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Art Studio: Horses & Ponies: More than 50 projects and techniques for drawing and painting horses and ponies in pencil, acrylic, watercolor, and more!
144Overview
Product Details
| ISBN-13: | 9781633226951 |
|---|---|
| Publisher: | Foster, Walter Publishing, Incorporated |
| Publication date: | 03/19/2019 |
| Series: | Art Studio Series |
| Pages: | 144 |
| Sales rank: | 456,325 |
| Product dimensions: | 8.50(w) x 11.60(h) x 0.50(d) |
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CHAPTER 1
PORTRAITS IN PENCIL
Common Breed Profiles
The following five profile drawings are a small sampling of the differences in some common breeds. Note the shape of each profile; often, the profile of the head is characteristic of a particular breed.
ARABIAN This elegant, fine-boned horse originated in the deserts of the Arabian Peninsula Known for its speed and stamina in extreme conditions, the Arabian's beauty and grace are unparalleled Arabian bloodlines have long been used to establish new breeds, as their qualities are very desirable
AMERICAN QUARTER HORSE A compact breed originating in North America, the American Quarter Horse is known for its speed and durability at a quarter-mile sprint Primarily bred as a work horse and often used in ranch work, today's Quarter Horse is found across the globe
PONY OF THE AMERICAS This foal is a miniature version of the larger Appaloosa horse The pony possesses the same characteristics as its larger cousin, including spots, but the pony measures between 46 and 56 inches, making it the perfect size for children to mount
HAFLINGER Native to Austria, the Haflinger evolved in the Tyrolean area of the Alps The breed takes its name from the village of Hafling, which is now part of Italy Believed to be a horse with Arabian influence, the Haflinger is small in stature but mighty in heart Its stocky build has made it a good workhorse as well as a good mount for numerous disciplines Always chestnut in color, varying in shade from blond to dark chocolate, its mane and tail are long, thick, and flaxen to white in color
SHIRE A large, big-boned draft breed specifically bred for heavy work, this horse originated in England and is one of the world's largest breeds It can be black, brown, or gray in color Today's Shires make beautiful parade horses, pulling large, decorative wagons, and can still be seen in their traditional roles in England
Adding elements, such as tack and reins, can add interest to a composition
Basic Profile
1 Use an HB pencil and light pressure to block in the basic shape of the head and muzzle, paying attention to where the guidelines intersect Roughly indicate the curve of the jaw with a series of lines that extend up to the base of the ears Add a few curves to suggest the neck
2 Begin refining the neck, muzzle, and jaw Place the eye and nostril; then indicate the mouth Develop the facial features and further refine the outlines, following the subtle curves of flesh around the mouth Block in the mane and forelock with strokes that follow the direction of hair growth Keep strokes light
3 Erase the initial guidelines and lighten the outlines so they don't show through the final drawing
4 Begin applying tone using light pressure, loose hatching, and a 3B pencil Start with the darkest areas, such as beneath the jawline, in the nostril and eye, and within the mane and forelock
5 Blend strokes with a tortillon To deepen the values, continue stroking and blending, switching to a 6B pencil for the darkest darks
Three-Quarter Portrait
Horses are fantastic drawing subjects, as their inherent beauty and grace can be quite captivating. Pay careful attention to the detail of the eye to express this gentle creature's warmth and intelligence.
1 First establish the structure and angle of the head and neck with long strokes Then mark several planes with horizontal strokes, setting up guidelines for the placement of the eyes, nose, and mouth
2 Now use the initial guidelines to place the ears, eyes, nostrils, and mouth (The eyes are about &3189; of the way down the horse's head ) Also refine the outline of the neck and jaw line
3 Erase any guidelines that you no longer need and add the forelock between the ears Use thin, irregular lines to indicate the value changes on the horse's face Then add a little more detail to the horse's eye
4 Begin to develop the texture of the coat Now replace the solid lines that divide the values of the horse's face with a series of short hatch marks that follow the direction of hair growth Fill in the eye (see detail on opposite page), and add long strokes to the mane and forelock to contrast with the short hairs of the coat
5 Now create the dark areas of the coat using a large blending stump dipped in graphite dust. Apply broad strokes, fading them out as you work down the neck. With a smaller stump, add more detail and shading around the eye and ears. Finally, enhance the sense of depth by adding darker graphite strokes in the shadows of the ears and under the head.
HORSE DETAILS
MUZZLE The muzzle has subtle, curved forms, which are defined with careful shading. The area around the nostril is raised, as is the area just above the mouth; indicate this shape by pulling out highlights with a kneaded eraser.
EYE Horses' eyes have a lot of detail, from the creases around the eyes to the straight, thick eyelashes. To create a sense of life in the eye, leave a light crescent- shaped area to show reflected light, and leave a stark white highlight above it.
EARS Render the horse's forelock hair with long, slightly curving strokes. Then shade the interior of the ear with upward, parallel strokes, making them darkest at the bottom and gradually lighter as you move up the ear.
