Lee Hammond - Dibujando Animales a Color

ART TECHNIQUE/DRAWING

UPC

UK £10.99 US $15.9932144 (CAN $24.99)

EAN

ANIMALS

Lee Hammond

DRAW

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COLO

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Lee Hammond’s amazing easy-to-follow techniques enableyou to render a variety of wonderful animals, from cats

and dogs to horses, squirrels, tigers and more. These skillscan be used to draw any kind of mammal accurately.

Hammond’s special graphing system makes all the difference, helping your brain translate the animal posesyou see into drawings on the page. You’ll also learn

other important illustration techniques, including layer-ing, blending and shading. Additional guidelines help youduplicate realistic eyes, ears, mouths, feet, fur, and hide.

You can start drawing TODAY—whether you’re eightor eighty. Lee Hammond provides the know-how youneed to make it happen!

You can draw incredibly realistic animals— even if you’ve never drawn before!

Look for these other exciting titles by Lee Hammond!

Drawing in Color

(A) (JOE) 200202084 REGENT F&W:DRAWING IN COLOR-ANIMALS (CVR) (WS)

32144 CM DIC ANIMALS 9/1/08 10:00 AM

F&W-Drawing in Color:Animals (RPS 02-4-51NT1) 175L

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ANIMALS

Lee Hammond

Drawing in Color

NORTH LIGHT BOOKSCINCINNATI, OHIO

www.artistsnetwork.com


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http://www.artistsnetwork.com

Polly “Lee” Hammond is an illustra-tor and art instructor from theKansas City area. She owns andoperates a private art studio namedTake It To Art*, where she teachesrealistic drawing and painting.

Lee was raised and educated inLincoln, Nebraska, and establishedher career in illustration and teach-ing in Kansas City. Although she haslived all over the country, she willalways consider Kansas City home.

Lee has been an author withNorth Light Books since 1994. Shealso writes and illustrates articles forother publications, such as TheArtist’s Magazine.

Lee is continuing to develop newart instruction books for NorthLight and is also expanding hercareer into illustrating children’sbooks. Fine art and limited editionprints of her work will also soon beoffered.

Lee resides in Overland Park,Kansas, along with her family.

Note: You may contact Lee via e-mail at [email protected] or visit herWeb site at http://LeeHammond.com.

*Take It To Art is a registeredtrademark for Lee Hammond.

About the Author

Drawing in Color: Animals. Copyright © 2002 by Polly “Lee”Hammond. Manufactured in China. All rights reserved. No part of thisbook may be reproduced in any form or by any electronic or mechanicalmeans including information storage and retrieval systems without per-mission in writing from the publisher, except by a reviewer who mayquote brief passages in a review. Published by North Light Books, animprint of F&W Publications, Inc., 4700 East Galbraith Road,Cincinnati, Ohio 45236. (800) 289-0963. First edition.

Other fine North Light Books are available from your local bookstore, artsupply store or direct from the publisher.

06 05 04 03 5 4 3 2

Library of Congress Cataloging-in-Publication DataHammond, Lee 1957-

Drawing in color: animals / Lee Hammond.p. cm.

Includes index.ISBN 1-58180-273-0 (alk. paper)ISBN-13: 978-1-60061-501-6 (EPUB)

[1. Animals in art. 2. Drawing--Technique.] I. Title.

NC780 .H243 2002743.6--dc21 2001059643

Editor: Bethe FergusonProduction Coordinator: John PeavlerCover Designer: Wendy Dunning

METRIC CONVERSION CHART

to convert to multiply byInches Centimeters 2.54Centimeters Inches 0.4Feet Centimeters 30.5Centimeters Feet 0.03Yards Meters 0.9Meters Yards 1.1Sq. Inches Sq. Centimeters 6.45Sq. Centimeters Sq. Inches 0.16Sq. Feet Sq. Meters 0.09Sq. Meters Sq. Feet 10.8Sq. Yards Sq. Meters 0.8Sq. Meters Sq. Yards 1.2Pounds Kilograms 0.45Kilograms Pounds 2.2Ounces Grams 28.3Grams Ounces 0.035


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http://LeeHammond.com

Dedication and AcknowledgementsThis book is dedicated to my grand-daughter Taylor Marie. I hope youcontinue to love animals and art asmuch as I do. Thanks for being sucha fun little girl and adding so muchjoy to my life! I love you!

—Grama Lee

I would also like to dedicate thisbook to my guardian angel, Penny.Thanks for watching over me andkeeping me from harm.

Of all the accomplishments in my life,writing for North Light Books hasbeen one of the most rewarding. Mybooks have opened up an entire worldof friendships for me. How lucky weare to live in this day and age, wherewe have the technology available tocommunicate across the globe.

I want to thank my readers, wher-ever you may reside, for supporting

Taylor MarieAge 6

PENNY

Prismacolor pencils on no. 7184 Cinnamon suede board

14" x 11" (36cm x 28cm)

my artistic goals. Your warmthoughts and well wishes are grate-fully received and appreciated. I wisheach and every one of you the verybest life has to offer.

A special thank you to everyoneat North Light Books for makingthis dream possible!


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C H A P T E R O N E

You Can Do It! 5

C H A P T E R T W O

Getting Started 7

C H A P T E R T H R E E

The Different “Looks” of Colored Pencil 12

C H A P T E R F O U R

Technique 15

C H A P T E R F I V E

Basic Shapesand Shading 17

C H A P T E R S I X

Graphing 24

C H A P T E R S E V E N

Drawing Animal Featuresin Prismacolor 30

Table of ContentsC H A P T E R E I G H T

Hair and Fur 43

C H A P T E R N I N E

Verithin Pencils 53

C H A P T E R T E N

Prismacolor Pencils 57

C H A P T E R E L E V E N

Studio Pencils 61

C H A P T E R T W E LV E

Colored Pencilson Suede 66

C H A P T E R T H I R T E E N

Other Options 76


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5You Can Do It!

DRAWING BY A STUDENT, LAURA TIEDTThe first attempt is not necessarily a baddrawing. You can see how the student washesitant about applying the colored pencil. Inthe end, the drawing looked incomplete.

Colored pencil can be a very frustrat-ing and confusing medium. As an artinstructor, I see many students strug-gling in the beginning to learn thevarious techniques.

As with anything else in life, it justtakes some understanding and a lotof practice to become comfortablewith something new.

I tell my students to relax whenthey first begin. Not all artisticattempts need to be wonderful piecesof art which are suitable for framing.Rarely do our first attempts createthe results we are striving for. Youmust not be afraid to experiment.

I’ve been a professional artist formany years. However, I still struggle

You Can Do It!

Welcome to the wonderful world of coloredpencil!

ATTEMPT TWO BY LAURA TIEDTThis second attempt looks much more realis-tic. The student used layers of color and aheavier application with the pencils, whichgave the drawing more depth and realism.

C h a p t e r O n e

later—when I matured artistically—Ifigured out my problem. I appro-ached drawing with colored pencildifferently and learned to love it.

Unfortunately, back when I wasbeginning, few books were writtenon colored pencil. I was forced tolearn through trial and error. Younow have a wonderful selection ofbooks available by extremely giftedartists. Everything you need to knowis at your fingertips. All you reallyneed to do is practice.

Look at the example below. It isthe progress of a typical art student.Your progress may appear very similar.

at times and throw away projectsthat just plain do not work out. It’sokay. Struggling and experimentingare part of the process and shouldnot be seen as failures. Experimentsare just as important as the finalpieces. Learn to embrace them both!

I always remind the beginner that Itoo was a beginner and was once intheir shoes. I honestly didn’t like col-ored pencils when I first began work-ing with them. I was too conditionedas a child to use pencils to just “fillin” color. The process of layering col-ors, or blending colors, escaped me atfirst. My projects resembled crayondrawings, and I blamed myself formy lack of talent. However, years


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6 Drawing in Color: Animals

MEOWSER LOOKING OUT THE WINDOW

Verithin pencils on no. 2259 Antique White mat board

12" x 9" (31cm × 23cm)

Nothing is more fun for me, as anartist, than turning an ordinary snap-shot into a memorable piece of art. Iuse my camera and my artwork as away of documenting my life andremembering special things.

Illustration is the art of telling astory through pictures. This drawing

takes my snapshot and turns it intosomething more meaningful. Whiledrawing this piece, I was immediatelytransported back to that moment intime, remembering everything as Iexperienced it. Artwork is magicalthat way. The finished product ismore than a drawing, it is a memory.

Note: During the writing of thisbook my cat, Meowser, unfortu-nately died due to illness. Now theseillustrations are more meaningful tome than ever.

AN ORDINARY SNAPSHOT CAN BECOMEINTERESTING ARTWORKThis is a snapshot I took of Meowser. It isn’tthat good of a picture, but the story behind itis cute. All kitties like to look out the window,and mine is no exception. This time therewas a bird outside, and Meowser watched itfor quite a while. Of course, as soon as Igrabbed the camera he had to look at meinstead.


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7Getting Started

Getting StartedC h a p t e r T w o

Each brand of colored pencil has adifferent appearance when used.Each pencil is made differently tocreate an unique effect. I can’t easilyanswer which pencil is “the best,” orwhich one I like the most. It reallydepends on the final outcome and the“look” I want my work to have.Rarely will I use just one brand ofpencil to complete a project. Any oneof them alone is somewhat limited. Ihave found that by using a combin-ation of pencils, I can create morevariety in my techniques. Thisenables me to achieve the look I’mtrying to accomplish. The followingis an overview of the four types ofpencils I like the most.

PRISMACOLOR PENCILSPrismacolors have a thick, soft wax-based lead that provides a heavyapplication of color. They are opaqueand will completely cover the papersurface. They are excellent for ach-ieving smooth, shiny surfaces andbrilliant colors. The colors can beeasily blended to produce an almost“painted” appearance to your work.They come in a huge selection ofcolors: 120 or more.

VERITHIN PENCILSVerithins also have wax-based lead,but have a harder, thinner lead thanPrismacolors. Because of their lesswaxy consistency, they can be sharp-

ened to a very fine point. They arecompatible with Prismacolor but aremore limited in their color range,which is thirty-six. I use Verithinswhenever I want the paper to showthrough because they cannot build upto a heavy coverage. They can give you

very sharp, crisp lines. Verithins aregood for layering colors without thecolors mixing together. Prismacolorscan give your work a painted appear-ance; Verithins give your work moreof a “drawn” look.

Using the Proper Pencils

Prismacolor pencils

Verithin pencils


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STUDIO PENCILSStudio pencils, by Derwent, aresomewhat like a composite of theother brands. They are a clay-basedpencil with a range of seventy-twocolors. Applied heavily, they can cre-ate deep, dark hues. Applied lightly,they can be blended with a tortillion(see page 10). They also have a sisterpencil called the Artists line, which isthe same formulation with a bigger

lead diameter. I use the Studio linebecause I prefer a sharper point.Also, because it is clay based, it willnot build up color as well as Prisma-color and will give more of a matte(nonglossy) finish.

