Drawing

Animal Painting and Anatomy by W. Frank Calderon

By W. Frank Calderon

An entire, reasonably cheap, at-home direction in animal portray and anatomy, this quantity combines invaluable details on vital anatomical positive aspects with instructions on find out how to deal with matters and convey their types and postures. themes contain drawing from existence, flow, and composition, plus an in depth dialogue of animal anatomy. greater than 2 hundred illustrations.

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The colour could be ultramarine but a fairly watery mix. Then define all the blocks of architecture and the line of the base of the buildings where they meet the water. Indicate their reflections in the canal. Keep it all relatively simple, only putting in a few of the most obvious features. You will end up with a drawing as shown, which gives you quite enough information to start on the next stage. 1 Now you can do the sky. Use a size 7 brush with a good point. Turn the outline drawing upside down, resting it on a sloping board or desk.

Lighting The artist usually encounters a straightforward situation of light illuminating the drawing subject from one main source. With artificial light, it may be more complicated, but for most purposes you are dependent upon a single, directional light source, which helps – as perspective helps – to produce a convincing illusion of the solidity of objects. 42 GETTING STARTED This image shows a central light surrounded by spheres or globes and how this illuminates one side of each sphere, causing a shadow on the opposite side.

So when you produce a landscape, like the two examples here, you can give a greater effect of distance by varying the intensity of the colour and the clarity of the outline. 21BD1AF1-BA62-4ACF-868F-588A423B525B In the first example, the distant mountains are drawn in blue without very much detail on the surface of the rock. As the eye travels towards the foreground, it notices more intense and warmer colour and more distinct detail, as in the fence post and the close-up grass and bushes. In the second example, a similar effect is produced and this time it is much clearer that the colours of the landscape and building close to the observer are not only more distinct and detailed in texture, but their colours are generally much warmer in tone, using yellows and reds to give a more immediate effect to their position in space.

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