of the ribcage now
as a volume.
Just a volume that's taking and going through from here.
A critical thing that you have to take into consideration now
is the way the scapula
goes over the ribcage.
Okay and you look at where the - there's a sternum
on the cat. Comes forward here. The way the corners -
where the corners of the shoulders are here,
on the other side. Okay, this corner -
if we take - you have the sternum that's sticking out
here. So we've got
the opening of the ribcage. The scapulas
are taking and going over the side
of this, coming through. So that the
shoulders are in front, in here.
The sternum is coming up about here.
Now also remember now at this point here,
here's where we start to take and feel
the vertebrae as it's taking and coming up.
So, we've got these points that are coming up. Now, one of the
characteristics of a cat, they were all different. Like
what's different between a cat and say a horse
or even the dog. A cat, the
scapula can very easily be pushing up above
the line of the vertebrae that are sticking up.
On a dog's, no. Or
a horse, no. Okay. But a cat, yeah.
What that affects, the look that you get
with the animal. Like when a cat walks you can really feel -
you can really feel the scapula's pushing.
So that's an important element to be conscious of when you come up.
Also notice that both sides
of the scapula are taking
fairly equal and you've got a really, highly
raised ridge. Now one of the elements that we
talked about, difference between us and cats, dogs, and
everything else. They don't have a clavicle that holds the
things apart. Well actually in here the cat
has a couple of bones here,
they're a little hard to see. They're not really attached to anything. They're actually
bones that are just - you have muscles that are attaching to them but they don't -
they're not hooking to the scapula, they don't actually
even attach to the sternum. But they are
pieces of bone that are there. Okay, so that's an important element
to keep in mind. So now so we've got
these big - the big muscles that are taking and coming off of
this and coming down and fitting in.
without worrying too much about individual muscles though
what we talked about is really sort of this
schematic here. And particularly the fact
that what we get here - and if we look at them, mostly gonna draw again,
the neck say fitting in, thinking of the neck as a
cylinder and the ribcage going back, we
see the scapulas taking and coming across
and creating almost a
box type shape
through here. So this becomes a really
corner and this is, we find that the
that this fits over the ribcage.
Okay so that pattern, this -
and then we start to go into the legs and
come down. And I talked about the Z pattern that we have,
a zigzag Z pattern.
And that's exactly what you're getting here. If you look at the skeleton now,
you can see the pattern coming down and through,
comes down, come into the fingers. So this is a -
this is a big deal now. And we focused on that
as applies to the hindquarters as well.
So this Z we follow from
point to point to point. Looking at this
and I'm gonna constantly be taking
and dealing with that as we're looking at the drawings.
So you're focusing on
corners, elbows coming down. So now - and when we come into
now the pelvis, in other words here,
you can see where I'm drawing, this is a - these are parallel
lines. Well, when you look at the dog
it's a little different. The dog will have
things going in this direction.
So there's a distinct difference between the
angle of a cat's pelvis and the dog's pelvis.
So this is a unique element in here now.
So we're taking and you're gonna be seeing here now
so we look at the pelvis then
this becomes a
another box form. Now this is gonna be
an element that's constantly
coming up, no matter if we're talking about horses or elephants or
rhinos or whatever it is. We're
always gonna be finding the corners of the pelvis.
Now all of your deer like animals are pretty much
similar. Okay. Elephants, rhinos are a bit
different, they're a bit broader than horses, but
we're still, we look for the same thing.
Now it's the whole point in - when I started talking about
the whole approach to taking and drawing animals
is having to look for the same thing
each time and then to look at the
deviation of how they vary. But you're
always looking for the same thing. So we're always looking for
the pattern of these
elements that we're taking and working with. And we're looking at
the zigzag pattern of how they take and they go.
So it's always this - the
pattern, the pattern, the pattern.
And that's gonna be the element that we're gonna keep
going over and over and over and
you focus on this basic construction
rather than copying. Now
we're forced to, in a sense we're working
from photographs. Now the natural
tendency working from a photograph is to copy.
You have to sort of break that pattern. You have to look at the animals,
you have to take and look at the photograph and
analyze it. This is exactly the same thing as I do with drawing
the human figure. You are always analyzing,
you are not copying. You are using basic drawing skills
to take and describe the form.
Okay and the form is taking and communicating
the gesture and the action of the figure.
That's sort of the logic behind all of this. So
that you are developing the drawing skills
that allow you to take and describe form and to analyze form.
They're all built in the step by step process
that we go through. First get the action then we think of the
simple volumes, which is also clarifying the action, then
we start to use box forms. Corners.
These are the key elements
that I use in drawing animals or in drawing the human
figure. Exactly the same. Okay so let's take
and do some drawing. Alright let's start with our kitty cat.
first of all, when you're looking at the photograph, it's a little difficult actually.
You can't really see
a dark cat, what we see it's a silhouette and so the first
step in the drawing then is I'm gonna work with a couple
different colors here. So I start out with the idea
it's the action. So now as I'm doing this I'm
thinking already of this ball.
Okay coming through.
Okay, so now - so
I'm trying to feel, I'm going through. And I actually, I
sort of thinking of the spine at the same time, coming through. You can feel
the cat. The cat is really flexible.
So that spine as we come through -
and I just usually will follow through with the tail of something.
At the same time now as I'm doing this, I'm coming through,
now I'm being - I do look at -
I'm looking at the contrast, where the silhouette is, so that's giving us
a sense of where the ribcage is. So I'm
coming through, making the volume
coming across and I'm doing this
before I go too far, see I'm already thinking of the pelvis
coming down but coming in from there. Coming down,
following the zigzag pattern
that we're coming through and going into the feet.
So I'm taking and coming across,
making the scapula, coming in and
through to the elbow, arm, coming down
and through. And so we're constantly
trying to draw through
picking up the elements. So
that's the beginning. So now I'm gonna take and
change media now. I'm taking a pencil.
Now I can take and get a little bit more carefully
about taking this. So now I'm looking back
and looking across I can see that the angle
across the eyes. So I'm picking up
the corner, basically the corner of the eye socket
coming through the eye socket here.
I'm thinking of the wide cheekbones,
I'm thinking of going back the way the skull goes back down in
and so I'm picking up the element
now. And the ear is gonna come from the same
spot as everybody else's. So as I'm
drawing, I am using the cat as a reference.
But I'm taking and analyzing
the shapes and where they are.
So instead of just taking and trying to
take and copy, copy the thing I'm not. I'm analyzing
what's going on. Now they're coming through.
I'm taking and saying okay we've got the volume, you have to take into consideration the
esophagus and all that. But the cat now, this cat is taking
and really turns, really pulling,
the spine is coming around like this. So what we're getting
then is a impression taking place
in here, the front. Now the sternum is
taking and pulling out and up into here. And
so we can feel - and you have to take - you're drawing these animals now -
take into consideration not just the spine but the fact
they have esophagus, they've got the throat, they have to take and
deal with all of these elements now coming through.
