This week’s assignment are gestures of bears, wolves, and dogs. Using a envelope for the animals and simplifying geometric shapes helps with simplifying. The class is setting into a routine of drawing gestures with a little value added in some, skeleton and ecorche version, and discussion post which looks at different rendering of animals characters and how they can be portrayed as protagonists or antagonists in a story. It’s fun seeing the examples that my classmates come up with.
I’m finding I really like drawing with the Procreate app on the iPad pro and Apple pencil. It’s close to drawing with a real pencil. When I want this soft effect with pencil, I usually prefer to use mylar (Dura-lar) which comes in huge rolls from Dick Blick and erases cleanly.
My discussion post:
There’s some amount of range when it comes to how sympathetically bear characters are portrayed. On the sympathetic side, there are characters such as teddy bears, and related characters such as the Care Bears and Winnie the Pooh, which are modeled more on the stuffed animal than the actual animal.
More realistic sympathetic bears include Baloo from any of the multiple adaptations of The Jungle Book, Smokey the Bear, and the bear family of Maurice Sendak’s Little Bear.
On the more antipathetic side, there are characters such as the bear in the film version of The Fox and the Hound, and the grizzly bear from the film Balto, which are portrayed as bestial, inhuman predators.
When wolves are portrayed positively, they tend to come off as majestic, intelligent, loyal, embodying the nobility of nature; the wolf family in The Jungle Book, Moro in Princess Mononoke.
Negatively, wolves are portrayed as crafty predators, as with the classical fairytale archetype of the Big Bad Wolf.
The main example I can think of when it comes to neutral/background characters is how, in Donald Duck etc. comics, otherwise “human” side/background characters tend to be given dog noses, and occasionally ears. Here, the use of animal characteristics basically just signifies that these stories take place in a completely unreal fantasy world.
In general, I would say that completely realistic renderings of animals, as you might find in an educational book, often have less strong emotional expressivity, and are less immediately emotionally accessible as a result. Even mostly realistic designs often “cheat” when it comes to faces, adding human elements such as humanoid scleras, eyebrow muscles, and mouth expressions.
I had my first week of Animal Anatomy and Drawing and the assignments were all on Big Cats. Last week I also had a chance to go to Cougar Mountain, a small zoo in Issaquah. We shot some nice photo reference, though.
The first assignment was to break down the animals into 3D geometric shapes. It was a bit hard at first, but I can see that it helps simplify and visualizes the 3D forms when you see them in the live animals. The idea of drawing the envelope is to get the general shape of the animal or figure before working on details. Here are some of my gesture drawings. For me, it’s easier working out the forms when watching a video loop of animals moving. The book for the course is Joe Weatherly’s Drawing Animals. We also had to do skeleton and ecorche versions.
Here’s my finished (I think) ink wash illustration from my concept class. Now I’ve begun Still Life, so it’s back to paintbrushes.
I did want to share some photos from our Western Washington SCBWI Keep It Simple Show. I’m lucky that it’s such a great group. Everyone was very generous and it was incredibly helpful seeing other people’s work, their tear sheets, and business cards. I’ve put in links to their websites on their works below. Check them out to be inspired. The artists are David Joaquin and Liz Wong in the top row; Maja Sereda and Tracy Wallschaleger of Red Dog Images.
The keynote speaker for the night was Jennifer Soloway of the Andrea Brown Literary Agency. She gave a fantastic talk on how to stand out from the slush pile, great first lines, and some of the ins and outs of being an artists’ representative.
I’ve had a week off before heading into the new quarter and Concept Illustration. I know a lot of animal artists talk about visiting the zoo to draw animals from life, but the zoo has its limitations – including the fact the animals are usually pretty far away. Yesterday I went to a Kangaroo farm and had a chance to hold a baby kangaroo and get close to a variety of animals I don’t normally see.
Besides kangaroos, there were lemurs, emus, donkeys, alpacas, Patagonian Cavies, and more. Plenty to see. It was neat to see the differences between animals and their different temperaments.
I had heard that Disney and Pixar animators work with live animals to capture their gestures and expressions.