NEGRO PENCILSUsing the Negro clay-based blackpencil is an excellent way to achievedeep, rich black in your work with-

out a hazy wax buildup. This is theblackest pigment I’ve ever found in acolored pencil. It comes in fivedegrees of hardness, ranging fromsoft (1) to hard (5).

Studio pencils.

Negro pencils.


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9Getting Started

As with anything we do, the qualityof our colored pencil artwork isdetermined by the quality of the toolswe employ for the job. The followingis a list of supplies you will need tosucceed.

PAPERThe paper you use with colored pen-cils is critical to your success. Thereare many fine papers on the markettoday. You have hundreds of optionsof sizes, colors and textures. As youtry various types, you will undoubt-edly develop your personal favorites.

Before I will even try a paper for

Tools of the Trade

colored pencil, I always check theweight. Although there are manybeautiful papers available, I feelmany of them are just too thin towork with. I learned this the hardway, after doing a beautiful drawingof my daughter only to have thepaper buckle when I picked it up.The crease formed was permanent,and no amount of framing kept myeye from focusing on it first. Fromthat point on, I never used a paperthat could easily bend when pickedup. The more rigid, the better!Strathmore has many papers that Ioften use. The following is a list of

Prismacolor pencils on suede board.

Prismacolor pencils on mat board.

Strathmore Renewalpaper has soft colorswith the look of tinyfibers in it. Artagain,also by Strathmore,has a speckledappearance anddeeper colors. Bothhave a smooth sur-face.


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the ones I personally like to use themost and recommend to my students.

Artagain—Artagain is a recycled paperby Strathmore that has somewhat ofa flannel appearance to it. This 60-lb.(130gsm) cover-weight paper comesin a good variety of colors. Althoughit has a speckled appearance, its sur-face has no noticeable texture. It isavailable in both pads and singlesheets for larger projects.

Renewal—Renewal is another Strath-more paper, very similar to Artagain,but it has the look of fibers in itinstead of speckles. I like it for its softearth tones.

Crescent Mat Board—My personalfavorite is Crescent because of thefirmness of the board. It is alreadyrigid and doesn’t have to be tapeddown to a drawing board. This makesit very easy to transport in a portfo-lio. Its wide range of colors and tex-tures is extremely attractive. Not onlydo I match the color to the subject Iam drawing, I will often use the samecolor of mat board when framing thepiece to make it color coordinated.

Crescent Suede Board—Crescent SuedeBoard is another one of my favorites.

It has a surface like suede or velvet-een. I have developed a techniqueusing Prismacolor that makes it looklike pastel when applied to this fuzzysurface.

PENCIL SHARPENERSPencil sharpeners are very importantwith colored pencils. Later in thebook, you will see how many of thetechniques require a very sharp pointat all times. I prefer an electric sharp-ener, or a battery-operated one whentraveling. A handheld sharpenerrequires a twisting motion of thearm. This is usually what breaks offthe pencil points. The motor-drivensharpeners allow you to insert thepencil straight on, reducing breakage.If you still prefer a handheld sharpen-er, spend the extra money for a goodmetal one, with replacement blades.

ERASERSI suggest that you have three differenterasers to use with colored pencil: akneaded eraser, a Pink Pearl eraserand a typewriter eraser. Althoughcolored pencil is very difficult, if notimpossible, the erasers can be used tosoften colors as you draw.

The kneaded eraser is like a squishypiece of rubber, good for removingyour initial line drawing as you

work. Because of its soft, pliable feel,it will not damage or rough up yourpaper surface.

The Pink Pearl eraser is a gooderaser for general cleaning. I use it themost when I am cleaning large areas,such as backgrounds. It is also fairlyeasy on the paper surface.

The typewriter eraser looks like apencil with a little brush on the endof it. It is a highly abrasive eraser,good for removing stubborn marksfrom the paper. It can also be used toget into tight places or to create cleanedges. However, great care must betaken when using this eraser, becauseit can easily damage the paper andleave a hole.

MECHANICAL PENCILI always use a mechanical pencil formy initial line drawing. Because thelines are so light, unlike ordinarydrawing pencils, they are easilyremoved with the kneaded eraser. Asyou work, replace the graphite lineswith color.

TORTILLIONSTortillions are cones of spiral-woundpaper. They are used to blend afteryou have applied the colored pencilto the paper. I use them only withStudio pencils. Prismacolor is much


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11Getting Started

too waxy for this technique. Verithinswork somewhat but don’t blend asevenly as the clay-based pencils.

ACETATE GRAPHSAcetate graphs are overlays to placeover your photo reference. They havegrid patterns on them that divideyour picture into even increments,making it easier to draw accurately. I use them in both 1-inch (3cm) and1⁄2-inch (1cm) divisions. They can beeasily made by using a permanentmarker on a report cover. You canalso draw one on paper and have itcopied to a transparency on a copymachine.

TEMPLATESTemplates are stencils that are usedto obtain perfect circles in yourdrawing. I always use one whendrawing eyes to get the pupils andirises accurate.

MAGAZINESThe best source for drawing materialis magazines. I tear out pictures ofevery subject and categorize them intodifferent bins for easy reference. Whenyou are learning to draw, magazinescan provide a wealth of subject matter.When drawing people, there is noth-ing better than glamour magazines.

CRAFT KNIVESCraft knives are not just for cuttingthings; they can actually be used asdrawing tools. When using Prisma-color, I use the edge of the knife togently scrape away color to createtexture such as hair or fur. A knifecan also be used to remove unwantedspecks that may appear in yourwork. As you can probably imagine,it is important to take care with thisapproach to avoid damaging thepaper surface.

FIXATIVESThe type of spray that you use to fixyour drawing depends again on thelook you want your piece to ulti-mately have. I use two different typesof finishing sprays, each one with itsown characteristics.

Workable fixative—The most commonof the sprays, the workable fixative isundetectable when applied. The term“workable” means that you can con-tinue drawing after you have appliedthe spray. Experience has taught methat this is more true for graphite andcharcoal than it is for colored pencil.I have found fixative to actuallybehave as a resist. I use it whenever Idon’t want the appearance of mywork to change. When using

Prismacolor, the wax of the pencilwill rise to the surface, making thecolors appear cloudy and dull.Workable fixative will stop this“blooming” effect and make thecolors true again.

Damar varnish—I use this spray whenI want a high-gloss shine applied tomy Prismacolor drawings. It will givethe drawing the look of an oil paint-ing and make the colors seem shinyand vivid. (Its primary use is to sealoil paintings.) I will often use thiswhen drawing fruit and flowers, butit will also make a portrait beautiful.

HORSE HAIR DRAFTING BRUSH This is an essential tool when you aredrawing, but even more so whenusing colored pencil. Colored pencil,particularly Prismacolor, will leavespecks of debris as you work. Left onthe paper, they can create nastysmudges that are hard to erase later.Brushing them with your hand canmake it worse, and blowing them offwill create moisture on your paper,which will leave spots. A draftingbrush gently cleans your work areawithout smudging your art.

Note—When a fixative is used on colored pencils that

have been blended with a tortillion, the pig-

ment can seem to melt into a watercolor

appearance. The colors will appear much


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WHITE SQUIRREL

Prismacolor pencils

on no. 3308 Oxford

mat board

10" x 8" (25cm x 20cm)

Drawing in Color: Animals12

The Different“Looks” ofColored Pencil

Drawing in colored pencil is a somewhat deceptive term because thereare many types of colored pencils,each with their own formulation.Each brand of pencil has its ownunique look, produces a differenteffect and requires a different tech-nique. When deciding which pencilto use, you must decide which lookyou want your artwork to have.

When you begin a new project,you must first decide upon the lookyou would like to achieve, then findthe pencil that will create that look.Each of these drawings has its ownlook. Some are bold and bright, oth-ers soft and delicate.

Because of the different colors andtextures found in the varying speciesof animals, there is not one pencilthat can always give you what youneed. You will require a variety ofpencils, and use many methods, to

C h a p t e r T h r e e

COLORS USED

Squirrel: White, French Grey 20%, Light

Umber, Dark Umber, Bronze, Sepia (fur)

Salmon Pink (ears) Tuscan Red and Black

(eye).

Background: Limepeel, Apple Green,

Bronze, Light Umber, Yellow Ochre, Deco

Yellow and White.

Tree Bark: Dark Umber, Light Umber, French

Grey 20%, Deco Yellow, Black and White.

This drawing was done on smooth mat board. The smooth sur-face allows you to apply firm pressure to the pencil, completelycovering the paper surface. This is called burnishing. That is how Imade the white fur fill in and the tree bark to appear textured.Because of the opaque nature of these pencils, you can draw ondark-colored papers. This board was a medium gray color, andthe white showed up beautifully. Whenever I need to apply heavylayers of color, or build up extreme texture, I use Prismacolor.Note: This drawing was sprayed with workable fixative when com-pleted, to prevent wax bloom.


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13The Different “Looks “ of Colored Pencil

capture all of the different animalsseen in nature.

Each of these drawings has a dis-tinct look, and all were done with adifferent brand of pencil. Before Ibegin a piece, I have to analyze thecharacteristics of my subject anddecide which pencil creates the look Idesire.

PRISMACOLOR PENCILSPrismacolor pencils have a heavywax content and deep pigments, andtherefore go on very concentratedand opaque. Prismacolor pencils areknown for their thick leads and richcolors.

VERITHIN PENCILSVerithin are good pencils to use whendrawing animals. They are made bythe same manufacturer as Pris-macolor but have a thinner lead,which produces fine, thin lines. Theyalso have less wax and go on a little“drier” than Prismacolor.

Verithin pencils also work well ondark paper. This rabbit was drawnon a medium gray board, and thewhite pencil shows up beautifully.

Verithin pencils do not burnishlike Prismacolor. Instead, the colors“layer” without blending together.The result is a highly texturedappearance.

JACK RABBIT

Verithin pencils on no. 3331 Sage mat board

14" x 11" (36cm x 28cm)

Study the drawing of the rabbit closely, andyou can see different layers of colors. Theywere applied with short, quick strokes andlook just like the layers of fur. Whenever Ineed to replicate coarse hair or layered fur, Iuse Verithin pencils.

COLORS USED

Rabbit: Black, Dark Brown, Terra Cotta and

White.

Background: Dark Green and Black.


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KIMBER AND THE DRINKING GLASS

Studio pencils on no. 912 India mat board

16" x 12" (41cm x 30cm)

Sometimes a subject will have a combination of textures to capture,and they will require a special application of the pencils to create. Torender this drawing, I used a combination of techniques. I first placedin the colors of the puppy and blended the colors smooth with a tor-tillion—this creates the contours and form of the body. I then placedmore color on top of the blended tones to create the texture of the fur.I used this technique for the entire drawing. Look at all the areas ofthe piece and you can see where I used both blending and pencil linesfor realism.

STUDIO PENCILSStudio pencils are manufactured byDerwent. They are clay-based pencilsas opposed to the wax-based pencilswe looked at previously. Because oftheir formulation, these pencils havethe advantage of being easily blend-ed with a stump or tortillion (seepage 10). The result is a smooth,subtle blending of tone.

Another advantage to using thesepencils is that you can use themheavily and achieve dark color anddeep tones. Because they are notwax-based, however, you will not getthe same effects when burnishing asyou would with Prismacolor.