Arabian
1 With a sharp HB pencil, block in the boxy shape of the head and shoulders with straight lines to establish dimension and form
2 Refine the ears, head, and neck to give them a more contoured appearance Then add the eyes and nose, following the facial guidelines Refine the outline of the muzzle
3 Erase any guidelines that are no longer needed Draw light sketch lines to indicate the value changes in the coat
4 Use small, dark hatch marks to establish the coat Fill in the darks of the eyes and eyebrows
5 To add shading, create some graphite dust by rubbing the pencil over a sheet of fine sandpaper Pick up the dust with a medium-sized blending stump and shade in the dark areas of the fur and nose Blend to create soft gradations where the values meet
Foal
When creating a graphite drawing based on a color photo, it is often a good idea to transform the photo to black and white (or grayscale). Removing the distraction of color allows you to clearly discern all the values in the composition.
1 Sketch the foal with an HB pencil, placing a few recognizable markings on the face, neck, and shoulders
2 Use a 2B pencil to layer hair in and around the ears, beginning at the top and moving down To create the facial hair, stroke in the direction of hair growth Notice the extremely curved nature of the hair at the forehead Begin blocking in the dark areas of hair by layering with firm pressure
3 Build up the dark areas of the ear at right and blend with a tortillon (see "Ear Detail" on page 38) Use the edge of an eraser to pull out curved streaks of hair and blend the midtones Use a dirty tortillon to create short streaks along the outside edge to represent fuzzy, backlit hair Darken the tuft where needed and recover lights with the eraser Continuing down the face, add more lines in the direction of hair growth and blend Use a 6B pencil for the darkest areas and blend, before starting on the eye (see "Eye Detail" on page 38)
4 Begin the muzzle by blocking in the dark areas with a 2B pencil Follow the intricate patterns of the nose and mouth for correct placement Begin the coat on the foal's neck Stroking in the direction of hair growth, build up the dark areas with additional layers of 2B graphite
EYE DETAIL To render the eye, carefully fill in the pupil and iris with dark tone, working around two white highlights For the eyeball and surrounding black areas, lay in two firm layers of 2B graphite
EAR DETAIL Develop the left ear in the same manner as the right by blocking in and blending the darks, stroking in hair, blending the midtones, and pulling out lights with an eraser
5 Finish the muzzle by drawing over the darkest areas with a sharp 6B pencil and blending with a tortillon Add whiskers and dots lightly with a 2B Use a kneaded eraser to lift graphite in small areas and pull out light streaks Give the muzzle another light blending to finish Moving to the neck, continue to layer the hair with curved, directional strokes
6 Complete the rest of the foal's body by first layering in hair with short, directional strokes Apply two to three coats, and then blend with a tortillon Starting at the top of the head and behind the ear, use a kneaded eraser to pull out short streaks of lighter hair To finish, use a 6B pencil to build up density in the darkest areas
7 Begin the foal's mane at the ear and work down the back with a 2B pencil Keep strokes loose and free flowing For the darkest areas, apply additional layers of graphite
8 Beginning at the ear again, work slowly down the foal's back with a 2B pencil Create swirled strands of hair and blend them with a tortillon, lifting out light areas with the edge of a kneaded eraser For the darkest darks, add a layer of 6B graphite and blend To finish, add 6B graphite to any dark areas of the entire piece that have become lighter
CHAPTER 2GRAPHITE PENCIL
Pony
Ponies are not just small horses — they are a distinct species. Smaller than horses, ponies are also more sure-footed and have a stronger sense of self-preservation.
1 With an HB pencil, sketch the basic shapes Use overlapping ovals for the chest, body, and haunches Then place the gentle curves of the neck, blocking in the head with short, angular strokes Add ovals to block in the curvature of the jaw and muzzle
2 Building on the lines from step 1, outline the entire pony Block in the legs, carefully sketching the hooves and joints Quickly suggest the mane and tail with a few long strokes, and place the mouth, nostril, eye, and ears
3 Now erase the initial oval guides and shade the outside legs with long, vertical strokes Then create the texture of the mane and tail with long, straight strokes to represent strands of hair To give the body form, add a few marks to suggest the major muscles You can give the face form with a few areas of light, solid shading Then outline the halter
4 Ground the pony by adding a few cast shadows and faint lines for the stable in the background Keep these lines thin and light so that they don't compete with the pony Now finish the body of the pony by shading with parallel strokes that follow the muscle structure This hatching technique creates a slightly stylized effect Finish by touching up the facial details with additional shading
Clydesdale
The Clydesdale is a popular parade horse, easily recognized by its "feathers" — the long hairs around its lower legs. The pose shown here emphasizes this draft breed's muscular hindquarters. The Clydesdale has a round rump, heavy legs, a thick and arched neck, and a Roman (arched) nose.
STARTING OUT Block in this horse carefully, keeping the principle of foreshortening in mind Use a soft lead, such as a 2B, to establish the areas of light and dark in step 3, and, for contrast, use heavy, straight strokes for the mane and tail
PORTRAYING UNIQUE QUALITIES Study your subject carefully so you can depict its unique characteristics, such as the decorated mane and tail of this parade horse
Circus Horse
Horses used in the circus are usually large-boned breeds, such as European Warmbloods. These breeds have broad backs and strong builds combined with an elegant, graceful carriage.