Actually there's a muscle that comes from -
is the equivalent to ours, it's the sternocleidomastoid, but they don't have
the cleido. That muscle will take and comes
all the way down and comes down and attaches to the
leg. To the humerus. Okay, coming through.
So now as I'm drawing this, now I take into consideration
the scapula. Now here I was talking about the fact that
the scapula. Now here I was talking about the fact that
with cats the scapula will come up farther
than the vertebrae. The vertebrae are in here
the ribcage is in here, some place like this.
Sternum is pulling out.
Right here you can actually see the scapula
on the other side sticking up. Now this is what
where see the knowledge that the scapula does come up
and the angle that we're talking about, this
really now helps you to understand and to
draw the animal. In other words so I'm taking and saying from here
and coming back, the scapula on this side is taking
and notice how broad, how large
this is. It's in here this way.
Then we get the zigzag pattern,
we get the bones coming from here, we feel coming out
Now we come down to
the wrist and we get two bones. We get
the ulna and the radius and then we come down
into the carpal bones, metacarpal in here.
And then we're taking into
paws. So we've got this coming through, the ribcage
that was taking and coming down through to here
And we're building, this is building up.
and coming down. Now again this is
difficult to actually see in the dark photograph
like this but we take and we build
pelvis is coming through, gonna be in here.
it's like this. That ribcage
is in here. Actually this pelvis will be a bit smaller
Then from there we come through, think of the knee
from the back, the heal
and the paws taking and coming forward.
Now remember what happens here
all of the muscles and everything else now are pulling
off the pelvis, coming through. So we're getting
a pull all
of the shape of these muscles now are coming down
we can feel he tendons coming through in here.
And so we're getting all of the basic elements now.
One of the distinctions if you look at your
cats and you see the difference
cats and you see the difference between the cat and the dogs.
the basic configuration of the torso, you think of the ribcage
is like this.
And you get the pelvis over here
Okay the cat
the stomach and everything it continues on here
as a fairly straight line.
Where with a dog this is taking and coming up like
this. Well that's a big difference.
And just in the general shape, unless the dog has a little bit
overfed, what have you, but you're gonna see
the difference between hem is the shape, the body shape
Scapulas on both are taking and coming forward
Pelvis is going back and we look for these
corners. So these are the big elements
we're working - so then we're gonna come through
here. Now we take and we think about the
tail, used to be like our tail. We take and
the bone - I'm drawing
now from sort of a back, three quarter back view.
Ischial tuberosity or the
sacrum, thank you, of the tail mount comes through.
up here. This way. So if you look at it
in profile it's not coming out the end, it's coming out up here.
So the spine continues with
this sticking up and the spine and then the tail just of course
just an extension of the spine itself.
Okay so now we've gone through the big
basic elements here. We've got
the cat, coming through. Now what I do
with then is here we got the tail coming up out of here,
coming through here.
So when I start to render or start to describe
it more clearly, what I'm taking into consideration
is the way the muscles are coming off,
coming down, okay. Triceps
and here we have
supraspinatus and infraspinatus, we have the
trapezius coming down, going across off the
pelvis but we really have this big soft
tissue. So what I do is
I use the fur. Now, for me
I have an approach, that's actually again similar to the
way I'm drawing the human figure, is I have
a surface that I'm going over. I will take
and I'm going over it and then
I can take and I'm pulling
and we start to get almost a sense of the
fur. But if I draw individual
fur separately, I'm constantly going over
the surface of the form. So now
go back into this. Then we take with the face
feel the cheekbones, now when I come around I'm really thinking of that cheekbone as coming out.
So I'm going over, so on,
going through, looking for the eyes,
getting into the eye socket, coming through.
When you look at the skull you see where the bone is, the cheekbone,
So they build
into the form. Always going
over the surface of the form.
So jaw, coming down.
So now as I start to take and draw the ears,
there's a basic pattern again that fits
most of the animals. At least the ears that stick up.
And I think I may have talked about this last week.
So we're taking and saying it's a - thinking of this as a
first it's a simple cylinder that's coming out.
Then you take and build out from there.
You take and feel, it's like a flower like,
the iris that is taking and opening up
and we come through in here.
In the case of the cat here it's really much more open at the base,
you have edges of fur in here
and is coming through but you're taking and still
you're building, you're thinking of this element that's coming out.
So on the other side we're just getting
the edge of that, coming through. So now
as I take and work with this now, focusing on
the form, feeling where the forms are coming out.
So you can see now I'm going over and around
the surface. I wanna feel
the compression that's taking place in the back and feeling
the sternum pushing
and then what we deal with is to take and
be I wanna say preoccupied with
the overlapping of the forms.
The fact that we feel the
scapula pushing out, feeling the form coming through, this creates a plane
and we can feel where the forms are building
up, compressing up against the scapula
and the scapula's gonna have an edge that's going back
and feel on the other side, sticking up.
And as I go through then I try to -
building the cat, thinking of the pull,
the pull from the form,
Now, so we're coming through
I'm coming over, trying to pick up
the ribcage, that's good,
and I'm visualizing that
the waist. So I'm coming over and going over
the waist. We feel the waist. We're thinking of the side
here. We come underneath and we take and we pick up
the fur, dropped,
and we can see that this is going underneath.
Now here is I draw the waist then
right away we're picking up where
the pelvis would be in a sense we're drawing
in front and we're drawing over the top, leaving
that element, then I come through, come around
the back, picking up
the pull, the muscles, and the skin that comes across.
Coming through. So you can see
with limited visual information here
is that I'm able to take and
give you a reasonable sense of
what the animal is doing. Because the only thing that was really
important here was the gesture.
Okay so coming through, going over,
down. So I have to feel where the bones are, coming across.
Pick up the paws and feel the tail
coming up and lots of fur
coming down, feel all of this.
Okay. Coming through,
So each time I'm thinking about where
the thickness of the bones coming in
corners, I'm looking at the zigzag pattern.
It's coming through. Later on
we'll take and we'll talk about the claws themselves.
Okay so that gets a big
beginning to the drawing. I'm just thinking of the way
the trapezius muscles will be coming through, going over the
surface. So if I was just to take in here
I'm looking for my
water brush here.
I will take and just block the whole thing
in a very, very, very simple tone. Okay.
a little bit. Now here
is a continuation of the same action essentially. So as I
begin then I'm more interested in just the action.
Now the cat's
obviously taking and looking up.
So if you have a flow. Now with
this angle that we're getting here, we're getting a good
sense of where the scapula's pushing back in and also feeling
the box in the front. So I'm taking and feeling
the pull, coming through
the way the legs now are pushing up,
going down here.
This is interesting now. One leg is
lifting off the ground. So but I would take and carry this a bit
father into it to make it clear as to take and turn
the paw. It gives more of a sense of
the direction and we can feel, coming down
so again zigzag.
So as little as I've done now
you actually start to take and get a sense of
what the action is. Now let's break this down into the
components again. So first
and I'm using
very, very simple forms now. And to take and
like the cat is actually turned slightly away even though it's very difficult to
see that right now. Okay so I would take and be coming through
and looking up and trying to see underneath
the cheekbone. I would take and be drawing the eyes
at an angle. And to take and be looking
at the mouth itself now,
is coming off
pull through. So
we're getting this little pull at the ear
coming up again I'm thinking coming through.