COLORS USED

Puppy: Chocolate Brown, Ivory Black, Terra

Cotta, Burnt Yellow Ochre, Venetian Red

and Copper Beech.

Drinking Glass: Ivory Black, Venetian Red,

Turquoise Blue and Cedar Green.

Background: Cedar Green, Chocolate

Brown, Olive Green and Ivory Black.

Foreground: Ivory Black, Chocolate Brown

and Turquoise Blue.

Note —The colors of the puppy and the background

are all reflecting into the glass. Since glass and

water are clear, they are drawn using the sur-

rounding colors that bounce off of the shiny

surfaces.


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15Technique

LAYERINGTo best teach layering I like to startmy students out with Verithin pen-cils. This technique also carries overto the other brands as well. Once youlearn how to layer colors well withthese pencils, using the other brandswill be easy.

Layering is the process of using avery sharp pencil point and applyingthe tone gradually and evenly. Do notlet the pencil point become dull. Thisalters the width of the lead andmakes the drawing look crayon-like.

A colored pencil has a “feel” to it.When drawing darker areas, I have atendency to hold my pencil closer tothe tip allowing me to use more pres-sure without breaking the lead. As Imove to lighter areas I pull back,holding the pencil further back fromthe tip. This helps me touch the

paper surface lightly, giving it a softerappearance.

You should blend your tone verygradually as they fade from dark tolight. There should be no choppinessbetween tones, no definite line whereone tone ends and another begins.Practice first with value scales. Themore you do, the more proficient youwill become. Start with just blackpencil at first, layering from dark tolight by altering the pressure youapply to the pencil. Let the tone fadeinto the color of the paper.

It is important when you apply thepencil that your lines are very closetogether so they fill in any whitespace. Going back and forth slowlyhelps you do this.

BURNISHINGOnce you are comfortable with the

TechniqueC h a p t e r F o u r

DON’T! This type ofpencil applicationmakes your worklook like scribbledcrayons.

A value scale drawncorrectly withVerithin pencils. Thetones fade graduallywithout visible pencillines. This is calledlayering.

A value scale drawnwith Prismacolorpencils. This iscalled burnishing.

A value scale drawnwith Studio pencils.This is calledblending.

layered approach, try Prismacolorpencils. You will see how differentthe pencils are.

Begin with three colors of pencils:Black, White and Cool Grey 50%.This process will begin the same aslayering, but you will continue tobuild up the color until it completelycovers the paper surface. This iswhere you will use burnishing, atechnique in which you use a lightercolor to blend the darker colors intoone another.

For example, start the value scalewith the Black and then apply theCool Grey 50% next to and overlap-ping the Black. The lighter color(Cool Grey 50%) going into thedarker one (Black) will soften thetwo colors together. Next, add Whiteinto and overlapping the Cool Grey50%. Continue burnishing the


32144 i Ch 4 8/30/08 11:57 AM Page 15


colors, alternating the addition oflight and dark, until they blendtogether for a smooth, gradual look.This technique resembles a “painted”appearance.

Prismacolor drawing is the processof applying many colors, each oneinto the others, always using a lightercolor to burnish. Sometimes youhave to layer and burnish many timesto get the look you want. This tech-nique requires a lot of patience, butthe nice thing about it is that it’s bestdone with a dull pencil point.

BLENDINGBlending is the application of clay-based pencils that are smoothed outwith the aid of a tortillion or stump.The tones appear very smooth andgradual. There appears to be no visi-ble pencil lines, and the tones fadeinto one another, transitioningsmoothly.

The following value scales showhow each pencil appears whenapplied, revealing different, distinctpersonalities. Is one method betterthan another? No! I recommendlearning them all.

A value scale inPrismacolor pencils(burnished).

A value scale inVerithin pencils (layered).

A value scale inDerwent Studio pencils (blended).


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17Basic Shapes and Shading

C h a p t e r F i v e

Basic Shapes and Shading

ds

Because it is important to fully under-stand what it takes to create depthand realism in your work, I begin allof my books with the same informa-tion: the five elements of shading andpractice exercises of the sphere. Thefive elements of shading can be foundin every three-dimensional shape. Thefive elements of shading are as fol-lows (listed in order from darkest tolightest):

1. Cast shadow. This is the darkestpart of your drawing. It is under-neath the sphere, where no lightcan reach. It gradually gets lighteras it moves away from the sphere.

2. Shadow edge. This is where thesphere curves and the roundedsurface moves away from thelight. It is not the edge of thesphere, but is inside, parallel to the edge.

Shadow Edge

Cast Shadow

Full Light

Halftone area

Reflected Light

3. Halftone area. This is the true col-or of the sphere, unaffected byeither shadows or strong light. It isfound between the shadow edgeand the full light area.

4. Reflected light. This is the lightedge seen along the rim of thesphere. This is the most importantelement to include in your draw-ing to illustrate the roundness ofthe surface.

5. Full light. This is where the light ishitting the sphere at its strongestpoint.


32144 i Ch 5 8/30/08 1:01 PM Page 17


Basic Shapes

THE SPHERELook for the five elements of shading here.

THE EGGThis can be seen in the shape of an animal’shead, and also in the body.

THE CYLINDERThis shape can be seen in the neck area of ananimal, and also in the trunks of trees.

THE LONG CYLINDERThis can be found in the legs of an animal. Italso can be found in the necks of long-neckedanimals, such as giraffes. The small limbsand branches of a tree will also be made upof this shape.

THE CONEThis can be seen in the shape of a bird’sbeak.


The following are all of the basicshapes that can be seen when draw-ing animals. Each one has had thefive elements of shading applied, giving them the illusion of form andrealism. Each of these shapes shouldbe drawn and practiced over andover, until the process becomes sec-ond nature to you.

As you analyze these shapes, try tothink of where each of them wouldbe found in the shapes of animalsand their surroundings. Think of oth-er subject matter as well, and youwill see the importance of includingthese forms in your artwork.

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Using this step-by-step example,practice drawing the sphere. I haveused Verithin pencils for this exercise.After drawing the sphere, practicedrawing the egg also. Apply the fiveelements of shading as well. Themore of this you do now, the betteryour drawings will be later.

1 Trace around a circular object, or use a template togive yourself a round outline. With Dark Brown, add

the cast shadow below the sphere. Also add the shadowedge. Remember, this does not go to the edge of thesphere, but is inside, parallel to the edge. The spacebetween will become the reflected light area.

2 Add Poppy Red, overlapping the Dark Brown that isalready there. You are now creating the halftone

area. Work up gradually to the light area. Place somePoppy Red below the sphere, over the cast shadow andaround to the other side. This gives you the illusion of atabletop.

3 With Canary Yellow, lightly overlap all of the colorsalready there. Lighten your touch and gradually fade

into the color of the paper in the full light area.

COLORS USED

Dark Brown, Poppy Red and Canary Yellow.

Drawing a Sphere Step-by-Step


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For additional practice, use thisexample of a step-by-step egg. It hasbeen drawn with Studio pencils andblended with a tortillion. It has asmoother look to it than the sphereexercise before, doesn’t it?

1 Lightly sketch an outline of an egg with yourmechanical pencil. Go over it lightly with Chocolate

Brown. Place the cast shadow below the egg. Lightlyapply the shadow edge, leaving room for the reflectedlight. The light is coming from the front on this example,so the shadow areas are off to the sides.

2 Build your tone with the Chocolate Brown until itlooks like mine. This area is the halftone. Lighten

your touch as you move toward the full light area.3 With a tortillion, smooth the tones. Begin in the dark

areas and work toward the lighter ones, lighteningyour touch as you go. Can you see how the color changeswhen blended? It takes on a warmer appearance.

COLORS USED

Chocolate Brown

Drawing an Egg Step-by-Step


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Lightly sketch the shape of the cylinder with the mechanical pencil.Apply the cast shadow with Dark Brown. Soften the edge as it comesaway from the cylinder with Light Umber and then Beige. Use thelighter colors to soften the tones together.

Apply the shadow edge with Dark Brown. Lighten your touch as youmove to the halftone area. Overlap the Dark Brown with Light Umber.Use the lighter color to blend the two together. Lighten your touch asyou fade into the full light area.

With Beige and White, create the full light area. Blend the Beige intothe Light Umber you used previously. Blend White into the Beige orthe full light.

COLORS USED

Dark Brown, Light Umber, Beige and

White.

The Cylinder


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These line drawings show how theoverall form of an animal can be bro-ken down into basic shapes. Someshapes appear very round, while oth-ers have definite angles to them.Angles are very important to the real-istic depiction of shapes.

ncils.

The figure of a mouse, as seen in basic shapes. Look for areas thatare rounded and those that have angles to them.

The figure of an elephant, as seen in basic shapes. The body is veryegg-shaped. The heavy legs are like cylinders.

The figure of a horse, as seen in basic shapes. Look at how square therump area appears.

Animal Basic Shapes


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The cat as seen in basic shapes.

Some animals are clearly more one shape than another. This drawingof a manatee shows how important the egg shape is. This drawingwas done with Studio pencils.

The running cat looks like a long cylinder.


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In order to apply the principles ofshapes and tone that you learnedfrom the previous chapter, you mustfirst have an accurate foundation tobuild on. It is essential to have yourshapes precise before you begin therendering phase, as it is very difficultto change or alter the shape once acertain amount of tone is in place.

This puzzle exercise may seem abit juvenile at first, but in reality it isan excellent exercise to practicedrawing shapes.

When drawing, everything youlook at should be viewed as a collec-tion of interlocking shapes. Oneshape will lead to another. Try to notsee the subject for what it is, butmore for what it looks like.

Doing this puzzle exercise willreinforce the fact that you can drawaccurately. It is easy to draw shapeswhen they don’t look like anythingrecognizable.

None of the shapes in these boxesresemble anything, so you will haveno problem drawing them. It is onlywhen we recognize something that itbecomes difficult, because we willdraw from memory instead of obser-vation.

C h a p t e r S i x

Graphing

All of these squares contain nonsense shapes and each is numbered.Place the shape in the appropriate box on the following page.


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25Graphing

You can copy this page if you do not want todraw in your book. Be sure all of the shapesare drawn in accurately. When you are fin-ished, turn it upside down.

Note —Do not try to figure out what you are drawing

while doing this exercise. Concentrate on just

shapes!

Practice Page


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You can break down anything yousee into the same type of puzzleshapes by placing an acetate gridover your photograph. You can alsohave the photo copied and drawyour grid on that. Let the followingpages guide you, and you will pro-duce some of the most accuratedrawings you’ve ever done.

Study the photo of the grizzly bear.Can you see how the grid placed overit has reduced it into manageableshapes? The line drawing was doneby re-creating what I saw in eachbox, one box at a time. All theshapes connected together to createthe form of the bear. I started by firstdrawing a very light grid on my matboard with a mechanical pencil.Since this grid would need to beerased later, I was careful to not presshard when I drew.

I used 1-inch (3cm) squares to helpme compose this bear. You canenlarge a drawing by making yourboxes larger on your paper than theones on your photograph. As long asyou are working with perfectsquares, it is all relative. You can alsoreduce the size by making your gridsmaller in scale than the photo.

