1. To begin, the artist drew in the ( outline of the animal. Then he marked j a few indentations to indicate bone or /
muscle groupings such as in the /), shoulders and the point of the hip. He \ \ ' took care to show the shapes of the tail and the forelock and the placement of the eyes and nostrils. He marked off the junction of the hairline and hoofs, and he showed the protrusion of the elbow.
2. At this stage the artist established the light source and placed the shaded areas lightly on the right side of the head, the underneath part of the neck and body, and in the legs. With long strokes of the pencil, he laid-in the dark hair of the tail. The roached mane was also indicated with short dark strokes. The artist hadn't yet made any effort to show the hair patterns or markings on the coat.
3. The two-tone effect of the animal's coat was achieved through contrasts of broken, spotted areas. There are dark spots over the light areas and negative light spots over a dark base such as the hind legs. The artist used the paper value as the light spot and drew the darker value around it. The white patch and streak were placed on the forehead and nose. On the animal's forelock, the hair is shown radiating from a central base. The forelock, tail, and the mane at the withers (the ridge between the shoulder bones) are the only areas where the hair is of any length; otherwise, the hair is too short to form a noticeable pattern.
To anchor the animals down, the artist placed lots of darks and some rocks on the ground. The artist darkened the front horse's neck against its much lighter shoulder to make it appear to come forward.
In this drawing, the most important action is the long sweep of neck as this Appaloosa bends radically forward. To accent this gesture, the artist darkened the neck underneath. He outlined the animal's spots and placed a dark core inside each one before finishing them. The changes of color in the horse are shown with contrasts of light and dark that have no real sharp edges to separate them.
Jumping is a highly ritualized affair in which the conduct and attire of riders and horses are closely judged. In this drawing, the rider and horse are equipped with English tack. Note the mount's braided mane and tail which are de rigueur for such a formal and important occasion as a horse show.
This youngster seems all legs as it friskily swings its tail and kicks out with the rear left leg. At this age. the ribcage and muscle structure are quite evident. A young horse projects the general feeling of an awkward, ungainly creature about to topple. Grace, suppleness, and harnessed power will emerge within a matter of months.
To produce this striking silhouette the artist drew the outline of this Appaloosa's head first, then filled it in with the black background. To render the mane, he drew long dark strokes into the lighter underlying area. The hair patterns on the bottom of the neck produce small islands of light and dark. He used a razor to pull out the whiskers from the muzzle and lower chin, and the right eyebrows out of the dark background. Darks were used to mark the cavities formed by the nostrils, mouth, ears, and eyes.
Of the donkey species, this burro is particularly shaggy. The artist exploited this shagginess making it the chief feature of the drawing. The animal's form is somewhat lost under all that hair growth so the accent is on the direction of the hair patterns. Note how the patterns run down the side of the body, up at the mane, and haphazardly on the legs. The burro's hoofs are blunt and square-shaped. His ears are long and prominent. You must use bold, definite strokes to successfully draw such an animal, or your drawing will look confused.
There are three kinds of zebra: Grevy's, Mountain, and Burchell's. This is a Grant's (bold contrasting stripes), which is a variety of the Burchell's or Plains Zebra. The artist began by establishing the animal's muscle structure. He then carefully drew in the outlines of the stripes. The stripes serve as camouflage and vary according to the type of zebra. In your drawings, remember not to lose the animal's muscular structure underneath. The artist completed the drawing by filling in the stripes and drawing the tail, hoofs, facial features, and mane.
This breed of heavy draft horse originated in Scotland in the 18th century. Some stand as high as 18 hands and can weigh up to a ton. It is densely haired on the back of its legs and heavily boned and muscled. Since its coat is not as short or glossy as a saddle horse's, the artist represented it in a series of varied hair patterns often running crosswise. He used a kneaded eraser to pick out selected highlights on the flanks and sides of the horse. The contours of the animal's legs and torso were feathered to indicate its somewhat shaggy coat.
This breed of wild horses is extremely rare. It has a sturdy physique, stands 12 hands high, with a short and bristly mane, a long black tail, and legs that are black from the knees down. The artist used a template (see diagram) to draw the mane. Setting its edge at the animal's neck, he pulled the strokes away from the neck to achieve the dark, straight lines he wanted. He used an HB pencil for the shadow areas, bearing down on the pencil for the darkest darks.
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