Now coming down,
good. Here. Now here's where I'm thinking,
the volume here, I take and think of the sternum
here. The ribcage
is coming down, is in here.
You got the volume as we're seeing the cat
slightly from the front. So in doing this then
I'm focused on the corner here.
You can see the corner here
and we've got the sense of the box, here's the scapula
pushes back up here in here,
this way. And we've got the form,
all these forms now are pulling in front
coming down. So we have the muscles
like we have in our neck, probably from our hyoid bone we've got
the muscles that come down, go through, got the muscles come from behind
the ear, coming down, they actually pull
all the way down again. So they're coming through. Got this
box form so I would emphasize - and I'm drawing this really
as a box now. So you can see we have this
flat surface as this thing goes back
down. Then as you're looking at the
cat you can see this is the fur where the cat is bending
its back. The pelvis would be behind in here.
That we can see the fur pushing
up, the scapula is pushing back in.
So we've got this line now,
this is coming around or behind and going
around, over the surface. You can feel the
pull, so all of this stuff is going down, underneath,
get the stomach. This is a pretty well
fed cat. Okay, so we're getting
the volumes in here. Then the spine
that really flexible waist area is really coming
down in this direction and so
we would be pulling in from here the leg,
pulling forward. So what we're seeing is
the knee is here.
A leg then is taking and coming down into here
then it comes forward, looking this way.
So you come from here,
we're coming down. The muscles now are coming across and you're seeing
all of this, we're seeing the fullness of these muscles as they build
underneath here. And so we get a very clear
cut, then as we come up into here and we start to look at the
joints and we pull forward. We've got
think of the center and one on both sides
altogether. Okay it's coming through, then
here this is coming down, then through here,
then we're getting the tail, it's taking and coming out.
Well, pull down,
coming through. Look at the stretching. Now here you can feel
the muscles now pulling off of that surface
from here, coming down to the elbow,
then coming off to the wrist.
We got the thickness,
then we come down to the paws.
The other side, now like I've taken
actually looking at the gesture a little bit more,
she's taking and slightly tilted, we can see
that we have the tilt going this way. Well
the leg is actually tilted in a different direction so now if I
take this and I turn the leg a little bit this way,
no that doesn't work. I'll stick to
my original plan here. Taking, just making this
a little bit stronger and we can start to
pull through. So now we can
get the whole thing basically blocked in.
The other leg, we're not really seeing it,
but I would take and maybe someplace in here.
I've been -
okay drawing - so we keep going over,
feeling the volumes
coming through. Again, got the big
masses. Wanna feel all of the fur is building
up and around.
You feel the overlapping that takes place,
this is being forced up. We can see this is fitting into
the edge where the scapula is coming around. The pulling
fur around. Go over the
surfaces as we pull and
dropping all of this, you take it and you can sense
the side of the scapula, how this fits in the, the fur
coming up behind and out from the back.
So we're pulling around. Now as this comes down the rib cage
is pushing in. So this is all -
this is going down. The fur
again is being - stomach fat is taking and pushing
so then we start to build into here. So all of
is muscle coming down, feeling the pulling across
and then we pull into the tail
which is turning back away.
Okay that gives us a basic
rough beginning here. Now
I wanna take and expand on this. Going through each step
here as I've gone through the drawing. Okay. Now
I wanna take a go another drawing,
let's take here. Okay here, this gives us now
looking from the back, this is a
water soluble graphite pencil and I'm gonna take and use wash
along with this one. So now we're -
from here I'm taking this same thing with the cat.
Feel the flow.
Pulling, coming through.
Now when I'm drawing
animals live rather than working from a
photograph, I take and
usually will draw several at the same time. Notice
the pattern I'm going through.
Several different - animals are constantly moving
so I will take and do several drawings. They also have a tendency
to come back the same position
quite often. Coming through.
Just the gesture. Now
taking everything we've talked about into consideration now,
our cat is looking that way.
So come across
be aware, we're coming through, use
Like in the base of the skull, like in here.
Feel the ear pattern.
Think of the - by coming around, think of the spine coming through.
Now what you're seeing here now is the actual
sense of the scapula starting to push up.
I'm thinking of the ribcage underneath
You can feel the scapula on this side, it's pushed way up
into here. You can see it's pushing out
here and here we're getting all the fur
pulling around. Okay
as that ribcage comes back
we can feel the pull from between the spine, scapula there,
feel the arching of the back
and you can see there's the actual very clear cuts,
sense of the waist coming through.
Like a wrap around, now
pelvis. Pelvis is going across
from here, going over
Coming through. We take and we pull from there
to the knee.
Then what's going back to the heel.
Then we're coming down. Zigzag.
Okay, same thing, coming through,
down, zigzag, through.
as I mentioned the cat's having a rather straight
thing. Here we can feel
a fullness of a cat coming down,
across, picking up in the back,
the muscles coming down, feel the pull
In, the tail, the spine, is coming - we've got the pelvis.
Across, through here. The tail
is coming out here.
Okay. Now, I'm gonna take and
use some water here to help clarify these
volumes. So we can see the waist,
all of this is now taking down.
So you can see the roundness of the ribcage, you got the scapula
is taking and pushing up
the hair and you see it on the other side, coming through.
Got the base of the skull coming back into here
and all this is coming around. We got the pelvis
now. Corners gonna be sticking out,
there's the box form as you start to come down.
The end of the box coming through.
So just by filling in the volume
we start to see that we're getting a
certainly the good sense of
the animal itself.
And then of course the tail.
without, again, getting overly detailed, I would take
and simply indicate a lot of the
fur by going
over the surface.
By taking and using the lines,
going over the surface,
taking and describing the form.
The fact that
now you'll need to - you get the sense
that you can't shake -
cats don't see
they have fur on top of their -
and in this case we're actually seeing the wide cheekbones
of the eye coming through.
a fullness of the fur as we start coming around.
Try to visualize
now the corner here. So I'm taking and pulling
So as I'm coming in now I'm trying to take and show the
distinction between where the joint is
and to where the elbow is sticking out.
And you can feel the fullness of
all the fur coming through.
Here you can feel the stomach pulling down
from the thoracic arch
coming down. Feel the
muscles take and pull back to the elbow.
Okay so now
we're getting the general sense of
what's going on. So the next thing I wanna do is I wanna look
at more closely at the feet
of the cat.
So if you can look at the configuration
now of what we have.
Come down, we have the bone.
Okay this is the
ulna or in other words
take the radius and then the ulna which is sticking out
in back here, it's coming down this way. Then you have
your two rows of carpal bones.
Just like we have in our wrist. This is a wrist. And on the back
side you can see the small, little bump that's sticking
out there. We have actually the same thing as that. It's a piece of bone.
It's a sesamoid bone that
we have them on the bottom of our feet. Okay so now
as we take and come down from there we take and have
the bones are going down this way.
