ANIMAL PORTRAITS

COMPOSITION

Composition, or the arrangement of elements in a scene, can make or break a work of art. All the skill in the world will not help you if your composition is dull and uninteresting. Some artists just seem to have a natural “talent” for composition, but in actuality, this talent stems from basic principles and trial and error. Be sure to think about your drawing and plan it before you start. All of my work is “drawn” in my head before I put pencil to paper. Make quick thumbnail sketches to work out any compositional issues ahead of time.

COMPOSITION TECHNIQUES

Here you’ll read about a few compositional tricks I have practiced over the years. Remember that it’s OK to make errors as long as you keep trying. If you feel uncomfortable with a drawing, try looking at it upside down or in a mirror; whatever is bothering you will be more easily apparent. Keep everything you draw, because you can learn from your mistakes and lessen the chance of repeating them by reviewing less successful drawings every now and then.

ODD NUMBERS AND ASYMMETRY

Generally, subjects are more appealing when grouped in odd numbers rather than even numbers. Consider this when planning your composition. You can use even numbers in your compositions, of course, but you’ll want the subjects to differ in size—for instance, you could draw three baby birds in a nest with their mother. Or you can introduce some asymmetry, like drawing three frogs on one end of a log looking at a solitary frog on the other end.

THE RULE OF THIRDS

Another method for creating a pleasing composition is to divide the picture into thirds (vertically or horizontally or both) and place your center of interest at or near one of the points where the lines intersect. This keeps your focal point away from the extremes—corners, dead center, or at the very top or bottom of the composition. In the drawing at right, the tiger’s right eye is placed where two of the lines intersect, creating a pleasing composition.

GEOMETRIC COMPOSITION

Divide the composition into geometric shapes (rectangles, triangles, or circles), and place the elements of the drawing where these lines divide and intersect, as well as within the areas created by the intersections. Look at the geometric shapes that form in your drawing. Is there a strong triangular formation? Or have you created a centrally balanced work? Notice how the internal shapes lead your eye around the page. Be aware of any compositional subtleties that can create divisions in your drawing.

USING REFERENCES

When planning a composition, use as many different types of references as you can to explore your subject. I base most of my work on sketches and photos I have taken. I also source information from the Internet, magazines, books, and other photographs. Be aware that photos taken with a flash will be tonally flat and contain flash highlights, especially in the eyes. For this reason, don’t copy a photograph exactly; just use it as a guide.

Whenever you use material that is not your own, you must be aware of copyright restrictions. If you have used another’s work to create your drawing, you cannot sell or publish that work as an original. My advice is that if you are in doubt, ask the original creator’s permission first. Many photographers and artists will grant you permission, but some will require a fee.

USING PHOTO-EDITING SOFTWARE

If I want to combine elements from multiple photographs into one image, I can use photo-editing software to physically piece together the photographs. Below I demonstrate how I used several different reference images to create a single composition. I had taken a number of excellent shots of a group of meerkats, but none of the shots had the animals all looking in one direction. I wanted the drawing to show all the animals huddled together, making eye contact with the viewer. To do this required cutting and pasting from three separate photos.

1 This is my base photo. The body positions are pretty much how I want them, but only two of the animals are looking directly at the camera.

2 I like the heads of the top two meerkats from the second photo (shown here), so I select and copy them.

3 I paste the new heads onto a new layer in my file. This obscures the head of the back meerkat, though. To fix this, I return to the first layer, and select and copy the back meerkat’s head.

4 I paste the new back head onto a new layer in my working file, erasing any part of the image that covers up the front meerkat.

5 Next I select the head of the far-left meerkat from the third photo (shown here) and copy it. Then I paste the head onto a new layer.

6 I manipulate the pasted images in each layer until I’m happy. I like the triangular composition created by the meerkats. I save this as a new final file.

PERSPECTIVE BASICS

For a drawing to be considered realistic, it needs to give the impression that it inhabits a three-dimensional space with depth and distance. To do this, employ the rules of perspective in your drawings. The first (and most important) rule of perspective is that objects that are closest to the viewer are larger than objects that are farther away. Here you’ll find demonstrations of one- and two-point perspective. For more information, see William F. Powell’s book Perspective (AL13) in Walter Foster’s Artist’s Library series.