Draw this bear on a piece of light-colored mat board. I chose a goldencolor called India. Save this linedrawing for a project you will dowith Verithin pencils on page 55.

A copy of the photograph with a 1-inch (3cm)grid applied.

Lightly draw a grid of 1-inch (3cm) squares on a piece of light-colored mat board (I used no.912 India mat board). Use the same amount of squares as on the graphed photo.

Draw the shapes you see in each box, one box at a time, treating them as you did theshapes with the puzzle exercise on the previous page. This will be used for a project on page 55.

Photo reference. You will also use this for alater project.

Drawing From Graphed Photos—Grizzly Bear


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27Graphing

Using a medium-gray piece of matboard, re-create this photograph ofthe dalmatian. It will be used later inthe book for a project usingPrismacolor pencils.

Dalmation

Photo reference. You will also use this for alater project on page 59.


Lightly draw a grid of 1-inch (3cm) squares on a piece of medium-gray mat board (I used no. 3331 Sage mat board). Use the same amount of squares as on the graphed photo. This willbe used for a project on page 59.

Note —This drawing is complex due to all of the dog’s

spots, so go slowly. Draw for accuracy, not

speed.


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Draw this photograph of the puppyon a piece of plain bond paper. It willbe used for a project on page 72,using suede board. Since erasing isimpossible on suede board, we willhave to transfer this line drawing to itusing a different method.

It may seem like a lot of work, butit is worth it to draw on this paper.The effects you achieve are wellworth the effort!



Lightly draw a grid of 1-inch (3cm) squares on a piece of light-colored mat board. You can use apiece of copy paper, because it will be transferred later to a piece of suede board. Use the sameamount of squares as on the graphed photo. This will be used for a project on page 72.

Puppy


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29Graphing

This photograph and line drawingwill be used for a project usingStudio pencils. This exercise can befound on page 64. For this drawing Iused a gray mat board.



Lightly draw a grid of 1-inch (3cm) squares on a piece of light-colored mat board (I used no.3331 Sage mat board). Use the same amount of squares as on the graphed photo. This will beused for a project on page 64.

Squirrel


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Drawing Animal Featuresin Prismacolor

Drawing animals requires the sameattention to detail as drawing por-traits of people. Animals have distinctqualities and personalities that mustbe present in your drawing to makethem appear believable and realistic.

I start my students off with thesame advice as if I were teachingthem portraiture. Practice! Practice!Practice! And begin with the basicfeatures. The more you do, the morefully you will understand the ana-tomy and its shapes. Let’s begin withthe eyes.

I always start my drawing with theeyes of my subject. For me, that iswhere all the personality is. It iswhere the life of my subject appears,and the soul of that life is revealed.

Although human eyes carry manyof the same characteristics from per-son to person, animals all have verydistinct traits attributed to theirspecies.

Look at the shiny nature of eyes.When drawing them, be sure to placea “catchlight” in the eyes. This is areflection. It should be placed in theeye so it is half in the pupil and halfin the iris. If your photo referenceshows more than one, eliminate oneof them. If it shows it covering thepupil, change it.

Not only does the shape of the eyediffer between the species, but sodoes the shape of the pupil. The

round iris we are familiar with in ourown eyes is not always present whenlooking at animals. Some specieshave elongated pupils. The pupil of acat varies due to the light, and canappear as a mere vertical slit to around circle.

Some reptiles also have a verticalslit for an iris; sometimes it appearsvertical and other times it appearshorizontal. These are important fea-tures that are distinct to that particu-lar species.

Horses or deer have irises that arewide and oval and appear more hori-zontal. They also have eyelashes thatmust be captured when drawingthem.

The eyes of many monkeys resem-ble those of humans. However, thesclera, or white part of the humaneye, appears brown in monkeys.Rarely will you see the white area ofthe eye when observing animals.

On eyes like those of squirrels andsome other rodents, the pupil and irisare not easy to see. The eye looksalmost entirely black.

Whatever species you are drawing,it is always important to accuratelycapture the shapes first before addingthe color. Also, place the iris andpupil in the eye right away to be sureyou have them looking in the rightdirection before continuing on withyour drawing.

C h a p t e r S e v e n

The eyes of a cat are very colorful and shiny.Prismacolor pencils capture these qualitiesthe best.

Puppy eyes of a shaggy breed. The shadowsaround the eyes make them look deep set.


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31Drawing Animal Features in Prismacolor

This lizard’s eye has a very small, vertical pupil.

A tree frog’s eye has very bright colors; it also has a vertical slit for apupil.

Notice the catchlight in all of theseexamples. I have placed it half in thepupil and half in the iris.

All of these eyes illustrate distinct

The pupil of a cat’s eye will vary according to the light. In bright light,the pupil appears as a vertical slit.

This frog’s eye has a horizontal shape to the pupil.

characteristics seen in specificspecies. To enhance the appearace ofthe eyes, I used both a layered andburnished approach for all of them.

Eyes


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The eyes of a gorilla and a human are similar in shape, but the scleraof the eye is white in humans and brown in primates.

The eye of a horse has a horizontal shape to the pupil. Because of thedark color of the eye, it is sometimes hard to see.

The eye of a deer closely resembles that of a horse. Notice the long eyelashes.

The eye of a rodent, as seen in this example of a squirrel, is very black.It is hard to see where the pupil and iris separate.


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Noses and mouths of animals willalso vary from species to species.Because of the different needs and liv-ing conditions each animal has, theirnoses and mouths are designed to aidin their existence. For instance, thesoft nose and mouth of a vegetarianbunny do not have the same require-

Noses and Mouths

The nose and mouth of a horse. The shapes of the nostrils look liketeardrops.

The nose and mouth of a rabbit. Like the horse, the nose and mouthare very soft. This is a characteristic of vegetarians and grazing animals.

ments and characteristics found in ameat-eating tiger.

Study the various noses andmouths presented here. Ask yourselfwhat importance the shapes have tothat particular animal. Is it an ani-mal that uses its ability to smell toexist, thus having larger nostrils?

Does it have large teeth to hunt andkill its prey? All of these things areimportant to you as an artist, totruly “see” your subject matter.

In the animal kingdom, the noseand mouth are closely connected, soI generally have my students practicedrawing them together.


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The nose and mouth of a wild cat. A domestic cat has the same gen-eral shapes, only smaller.

The open mouth of this tiger shows the large teeth it uses for hunt-ing. Each of these teeth has the five elements of shading and manycolors that must be captured. Using Prismacolor makes them lookshiny and wet.

The nose and mouth of a dog. The highlight on the tip makes thenose look shiny.

Note —When drawing whiskers, be sure to look for the

“dot” where it originates. Use very quick

strokes when drawing them in.


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The open mouth of a dog. The tongue has a crease down the middle;notice the shadow it creates. Look at the varying colors and tones andthe reflected light around the edge.

A sheep has unusual-shaped nostrils. Each animal has distinct nostrilshapes seen just in that breed or species.

This pig has a very recognizable nose!


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This is probably the world’s most highly functioning nose.

The koala bear has another highly recognizable nose. The flat, soft nose of a cow is used for grazing.


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The ears of your animal can make orbreak your artwork. They must havethe proper shape and depth to lookrealistic. Ears are very complex atclose examination. They are layered,and your drawing must show theoverlapping features and details.

Study the large variety of ears seenin animals of various kinds. Some arehuge and hanging down while othersare barely discernable. Some arepointy while others are almost per-fect circles. Whatever shape and sizethey are, be sure to accurately drawthem in your work.

Ears

Pointy dog ears. The shapes inside the ears are very important.Droopy dog ears. Look for the reflected light seen along the edges.

Pointy bunny ears. You cannot see the inside of these ears because ofhow they connect to the head.


32144 i Ch 7 8/30/08 1:37 PM Page 37


The ear of an elephant.

The ears of a horse. The hair inside these ears is very visible.

Note —When drawing animal ears, the “inside” of the

ears is as important as the outside.

Look how the many intricate shapes and

tones are like puzzle pieces.

Round mouse ears. The inside of these ears have many small shapesto capture.


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Feet

The paw of asquirrel. It has sharp claws and a“hand-like” qualitythat makes it veryuseful.

The cloven hoof of asheep is divided inthe middle.

The hoof of a horse,which is solid inshape.

You may think that studying animalfeet may sound silly, but it wouldlook pretty funny to draw animalswithout them! Again, the differencesbetween the species are enormous.

I think of the feet in terms of basicshapes and go from there. Look forthe five elements of shading whenyou study their shapes. They must bepresent in order for them to lookrealistic.

As with the other features, the feethave distinct characteristics thatapply to their use. A small squirrelhas tiny fingers with sharp little clawsthat grip. That is how they dig forfood and hold on to round nuts andberries.

Some animals have claws whilesome have hooves. Some are des-igned for climbing while others aredesigned for running or walking. Aprimate has useful hands and feetthat resemble our own. Study thesedifferences carefully.


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The foot of a primate closely resembles a human’s foot.

The paw of a puppy, which is designed forrunning.

The foot of an elephant. This large, wide foot is designed for carryingthe weight of the animal as it walks.


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1Using your Black Verithin only,fully render in the eyes. But be

careful, the eyes should not be a solidcolor. Be sure to differentiate betweenthe tones of the iris color and thepupil. The small catchlight makes theeye look shiny. Next, start addingsome darkness to the inside of theears.

2Since the bunny will be white, Itoned the background to make

the edges show up. This also preventsyou from having to outline the earsto make them show up.

With your Black pencil, continuefilling in the dark areas of the ears andthe contours around the eyes and thenose. Keep a very sharp point on yourpencil and use a light touch. Placeyour pencil lines close together for aneven application of tone.

COLORS USED

Black, Dark Brown, White, Terra Cotta and

Turquoise.

Putting it All Together—Draw a Rabbit Step-by-Step


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3Continue deepening the tonesagain using Black only. Notice

how the shape and form of the bun-ny is now appearing more realistic.The darkness around the bunnymakes the animal stand out. Thedrawing actually could be consideredcomplete at this stage if you wantedit to remain in black and white.

4To continue creating the realisticlook of the rabbit, add Dark

Brown and Terra Cotta into the darkareas of the drawing overlapping theBlack that was already there. With asharp point to the pencil, let some ofthe pencil lines show up to representthe look of fur. Next, add White tothe open areas from the previousdrawing. This will completely changethe look of the drawing because theWhite sharply contrasts against thegray tone of the board.

To create more interest in the draw-ing, add some Turquoise to the back-ground. Let it overlap the Black andfade into the color of the board. Add alittle of the Turquoise into the colorsof the bunny. Reflective color is veryimportant to realism.

BUNNY RABBIT

Verithin pencils on no. 3307 Devonshire Blue mat board

14" x 11" (36cm × 28cm)


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43Hair and Fur

C h a p t e r E i g h t

One of the drawbacks of drawinganimals is the amount of time itrequires to accurately depict the fur.This is the area in which I receive themost grief when teaching my artclasses. The hundreds of layers neces-

Verithin pencils, with their sharp leads andfine points, helped create the short coarse furof the koala bear. It takes many layers ofquick, short, overlapping pencil strokes.