Okay so as you look from here to here
see now we're coming in. Here's the joint and it's
coming through. And notice that it's covered. And notice the same exact thing,
our finger bones are curved like that.
Okay, so coming through.
Okay now from here, then we come down, we have one more digit
that takes and comes down into here.
But then here's where the uniqueness is.
The next one is actually bent
up. Now that's the equivalent to having the end of your
finger bent up instead of bending down
but bending up this way. Then that has
a sheet over it that the claw
is coming out of. Okay.
this little bit of uniqueness right here, this
then this bends up and comes through here. So now if I
enlarge that. Let's just take and from here. So we've got
this is the same thing, the shape of the bones
not all that different from ours. It's curved on the bottom
side, coming through. Then the next one is coming down
and going down here this way.
And then finally the next I'm gonna
stretch this out a little bit going this way.
Okay the claw is on the end out here
like this but it has a
sheet that goes over it this way.
So then there's a tendon
that comes across from here to here.
Okay. Dogs have exactly the same thing
except in the cat, this is very flexible.
With a dog it's not quite so flexible.
And if you take a dog's paw and you push down on it
you will see the toe take and coming out. So
what we have - the pads on the bottom of the feet,
okay the big pad is right here.
Then we have the small pads
underneath here. So the shape
then that we're talking about and coming down and we see
all of these things coming out this way.
That's the paw, coming through.
So if you look at the underside of a cat then,
what we're seeing is the big pad is right here.
The next one is the finger comes down but this bends up the
opposite direction. The next pad is under here. So you have the configuration
then of the big pad
and then we have these small pads.
Now notice that on the cat then
we have - let's see if you can see this
here. Right here. You have another
toe, with a claw on it. And that's
just exactly like your thumb. So
we got four fingers and a thumb.
Same thing except you don't have that
low thumb on the back. So there's only four
on the back - oh this guy's missing a toe.
I didn't notice that before. Oh it got broken off.
On this side, you can see you've got the four
toes and the claws coming up. Okay.
On the front you've got five. Okay so now
that fifth one then
if this is the other side you would have
another coming out of here with the claw.
So this is your basic
configuration. Big cats, small cats, dogs,
all the same. In fact
there's not a hell of a lot of difference between that
and of course us. But even when you start getting up in elephants, got the same
number of fingers and everything. Same arrangement
of bones, just that uniqueness of the cat
where that end turns up, where the claw comes out.
That's pretty cool okay. Okay now let's go back and draw some more.
Okay now we got a tiger. Okay.
thing. So this is very basic shot that we got now, simple
standing up sleeping.
the flow. Feeling the rhythm going back in
back here. So as I'm doing this, again, I'm
taking and over the surface.
Ribcage, coming back in,
thinking of the pelvis, thinking of the box. The box goes back in.
Taking the scapula, coming forward,
coming through, thinking of the sternum in here.
Okay. And then we pull
through, the zigzag pattern, coming down,
through, and into the paws.
So, coming around, you can feel
the fullness of all this down in here.
Across the knees, going back in.
See this is actually a more difficult angle to
see the hindquarters. Coming down.
And then with the paws here, coming through.
Okay and we can't see
the tail here but I would take and draw one anyway.
Okay. Now, so you can see how we've gone through very, very simply
just following the pattern. Now when I start
to draw the head, thinking of the back,
coming forward, taking
and coming across the eye socket,
coming in. So I'm
conscious of these corners and I'm taking
and thinking okay the cheekbone, broaden
out. We've talked about the really broad cheekbones coming across,
the nose, the end of the nose.
Pretty square. Coming through.
And this guy's got his eyes closed so we can just take and
come through. You feel the corner of the eye socket
and the cheekbone behind. Notice I'm constantly making these
overlapping forms. Okay. As we come
down we feel the squareness of the
mouth underneath. The cheeks
that are coming out in here.
Coming down, through, the
fullness now of the jaw
as these come down. And they have
all this extra skin so that they can open their mouth
up like crazy. Okay, feeling the chin
coming underneath and you can follow
the cheekbone back and then we pull right up to the
ear. I think of the same basic pattern
coming through, opens up, around.
Think about the fur. Now keep in mind
a tiger will not look like a tiger until it's got
its stripes. Okay. But there you can see
I've gone through all of the basic elements of just simple construction.
So now as we think of the neck is taking and going
down, in. You visualize
this volume that I've got going through.
Following - again each step I go through I'm following the same basic
pattern. Now we come back to the sternum, which is
up here. So the scapula now is taking
coming out from behind over here.
It's coming across, over to here
and it's going back up into here.
And so we're building up the
vertebrae are up high, big head, lots of muscle
are lifted up. So this scapula is coming up
into here. You can see now we actually have
a flat plane on the side here.
This comes across. Now what you're seeing here
all of this big stuff, these are pectoralis muscles.
These are big muscles. Now I'm gonna take and come over
to the leg and go back down
in the ribcage. Okay.
So everything is a question of scale now. So as you're -
now you can see the ends of this
box right here. We can feel
the elbow is now in here.
Come down, we come across, this zigzag pattern.
You can see
the wrist coming in.
You can feel fur in the back
come down, through, then
we come into the paws. Big,
first you'll think it's simple
then I break it down into
basic elements. And you have to think
that you've got all of these - remember we were just talking about you've got
the thing that comes down, comes through,
we got the fingers going across, down, and then
goes up. Pads are here and here so
there's a configuration that's taking place
in there. Okay. In case you wanna feel the
the volume, you look for the wrist.
Come back we can feel the corners, we can feel
the thumb on the other side, comes forward.
is coming down. Now this we get the center, get these
pectoralis muscles pulling and you can see
the ribcage is actually quite narrow in here.
You can feel it as we're going back in, we're fitting into
where the pelvis is, now the pelvis now is coming around
on both sides here.
And you can see the way the light is hitting on the top
there. That's giving us the sense of the corner, which
now is taking and going back down. We're going through.
We going over and you can feel and the trapezius muscles is coming
across. You can feel the fullness now.
of this guy's belly, taking and coming down.
Pull through, okay.
The leg here is coming forward
so the knee is up in here.
So pull, feel the pull,
the leg is going back in so this is like
a cylinder going back down
coming forward, come into the paws, and we can see
configuration. The other one is back behind in here.
Now I can barely see that.
then I'm adding a tail
coming through. So there's
your basic - your tiger. Now if we
take and add tone to this, first I'm just gonna use
the tone that I've got here. And you can see across
the surface here we can feel the fullness in here.
We can see the way the shadows being created going
over the nose, coming down the front,
coming in. I'm taking and
now being perfectly literally with this, I'm
taking and picking up tones that take and help to describe
the volume. Okay so -
so now you're gonna come back, we try to see that this
is fitting in and we can see the scapula
pushing up so I'm leaving a little bit of light there, I'm
leaving light on the front edge, coming through, picking
up the corner and so
what you're getting now is see how the form
evolves from just constructing.
