- Lesson details
In the fifth part of Glenn Vilppu’s Animal Drawing series, he focuses on elephants. The sheer size of these gentle giants requires a different skeletal structure than the other animals you’ve learned about. Elephants are known to have a high degree of intelligence and a pleasant social demeanor, which make for excellent drawing opportunities. 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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Elephants. And at times
you'll see rhinos and hippos. But they're really
neat animals to take and work with. So I've got some great
resources and so let's see what we can do with that.
remember all the animals we've talked about so far
we've focused on the zigzag pattern. The scapula
taking and coming down, elbow
coming down, the knees. But that basic -
that basic configuration. Now with the element, it changes.
The elephant's - it's still there but it's
muted. So if you look now the
bones here that we've got going here. You can see that we're
getting the - I'm gonna draw this a little bit over
the scapula now is a bit straighter up.
Now we're coming through, you can still feel the spine,
in here. Let's see and the arm
is basically coming down a bit more.
Now of course the bones are huge and then we
coming into what would be the elbow
and now this leg's slighty coming forward so there is a bend
and then we're coming into the ankle or the wrist
and then the fingers coming straight down
and walking with our fingers straight down this way okay
and what they actually do is they really have a big pad
underneath that makes that part of the shape. But this is
a simple vertical form. So what happens then when you're
looking at the animal is we see this scapula
coming out here but it almost looks like somebody standing
with sort of baggy pants. In other words, the muscles
I think go from here, takes and creates a long
fold coming down this way. And
We can feel the full, the muscles coming down
through here. So it's - it has a very
almost human quality if that's what you can take about an element
but and you got the wrist, then it's coming down to
the fingers. And they got the same arrangement of fingers that we
do but it's this flow, it's all still there.
As you're drawing the animal then, drawing the elephant,
we're always looking for the same thing. Now as we take
let's take and go back here a little bit now. So as the spine
comes up, notice we've got the withers up here, again sticking up
okay and then the vertebrae coming up and then the
the skull. See it's way up
here. This is a huge, massive
skull that we're looking at. So we
look the ligament then is actually taking and going all
the way across through here and we got this stuff coming up.
And then we feel the - we have a lot of
coming down from in here we can feel all of this building up
and then we're building into the head. But the same basic
things that we work with. Now the general
body shapes that you look at - and this'll become
really obvious as we go through you're gonna see
that it tends to be long
like this. Rather heavy
rear end coming through, we can feel here going off,
out to the head out here
and large hindquarters. Now
again the rear, the pelvis - and we'll take
and look at a little bit here, but the pelvis is very broad,
coming through, and we think of where the
hip bone is so now we get the same kind of arrangement. The bones are coming
down straighter. And we're coming through
and down so it really - it
really does end up looking like somebody's just wearing
in the costume inside of the
elephant with baggy pants.
Okay enough of that okay. Let's just take and take a quick
look at the skull.
Okay. Now one of the elements
when you're looking at the skull and you get the whole
concept of the cyclops, in other word
methodical - not methodical -
mythical figure, the big one
this was something from somebody
seeing an elephant skull
with the -
all in the center here. And then coming down
and this would be the shape
basically coming down this way. And the eyes then
would be back here. So this center section then
that the tusks are coming out of is
where the trunk lays down. So
this section in here is like a trough.
Like you're upper
lip. That the nose then is taking and coming
out of this thing and lying in that trough with
the canine teeth you might say, taking and coming down the
side and going out. Now the jaw of the
elephant actually has a unique
quality to it. When you look at the lower
part of the jaw, the end of it, it actually has a
Okay so now let's take
and let's take and look at some of the -
here I just wanna do a little bit of the feet. As you're looking at
that you can see how the
two parts actually work together. We can see very clearly.
Coming down. But the ankle,
wrist in this case, come down,
it will be here then on the other side.
You can see the various carpal bones.
Coming through. And then the fact that the toes
or the fingers are pretty much
like ours. Coming down, coming through.
And out. So that they're
up - like I said they're up on the hands this way.
And then the big pad
underneath here that part that they're resting on.
So as we look at it we can actually then the fingernails and stuff
are out here, it's coming down, and so
what we see then is this huge pad
that's coming down like this.
And it really -
this type thing coming through. But all the inside that
big round foot is exactly the same
as ours, same fingers, same thumb, the whole bit. Okay
so that's important to be conscious of that. Okay let's take
and look at some of the - okay
now I'm just gonna - the images that you're seeing here are
from Los Angeles Natural History Museum.