One-Point Perspective In one-point perspective, there is only one vanishing point (VP), or the point at which all perspective lines converge and seem to vanish. First draw a horizontal line on your paper to represent the horizon line (HL), or eye level. Then place a dot to the far left on the HL for the VP. Next draw a vertical line to the far right that intersects the HL at a 90-degree angle. About three-quarters of this line should be above the HL, and about one-quarter should be below it. Imagine that this vertical line is a fence post (or a standing giraffe). Now draw a line from the top of this post to the VP, and another from the bottom of the post to the VP. This V-shaped guide allows you to see exactly where the top and bottom of each successive post (or giraffe) is located.

Two-Point Perspective In two-point perspective, there are two vanishing points. The best way to demonstrate this is by drawing a three-dimensional cube. First draw an HL, and place one VP on the far left and another VP on the far right. Draw a 90-degree line that bisects the HL at about the halfway point for the center “post.” This line should extend above and below the HL at an equal distance. Draw lines from the top and bottom of the post that extend to each VP. Draw two more vertical lines to the left and right of the center post. These two new posts represent the corners of your cube. At the point where each corner post intersects the VP lines, draw a new line back to the opposite VP. These lines form the back edges of your cube, and the place where they intersect guides you to the position of the final back corner post, completing your cube. I sketched a baby elephant in my cube to demonstrate how animals are affected by perspective. The elephant’s feet are positioned on the bottom corners of the cube, and the perspective of the VPs directly affects their positions.

FORESHORTENING

Foreshortening is an important method of creating the illusion of depth in a drawing, and it works hand in hand with perspective in that the part of the subject that is closest to the viewer appears larger than the parts that are farther away. To create this illusion when drawing, just shorten the lines on the sides of the object that is closest to the viewer.

Visual Example To see foreshortening in action, hold a dinner plate straight out in front of you. It appears as a circle. Now tilt the plate slowly away from you. The plate now appears much shorter. This shape is called an “ellipse.”

Recognizing Foreshortening This sketch of an iguana is a good example of foreshortening. Notice the difference in the size of the iguana’s right foot compared to its left foot. The left foot was drawn much larger because it’s closer to the viewer.

Drawing Ellipses An ellipse is merely a circle that has been foreshortened, as discussed above. It’s important for artists to be able to correctly draw an ellipse, as it is one of the most basic shapes used in drawing. Try drawing a series of ellipses, as shown here. Start by drawing a perfect square; then bisect it with a horizontal line and a vertical line. Extend the horizontal lines created by the top and bottom of the square; also extend the center horizontal line to the far right. Create a series of rectangles that reduce in width along the horizontal line. Go back to the square and draw a curve from point to point in one of the quarters, as shown here. Repeat this same curve in the remaining quarters (turn the paper as you draw if it helps), and you will have created a perfect circle within the square. Repeat this process in each of the narrowing rectangles to produce a range of ellipses. Use this exercise whenever you have difficulty drawing a symmetrical ellipse or circle.

CREATING A FOCAL POINT

A key element in creating a successful composition is including more than one area of interest, without generating confusion about the subject of the drawing. Compositions are often based on one large object, which is balanced by the grouping, placement, and values of smaller objects. Directing the viewer’s eye with secondary focal points helps move the viewer through a scene, so that it can be enjoyed in its entirety.

The primary focal point should immediately capture the viewer’s attention through size, line quality, value, placement on the picture plane, and the proximity of other points of interest which call attention to it. The secondary focal point is the area that the eye naturally moves to after seeing the primary focal point; usually this element is a smaller object or objects with less detail. Another secondary focal point may be at some distance from the viewer’s eye, appearing much smaller, and showing only minor detailing, so that it occupies a much less important space in the drawing. This distant focal point serves to give the viewer’s eye another stop on the journey around the composition before returning to the primary focal point.

Primary, Secondary, and Distant Focal Points The size and detail on the pelican designates it as the primary focal point, and it immediately catches the viewer’s eye. The pelican’s gaze and the point of its bill shifts the attention to the small birds in the foreground (the secondary focal point). By keeping the texture and value changes subtle in the middle ground, the eye moves freely to this point. These three small birds are shaded fairly evenly so they don’t detract from the primary focal point. The triangle created by the birds, along with the water’s edge and the point of land, leads the viewer’s eye to another, more distant focal point—the lighthouse. Here the two subtle rays of light against the shaded background suggest a visual path. The rays of light, the point of land, and the horizon line all work together to bring the viewer’s eye back to the pelican, and the visual journey begins again.

