Drawing

subject. Im not saying for one momentthat we should abandon working fromphotographs, but a good mix of studyingfrom life and from a two-dimensionalimage is of great importance in both theunderstanding of the subjects form andmovement, and bringing the animal to life.

For those of you who have beenpractising drawing animals using themorphing of human skeletons Idemonstrated in the July issue, here is the next step to produce quick and easydrawings that can be used alongsidephotographic reference, and developedinto final artwork at a later stage. Thistechnique is perfect for setting downinformation when time is short and makes

drawing on location in the wild or in zoosor parks much easier and less frustrating.

Using this technique you will be workingwith straight lines rather than seeing acurve, which our brains are conditioned to see through years of learning. Take alook at the photograph of the two wolves(left) and the simplified skeleton of theskull and spine (above) I produced fromit. I then looked at the outlines of thefaces and reduced each curve to a seriesof straight lines.

This is a much quicker and moreaccurate way than trying to negotiate a curve directly, which nearly always ends up with many rubbings out and the damaging of the paper surface. It is a similar principle to creating a squarefrom a circle, but reversed. By firstdrawing a square and taking the cornersoff the square and cutting each line back,you will be left with a circle.

Fleshing outI have selected two skeleton bases fromthe July article, the ape and a big cat(right), and have separated the differentstages to make it clear for you. When youtry this yourself, just build up the differentlayers on the one skeleton.

To begin, think about your own body.You will know that inside your skeletonyou have internal organs, and over the top of the skeleton you have a layer ofmuscles and over the top of that, a layerof skin. This is no different to any othermammal. So when you flesh out, you mustbear this in mind and allow an area for the

Its popular practice these days forartists to reach for tracing paper andprojectors. I feel that the skill ofdrawing is ignored in preference to theapplication of paint and other media. As a teacher I am actively trying to promotethe joy, satisfaction and accomplishmentthat free drawing can bring to the artist.

There are arguments on both sides as tothe benefits of tracing. Yes, it is quick andaccurate, but where is the sense ofachievement that comes with knowingthat you have produced the drawingwithout the use of mechanical aids? Thisdrawing time, after all, is when the artistobserves, discovers and learns about themovement and textures of their chosen

24 AUGUST 2015 www.painters-online.co.uk

Victoria Parsons demonstrates simple methods to help build your drawing skills and make your drawings of animals appear more three-dimensional

Animal forms

How to work with straight lines to buildthe form

t

Photo reference of the subject. See page 26 for the finished drawing.t

LP08 24-26 Parsons_Layout 1 15/07/2015 10:19 Page 24