Pretty exciting. I bring classes
here all the time but one of the things again, let's just take and
very, very simply. Now these are African
elephants here. Notice the big ears and also the fact
that there's only one bump on top of the head. Okay
so let me take and think of the shape of the head here.
And notice now as I'm doing this
that the similarity now - that's the whole
emphasis on what I teach is that we're always looking for the same
thing. See and we were just talking now if we look at
the skull you see what have the hole being the center.
It's coming down so as you come through here,
you see where the eyes - and we'll do some
real close ups and stuff here in a little bit. I just wanted to show
the basic shape. The ear comes down to the same place
as everybody else's. The jaw is taking, going
down underneath. In here you can see now
how clearly this trough
that the trunk sits on, which is really
your upper canine teeth
type thing and you can feel the tusks
taking and coming down,
forward. And then the
trunk taking, pulling down
from that. So this is the rounded shape
and so what you need to be conscious up here as you're looking at this now that there's
a hollow behind the eye socket. This is
a rounded - I'm going over
the surface. You wanna feel the surfaces here
is coming down, feel the fullness of this
form. Just the nose now. This is a
cylinder coming out.
The nose is taking and coming down through that.
And we got the corner of the
jaw is pulling down. Jaw is sticking out.
And then the ear
builds out from that. And like I said the
big contrast between the Asian and the
African is the
ears and the bump on the top of the head.
Okay but thats what we're looking for. Okay
so if I look at the other elephant over there, the baby,
we can see the basic shape that I was talking about
now. You can see around,
taking and coming back and through
and feel the spine sticking out. Big
shape of the body now is tapered and
it's full, coming back,
coming forward we pick up
the corners of the eyes here. See it's now - I'm just taking and
and blocking in, just like I do with all the animals now
coming through, feel the jaw coming in
and think of the teeth coming down, so
tusk shoots in, that's what
the teeth coming in, thinking of where the shoulders are.
Building up out of here, coming down,
the pelvis now, like what I was talking about the
difference in pelvises is what we're
working with a very broad pelvis that we
feel the corners of here. Fullness in here.
A leg then coming down to the
knee and we're going back, coming through.
Now that's all
part of the same thing and in this case rather large
ear coming down.
And keep in mind now
as you're working on this that we got this, the dome
of the head.
Now what I'm doing is I draw
in here we're feeling
coming across, feel the
tusk, all of this
now is pulling underneath.
We feel the trunk,
any part of rendering this now, you actually take and try
and visualize the lines going over that surface.
The trunk is actually, it's tapered
as it comes out from underneath in here, starts out
fairly wide because that's merging in with the upper lip.
And then we're taking and coming down to the
nose, coming across.
Try to feel so that the thickness of the upper
it's actually because it's basically holding up, holding the
And come back and feel the vertebrae behind
in this case, feel the tusks taking and
I've got her looking
where the knee here.
Try to give us a little bit more
than the content that's there.
Now I wanna feel
the vertebrae behind the ear there and then we're
working up, you can feel the spine behind
feel the ribcage. Now keep in mind I
I was saying, elephants don't have much of a waist
so this surface is turning back
and you can feel the roundness coming around here.
The shoulder, scapula in this view is pretty much hidden.
Coming through. Here could be the elbow
coming down. Now we've got this little baby in the way here
so we'll take and we're going jump to some other
angles now you can take and see. But we can feel here
the fullness of the pelvis starting to pull out.
And we can feel the forms pulling over to it
Coming down and
so you're constantly, as I'm doing this
I'm always looking for the basic elements.
And what the process then of drawing is
much of it is is that you're
taking and looking for the things that you know are there.
That we're always dealing with the same
thing. So let's take and look at some of the other elephants here.
Okay now this is a juvenile.
And I'm gonna -
okay so I'll stick with - so that
even though this is a profile, I really sort of
tell students that - also notice now this
is a Asian. And it's a young elephant.
Starting with the shape, coming through,
tail. Look at the scapula
up here I'm just before I do anything I'm just blocking in.
Now in this
case we are getting that zigzag effect. But
just exactly like if you bending your arm and your wrist.
Look at the way that leg comes forward.
coming down, looking for the
Basic shape. Now as I start to
go further with this, by taking and breaking that head down
a little bit, I'm taking and looking through where the back of the
skull would be.