BLOCKING IN THE SHAPE Use large ovals and circles when blocking in this horse to establish its size and strength The reins are attached to the surcingle belt around the horse's body, so the head needs to be angled sharply toward the horse's chest, and the neck is greatly arched In your final rendering, shade the white areas lightly, and use an eraser to pull out the highlights in the dark patches and in the tail
Appaloosa
The Appaloosa is an American descendant of the Spanish horses that were imported by 16th century conquistadores. This breed features four identifying characteristics: a spotted coat pattern, mottled skin, white sclera around the eye, and striped hooves. This project demonstrates the grid method, which uses simple squares as reference points for transferring an image to your drawing paper.
1 To recreate this photograph, use the grid method Begin by placing a grid of one-inch squares over a photocopy of the reference image using a pencil and a ruler Refer to this as you place the outline in your hand-drawn grid in step three
2 Using an HB pencil and very light pressure, create a grid on your drawing paper that has the same number of rows and columns as the one placed over the reference (If you want your final drawing to be larger than the reference, make the squares of the grid larger; if you want your final to be smaller, make the squares smaller )
3 Now simply create the outline of the horse by copying what you see in each square of the reference into each square of your drawn grid You may choose to keep the outline simple and basic, as you can always refine it after erasing the grid, or you can give yourself a thorough guide by adding the facial features and coat patterns
4 Using an eraser, gently rub away the grid lines Try not to rub too hard, as you don't want to damage the surface of the paper Then redraw any areas of the lines that have been accidentally erased, restoring the outline as you go If you have trouble fully erasing the grid lines, you may want to transfer your outline to a fresh sheet of paper
5 Now begin working tone into the shadows and across the body using 3B and 6B pencils Use layers of graphite to build the drawing slowly — start out with light pressure, and then use heavier strokes to develop the muscles and other details Notice that some of the spots aren't solid — some even contain spots themselves Noting and capturing these subtleties will add realism to your finished drawing
6 Continue adding value to the horse and grass, working evenly across the drawing For the light areas of the horse, use a very light layer of tone to make it stand out from the white of the background Leave only the brightest highlights free of tone; if you happen to cover them with tone, simply pull out the graphite with an eraser
Cantering Foal
By the time a foal is one year old, many of the baby characteristics are gone, but it is still obvious that the horse is a youngster. Most horses will reach full maturity by the age of five. By their second birthday, many breeds are already under saddle.
1 This foal in action has three feet off the ground — with this tricky position, be careful not to tip the horse forward in your sketch Beginning with an HB pencil, use light strokes and curving lines to establish the body; then begin defining the bulges and muscles within the outline Mark the centerline and browline for feature placement
2 Continue refining the outline, adding details to the neck, face, and legs Create the distinct curve of the neck, following the contours of the muscles Add the mane with a series of short, random strokes; then suggest the tail with a few curved strokes
(Continues…)
Excerpted from "Art Studio: Horses & Ponies"
by .
Copyright © 2019 Quarto Publishing Group USA Inc..
Excerpted by permission of The Quarto Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
TOOLS & MATERIALS, 4,
Drawing, 4,
Oil & Acrylic, 6,
Colored Pencil, 8,
Pastel, 9,
Watercolor, 10,
TECHNIQUES, 12,
Pencil Techniques, 12,
Acrylic Techniques, 14,
Oil Techniques, 15,
Colored Pencil Techniques, 16,
Pastel Techniques, 17,
Watercolor Techniques, 18,
Equine Features in Pencil, 20,
Anatomy & Proportion, 22,
Equine Features in Oil & Acrylic, 24,
Equine Eyes in Oil & Acrylic, 26,
Equine Eyes in Watercolor, 27,
Chapter 1: PORTRAITS IN PENCIL, 28,
Common Breed Profiles, 28,
Basic Profile, 30,
Three-Quarter Portrait, 32,
Arabian, 34,
Foal, 36,
Chapter 2: GRAPHITE PENCIL, 42,
Pony, 42,
Clydesdale, 44,
Circus Horse, 45,
Appaloosa, 46,
Cantering Foal, 50,
Standardbred Trotter, 52,
Gypsy Vanner, 54,
American Paint Horse, 58,
Pinto, 60,
Dappled Pony, 64,
Friesian, 66,
Chapter 3: OIL & ACRYLIC, 70,
Profile in Oil, 70,
Three-Quarter Portrait in Oil, 72,
Three-Quarter Portrait in Acrylic, 78,
Foal, 82,
White Arabian, 86,
Stallion, 92,
Chapter 4: WATERCOLOR, 98,
Grazing Thoroughbred, 98,
Arabian, 104,
Pasture Pals, 108,
Trakehner Warmblood, 112,
Chapter 5: PASTEL, 116,
Buckskin Pony, 116,
Black Stallion, 122,
White Stallion, 126,
Chapter 6: COLORED PENCIL, 132,
Profile, 132,
Horse & Foal, 136,
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