KOALA BEAR

Verithin pencils on Strathmore Renewal paper

14" x 11" (36cm x 28cm)

DON’T make your pencil lines harsh anddeliberate!

DO use a quick stroke to taper the end of theline.

COLORS USED

Dark Brown, Dark Umber, Terra Cotta,

Black and White.

Hair and Fursary to build up the look of hair andfur can be a time consuming, labori-ous process. However, look at theresults when you are done!

This drawing of a koala beardoesn’t look that complex. But this

animal has very short, coarse hair. Itrequires many short, quick littlestrokes to make it look authentic. Aclose-up portrait of an animal makesthe need for showing the hair evenmore important.


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The following examples show howto apply the pencil lines to makethem appear as hairs. It is a quickstroke that makes the pencil linestaper at the ends. Use a flick of yourwrist, lifting up as you end the line.

A hard, deliberate stroke makesthe pencil line too harsh and even inwidth. This makes the line fat andunnatural looking.

3Continue to add pencil lines witha quick stroke until the fur fills in.

Build up the layers until you have thefullness you need.

1Always start by filling in somelight tone first. You never want

the color of the paper comingthrough your pencil lines.

2Begin by adding pencil lines inthe direction that the fur is grow-

ing.

Drawing Short Hair—Step-by-Step


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45Hair and Fur

The length of the hair is representedby the length of your pencil lines. Forthe long hair of this orangutan, Iused long, sweeping lines that fol-lowed the hair direction.

Because of the many layers of hairon this animal, various shades oflight and dark were created. These

ORANGUTAN

Prismacolor on no. 7102 Dune suede mat board

14" × 11" (36cm x 28cm)

DON’T use harsh,deliberate lines!

DO use soft, gentlelines that follow theshape of the hair.

Note —Because Prismacolor does not burnish on

suede board, it is not necessary to spray it

when you are finished.

COLORS USED

Orangutan: Dark Brown, Light Umber,

Terra Cotta, Peach, Pumpkin Orange, Black

and White.

Foliage: Apple Green, True Green, Dark

Green, Chartreuse, Olive Green, Pumpkin

Orange, Dark Brown and White.

Ground: Dark Brown, Black and White.

tonal changes are important to theoverall look of the hair. It is the con-trast of light and dark that gives itdepth. Highlights are added on topto make them appear as reflectionsand not white streaks of hair.

This drawing was done on suedeboard. Its surface helped give the

illusion of the softness of the orang-utan’s hair. The paper also helpedcreate the blurred background,which makes it appear as though it isin the distance. To make somethingappear further away, it should haveless detail and softer color.

Long Hair and Fur


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1Place some base tone down in theshape of the wave.


The following examples show howto draw long hair. Notice how thelength of the pencil line represents thelength of the hair. All hair, short andlong, requires many layers to make itlook real. Again, a quick pencilstroke is essential. This makes thelines thinner at the ends. Drawingtoo deliberately will make the lineslook unnatural.

3Keep adding pencil lines until thehair looks thick and full.2Using quick pencil lines that fol-

low the direction of the hairs,start to fill in the hair strands.

Drawing Long Hair—Step-by-Step


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47Hair and Fur

Many animals have built-in camou-flage due to the colors and markingsof their fur. This makes the job of anartist much more of a challenge. Eachof these drawings were complicatedby the patterns seen in their fur, butthey were fun to do.

The tiger has some of the mostbeautiful markings seen in nature,especially the various colors contrast-ing against the black stripes.

To draw the colors and patternsseen here, it is important to draw inthe lightest colors first. If the black isapplied first, it will smear into theother colors.

Whiskers are done last, since theyoverlap the rest of the face. Thesewhite whiskers were first scraped outwith a craft knife because of theheavy dark color underneath. Whitepencil will not stand out againstblack without a little help. This isonly a problem when you are work-ing with Primsacolor, because of thewax build-up. Scraping must be donecarefully so as to not gouge and dam-age the paper. The tip of the knifeworks best.

TIGER

Prismacolor pencils on no. 3347 Ashen mat board

16" x 20" (41cm x 51cm) COLORS USED

Fur: Dark Brown, Light Umber, Terra Cotta,

Mineral Orange, Yellow Ochre, Deco

Yellow, Black and White.

Nose: Mineral Orange, Black and White.

Eyes: Dark Brown, Light Umber, Yellow

Ochre, Deco Yellow, Black and White.

Whiskers: Black and White.

Background: Dark Green, Black, Olive

Green and Yellow Ochre.

Patterns and Markings


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The leopard was done much thesame way. I used Studio pencils thesame amount of time as on the tiger,but the colors were not as vivid. Lesstexture was required. I drew in thelighter colors first, then blendedthem in with a tortillion to makethem appear soft and smooth. I real-ized I didn’t need to show hair tex-ture like I did for the tiger.

I filled in all of the black spotsafter I completed the color.

LEOPARD

Studio pencils on no. 1008 Ivory mat board

16" x 20" (41cm x 51cm)

COLORS USED

Fur: Terra Cotta, Copper Beech, Sienna

Brown, Chocolate Brown, Indian Red,

Straw, Ivory Black and White.

Eyes: Sienna Brown, Straw, Ivory Black and

White.

Background: Bottle Green, Sienna Brown,

Terra Cotta, Delft Blue and Magenta.

Foreground: Sienna Brown, Chocolate,

Terra Cotta and Delft Blue.

Whiskers: White


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49Hair and Fur

FAWN

Verithin pencils on no. 3297 Arctic White mat board

11" x 14"(28cm x 36cm)

When drawing this fawn, I startedwith the darker colors first.However, this time I left the spots“open” to appear white. I usedVerithin pencils for this study; youcan see the texture of the boardshowing through. I like the graini-

COLORS USED

Deer: Dark Brown, Terra Cotta and Black.

Background: Dark Green and Black.

ness that this pencil produces. This drawing would also have

looked nice drawn with Studio pen-cils. There isn’t a lot of texture orobvious direction of the hair show-ing, so a blended approach wouldhave looked pretty.

Compare the three techniques,and see which one you like the most.Can you see the differences in theirappearances, and why the type ofpencil you use is so important?Look at the backgrounds. Noticehow different each one looks.


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ZEBRA

Prismacolor and Studio pencils on no. 1043 Autumn Gray mat board

6" x 11" (15cm x 28cm)

There will be times in your workwhere just one of the pencil brandswill not give you the look you wantto achieve. The zebra illustrationshows what I mean. Look closelyand you will see two different tech-niques: burnishing with Prismacolorand blending with Studio pencils.The two techniques gave me thedeep black and bright white I want-ed for the zebra and the soft blend-ing of color for the background.

Note —The background colors were blended with a

tortillion. I added some of these colors into the

white areas of the zebra to look reflective.

COLORS USED

Zebra: Black and White Prismacolor. I

added French Grey 20% into the white

stripes.

Nose: Black and Dark Brown Prismacolor

pencils.

Background: Magenta, Smalt Blue and

Prussian Blue Studio pencils.


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51Hair and Fur

Texture

COW

Prismacolor pencils on no.928 Extra Light Gray

mat board

16" x 20" (41cm x 51cm)

DRAWING OF A SHEEP

Prismacolor pencils on no. 3331 Sage mat board

16" x 20" (41cm x 51cm)

COLORS USED

Head: White, French Grey 30%, Light

Umber, Cool Grey 70% and Yellow Ochre.

Ears and back: Terra Cotta, Dark Brown,

Yellow Ochre and Mineral Orange.

Nose: Light Peach, Sand, Light Umber,

Black and White.

Background: True Green, Apple Green,

Light Aqua and Dark Green.

COLORS USED

Wool: White, Deco Yellow, Goldenrod,

Dark Brown, Light Umber and Black.

Eye: Goldenrod, Deco Yellow and Black.

Nose: Peach, Deco Yellow and Black.

Background: Peacock Green, Aquamarine

and Light Green.

Note: Look closely and you can see the

Light Green of the background reflecting

into the face of the sheep.

create patterns. These patterns oflight and dark created the look ofthick layers.

I used the pencil somewhat on itsside for this approach. As I workeddown the face, I used more of thepoint of the pencil to create the hairstrokes. You can see these strokes onthe neck as well.

This sheep was done much thesame way. A heavy build-up of col-ors, using the pencil “on the flat,”will give you the textured look yousee in the sheep’s wool.

It is the patterns of light and darkthat are so important.

Texture is an important element tocapture in your animals. Sometimesthe hair direction is varied, creatingthe look of patches or clumps.

This cow has a lot of texture onthe top of his head. I used Prisma-color to build up this heavy area. Iconcentrated on first applying a lot ofwhite, then adding darker colors to


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Sometimes the animal you are draw-ing will have a combination of furtypes.

On this example of a lion, you cansee long, thick hair in the mane com-bined with short, coarse hair on theface.

I used Prismacolor pencils for thisproject. You can see the heavy appli-cation of color in the mane. The

KING OF BEASTS

Prismacolor pencils on

no. 3311 Granite mat

board

16" x 20" (41cm x 51cm)

COLORS USED

Hair and fur: Dark Brown, Terra Cotta,

Mineral Orange, Goldenrod, Light Umber,

Jasmine, Black and White.

Eye: Goldenrod, Deco Yellow, Black and

White.

Nose: Light Umber, Black and White.

mane required a lot of layers and aburnished approach to make it lookthis full.

For the face, I used pencils with asharp point and a layered approach.The slight texture of the mat boardwas then able to come through, giv-ing the fur a textured look. I used acraft knife to scrape out the whiskersbefore applying the white to them.


32144 i Ch 8 8/30/08 1:56 PM Page 52

LOP-EARED BUNNY

Verithin pencils on no. 912 India mat board

10" x 10" (25cm × 25cm)


53Verithin Pencils

Verithin PencilsC h a p t e r N i n e

All of these illustrations were donewith Verithin pencils on a light-colored mat board. I chose the lightbackground color to help enhancethe color of the animal. For the lop-eared bunny, the gold color of themat board helped me produce thecolor of the bunny. Because Verithindoes not build up and cover thepaper, the paper shows through.

Look at the yellow color of thefur, particularly in the shadow areas.Rather than just using black to deep-en the golden color, I used the oppo-site, or complement of yellow, whichis violet. (Complements are colorsopposite each other on the colorwheel.) This created a much richercolor without “killing” it with black.I also used the violet tones in thebackground to make the bunnystand out more. Any time comple-mentary colors are placed next toone another, they stand out.

The direction of this rabbit’s furwas very obvious, so it was a goodproject for Verithin pencils. The thinlines produced by these pencilsresemble the texture of hair.

COLORS USED

Bunny: Goldenrod, Dark Brown, Terra

Cotta, Mineral Orange, Violet, Magenta,

Black and White.

Eyes: Black and White.

Background: Violet, Magenta and Dark

Brown.

Foreground: Dark Brown

32144 i Ch 9 8/30/08 1:57 PM Page 53


This was drawn entirely with a DarkBrown Verithin. It gives the drawingan old-fashioned look, resemblingthe look of a sepia-tone photo.