We can see the - now the Asian elephant has
on the head. And we can feel,
coming down. Now as this is a young
we have no tusks yet. But we can feel where the bone is.
Coming through. We can feel the fullness,
socket of the bone, eyelids
eye, ball within,
and coming down. Now here
we can feel the jaw now is taking and coming in up here.
This really going around this way
and this lower lip now
then the jaw take and sort of a unique quality to it.
And we can feel now the trunk coming through.
Part of the upper lip.
And it's take and pulling from
in between the eyes but we can feel the shape
this is coming over, it tapers.
Okay it actually
functions as, I'm sure you know,
it's like an extra finger almost as it comes through.
You're able to, in other words, the end of the trunk
opens up and it's like a -
and they're able to take and control this to lift things up
and of course water
coming through. Now I'm just working over the
surface of the form. Now I come back, think of where the ears
coming out, same place right behind here.
And we can feel
the shape here, it's a little bit fuller, the opening for the ear is in here.
And then this is coming down
and we can feel, again this is rather small in comparison
to the African
okay so now here is important to be conscious of.
This bridge or the nuclear ridge here is
really quite narrow. And what I'm doing is I'm drawing the
sense of the way the tendons go in here.
As I'm coming through I'm thinking of the scapula pushing back so
pushing the tone, going back in
and so now as we come through, the
scapula is coming down to here, then from there
coming down to the elbow. Okay so now we wanna feel
is coming through here, the neck, the sternum
is sticking out in here.
And so we get the shape, all of this is taking and pulling
back down. And so now we're getting the shoulder.
Very normal now, see, coming through.
We can feel this plane taking and
going down, in.
This now we're coming down to the elbow and the muscles are
pulling off of the scapula from up in here. So we can feel the
pull to the elbow
where the joint is here, muscles coming down,
feel the fullness all the way down to the wrist now.
It's interesting, I feel when I look at
elephants and as I'm talking about it I
find it sort of very natural to be referring to this
more as a wrist, more so than in a lot of the other animals
because it's the way they carry themselves into
the fingers, coming through, it feels that way.
Now here we can see this big platform
of a foot. And remember that now there's
the toenails are in there, we can see them coming through.
Okay now as that leg is coming back
we can see the way the muscles
or the skin is being pulled, coming through.
And we can feel the overall big
fullness of the ribcage which is coming
through here. So all of this now is the ribcage.
And we can sense the roundness of the form
as we're coming through. So as I'm drawing this I'm constantly going over the
surface of the form. here we can see the vertebrae
taking and coming back, pushing down,
okay. There would be actually here
we could get a feeling of the sense of the trapezius muscle coming through
and right here then we get the corner of the pelvis.
Okay so this is like where
with this leg coming forward so we can see
where the knee is coming forward, we can sense
all of this stuff here as being compressed. And we can feel
there's a roundness of the form, this point coming through,
all of this now is taking and coming down
and we work - notice I draw on the surface of
the form and has it taking and going back.
Feel the pull. Now as this
leg comes forward again, okay we can sense that
here's the part of the pelvis
the ischial tuberosity would be really way back in here now.
Here's where we start to feel this, the spine coming down,
the tail is coming off up here.
Okay now we
can feel the muscles pulling out so I'm taking and feeling the
pull of the way those muscles come across. You can see the
pinching that's taking place as the fold
that's taking and pulling in. So now
as that leg comes forward, these will be just like
quadriceps coming up, the end of the knee.
You can feel coming down,
Now as this guy
is taking and walking he's throwing the foot
forward so we can feel the shape
here the wrist, or the ankle in this case, and
coming through. So it's a really
walk feel to it. And you can see the back leg now is coming
across. You can feel where we're coming in back in here
which would be essentially the
heel. Coming down.
The muscles are pulling through.
We've got it solidly planted on the ground.
The other leg is also pretty solid set.
Now here we wanna - as I'm drawing - I
didn't do here - as you're drawing you wanna feel
the space, the temple. Now
as we get older, humans as well as elephants,
this starts to get hollowed out a bit more
and becomes more obvious. And we can feel
coming on the side, start to build. So
here we get the - I didn't give much of a taper here -
we can feel the pull through.
And narrows and comes down.
All of the teeth are
way back here, like the equivalent of the back of
your jaw. And
feel and here
and the tusk would start in here.
Now that old yet. Coming through. Now we can feel the
dome shape coming in.
that gives us a fair - let's take a look at some more.
again, start out
Now if I was
out drawing in the wild I
would be doing this exactly the same way.