DEPTH & SIGNIFICANCE OF LANDSCAPE ELEMENTS

When developing a sense of depth in your compositions, remember what attracts the viewer’s eye. Larger elements and those that overlap others demand attention and come to the foreground. Also, extensive detail and darker values will draw attention to even a small element. Consider these principles in your landscape compositions. Look for them in the landscapes on the previous pages and below.

Commanding Attention Notice that the very large oval occupies as much space as all the other elements in this sketch combined and is therefore very important; but the shaded circles, which are a fraction of the oval’s size, vie for the viewer’s attention. The outlined shapes at the bottom draw our eye last, but their overlapping edges do give a feeling of some depth.

Focal Points The complexity of the underlapping placement and shading on the partially hidden circle compels the eye to look at it, even though it is smaller than most of the other elements. However, the dark circle with interior lines (showing detail) is still the strongest focal point, and the viewer’s gaze will be repeatedly drawn to that spot.

Attracting the Viewer’s Eye As shown in the “Focal Points” thumbnail sketch (see previous image), the darker values of the shaded rock beneath the tree attract the viewer’s eye, even though it is smaller than the rest of the elements. By drawing the foreground tree so that it overlaps the small rock, a sense of depth and dimension is produced (as illustrated in the thumbnail where the two squares overlap the small shaded circle). The dark background tree attracts the most attention, as seen in the same thumbnail, because it so strongly contrasts the light values of the foreground tree.

Lack of Focal Point When all lines in a composition are drawn with the same depth of intensity (value) and width, the entire design appears flat and uninteresting, with no focal point.

Focal Depth and Flow By simply changing the weight of the lines of the foreground rectangle, and by varying the quality of lines in the road and mountain, the scene has more focal interest.

Focal Curve A graceful curve leads the eye into the composition. This can be used for roads and pathways to create the illusion of hills and valleys, and also in subjects like floral arrangements to direct the viewer’s eye.

Focal Depth The focal curve is one way of creating depth in a composition. Here it serves as a road in a natural setting, leading the viewer into the scene. The use of overlapping elements—the trees—also adds to the illusion, creating focal depth.

Multiple Focal Curves To further accentuate the feeling of distance, more than one curve can be used, along with multiple elevation lines. Notice that the curve segments are displaced and become smaller as they recede in the distance.

Sketching Focal Patterns Sketch a preliminary, simple pattern plan to show the general placement of elements without the distraction of internal details, value or line quality. Look for the focal pattern—how the eye moves around the picture and what is important—and adjust as needed.

Develop the Pattern After sketching and adjusting a preliminary pattern plan, lightly add details to build the feeling of rhythmic movement and depth. Begin varying the weight of the lines and refining the shapes of the elements. As you continue, use value to further accentuate the focal pattern.

VERTICAL LANDSCAPES

Vertical compositions can be daunting, but with careful planning, a good flow and visual drama can be developed. Every space doesn’t need to be filled; open areas can actually balance out more intricate parts of the composition and give the viewer’s eye a place to rest.

Vertical L Design This composition is based on an elongated L. The craggy cliff face is perfectly suited for a vertical picture plane. With the same angularity as the stones, the ram almost looks like an extension of the cliff face and becomes the main focal point of this landscape. The two mountain sheep at the bottom of the cliff are secondary focal points. The vertical cliff face separating them also ties them together and serves as a pathway for the viewer’s eye. The cliff detail is strongest beneath the large ram at the top, and the less-detailed lower ground becomes a supportive area for the smaller sheep in the foreground. Notice that the ram and one sheep are looking directly at the viewer—this tool is used frequently by artists to bring the viewer into the scene. A subtle suggestion of sky and distant trees gives a feeling of depth to the composition.