And we start to add to that. Now this is what
allows you with the constructing of the form
that allows you to take and develop animals
and to draw them from imagination. So we start
to build, so oh I'm pulling that stomach, the ribcage
coming through, give the corner
on the pelvis as it goes back I left a bit of the light on the
front of the stomach.
And then we get the tail so
once you've got that, then it becomes a question of okay
let's make it tigerish by taking and
adding stripes. Now
each tiger will take and have its own unique
pattern of stripes.
So - and they can tell
which is which by the patterns of the -
right. Okay so now
Now all I'm doing is just copying -
copying the patterns. You wanna give also the
a little bit of darkness and the extra skin
that comes up and you start to
the sleep so I'm just going to leave him sleeping.
really considering the 3D
aspects of the form now.
So I went out of my way to not
put a tone on the top of the nose.
Feel the forms behind
overlapping, coming through.
We pull from behind and
here I'm gonna go out of my way now to take and feel
for coming down.
Pick up some of these stripes.
scapula so I'm emphasizing,
feel the fullness now of these muscles now coming down, center,
Of course you go around the corners with
Pushing over the surfaces.
Here I'm pushing you wanna make this
end of the scapula stick out a bit so I'm gonna pull.
Okay then we start
getting all of the stripes taking, working around. Now I'm not gonna bother
taking and drawing all the stripes right now but you can see
the effect that we start to get.
Just a limited number
and we start to see the volumes,
pulling out the basic elements,
scapulas, muscles are building.
Coming through. Okay so we have
partially striped tiger. Okay let's take and
see if we can get another one here
where we can get a little bit of
the... Okay this is
good one for the action.
Now, one of the things -
I've drawn tigers a lot at the zoo
unfortunately usually they're sleeping and they're far off in a corner
but on occasion you'll find a tiger that'll be pacing back
and forth. And as they go back and forth
you end up doing several drawings and trying to capture
them in the same spot or the same gesture. So I'll do one
coming, one going, one halfway in between. So now as I
draw this, I take and again it's really
really quick first stage of the drawing. It's
really, you're really trying to feel
what he's doing. So you can notice how quickly I'm drawing now.
Coming through and I'm relying
on all of the pattern we'll take so that you can see
what he's got his leg - the way he's even got his leg crossed over,
one coming forward into here.
this is where I deviate from the most
because I start out incredibly loose
It's sort of tricky when you're looking at a photograph
of seeing which forms coming front and what's going
behind. Okay so now,
now I've got this thing coming down. From here
I go through the same basic
coming through, come across
the eye socket, everybody I do the same thing.
Coming through, okay across
the nose. I wanna feel the bone
going down, wide cheekbones coming through.
The roundness of the muzzle,
jaw dropping down.
Feel the pull back to the
ears. Got the ears
Here we're just seeing the end
coming in. Now this is
which really where you look now. So as you
this is building up, we're building up - you can see the spine
Now the weight of
this cat is on the far leg
so what we're getting then is a pushing
up in here. And so
that's the scapula is actually probably putting
way up into here. And
the muscles are taking and pulling across
and then we can feel the vertebrae
when it's building way, way, way, way up.
This way. The scapula we're seeing it at a slight angle.
So that we're looking at a box that
is actually tilted. And then taking
and going back in
this way. So
the front of this is doing this and
then it takes and is taking and going into a basic
So now we're picking up a lot of the fur.
We're seeing, coming underneath now. We're taking
and feeling this going under, through, and in here.
Okay. We can sense the ribcage now is
all this through here.
Okay. We come through, you've got a very clear waist
now. So we can really see - we can see the waist
You can sense the fullness of the flesh
underneath and we're also getting a pretty clear sense
of the pelvis. It's going back
So as you build these forms out
it becomes more and more obvious now. So as
this leg is coming back see now we're seeing
the neck is this rounded volume but it's tilted.
So he's turned, we're getting this cast off on an angle,
this is in here. So the center, the center is
coming through in here, is building up. This is coming
across this way. And
then what you're seeing is
the scapula is here.
Scapula is dropped down, is
coming through, the corner is taking and coming
forward up into here. This is back
like this. Remember the shape
of that thing. Then he's got his leg and
he's turned and he's going down, he's going in
and so he's crossing, crossing over. The muscles are coming through
and this is taking and coming - the elbow's here, the muscles are coming
across. The paw is turned three dimensionally,
it's going back in this way.
And he's putting it down on the ground
and it's behind in here. So you're seeing
this direction going in. And it's important
to take and actually construct
the thing three dimensionally so you actually are understanding
what's going on. So now we feel the pull
coming across from here. Get all this fur coming down
in here and this foot is crossing over
so the wrist is in here.
Coming across you can feel now look at the flexibility
of these fingers as they come over and start building up
into this. So we're getting
the paw coming down and you can actually feel
these changes taking place.
Muscles pulling up, coming through.
Okay so now as I diagram this we can add more
flesh coming through. You're starting to
see the configuration now of how
all this stuff works. And now this leg is coming forward,
the bone is coming across, the knee is in here.
And we can feel the pull
here so what you're seeing with the line up there then is the corner.
As we starting, coming through, the front of the leg in here.
And I see here as we come back in,
the heel is not quite as far back as I had it
to start with. Okay. Coming through.
But what you can see is look at where the muscles are attached.
See this is what I mentioned last lesson of the
advantage that the animals have generally over us.
That they have the way the elbows stick out
and where the bones actually
attach, or the muscles attach on the bone.
We take and they have a really
great advantage mechanically to us.
But anthrop -
anthropologists will tell you
or not necessarily anthropologists but they will tell you
that man's advantage that we have more endurance,
that a horse can out run us
for a short distance, but over the long run
we can take and that's where the
marathons and things - humans are very, very endurance.
I'm trying to look at how this foot is coming down.
Just putting it down.
Okay coming through. The fullness of the muscles you can feel
the shapes coming in. So now I'm gonna take
and do like I did in the last drawing is to take
and put the
draw the basic
planes. Now what I'm doing here is I'm adding pencil
strokes and I'm taking and as I'm doing
it I'm taking and defining
basic planes, cheekbones coming out. I wanna
feel the fullness in here, the mouth as it comes down.
skin that takes place in here
and the fullness of all the material that's
coming down to inside here where the sternum is.
In other words, your pectoralis muscles essentially. All this
fullness coming through and the
light we're picking up, we can see the end
of the scapula here and we feel the pull
of the muscles coming off of that into the elbow. So I'm gonna
block in some of these tones now.
obviously we can't - not drawing the light that I see,
I'm drawing using tone to take and to
describe the volumes.
So with practice
and your analytical skills, you can take
and get an awful lot of information
from a photograph. But you have to
look at it. You have to analyze it from the
understanding of the structural elements that you're working with.
Okay so now as I start to block in
the big planal elements,
we're now starting to see
basic mass of the tiger.
Looking more and more tigerish as I take
and develop the drawing.
That gives you the idea. So I'm
just draw back over this, I'm not going to put the
stripes in but I do wanna take and emphasize things now.
Got the center, you see where the eye sockets are.