Feel the flow.
Part of this is a strategy
as I work is to take and
keeping it free like this also
is a strategy for not copying
and it also
gives you more of a feeling for one of these
that you're drawing. Feel the big forms
We actually have another
elephant being - the third elephant back there. You're just
basically just seeing the tail
Feel the pelvis, very consciously thinking
thickness, wide, feeling come down
think of this knee coming forward, leg going back
and the other foot's coming down.
front leg is going back
and hidden behind here. So that's
basically blocked in now. So now I go back in
to this and I'm gonna take and focus
on the juvenile here, the baby.
So I'm thinking, coming across, it's going in
so I'm really thinking about going over
the form this way.
So I look to the pelvis
coming through, coming back in
and I'm doing that then, I can take
and consciously I feel where
the bone, the pelvis, the bone of that in this case
the way the leg's going down, pulling into the knee,
and we can feel the shape so I'm constantly
going over the surface. I wanna feel
around. Think of the spine
and again going over the surface, so I'm visualizing
this as 3D. Always thinking three dimensionally. Going around,
scapula is pushing up, the elbow
sitting here and we can feel the pull,
the stomach going underneath.
Here we get the tail of the spine. And this is the
important part here. You get that sense of depth
going in. It's important to be conscious
that this is taking and coming in front
and that the pelvis now is behind that.
And as I do this I'm taking and
the way the forms come out, giving this a three dimensional
With things like tails I don't really
necessarily follow exactly which way they go all the time.
I'll just take and do those to suit
how it works with the drawing. In this case
the drawing they're okay. But I don't necessarily do that.
And the mother's leg is hiding
behind in here. Okay. Through.
Okay look to the ankle.
what they used to do in colonial times
is that they would take and they would hunt for elephants
then take and possibly you see that
they would turn the legs into stands for
umbrellas and things like that.
Coming through. Again, now
a little bit difficult
to see but I think the baby is
actually got its foot lifted. Something like
this in the back and then she's leaning forward.
I'm assuming she -
and you feel the pinching as we go through.
Notice that as we're doing this you can see
you've got this corner coming through now we're talking about
basically the ribcage, pelvis is coming in here
so we've got the fullness in here, the waist. We can see
where these forms are coming up to the spine, which is now
raised, coming down, and one of the elements
we're talking about is to feel the base of the skull,
feel how the neck is fitting in
so now we come up from behind, feel the ear
coming down. Let's continue on
first with this leg here, feel the muscles coming down
through. Again and
where the wrist would be
the other leg's behind. Okay now as we come through here then I'm
thinking okay the head is slightly turned,
we're feeling the dome
the eye socket. Try to see
there's a plane behind the eyes.
We can see the cheekbone coming out.
A mouth. All of this now is coming through
here. And we can feel the
forehead going behind,
the eye socket coming out.
The eyes fitting into the eye socket,
the cheek bone sticking out,
and then the jaw going down and
we can feel now a whole plane of the mouth underneath
fullness that I was drawing for how - we can think of where
the tusks would be eventually. And
that this is going back, the nose
comes out from behind,
this is coming down. The mouth
And we can see the trunk
tapers. And we're taking and
curling around and picking up.
the ear, same spot,
opening of the ear and we can feel
coming down. I wanted to take and feel the neck pushing
down, behind. Okay so that gives us the
baby more or less. I wanna make this a little more
up here, we can feel this as it pulls around.
You can feel this going behind.
feel the roundness of the rear end here.
Okay let's deal with the mommy then.
eye. Had it all a bit too
large, too high. Coming through.
coming around, bring the mouth,
and this is where I was talking the shape
but this is really coming through.
No tusk here.
But we can feel now the open mouth getting shoved,
food getting shoved into. Muscles coming down.
Feel this here. The
eye socket full,
So I'm drawing the bone
And pull around and here.
So now I'm here and we can feel the line,
feel this tusks, that's where we'll be coming out of
the muscles coming down, the masseter muscles, the
cheekbone and back up. Okay.
Notice that the cheekbone, where it's going, is it's actually
right in front of the ear, just like
ours. So the flap in the ear is up here.
The opening in here.
And keep having it come down.
we need to adjust, keep adjusting this dome.
Base of the skull.
And you can take and let's -
a little bit more, give it a little bit of the thickness, the underside of that tusk.
And get the eye.