Ralph Eggleston of Pixar said he watched a lot of National Geographic videos to get the correct shivers of birds for his For the Birds video (below). He also videotaped his bird for a few hours and he and his team studied its movements. The team also brought in Cornish game hens to study volume and weight.
I mostly took reference video and I’m going to practice sketching animals from different perspectives. I’ve heard it’s better trying to sketch from a looping video than relying on still photos alone…I can see why. James Gurney shared his tip about sketching a pony from life. He chose the time to draw it when he knew it would be sleeping.
It’s been another busy week, but learning a lot more what CarbOthello pencils can do. I really like the medium although I have a lot to learn about making color blends. This past week had our usual gesture drawings, 2 hand drawings in pastel, and then a costumed figure drawing. Sanded paper like UArt or Wallis can receive more layers than Canson Mi-Teintes or other pastel papers, but they will eat up your pencils quicker.
I found I like the soft rich blacks of Nitram charcoal. It also doesn’t have as much dust as General’s.
I’ll also post the three examples of pastel paintings that I posted in this week’s discussion. Pastel offers such a wide variety of expression. I really like the medium.
The first is a rendering of Ophelia from Cuong Nguyen who worked as a successful web designer for many years until he got working more as a streetchalk artist, then became a full-time fine art painter. I learned from him that skin tones can be mixed with a green underpainting (verdaccio) and flesh tones.
The second is an illustration from Paul Howard from a Jill Tomlinson book called The Owl who was afraid of the dark. I like the soft luminous quality Howard was able to get from his use of pastels.
Finally, there’s The Guardian by Fiona Tang. It combines chalk pastel with charcoal and acrylic on a paper backing. The different textures of the various media used for this piece this piece contribute to the overall effect in different ways; the chalk pastel in particular is important to the trompe l’oeil effect, helping to differentiate the “three-dimensional” stag in the front from the more “two-dimensional” background charcoal elements, with the white tone of the pastel “light” against the natural brown color of the paper.
This coming week is my final one for Life Drawing IV. We’ve got a watercolor assignment, the first I’ve had since I’ve been in art school. Also this weekend, I’ll be going to the Great Critique-nic through the Western Washington Society of Children’s Books Writers and Illustrators. It’ll be the first one that I’ve ever gone to. People bring their illustrations or writing and split up into small groups where they critique and be critiqued.
This past week my class has been looking at the drawing of expressive hands. We’re still working for the most part in charcoal which is getting easier to handle for me. I like Strathmore Toned Paper and I’m finding it easier to get darker tones with a softer Nitram charcoal. I had started with Strathmore 500 charcoal, but it doesn’t have the smooth look of toned paper.
Besides drawing practice (whole body gestures) and these hand drawings, we also have a discussion post where we post examples of expressive hands. Everyone always shares very different examples – it’s a great part of the class.
The three I shaerd this past week were from Rackham, Wyeth, and Earl Oliver Hurst. In the Rackham, I thought it was an interesting contrast between the knobby hands of the old woman and the simple open hands of the children. The Wyeth also showcases contrasts in this Heidi picture. The grandfather is tanned and has a commanding gesture. It’s contrasted with Heidi’s fairer and more tentative post. The Hurst I liked because he seemed to contrast the confident face of the man with the nervous lines in his jacket and hands.
I had a great time in a 1-day pastel workshop at the Cole Art Studio. I used Nupastels on LaCarte paper for this painting of a dik dik, a small antelope that lives in Africa. I worked on this in the afternoon.
In the morning, I painted an African hornbill.
Pastels seem almost effortless. I’m looking forward to doing more.
Interesting work in Life Drawing class the past week. We’re learning how to simplify figures by blocking in simple geometric shapes. It helps generalize what you’re seeing and I think will make it easier working from life.
At the Terryl Whitlach conference, she had recommended Future Publications’ How to Paint and Draw Anatomy which showed how to break the human figure into simpler shapes. I found the book (actually both volumes) online at Scribd.
Today, my teacher also shared a video that will make really help what I want to be able to do. The figures are very fluid, but also have volume.