This drawing was taken from anewspaper article written years agoabout my good friend Bob. He hasbeen mentioned in my previousbooks, and owned a horse ranchwhere I grew up. As a young adult,he took my dog Sparky to live withhim on the ranch.

I had the copy of the newspaperarticle pinned to my studio wall for along time. It actually was a fax copy,and had a funny brown color to it.

One day the paper slipped and Inoticed it hanging upside down fromacross the room. Suddenly, after allthose years, I saw it differently. It nolonger was a picture of Bob; it was a wonderful study of dark and lightshapes. It looked more like an abs-tract, and I immediately wanted todraw the shapes I saw.

I stopped viewing the actual sub-ject and saw it as shapes. Theprocess was slow because the layeredtechnique of Verithin takes moretime. However, piece-by-piece, thedrawing developed.

BOB AND SPARKY

Verithin pencils on no. 1008 Ivory mat board

10" x 8" (25cm x 20cm)

Because I was not concerned withaccuracy, my drawing was muchmore accurate.

To my surprise, when I finishedand turned the drawing over to lookat it, it was a wonderful likeness. Ithen also realized that certain areas,which I had seen just as shapes, wereactually recognizable objects. The

light and dark shapes in the back-ground are, in reality, the old farm-house and a fence. The dark shapesto the left of Bob are the shadow of atree. Even a part of my cat can beseen behind the handrail. I nevereven saw those things in the photountil I drew it!

COLORS USED

Dark Brown


32144 i Ch 9 8/30/08 1:57 PM Page 54

55Verithin Pencils

Photo of a grizzlybear from page 26.

Check your drawingfrom page 26 foraccuracy. Removethe grid lines fromyour drawing with akneaded eraser.

Anytime I want to show a lot ofindividual hair strokes and texture, Ichoose Verithin pencils. Their hard,thin leads produce nice thin lines.

This grizzly bear is full of bristlyfur, so I chose it for this exercise.Compare your line drawing frompage 26 to the photograph. Whenyou are sure of its accuracy, removethe graph lines with a kneaded eraser.

COLORS USED

Black, Dark Brown, Dark Umber, Terra

Cotta and Yellow Ochre.

Drawing a Grizzly Bear Step-by-Step


32144 i Ch 9 8/30/08 1:58 PM Page 55


1With a sharp Black Verithin pencil, begin with theeyes and nose. Then place tone in the ears and begin

the dark areas of the fur. Be sure to look for the directionof the fur and place your pencil lines in accordingly. Thisstage already starts creating form.

3Add some Terra Cotta to deepenthe red tones in the fur, and add

some Yellow Ochre in the face. Keepadding your tones until you haveenough layers to depict the fullness ofthe bear’s fur. Be patient! Thisprocess takes a lot of time, so don’tquit too soon. The biggest error thatbeginning artists make is not goingfar enough with their work. Addsome green and brown tones to givethe illusion of ground and grass.

2Continue developing the depth of the tone withBlack. Then, with Dark Brown and Dark Umber,

overlap the Black and continue filling in the fur. DarkBrown is a little lighter than the Dark Umber; it gives thefur a touch of red. Keep going with the hair direction.


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57Prismacolor Pencils

Prismacolor PencilsThe surroundings of this dog arereflecting into the shininess of his fur.I use a phrase in my art classes thatmakes a lot of sense. “White isn’twhite, and black isn’t black!” Bothcolors are just an undertone, with thecolors surrounding it reflecting off of it.

This is a drawing of my old dog

C h a p t e r T e n

BRANDY

Prismacolor pencils on no. 3310 Regent Gray mat board

11" x 14" (28cm x 36cm)

COLORS USED

Fur: White, Cool Grey 30%, Clay Rose and

Light Umber.

Face: Terra Cotta, Light Umber, Sienna

Brown, Beige and Dark Brown.

Eyes: Dark Brown, Black and White.

Nose: Dark Brown, Henna, Black and

White.

Tongue: Pink, Henna, Terra Cotta and

White.

Stairs: Tuscan Red, Dark Brown, Peach,

Henna and Raspberry.

Tennis Ball: Sand, Dark Brown, Cool Grey

70%, Tuscan Red and White.

Brandy. She loved to play ball on thestairs. The colors surrounding herare reflecting on her white fur. Canyou see the pink tones from the car-peting repeated on her body?

I used Prismacolor pencils two dif-ferent ways on this drawing. I usedthe heavy, burnished approach forBrandy to make her hair look shiny.

I used the layered approach on thestairs to make the carpet looktextured.

Notice the area of reflected lightalong the edge of the stairs? This iswhat makes them appear dimen-sional. Without that reflected light,they would look flat.


32144 i Ch 10 8/30/08 1:59 PM Page 57


TIGER CUB

Prismacolor pencils on no. 912 India mat board

10" x 15" (25cm x 38cm)

MEOWSER

Prismacolor pencils on no. 3304 Camelot mat

board

8" x 10" (20cm x 25cm)

COLORS USED

Fur: Black, White, Goldenrod, Cool Grey

50%.

Eyes: Deco Yellow, Sunburst Yellow, Light

Umber, Black and White.

Nose and eye membrane: Henna, Rosy

Beige, Deco Pink and White.

Inside ears: Deco Pink and Rosy Beige.

COLORS USED

Fur: Terra Cotta, Dark Brown, Mineral

Orange, Sunburst Yellow, Black and White.

Eyes: Mineral Orange, Black and White.

Background and tree bark: Black

This tiger cub is another example ofhow to use Prismacolor two differentways. The colored, orange part of thefur was done with a lighter, layeredapplication. This allowed the textureof the paper to come through. Thewhite areas and the black areas wereburnished to fill it in.

I also used a layered approach tocreate the tree bark and background.The contrast between textures givesthe drawing more interest.

Texture is very important to yourdrawing. In this drawing of my cat,Meowser, I used a craft knife toscratch light hairs into the dark fur.(Yes, I’ve had a lot of pets!) This typeof cat has a mixture of color in thedark areas. These areas resemblestripes of light and dark. Scrapinggives you much finer lines than draw-

ing. It looks realistic, doesn’t it?Sometimes your photo reference

will have bright colors to capture. Inthat case you will want to use aheavy, burnished approach for theentire drawing.


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59Prismacolor Pencils

Prismacolor pencils are excellent for creating rich color with good cov-erage. When I wanted to draw thisdalmatian, I knew it was the pencil Ineeded to create the bright whiteareas. By using gray paper, the whitestands out even more.

Using the line drawing from page27, compare the drawing to the photo, and check your shapes foraccuracy. Once you are happy withthe results, remove the graph lineswith a kneaded eraser.

Photo of a dalmatian from page 27. This line drawing resembles a map. It is alarge grouping of many shapes.

1Begin by placing in the light colors. Remember, if weput in the Black first, it will smear into the White

when it is applied. Looking at the drawing as a map,begin filling in the White.

2Continue filling in White until the entire dog is completed.

COLORS USED

White, Yellow Ochre, Mineral Orange,

Warm Grey 50%, Light Umber, Peach and

Dark Brown.

Drawing a Dalmation Step-by-Step


32144 i Ch 10 8/30/08 2:00 PM Page 59


3Look at your shadow areas.There are many colors reflecting

into the white areas that need to beblended in. This is what makes yourdrawing look real.

4Finish the dog by filling in theblack spots. Add the shadow

under the dog with Warm Grey50%.

Note —Because Prismacolor is such a waxy medium,

it is very important to spray your drawings with

a fixative when you are finished. When left

unsprayed, the wax in the pencils rises to the

surface of your drawing, causing it to look hazy

and foggy. This milky-looking film is called wax

“bloom.” Once the drawing is sprayed, this no

longer happens, and your colors look more

vivid and pure.


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61Studio Pencils

Studio PencilsThe following examples illustratehow you can use Studio pencils tocapture the magic of animals.

The next two illustrations are per-fect examples of how you can useStudio pencils to really bring out theskin and texture of animals, such asan elephant and a rhino.

Look at how realistic these illus-trations appear. By blending the toneswith a tortillion, the contours of theanimals are created. Study the subtletransitions of tone. It closely resem-

C h a p t e r E l e v e n

ELEPHANTS

Studio pencils on no. 912 India mat board

10" x 14" (25cm x 36cm)

COLORS USED

Elephants: Chocolate, Terra Cotta, Copper

Beech, Brown Ochre and Ivory Black.

Background: Juniper Green and Ivory

Black.

Foreground: Sienna Brown, Copper Beech

and Ivory Black.

bles the five elements of shadingexercises we did at the beginning ofthe book. Look for the areas ofreflected light that give the shapestheir roundness.

Also, study the background andforegrounds. I used a combination ofblending and texture. The furtherback it is, the more blending I used.Adding some detail and texture tothe areas closer up gives a better illu-sion of distance.


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RHINO

Studio pencils on no. 1009 Light Jonquil mat board


Rhino: Chocolate Brown, Burnt Umber,

Copper Beech, Brown Ochre, Burnt

Sienna, Terra Cotta and Ivory Black.

Foreground and background: Chocolate,

Burnt Umber and Bottle Green.


32144 i Ch 11 8/30/08 2:03 PM Page 62

63Studio Pencils

This portrait of JoJo, a cute babyYorkie, was also done using twotechniques. The dark colors of thedog were applied with firm pressure,while the soft tones of the hands andbackground were blended with atortillion.

JOJO

Studio pencils on no. 1008 Ivory mat board


Dog: Ivory Black, Terra Cotta, Copper

Beech, Burnt Sienna and Burnt Umber.

Hands: Terra Cotta, Burnt Carmine, Pale

Vermillion and Copper Beech.

Background: Imperial Purple and

Kingfisher Blue.


32144 i Ch 11 8/30/08 2:03 PM Page 63


I am using Studio pencils more andmore in my artwork. I like the abilityto use my blended technique withcolor to create soft tones, especiallyin background areas. These pencilscan also be used heavily for a filled-inlook. This small project of a squirrelwill give you practice using the pen-cils both ways, for textured andblended areas.

Photograph of a squirrel. Using the line drawing from page 29, checkyour drawing for accuracy, and then removethe graph lines with a kneaded eraser.

1Using Ivory Black and Sepia, draw in the pupil of theeye. The inside of the eye is the lighter color, with the

Black around the rim. Be sure to leave a spot for thecatchlight. Add some color around the eye and into thenose with Burnt Sienna. Add the White to the catchlightand around the eye. Place some addtional White into theear. With Copper Beech, begin the brown tones in theback and front of the squirrel.

2Add some more Copper Beech and Sienna Browninto the body of the squirrel. With a clean tortillion,

blend the tones until they look nice and smooth. This willact as a foundation for you to build the rest of the fur.

A Squirrel Step-by-Step


32144 i Ch 11 8/30/08 2:04 PM Page 64

65Studio Pencils

3Now start developing the quick strokes of the furwith a sharp point on the pencils. Use White, Copper

Beech and Ivory Black, watching for the patterns of colorand hair direction. Also, add Burnt Sienna and White tothe inside of the ear and blend it smooth.