Coming through. Cheekbone coming out
You can feel where the bone is gonna come down, then
the way the nose comes out of that
fitting in, corners, jaw is dropping
down. Okay you have the fullness of the neck
and from doing this we feel this is fitting into
the box that cuts across, that gives us
the sense of the scapula
and where everything we actually have the trapezius
coming out of here. We would see those coming across a bit more,
we start to feel the way these muscles are pulling down
and fitting into the leg.
Elbow coming out, coming through. And even here
we get the ribcage
and where the ribcage comes up, then the waist.
We feel the stomach underneath.
Elbow or knee.
All of these elements now they start to build up. They gives us
the shape. Okay.
It's a -
is that all the same elements, this is the same thing that
most of your animals. What you're seeing though is a total change
in proportions. Okay so
what we have is we take
and a head. Same thing,
feel it come through, feel the body coming down
follow through with it. And so
for a long neck, small head. Notice the ears.
But really sticking out.
Okay come down
scapulas are gonna be in the same spot, doing the same thing.
Come down in the elbow, following zigzag
think of the belly and then we come up and we can feel the
pelvis, small pelvis.
Long legs, knees, but everybody's - you can see how
everybody's in the same pattern.
Okay here this is
coming straight out at us so we can't see the Z very clearly
because it's going back in perspective
and to the heel, then coming back to the paws.
And if I remember right, yeah this guy has -
can't remember whether a short tail or long tail. Now
let's just take and quickly go through here. So
again, coming across the eye. This guy's obviously a predator. The eyes
are really straight forward.
Okay. Just like every cat. Fur
on top of his nose.
Look at the cheekbones.
And they got this fur coming out
as you come down
lips. Next week I'll take
and start going into another series of animals,
I'm gonna take and I'll do a comparison thing
on everybody's mouth. Okay, through.
fur. See all I'm doing is building
and adding on. Now he's twisting, coming through,
you can see the neck coming down and he fits in
this is - drawing the cylinder, fitting in.
Then I take and come across, feel the scapula,
you can think of the ribcage as going back
in and we can see this ribcage is
going back in this way and
there's a waist,
this rather full stomach,
maybe it's actually pregnant or something but this is really full. You can
see the fullness, we see it
because it's the contrast with the
ribcage and the pelvis. Pelvis is
up high so coming through, scapula
is coming forward. So
you can feel all this coming in between. Scapula on the other side of the leg
is slightly behind a little bit so the scapula's a little bit lower.
Here, coming through,
triangle would be coming around, something like this. The muscles now
are pulling from this, coming down, pulling through
to the elbow behind. You can see
the way he's got this leg bending,
come to the ankle, coming down, and
the paw fit.
we got all of the same basic - the only thing that's different here
is proportions and the stripes and stuff.
But it's basically you follow the same pattern
through. So we can see - we come into here,
this is where the pattern of the muscles here now are coming down
pulling off, scapula coming down
and you feel the ribcage coming through.
Then pulling down from that, coming
Okay. Across the pelvis.
Across the pelvis.
the knee and this is the - going
down, turning away from us by using a tone there
but you can feel as we come across the pelvis here, we can feel the muscles pulling off the pelvis, coming
these muscles come through and the heel would be behind,
coming down, wrist
you can see the pull, these muscles coming down. In the inside of the
leg on the other side.
all of the fur and the hair on the
inside of those ears. Okay. So now
this guy's got a collar on here. But we can feel
all of this fullness. Maybe I stretched this
guy out a little too much. I guess
I did. I was reacting to the
We can feel the pull, let's take and
here I wanna make a point out of it, you can see that the stomach
is coming out because of the contrast
between it and the ribcage. And so then we got this volume
and the pelvis, this waist is
here. The pelvis is here, coming down.
coming in, going back down
all of this, the scapula
Those coming underneath. And I sort of overdid it I think in
stretching him out a bit. And we can feel going back.
Cheekbones, really pick up
the cheekbones coming out. Then
And start pulling around. Anyway
really a unique cat.
I can't think of the name. Now anyway
they're noted for being incredibly fast
on the go to start with. Okay let's take
and look at some dogs for a change now.
now this really exhibits all
the stuff, more so than the cat actually. Probably because
it started with this. And now I'm gonna take and
as I'm going through this thing now
same way. I'm actually
gonna work with a little bit of color here. Now -
so now we can come through. Same thing,
feel the flow, you feel the pull
Feel the way -
the way he's got his feet off the ground.
Coming across the tension, coming through. Tail.
Look at those legs.
Just the flow. Coming in.
One of the things I don't do, in particularly
it's almost impossible when you're drawing animals,
unless they got up tied up or dead
but which is actually what a lot of the old
animal artists, they would actually
go out and hunt animals and shoot them and then
string them up to draw.
Which today everybody would be in total outrage.
Okay so we feel the full.
Coming through. Now
let's go back into this now. So we're just feeling
the flow. Okay so now I come back into
drawing the head now, I'm coming in. I look
for the corner. The eye socket, again
we got a predator. Looking straight forward.
Okay. The nose, taking and coming out
And the jaw's dropping down. Now this guy's got something
in his jaw so he's got his toy.
But dogs, as I was talking about,
the cats have extra skin to take and
be able to open that mouth way wide. Everybody's
ears in the same place, we can come along the zygomatic arch, coming through,
this guy's ear is flopping back.
Coming through. Now I go
through the same sort of configuration even when it's a
unusual sort of shape that you're seeing.
Now as I come down, feel
pulling into the neck. Now is where we start to take and feel
the ribcage or the spine coming down. The ribcage
is coming all the way through into here.
Pull you won't see it very clearly, it's
this volume in here. The neck is coming down,
the ribcage is in here.
The spine continues on
back and the pelvis
going from here back down. Now the shape
here, where you're looking at the tail coming down here
okay the tail is coming out of the top here.
The pelvis continues on underneath under here.
And the bone is coming out of
this part there. The pelvis is going down. The tail is coming up
and out of the end
in here. Okay then we're coming down to the knee.
And the heel.
We'll talk about all of this stuff in a little bit. The scapula now
is taking and pulling way up into here.
The spinal column is up here. So we get the
pull of the nuclear ligament coming out in here.
And the scapula is coming across,
it's going this way. It's big
flat shape like this except there's a central
spine to it, coming through in here. Okay so that's
spine that you're looking at, thinking about here, is what you're seeing
in here. In other words if I put in this tone
through here, that's these infraspinatus
the edge of the spine, the infraspinatus muscle, is coming from here
and going across to the head of the humerus.
Supraspinatus muscle is coming off the other side
of the scapula. Coming off. And that's
going also to the head of the bone. Now so,
come down, so all of the shapes, sternum is in here.
The bone now is going from here
down to here.
So you can feel this pull coming down.
Now from here, all of this up
in here, here you're talking about your triceps
coming from behind and your teres
major going underneath and the other side. At the end of the -
coming out of here, off the bone.
Look at the volume we're talking about here now.
This comes across, over the sternum
in here. This is the box in here.