Wanna feel the fullness,
got these things, like I was saying this is like a trough in here
that then the nose is taking and
coming out over that surface.
in this case taking and putting something into the mouth.
Which is - you can feel the fullness in here,
the open mouth, lips,
and all of this now.
Feel the pull.
Feel the fullness
now of this dome building.
You can see the pull of the muscles now and we're coming right up to the
vertebrae in here. Scapula now
is being pushed up and we can feel the surface pushing
Down. And now
that scapula and the muscles are taking and coming down and here we can feel
a pull these forms, you can think now
this case you're gonna get muscles coming off here, trapezius muscles
coming down and you can start to see these things. Once you
recognize what they are, it starts
to become, as I've said many times now,
you don't see something until you know it's there.
You have to know it to look for it.
And then you start to build from that. Now we feel the spine
coming up, pushes
down, coming across.
Now going over and
here now these will be the muscles coming back, you can feel the whole
fullness of the ribcage now is really coming around
and this will be the corner, the rib,
the bottom of the ribcage
coming through. Really feel the pull
all of this stuff is coming down, surround.
Now this leg is coming forward,
so first what we need to take and be conscious of as we're
pulling back into here.
Trapezius - or actually probably the latissimus
coming up. And from here the corner of the pelvis.
This point in here.
The spine's coming down and we can feel the
pulling into the tail. Okay we can feel the muscles now
starting to pull in here. Coming across
we can see
the knee now coming forward,
the big muscles now taking and pulling
back here, coming all the way down. This is -
really notice now when you're drawing a leg
of how you feel the volumes.
Use the folds that are created
the action help describe the volume.
Through. You can feel the tail.
The other leg
is right here.
now I'm gonna use
See if I can bring out some of the forms. Particularly
now using this as a way to separate the two.
In other words coming through.
And the volume
can really feel the 3D
We can feel
the pelvis and
Now I'm using it to come around with the spine giving a shadow side
and picking out the tail
over the surface.
So now I'm gonna work
from the back forward. And we come in here and we can feel
the eye socket and
the eye, lowering it a little bit.
And feeling the bone. Feel the
here we can feel the way the muscles
here and the mouth is open and so we can feel
all of this going down
and you can feel the fullness now of the
thickness of the underside, through
like this is all turned now. Taking
and going inside.
Feel the corners
of the masseter muscles, all this stuff
and really chin -
or I should say the mouth. This is the chin under there.
Feel the pull.
Feel the pull now opening
fullness of the dome.
I use the wash
as a way of helping to separate forms
even taking and getting the thickness in through here.
tones, feeling the folds behind
and sensing the scapula.
Now what I'm doing is with water
out of the pencil I'm using a crosshatching to take and control
a little bit of how dark and light it gets.
depends on how much pencil that is put down.
Now the baby, coming in.
Okay now go over one way to go over the
surface of the form. Pushing
the sides back.
Now even though I'm drawing from
a photograph, I'm approaching
it exactly the same way I would draw if I was there
at the zoo.
Simple, over the surface.
Feel the fullness
in the form.
Across and go back
taper that a little bit.
Okay this is
a beginning here. So now let's
take and look at some others.
well four elephants but particularly I wanted to take
and show that we'll be showing the head a little bit more clearly.
starting with the one of the right here, which is
basically a three quarter here so
and in fact I would take and start out actually pretty much
like I would do - with a simple spherical form, the dome.
Coming down. Feel the eyes.
Here, coming across. So now as we look at
the - we've got three different views here.
where we can take and really sort of analyze a little bit
the shape of what we've got. So I'm gonna start the other one
right away here. So what you're seeing
is okay again,
Notice that all of the eye socket, this thing is coming
forward. This coming through
and you can really feel this type of thing here
And as this pulls back I will get this very clear
now, a double dome.
Feel the head. And the
nose, which is of course right here. As we can feel
the fullness of that nose pulls out.
And coming down. Okay so now I'm gonna go back
to this one again. So what you're seeing then - and this is where
you got the comparison of these two. We can
see now that this
here, we can feel the fullness of this coming up. Now notice
that that's not that really obvious but when you look
at the other one, it's very clear what's going on. So that allows you
to see this a little bit more. So now I'm going over the
surface here. And so we can see the bone
sticking out. We can feel the
fullness of this and also we're feeling the
hollow behind here. See so now
comparing, so really compare both views
it gives you a strong sense of what's
going on so we can sense now this is going
back, this is fitting in, we can feel
all how full this
change is in here. So if we look at the other one, same time now,
the dome coming through.