4Add more color to the face of squirrel with RawSienna. Add some to the tips of the ears as well.

Continue to add to the overall fullness of the fur withquick, short pencil lines. Use the White, Ivory Black andCopper Beech.

Create the background by using Juniper Green, CopperBeech and Ivory Black. Add the colors lightly, and blendtogether with a tortillion.

Note —When using tortillions, it is very important to

keep them segregated according to color. You

will not want to accidentally use a tortillion that

has been previously used for a different color.

I’ve accidentally blended blue into a brown

area before because I wasn’t paying attention!

COLORS USED

Squirrel: Ivory Black, Sepia, Burnt Sienna,

White, Copper Beach, Sienna Brown and

Raw Sienna.

Background: Juniper Green, Copper Beech

and Ivory Black.


32144 i Ch 11 8/30/08 2:04 PM Page 65


Colored Pencils on SuedeThe following pages show the won-derful variety of looks you canachieve with suede board. This is oneof my favorites.

Although the colors of the horseare very rich, the paper makes themgo on very smooth and look verysoft. I chose a soft tan color, knowingthat it would show through and helpcreate the color of the horse.

C h a p t e r T w e l v e

PORTRAIT OF A

HORSE

Prismacolor pencils on

no. 7132 Whisper

suede mat board

16" x 20" (41cm x 51cm)

COLORS USED

Horse: Dark Brown, Terra Cotta, Light

Umber, Sienna Brown, Tuscan Red, Yellow

Ochre, Black and White.

Muzzle, mane and forelock: Black, White,

True Blue and Tuscan Red.

Bridle and reins: Poppy Red, Tuscan Red,

Sienna Brown, True Blue, Black and White.

Background: True Green, Apple Green,

Chartreuse, Dark Green and Black.

Although the whole idea behindthis paper is to create softness, cer-tain areas need to be darker.Burnishing is possible for extremetones, as seen in the eye, nostril andbridle. You can also see some firmlines in the mane and forelock.

This combination of techniquesmakes for a very realistic impression.


32144 i Ch 12 8/30/08 2:05 PM Page 66

67Colored Pencils on Suede

On this horse, I left more of thepaper showing through. Because thishorse is white, I chose white suedeboard to work on.

One drawback to this paper is thatthe white pencil does not cover well.For white subject matter, it is thenimportant to use white board andallow the white to come through.I’ve tried to use a colored board andadd the white, but it ends up lookingflaky and mottled instead of smooth.Small areas, such as the bridle on theprevious illustration, can be bur-nished in.

This is another example of reflec-tive color. Although the color of thehorse is white and dapple-gray,shades of blue and green reflect off ofthe fur. This is very obvious belowthe eye and on the muzzle. For thegray tones, I used a combination ofwarm and cool grays. The warmgrays have more of a brown tone tothem.

I used the Black with a light toucharound the mouth area, allowing itto gently fade into the face. I appliedmore pressure inside the eye, ear andnostril to make those fill in more.Using firm, quick strokes, I created the forelock and mane. I added a lit-tle Dark Brown to give it a richer col-or.

Using Limepeel and Grass Green, Idrew the grass area with a light touchfirst. I then used quick, verticalstrokes to create the grass, approach-ing it the same way I did with thehair, but stroking upward.

GRAZING

Prismacolor pencils on White suede mat board

14" x 11" (36cm x 28cm)

COLORS USED

Horse: Black, Dark Brown, Warm Grey

50%, Indigo Blue and True Blue.

Mane and forelock: Black and Dark Brown.

Grass: Limepeel, Grass Green, Dark Green

and Light Aqua.


32144 i Ch 12 8/30/08 2:06 PM Page 67


DRAWING OF A FOX

Prismacolor pencils on no. 7132 Whisper suede mat board

12" x 9" (30cm x 23cm)

A L ION CUB

Prismacolor pencils on no. 7132 Whisper suede mat board

14" x 11" (36cm x 28cm)

COLORS USED

Eyes: Dark Brown, Black and White.

Fur: Dark Brown, Light Umber, Terra Cotta,

Yellow Ochre, Black and White.

Background: Lavender and Clay Rose.

COLORS USED

Eyes: Black

Fur: Black, Burnt Umber, Terra Cotta, Light

Umber, Yellow Ochre, Sienna Brown and

True Blue.

Background: True Blue

Both of these drawings were done on the same color suede board usingsimilar colors. It’s the way I used the pencils that makes them look different.

This lion cub has a different typeof fur. The individual hairs are not asobvious, and the markings are not asdistinct. I used the pencil with a

duller point this time, sometimesusing it on its side to fill in areas. Itmakes the cub look fluffier than thefox.

This drawing of a fox required alot of small pencil strokes to indicatethe short hair, and it required me tohave an extremely sharp point onmy pencil at all times.

I did not use a white pencil forthis piece; all of the light areas arethe color of the paper comingthrough.

Some of the blue tones from thebackground are reflected onto thefur. This is the most noticeable onthe back and chest, but is also insidethe ears.


32144 i Ch 12 8/30/08 2:06 PM Page 68


Sometimes you will want to com-pletely fill in your background. It willmake the drawing look like a photo-graph instead of a portrait. It helpsillustrate the scene and tell a story.

This little kitten had such soft color to its fur, but I wanted thebackground darker to make himstand out. Although it took a whileto fill in the background to make itlook that smooth, the effort was wellworth it. It looks like the kitten iswalking on a deck.

Notice how the dark backgroundcontrasts with the colors of the kittenand makes the eyes stand out evenmore. By making the tail section ofthe kitten darker, it looks like it isfurther back in shadow, giving thedrawing a real sense of dimension. Itactually looks like the kitten is walk-ing toward you!

HERE KITTY KITTY…

Prismacolor pencils on no. 7132 Whisper suede

mat board

10" x 8" (25cm x 20cm)COLORS USED

Eyes: Indigo Blue, Black and White.

Fur: Sienna Brown, Peach, Terra Cotta,

Mineral Orange, Tuscan Red, Dark Brown

and White.

Background: Black, Cool Grey 70% and

Indigo Blue. There is a touch of Tuscan

Red in the shadow under the kitten.


32144 i Ch 12 8/30/08 2:07 PM Page 69


“Black isn’t black, and white isn’twhite!”

The next two illustrations are per-fect for that quote! Study them forboth technique and color, and youcan see why I choose suede board sooften for my drawing surface.

This is a portrait of my old dogTippy. Her shiny black fur took awhile to build up. I used Aquamarinefor the highlight areas of her fur toadd more color. Rarely are highlightswhite in nature; they are created bythe surroundings.

I used colors in the backgroundthat would repeat the colors seen inthe dog, such as the Aquamarine,and the pink colors seen in thetongue.

This drawing was done on a graybackground. Because of the whitemuzzle, chin and chest, I used a bur-nished approach with a white pencilto create them.

TIPPY

Prismacolor pencils on no. 7141 Platinum suede

mat board

13" x 11" (33cm x 28cm)COLORS USED

Eyes: Sienna Brown, Black and White.

Fur: Black, White and Aquamarine.

Tongue: Henna, Clay Rose, and White.

Background: Aquamarine, Process Red,

Light Aqua, Salmon Pink and Lavender.

Colors Are Not Always What They Seem


32144 i Ch 12 8/30/08 2:07 PM Page 70


POLAR BEAR

Prismacolor pencils on White suede mat board


Polar bear: Aquamarine, Indigo Blue and

Black.

Foreground: Aquamarine and Black.


32144 i Ch 12 8/30/08 2:08 PM Page 71


As the old saying goes, I’ve saved thebest for last. Maybe it is the soft nap ofthe board or the gentle way Prisma-color glides over the surface. Whateverit is, I am thrilled with the results.

Realism is enhanced with thistechnique. Because of the board’s sur-face, the edges of your subject aresomewhat softened, preventingthings from looking too hard-edged.

This project of the Lhasa apsopuppy is a good place to start. Thesoftness of the fur, and the delicatepastel background, lend itself per-fectly to this approach.

As I mentioned in the graphingchapter, you can’t graph your imagedirectly onto suede because it cannot

be erased. That is why I had youdraw your outline on a regular pieceof copy paper.

To transfer your image to thesuede, you can use two methods. Thefirst method is using a transfer papercalled Saral. It comes in sheets androlls. I recommend the graphite colorfor this project, although it doescome in a variety of colors, from lightto dark.

Place the Saral paper under yourline drawing like a piece of carbonpaper, checking to make sure youposition your work accurately beforetransferring. Be careful not to rub orslide your paper because it will smearacross the suede.

Photo of a Lhasa apso puppy. Use this line drawing from page 28, to transfer onto White suedeboard.

When you have it placed on thesheet, tape the corners down to pre-vent it from moving. Then, with amedium point on one of your col-ored pencils, redraw the lines of yourdrawing. The image will transfer.

Any smudges can be lifted with akneaded eraser. However, do not rubhard with the eraser. This will flattenand destroy the nap of the board.

You can also transfer your imageby creating your own transfer paper.Simply turn over your line drawingand rub a thin layer of pastel orcharcoal on the back. Rub it in so itisn’t messy. Turn it over, carefullyplace it on the suede board, and tapeit down. Redraw the image.

Drawing a Puppy Step-by-Step


32144 i Ch 12 8/30/08 2:08 PM Page 72


1Once the image is transferred, begin with the eyes andnose. Use Dark Brown and Black for the eyes. Because

the hair overlaps the eyes, it is important to create therecessed appearance with the shadows.

Fill in the nose with Dark Brown, and fill in the nostrilswith Black. Then go over the nose with some Tuscan Redto make it look warmer.

Place some Dark Brown into the darker areas of the furusing quick pencil strokes that follow the direction of thehair.

2With Tuscan Red, apply the bow. Use Tuscan Red inthe fur areas and to begin the color of the tongue.

COLORS USED

Puppy: Black, Dark Brown, Tuscan Red,

Pink, Deco Orange, White and Lavender.

Bow: Tuscan Red

Background: Aquamarine, Parrot Green,

Deco Orange, Periwinkle and Process Red.


32144 i Ch 12 8/30/08 2:09 PM Page 73


3With Pink, deepen the color of the tongue. For the tipof it, use Deco Orange. Place some Pink into the bow.

With Black and Dark Brown, deepen the color of the furusing the same quick strokes you used before.

4To create the light edges of the dog, begin to placesome color next to him. This background has a vari-

ety of colors. Begin with some Aquamarine, Parrot Greenand Periwinkle.

To reflect some of the surroundings, add some of thesame colors into hair of the dog. Add some additional col-ors, such as Lavender and Pink. Use White to add somelight hair strands around the nose.


32144 i Ch 12 8/30/08 2:09 PM Page 74


5To finish off the background, use a variety of pastelcolors. Feel free to add whatever you want; it is purely

decorative. Overlap the colors so they fade into oneanother, for a soft, diffused look. I used the following col-ors: Periwinkle, Deco Orange, Pink, Aquamarine, ProcessRed and Parrot Green. All of these colors were appliedwith a very light touch so as not to produce pencil lines. Iplaced these colors into the coat of the dog as well for apretty pastel coloration.