Okay. Then you can see the actual
joint of the bone is here. What's you're seeing then is the elbow
sticking out and you feel the tendons pulling to that.
Now come across to the wrist.
You've got your fibula and
your tibia. And we feel the tendons coming through.
flexors on the underside, coming through
we can feel the shapes now we can go through.
You can feel all of the paws
Okay the other leg is coming across
the other side.
Through. And notice that what we're seeing
here is the - it's not
on the back leg we can see things sticking out here.
Okay that's you pisiform bone. Like I saw we
have them right here in your own wrist. You can feel
the bone right in there.
Okay. Sticks out. You have them on
the bottom of your feet, underneath your big toe.
Okay we can feel the
paw coming through.
Okay now underneath we have the
pectoralis muscles are taking and pulling
and coming across, under, and
we can feel, as I was saying, the difference between the cat and the dog
was the way that this pulls
up so the rectus abdominis is taking
from here and going to the pubic arch
of the pelvis. And now we have these folds
right this is coming across here. You can see the muscles now, the
corner of the pelvis is up in here.
And we can feel - this would be your
tensor. Coming across
and the pull.
We come down to the patella which tends to be a little bit longer than
ours and we can feel the pull,
you can feel the muscles coming off and all this stuff up in here, these -
which is actually the gluteus.
And back here the semi membrane and its tendonous. Notice here
as this comes back down that you're
gastrocnemius, your soleus muscle so taking and
really going up way high so we get this
configuration then of the muscle as it takes and comes down
to the end of the heel. Okay here
you've got all of your extensors, taking and coming
Taking and coming down and your tibialus
anterior. Okay. All - they have the same basic
muscles that we do and most of them
have the same name. Coming through.
here. So if you look you can see the pattern
of these things and then they're coming out. So you can feel
You can feel
the bumps that are coming through it.
And the other one coming down,
Now what you're seeing
also in here is you're picking up the line
of the latissimus dorsi which is actually
long, pulls across and is heading through
here. You get across the top here
the columns are the sacrospinous. This shape
in here, waist coming down.
And trapezius - you can see the trapezius pulling
through in here. Okay and we can build
all this stuff is coming off. And so and I'll go back into this
ear a bit more. And you can feel
the going inside, feel the
ends flipping over a bit and
Kinda the jaw coming down, it attaches exactly
like ours. Just in front of the ear.
These are your masseter muscles coming across
the jaw. And then
we get the other side
the - you can see his head is turned slightly and he's taking
and looking, even though he's carrying his toy he's got his eye
definitely on the camera.
Coming across the cheekbone,
behind, nose coming out. Now here you try to,
as you come through, feel the corners of the bones here.
Then the end of the nose actually contrast
to what the cat is now, it's the button nose. We have the lips
the pull across from here, these are your -
the line that you're seeing that's your zygomatic major.
And he's got his toy
And so that's coming down
but then we feel the fullness. He's got a collar, get all this stuff
coming down in here. We feel the stretching.
Through. So now I'm gonna take and
use a little color here. We've got the -
since I'm using the brown pencil we can take
and start to get a little bit of sense.
And I'll take and add black, he's got
white so we can leave that.
Bit of white on the bottom, I'll leave that.
And we'll come back.
Now I'm gonna
use the watersoluble graphite
to get the
But once you start to - once you start to
add the coloration
on top of the basic construction, it
takes and brings the - makes the animal
much more recognizable.
Okay so now
I'll go back into this again
with thing and start to pull out -
we gotta give him that nose, excuse me.
all I'm doing is I'm trying to - I'm not copying the tones that I see,
I'm taking and trying to take and bring out -
bring out the form a little bit more. So I'm working
with, going around, get the corner of
the jaw. Feel the pull
over the surface. Now here I'm gonna
give an outside contour to - so we can see
the white and this'll becoming - I'm forgetting, I'm not
forgetting I'm just ignoring the color.
we can come in now and as long as I'm drawing this
get a little sense of the shadow here but primarily I
would be working over the surface
and we can feel -
I can pull up - I want to take and
here the trapezius muscle
that be coming through. We can't - we get a little distortion here because of
the muscles now we take and come across
and going back in we can feel
the supraspinatus muscles which is
the same thing - same name and everything - as ours,
the inferior one which is what we see on ours
we don't see the superior one, it's up on top of the shoulders
there and it's usually covered by the trapezius.
In this case it is also but it's fairly
prominent here. Okay so you can feel
think about where the muscles are attached
and feel the pull
and feel it coming out and really pull the
elbow out and so that
will be taking. And see the tendons coming through, feel the pull.
Coming down, think of the corner of the bone where the tendons
are attaching. Coming across the
wrist. You really try to feel,
try to feel the bone inside there.
And it comes down, the paw, and I can take
and make it a little bit bigger, a little short on this
Now here what we're seeing the
shapes in here, you have your -
the external oblique muscles
and we have - you can feel the ribs
coming down, through, in here. We can feel that
the external oblique coming across. We have the pectoralis muscle
taking and coming through
and the stretching up in here is your
external oblique and we have an internal oblique
coming across and we can feel the ribcage as it pulls back
through and here it's the
latissimus. We feel the edge of the latissimus as it cuts across
and so we're building.
coming off here and going over
and you can see it really building up and it's very, very
strong through in here.
So this boxer's giving us a good change to actually take and look
some of the anatomy but you will find
all of the animals have essentially the same
muscles, maybe in slightly different
configuration but pretty much the same. All mammals
are incredibly similar. So here we can
feel as we're coming down, this is going underneath
And you can really feel the
rectus abdominis coming through, heading
up and then
call this now coming across.
Feel - now when you're drawing the more bone here
the muscle, think about where you're headed. Here's the end,
we're feeling the stretch to that
point. So you're sensing, you're
draw - you look where we're starting, you look where you're ending, and you try to
feel the muscle as it
pulled down. And attach - and do exactly the same thing
as I'm drawing the human figure now.
There's no discrepancy between the two
approaches now. Coming out.
Tail. And here
semimembranosus and tenuous.
This is the membranous
or the biceps and the femur, I should take it back that one.
And then feel gastrocnemius
on top, the soleus underneath.
Coming through. Tragus
or tibialus anterior
I should say probably coming in.
And you can feel the corners. So as you're
doing drawing notice that I'm doing fairly quick
that you can do in terms of just taking and
being descriptive in how you approach it
will take and give much more
of a sense of authority
to the drawing as you're doing it.
So we can take and...
Now that's one thing I will say for using a
photograph. It gives you a good sense of
dropping in shadows and
I'm going take and use a bit more here.
Let's take and do some more. Okay now again we'll
take and do another with the boxer. And so as
you're looking at this now, in this view I'm gonna take and
little bit more time with sort of blocking in
We got the head, the angle, the nose,
coming up. And so I'm going over these surfaces
feeling the stretch. Now as I do this
I'm gonna right away I'm taking
and visualizing the neck as a cylinder.
Okay and as this comes down now,
we really can see this configuration
on the scapulas. And it's this
triangular shape as we go back in.