The eyes -
see so now this becomes really -
see you can feel the pull coming forward, coming forward.
Coming across, here.
And notice how broad this one,
how broad the nose is across here.
Really feel all of this, so notice as I'm drawing
I'm really going over surfaces and I'm really thinking
and going over and around the forms.
So we get the very, very trunk now.
We can really, really feel the trunk as it's coming down.
And we get the - as this fits into here
and we're going around, you can feel this pushing back in
analyzing it and looking at this
and the comparing these things is really
what's gonna help you to take and drawing
anything else. We take and we analyze how the
parts fit in relationship to each other.
Okay, come down and we can feel the eye socket.
Coming through we can feel the eye socket
and we can see now the trunk
come out of the nose and going
over the surface. We can really feel the fullness
coming down. Okay and the eye
is behind, we can see
Eye in here.
The bone and the eye fitting inside.
We are just picking up the eyelid at that point.
Now the other ones, same now, coming through.
Behind, feel it coming out, feel the bone
Behind, feel it coming out, feel the bone,
you can feel the fullness of the trunk coming down.
You can feel the eyelid
through in here, the other side same thing. We can feel the
form pushing down.
Coming through. Corner of the eye sockets
it's going around, it's pushing back.
Then the eye sitting in
the eye socket. Coming through
Okay now, next part of this
is to see that as we're doing this now.
You've got the eye socket
is coming down around here we have the cheekbone. Cheekbone is
going from here, going back.
The eyeball is inside the eye
And it's not
particularly different from ours, the whole idea
is pretty much the same.
Okay you can feel the cheekbone
Just like ours. Now here's is where
the big thing we feel this section coming down here.
We're coming in. So the
trunk is coming down.
Now I wanna take and turn these guy's eyes
looking down because he's watching the baby.
Okay so now we wanna feel the forms here. This is round.
The mouth is underneath here and we can feel
all of this now. We can feel the muscles here,
side of the mouth. Same,
same thing that we've got actually. We can feel this
stuff coming down. The muscles that we have pulling along
from the side of our nose, coming down.
Okay the corner of the jaw underneath.
And we can feel the
whole mouth underneath this now.
Coming through. Then start
coming out into the trunk, down.
And the pull
from here. You can see there's a taper. There's a side
to this as we're coming down,
pulling through, coming out. So as we compare this now
with the other guys you can see that this coming around, feel the fullness
but notice that there's a pull coming through in here.
Coming down, feeling where
the tusks would be and then
pulling down through here. Okay now in all of these
guys here, coming through. Okay we've got this coming back
in, you can feel this fitting into the dome,
and it's not quite so obvious
now on the one that we look at because when you look at the other two
it's pretty clear we've got the two bumps so you
have to actually at this point see you have to really know
that it's there. So we come through, going back.
We pick up
and so now I'm going out of my way to make that overlap.
So you have to be consciously thinking
about how these forms fit, one into
another. And of course
now remember one of the big elements I've been making here is that the way
we have the base of the skull behind here.
And then the neck is going back
and you can see now very clearly as that neck goes back
how we feel the scapula coming out
sticking out behind, vertebraes would be going back up.
And we can feel the scapula pushing up,
trapezius muscles going back.
Okay now let's put that ear in its proper
place here. Now. So as we come back, go right through here
Here's where it right at the end
of the zygomatic arch now we can see the temples are slightly
in, this is sticking out.
You can feel the flaps starting,
pulling from up in here. Okay so
as you're doing the drawing then, everything
I'm doing here now is focused
on taking and analyzing the form.
Going through, looking at how the form goes through, we can feel
the folds. Coming through.
Now at the same time here now we got this
looks like a doting mom
and two grandmothers or
aunts or whatever. Loose underneath.
Coming through we wanna feel where, coming down, where the sternum
would be in here. And
we got the skin coming, the neck coming through.
Now as you look at the shape again, it's this long
tapered shape that's taking and going back in.
And we feel where the pelvis would be. We can't see it in this
view but we can think about it right there, now
we can feel the shoulder. Again, you're conscious
thinking of the scapula.
If you're thinking of the scapula you will see it.
And we feel the muscles coming off of the scapula,
we come down and we can see where the elbow's at.
We're coming down, we can feel the pull.
Now these will be your triceps coming down.