32144 i Ch 12 8/30/08 2:09 PM Page 75


Other OptionsThere are unlimited options fordrawing, literally hundreds of sur-faces that can be explored—enoughto fill another entire book. My goalwhen I write is to help you see andexplore as many options as possible.

This drawing looks completely dif-ferent from anything we’ve seen orcovered previously. It is drawn onanother type of mat board calledlinen. Its texture resembles that of acanvas with a woven surface. Whendrawing on this surface, the texturecomes through.

This wolf’s fur has a lot of texture,and by drawing it on this paper, thetexture is exaggerated. It gives thedrawing a very unique appearance.

Another paper you can try iscalled Colorfix, which is manufac-tured for pastel use. This heavily tex-tured surface holds on to thepowdery pigment of the pastels.

C h a p t e r T h i r t e e n

WOLF

Prismacolor pencils on no. 7526 Cream linen mat board

20" x 16" (51cm x 41cm)

COLORS USED

Eyes: Blue Violet Lake, Deco Blue, Black

and White.

Nose: Black and Blue Violet Lake.

Fur: Black, Blue Violet Lake and Deco Blue.

Note —All the white areas of the fur is the color of the

paper coming through. I did not want white

burnishing over the other colors, making it

look too filled in. I wanted to let the texture of

the paper come through.

You can also use Studio pencils,which resemble pastels. Try blendingthe pencil pigment lightly with a tor-tillion in the background areas tomake them appear blurred.

This technique gives your work agrainy look, a sharp contrast to thesoft look of the suede board. Choose

the paper that fits your creativeexpression; everyone is different.

I discovered all of these paperspurely through experimentation. Ifully recommend that you do thesame, and draw on as many surfacesas possible. You will find yourfavorites just like I did.


32144 i Ch 13 8/30/08 2:10 PM Page 76

77Other Options

This is another of my favorite tech-niques. For those of you that haveread some of my other books, youwill know that graphite is myfavorite medium to work in. Manytimes I will take one of my graphitedrawings and colorize it.

This drawing of my cat, J.J., wasoriginally done in just graphite. Itremained that way for years.Sometimes I get creative urges,though, and I have been known toyank a drawing right off the studiowall to make changes. That is whathappened to this one.

J.J. was a black and white kitty, so I didn’t want to do too much. Isimply added some color to his eyesand his surroundings, changing thewhole look.

Just by adding some Terra Cottacolor to the bricks, the entire draw-ing changed. It was just enough colorto make the kitty stand out. To makeit look more realistic, I added somebrown to the shadow area and putsome reflected colors into the cat’sfur. The brick color of the mattingmakes the whole project complete!

J . J .

Graphite tinted with Verithin pencils

14" x 11" (36cm x 28cm)

COLORS USED

Eyes: Yellow Ochre and Terra Cotta.

Bricks: Terra Cotta

Shadow: Dark Brown

Yellow Ochre and True Blue were reflected

into the body of the cat.


32144 i Ch 13 8/30/08 2:11 PM Page 77


Here we are at the end of the bookalready, and I feel like we have barelyscratched the surface. There is somuch to learn and explore, so manytechniques to try.

I have been drawing my wholelife, and professionally for more thantwenty years and I never tire of it!Every day I wake up eager to draw,I’ve never missed a day.

When you are doing what yoursoul cries out to do, that is how itfeels. No dread, no feelings of bore-dom or uncertainty. There is no

Conclusion

wondering why you’re doing whatyou’re doing. I am so blessed to havethis wonderful talent, and I neverwaste a day without using it.

You have purchased this bookbecause you, too, love to draw, orwould like to. I encourage you tojust do it! Give it a shot, because youhave nothing to lose and potentiallya lifetime of enjoyment to gain.Don’t be hesitant or afraid of mak-ing a mistake. It doesn’t matter!Practice is necessary for everythingwe do. Through practice, we hone

our skills and learn our craft. There is no limit to our capability

for learning and possibilities. I willdraw until the day I die and willleave still having much left to learn. Ihave a banner in my studio for mystudents to read every time theycome in. It is a quote I have used foryears. For me, it sums up the creativerealm. Let it guide you as well.

“There is never a lack of subjectmatter…just absence of creativity!”

–Lee Hammond


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79Other Options

The End


32144 i Ch 13 8/30/08 2:12 PM Page 79

Acetate graphs, 11, 26Angles, 22Artagain paper, 9, 10

Background, 10, 43, 49, 50,53-54, 61, 63-65, 68-70, 74-76

Basic shapes, 17-23, 24, 39Bear, 26, 36, 43, 55-56, 71Blending, 5, 7, 8, 14-16, 20-21,

49, 50, 60-61, 64-65, 76Blooming, 11-12, 60Blurring, 76Brush, 10, 11Burnishing, 12-14, 15-16, 31,

45, 50, 52, 57, 58, 66-67, 70, 76

Canvas, 76Cast shadow, 17, 19-21, 35,

53, 60, 73, 77Cat, 6, 23, 30-31, 34, 58, 69,

77Catchlight, 30-31, 41, 64Charcoal, 11, 72Clay-based pencils, 8, 11, 14,

16Colored pencils, 5, 7-8, 10,

12-14 See Also Specifictype i.e. Prismacolor

Color wheel, 53Complementary colors, 53Contrast, 45, 58, 69Cow, 36, 51Craft knife, 11, 47, 52, 58Cylinder, 18, 21, 22, 23

Dalmatian, 27, 59-60Deer, 30, 31, 32, 49Depth, 5, 17, 37, 45Detail, 30, 45, 61Dimension, 57, 69Distance, 61Dog, 14, 27-28, 30-34, 35,

37, 40, 57, 59-60, 63,70, 72-75

Ears, 37-38, 41, 56, 64-65,67-68

Egg, 18-20, 22, 23

IndexElephant, 22, 36, 37, 40, 61Erasers, 10 See also Kneaded

eraserEyelashes, 30, 32Eyes, 11, 30, 31-32, 41, 56,

64, 66-67, 69, 73, 77

Face, 47, 51, 52, 67Features, animal, 30-42 See

also specific features, i.e,Eyes, Teeth

Feet, 39-40Fingers, 39Fixative, 10-12, 45, 60Foreground, 61Fox, 68Frog, 31Full light, 17, 19, 20, 21Fur, 12, 14, 42, 43-52, 53, 56,

58, 64, 65, 67-70, 72-74, 76, 77

Gorilla, 32Graphing, 11, 24-29, 55, 59,

64, 72Graphite, 11, 77

Hair, 37, 43-52, 55-58, 65-66, 68, 73-74

Halftone area, 17, 19, 20-21Hardness, 8Highlights, 45, 70Horse, 22, 30, 31, 33, 37, 39,

66-67

Illustration, 6Iris, 11, 30, 31, 32, 41

Kneaded eraser, 10, 55, 59,64, 72

Koala bear, 36, 43

Layering, 5, 7, 13, 15-16, 31,37, 43, 46, 52, 54, 56-58

Leopard, 48Light edge, 74Linen, 76Lion, 52, 68

Manatee, 23

Markings, 47-50Mat board, 9-10, 12, 26-27,

29, 53, 76Mechanical pencil, 10, 20-21,

26Mouse, 22, 37Mouth, 33-36, 67

Negro pencils, 8Nose, 33-36, 41, 56, 64, 73-74Nostrils, 33, 35, 66-67, 73

Orangutan, 45

Paper, 7, 9-10, 76Pastels, 72, 76Patterns, 47-50, 51, 65Pencils, colored See Colored

pencil or specific pencilsPencil lines, 14, 15, 16, 42-

46, 56, 65, 75Pencil strokes, 43, 44, 46, 68,

73, 74Photograph, 6, 26-29, 54-55,

59, 64, 69, 72Polar bear, 71Primate, 30, 32, 39, 40Prismacolor pencils, 7-16, 27,

30-42, 45, 50-52, 57-60, 72

Pupil, 11, 30-32, 41, 64

Rabbit, 13, 33, 37, 41-42, 53Realism, 5, 14, 17, 18, 22,

37, 39, 42, 46, 60, 66,72, 77

Reflected light, 17, 19, 20, 35,37, 57, 61, 77

Reflection, 14, 30, 57Reflective color, 42, 53, 60,

67-68, 74, 77Renewal paper, 9,-10Reptile, 30Rhino, 61, 62Rodents, 30, 32Roundness, 61

Saral transfer paper, 72Scraping, 11, 47, 52, 58Shading, 17-23, 34, 39, 61

Shadow edge, 17, 19, 20, 21,53, 60, 73, 77

Shapes, 17-23, 24, 25, 26,30, 33, 37, 39, 54, 59,61

Sheep, 35, 39, 51Smudges, 11, 72Softness, 64, 66, 75Sphere, 17, 18, 19Squirrel, 12, 29, 30, 31, 39,

64-65Studio pencils, 8, 11, 14, 15,

16, 20, 23, 29, 48, 49,50, 61-65, 76

Suede board, 9, 10, 28, 45,66-75, 76

Techniques, 5, 15-16, 50, 63Teeth, 33, 34Template, 11, 19Texture, 12, 14, 48, 49, 51-52,

55, 57, 58, 61, 64, 76Tiger, 33, 34, 47, 48, 58Tone, 14, 15, 16, 20, 21, 24,

35, 37, 41, 42, 44, 56,57, 61, 64, 66

Tongue, 35, 70, 73, 74Tools, 9-11Tortillion, 8, 10-11, 14, 16,

20, 48, 50, 61, 63, 64,65, 76

Transferring, 28, 72

Undertone, 57

Value scales, 15,16Varnish, 11Verithin pencils, 7, 11, 13,

15, 16, 19, 26, 41, 43,49, 53-56

Warmth, 20, 73Waxed-based pencils, 7, 11,

12, 13, 14, 60Weight of paper, 9, 10Whiskers, 34, 47, 52Wolf, 76

Zebra, 50, 79


32144 i Ch 13 8/30/08 2:12 PM Page 80

ART TECHNIQUE/DRAWINGU

PC

UK £10.99 US $15.9932144 (CAN $24.99)

EAN

ANIMALS

Lee Hammond

DRAW

INGIN

COLO

RH

amm

ondA

NIM

ALS

Lee Hammond’s amazing easy-to-follow techniques enableyou to render a variety of wonderful animals, from cats

and dogs to horses, squirrels, tigers and more. These skillscan be used to draw any kind of mammal accurately.

Hammond’s special graphing system makes all the difference, helping your brain translate the animal posesyou see into drawings on the page. You’ll also learn

other important illustration techniques, including layer-ing, blending and shading. Additional guidelines help youduplicate realistic eyes, ears, mouths, feet, fur, and hide.

You can start drawing TODAY—whether you’re eightor eighty. Lee Hammond provides the know-how youneed to make it happen!

You can draw incredibly realistic animals— even if you’ve never drawn before!

Look for these other exciting titles by Lee Hammond!

Drawing in Color

(A) (JOE) 200202084 REGENT F&W:DRAWING IN COLOR-ANIMALS (CVR) (WS)

32144 CM DIC ANIMALS 9/1/08 10:00 AM Page 1

Lee Hammond - Dibujando Animales a Color

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