1. The artist drew the outline of a rabbit squatting in a very alert position so it can feed without being disturbed. Note that all lines pertaining to the animal's proportions and actions are included. The eye is somewhat more finished off than the rest of the features. To indicate folds and breaks in form, the artist used dark strokes.
2. With short brisk strokes, the artist shaded in all the fur making sure to follow the patterns of the forms and muscles. There are no hard edges anywhere since the rabbit's coat is soft and puffy. He included some darker accents in the eyes, chin, tips of the ears, and below the poueh-ufTcTer the chin. Light areas were left at the junctures of the limbs to the torso.
3. At this stage the character of the lines has been refined to shorter lighter strokes. This kind of handling provided the salt-and-pepper effect the artist wanted. He drew the whiskers that come away from the rabbit by stroking out from the muzzle, while those seen against the body are shown as negative shapes. He left the eyelids blank and placed a strong catchlight in the dark, luminous pupil. Light, irregular strokes were used to indicate the fluffy, cottony tail. Note how the hair changes direction in the rabbit's topknot.
The rabbit is quite capable of sitting up on its hind legs. In this pose, it probably reminds you of a squirrel. Note the difference in size between the front and hind paws. The artist's strokes on the torso are in a vertical, downward direction, furthering the impression of the sitting gesture. The cast shadow beneath the animal helps anchor it firmly to the ground.
The rabbit spends much of its time running and fleeing. Note how this action llattens the ears. The artist separated the toes on the front right leg as they prepare to hit the ground, and strongly outlined the hind legs. Because rabbits are usually seen in a squatting postion, these rear legs are seldom revealed, being concealed by the torso. Because of its plumpness and quantity of fur, the rabbit's skeletal and muscle forms are not easily discernible.
HEAD, FRONT VIEW
The artist placed his strokes fairly far apart lo show the animal's light, flully coat. The rabbit's whiskers and eyebrows are very pronounced so he drew them with long unbroken lines paying careful attention lo their root, or base, in Ihe head Note the absence of a bare dark area on the tip of the nose as seen in most other mammals. The eyelashes are quite long By changing Ihe character of the strokes in various areas, the artist shows the softness of the fur.
BABY COTTONTAIL RABBIT
The young cottontail is a very cute and appealing animal Its eyes are the darkest accents against a downy coat thats much lighter than its parents To see a young cottonlail nearly motionless except for its twitching nostrils is a very pleasurable experience. The artist kept his strokes light and spread apart to produce this essentially high-key drawing.
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