Through. Coming in.
And then we're taking and we're
going in to the joint that's in here.
See we build
one thing on top of the other.
With the elephant it's pretty much a straight line. Which is
the difference and everything else we've talking about.
Now feel the pull,
we gotta feel this is taking and coming in.
Okay and we feel the
fullness of the stomach.
Actually the ribcage and the stomach would be down
underneath and we can feel the ribcage now
pulling up to the spine, the back,
and this will be coming up to the pelvis would be right about here.
And then we feel the legs coming down.
So it's interesting, the more
you draw the animals,
and the more you take and
talk about them and as you're drawing them,
visualizing them in relationship to us
the - we're actually the
more sympathetic you become to the animals.
Because you find that they're not really that different. And of course
elephants are known to be
very intelligent and long lived.
So with all of these now we've taken and
come through, you can feel the fullness
these characters as we come down here we can see the muscles.
Side tucking in underneath, coming through.
Feel the fullness of the mouth.
All behind the eyes, cheekbone,
pulling up to the ear, the ear is going back.
Coming through. Okay, let's see what else we've got.
We can take and work with here. Look at this head.
This is really so clear. Now this is obviously much
older elephant. And the reason I say that as you look at the
all behind the eyes. So let's
just take and all this now. Coming through,
start out standing,
feel the pull. Feel the pull from there
to the eye sockets, coming across.
And you can feel this is going back in.
You can feel the bone
and then the fullness
now we can feel the trunk coming out from in between
and as you're drawing these now
try to see these large planes
that you're working with. Here, this is like taking
the drawing the whole line of the cheekbone,
we can feel the corner then coming out, going
across. And from there you see the pull.
The cheek muscles here, coming through.
And notice how full this is. You can see the
shape that's coming down. Big
pull and then we're taking and coming out
going out. Okay.
I'm gonna go back in here now. As you're rendering this, again
you think of the double dome,
gives a symmetry to your drawing. You're looking
across. Coming forward you feel the corner.
the eye socket going back in here. And here's where we feel
the hollow behind
as I'm going over the surfaces now.
is in here.
And we come around, we can feel this fitting in.
Notice here that we can feel the beginning
of that trough pushing down. And
we can see clearly now as we come down
through here that where the nose starts. It
pulls out in here.
We can feel the eye socket on the other side.
We can feel coming down. So as this
pulls out, we're seeing this coming through.
The lines going over the nose helps you describe
And as it pulls down
now here we're getting into the upper lip.
And we're taking at this point here, we're seeing
these are the cheek muscles like ours
through, and all of this then is underneath.
feel the jaw is taking and coming back down into here.
mouth now is gonna take and come out, it's in here.
But all of this is underneath.
So we're slowly - again we're going through
all of the basic elements, we can feel the side here,
the jaw underneath.
We're building form.
Then as we're going back up, take and follow, follow the
eye socket, the corner in here as we take and
go back. Build up, here's where the ear is
then. Okay the ear - the opening is in here
And we can feel now
the pull of the muscles, we can feel this building
up, where it's coming out,
attached, thickness of the form.
The opening in here, now coming through
this is an older elephant.
You can see -
feel to it.
all of this now you can feel the drooping.
as I follow this back, going back to their
neck, into the vertebrae, going through.
And as I start to pull we would take and feel
the pull of the throat muscles, the skin
just like we have coming down,
shoulder here coming through. And so you
take the lines of the trunk to help you
actually draw the trunk.
I'm gonna take and do a little bit of a closeup so we can take and look
at the eyes particularly. Let's take and
I wanna do a little bit of just the eye.
Now this is again, this is a fairly young
thing but what we can see, we can see the eye socket.
And so what becomes conscious now,
you really think that this is the bone. Just like ours.
Coming through, feel the bone coming down.
Then the eye
ball and the eyelid.
Precisely what we have.
We can feel, got a few more wrinkles but that's about it. We can feel
the lines coming around. We feel the pull, we feel
the, in this case you can see the light coming down
to this. Okay.
And all in shadow really dark here so we can't really
coming through. And then this taking and
as the bone comes around here and
coming through, coming back, and this is taking and
going back up in. And the, in this case,
we're really getting a protruding thing where the nose is coming out
and pulling out. The part of the jaw
here and the jaw is coming down. Notice as you're coming down here
how you can really feel the
upper lip merging into the trunk.
And then that triangle shape
of the mouth coming down, you can feel
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