Now from here okay
what sort of completes the sense of
this triangle, actually the corner, a little bit higher here,
is the way the bone of the humerus bone
goes back at an angle in here. That gives us
sort of that box shape. But you gotta think now that the ribcage
is inside of this.
And as we look here you can see this is like a -
now I'm gonna take more of a cylinder shape,
taking and getting the whole thing, going back so we can feel
the roundness now of the ribcage going back in.
This will be carrying into the waist.
Now of course we can't see the pelvis but the pelvis would be
taking and turning and coming down
in this direction. Okay so now from here
we take and we're going back in. The legs, the elbows now
are in here. So this
is pulling down. So what you're seeing now
is let's just take a little bit of time here and
look at what you're doing. Okay here's the sternum here.
Okay what you get
is right here now you're seeing the
pectoralis muscles taking and pulling from here
going over to the arm. That's just
exactly like us. Okay so we can see
the pecs. We can feel the pecs here. Taking
and coming around. So this guys got really strong
shapes and this muscle is going down over into here.
Then there's different layers,
different layers of pectoralis muscles.
The ending descending. Then we have another set that goes down
along the ribcage itself.
Now we have two also. You have the
pectoralis major and minor.
The minor takes and attaches to the scapula
on us. So
what we're seeing now is we're getting down and we can feel the belly
is a rectus abdominis and be taking and be getting a little bit of
a folding in there at the same time. The pecs are
down, all the way down in the bottom in here. Then
we can feel now the leg is taking and coming back up.
And it's coming out over here and then it's taking
and building up, coming up out of here. And
then it's going back. So now what we're seeing is all of the muscles now
are bulging out. As he's seated
here you're getting the end of the knee.
Now their patella is a little bit long so it tends to come down through here
and then we're seeing the muscles of the leg going back down
to where the heel would be back underneath and then we can see the paws
coming forward. So I'm going through all
of the configuration here now. So now as we look at the scapula
here itself we're pulling in, we've got the sternum here.
Here's where we start to feel the corner, right here.
Okay and as you look
now you can see that there's this long line now
that is pulling up to here.
And so this ridge, there's a ridge
in the muscle on that surface coming right down.
Okay now pulling off the scapula.
See the muscle, the bone is going back in.
Okay so now we see the pull of the muscles
as they pull off of the scapula, coming down
and you can see now they're pulling into
the leg. Now the elbows here. See so now we're coming down
all we're pulling down into here, this
is the wrist and the carpal bones. You've
got your two bones coming down, the ulna and the radius
coming down. The ulna is on the
outside here. Radius is on the inside.
Coming through, feel the flexing here.
And then we can see the toes and
you've got - we can see the knuckles, we can feel the pads
on the underside. And then coming forward.
So we got four and then we're not seeing but then we also
get a little bit of something in the back.
Paws coming across here. Now we're going to this side,
we can feel the muscles taking and the coloring
here gives a little bit of a
misleading a little bit. Okay but we can feel
all of this starting up here,
we can feel the side, we can see the light where it's hitting the side
of the pecs. Got the feeling here we can see the corner
all of this is in here. Okay, the other side now,
not quite as wide as I made it there but we can take and feel
from here, we can feel the muscles. The pectoralis is
going or the scapula is going behind
the neck. Okay now
so you're building, you're building all of these things. Now let's go back
up here to the head and then we'll work our way back down again.
Okay coming through.
first take and look across
this. We can feel under the chin, we can see.
Now dogs have been bred to have all kinds of
you'll find that the boxer now has been really
narrow. The actual mouth actually tends to come forward almost like
Coming through we can feel the fullness of the cheek here now.
Look at this fullness in here.
And all of this extra skin now that takes and comes down
through in here and the jaw
the mandibles are going down and coming back in.
And you're seeing those coming
right here. See the jaw, the muscles,
we have the corners of the eye socket are here.
We come through, we can feel - feel the brow line
coming across. Now most -
the dogs and cats this bone doesn't go all the way through.
It just on the top and then we come behind, we can feel -
but we can feel the cheekbone coming forward.
So we've got this corner in here. Same as us. So we can feel
that coming through.
And the jaw muscles, the cheekbone
is going back and I guess
we best put this eye in.
Okay you can
feel the ridge
going up and the center line,
there's a center depression. This goes back.
Okay the ear is right at the end
of the cheekbone, which is going through this way.
Now in this case it's folded back and we can feel
muscles for the ear going up.
The ear's taking and flopping down. And
we come up overlapping. So
we have all of this now. Then we come in here, now you're stretching
and we have the
coming under here you have the same thing as
the muscles that pull off of our hyoid bone,
we have the same thing here, coming down to the sternum. So you
got these - got the stretching muscles
pulling through, we've got all this stuff coming across.
He's slightly turned so we can feel the pull
coming out. I can feel I needed to take
and draw this up a bit higher. Okay.
Always adjusting, always adjusting.
Okay. So as you're doing the drawing now you can see
just the act of
taking and analyzing the forms.
It does an incredible amount of
taking and being part of the descriptive element
of your drawing. If you can analyze the stuff
you're gonna find that you're gonna get a much stronger sense
of the animal that you're drawing.
Now coming down, coming through.
The foot's coming forward
and we can see then we -
so when I'm drawing - when I'm drawing this
paw here what I'm thinking is the knuckle
coming forward. Then
in here the bone goes down
and comes up. But what we're seeing then is the knuckle here
and the tendon coming across.
The claw is in here
and the pad is underneath.
And so from here it goes back
in and we get the next joint. So you've got a series, you've got
a series of points that you're taking
and drawing. And we look - you're always trying to
feel this sort of pad. The pad, as we come through that, looking
in profile, this bone goes down,
goes up. So the pad, we feel the tendon
coming through. We got the claw up here. This takes
and coming down. The pad is in here this way.
Okay. So this shape becomes
very prominent. Then the rest of the other pad, the big pad
is underneath this as it comes down.
So this is what we were talking about when looking at the cat.
Very, very similar type of arrangement.
see as I'm doing this I'm really thinking of those basic elements
as we're coming through.
Going back into.
Now coming in,
coming through in here. Now so coming in
pull, feel all the stuff coming around. And feel,
here we can see as this comes down we can see the
an external oblique as it comes across. We can feel the
end of the knee coming through. All of this now
is pushing back down in.
So that gives us a really good beginning on this thing. So
if I just block this little out of the tones in now.
I can really give you a sense
of the 3D just by taking
and using the tone to just emphasize the
corners of the form.
And we build,
so we can see the pull,
come across, we try to feel now
coming over the end of the scapula.
Feel the pectoralis.
Try to push the corners. And
got the rectus abdominis coming down. You can see the line
in the center. Then as the leg
comes forward okay we can feel the pull
pull the tone to the side, get the thing, go back.
this is not very clear here, we need to -
where we're pulling out, where the corner is here. In other words
the feeling of the pull of the pecs coming over. And
the muscles here.
And pick up the corner here a bit more.
And try to see that you have a plane here.
see what else we got.
Transcription not available.