COMPOSING ANIMAL SCENES

Thoughtful planning of size and placement is almost as important as your choice of animal subject to ensure the success of the statement you wish to make. Animals usually are portrayed in “classic” or natural poses for the kind or breed; breaks from that norm are considered either funny or worrisome. Backgrounds should be minimal or include just a few habitat clues to place the focus on the animals. Multiple photographic references often are the best way to capture the animal pose you want to draw.

Groups of Animals Seagulls feeding in flight provide an interesting subject. The statement of this composition is their fluid movements while showing the flurry of activity in their search for morsels of food. The X- and O-composition methods shown below were combined to create this drawing, which was assembled from several photos. Slight overlapping adds to the action and creates depth.

Building the Composition Start with the O-composition method as a guide to show the flight pattern of the birds. Avoid placing the gulls in a perfect circle, as this looks unnatural.

Balancing the Composition By overlaying the X composition, more balance is added. Escape monotony by using the X only as a guide and not placing the gulls directly on the lines.

Commanding Attention Remember that detail and value attract the viewer’s attention. This illustration shows that even though the dog on the right is large and the one on the left is moving, the eye will always come back to the dog in the center because it is darker and highly detailed.

Adding Other Elements In this sketch, a baby skunk and an old shoe make a fun and unusual statement in a drawing I call “Phew!” The expression on the baby skunk’s face portrays curiosity and hesitation. Uncertainty is portrayed in its body position. The shape of the skunk’s tail is mirrored in the tongue of the shoe, and the skunk and shoe are relatively the same size, balancing the composition and holding the viewer’s attention. The composition here is based on the juxtaposition of just two elements, which creates a pictorial balance, but most importantly, conveys a message.

KANGAROO

Australia’s iconic marsupial is an ideal subject to photograph, as it often is found in a stationary pose, either grazing or watching. This kangaroo, with its head gazing directly at the viewer and its large tail resting on the ground, is a good example of the quiet nature of these graceful animals.

Experimenting with Texture A kangaroo’s coat is thick and dense, with an even color and texture. I always enjoy exploring the swirls and flow of the fur texture in my kangaroo drawings.

Step 1 Using an enlarged photocopy of the reference photo, I trace the outline of the kangaroo on a piece of sketch paper. I also trace the eyes, muzzle, nose, mouth, a few small fur details, and the horizon line, which I’ll use later to “ground” the animal with grass. Then, using a 2 mm clutch pencil with an HB lead, I transfer my sketch to a sheet of hot-pressed paper.

Step 2 I carefully lighten the outline of the head by dabbing at it with a kneaded eraser, leaving only a faint guideline. Starting with the ears and working down the head, I use a sharp 2H clutch lead to draw quick, short strokes for the undercoat, which will act as a directional guide for the rest of the fur. I leave the eyes and highlights of the cheeks, muzzle, and ears white.

Step 3 With a well-sharpened HB clutch lead, I begin to build up the second layer of fur. Still using swift, short strokes and following the direction of fur growth, I concentrate on building deeper tones and form. Sharpening my pencil often, I keep the stroke length and starting points fairly random to avoid unattractive edges or ridges. I take care to avoid the white highlight areas.

Step 4 With a slightly blunt HB clutch lead, I use a circular motion to build up a dark, even tone for the eyes and leathery nose. I gradually build up layers of tone as I draw over these areas again and again, taking care to not press too hard. To create the highlight in each eye, I form a kneaded eraser to a point and lift out some tone. With a very sharp 2B clutch lead, I delicately accentuate the edges of the eyes and nostrils, deepening the darkest areas.

Step 5 Still using the 2B lead and sharpening it often, I build up the darkest areas of the fur on the head with short strokes. I always follow the direction of the fur as I work, deepening the tone to create contrast across the nose, mouth, and ears. I pay particular attention to creating dark tones in the ears, as these areas provide the negative space that creates the white areas. The deep tone in the inner ear helps create the appearance of white fur tufts on the outer ear. I carefully add a few 2B strokes into this white area to create an even greater sense of depth and make the white fur stand out.

Step 6 I go over the entire head area once again with fine strokes of a sharp HB clutch lead, further refining the details. This final layer helps blend the underlying layers and creates an even, smooth texture. Next I continue the linework down the neck, alternating HB and 2H leads. This blends the finished area of the head into the body. I use the same techniques that I used for the head as I continue down the body. First I carefully lighten the outline with my kneaded eraser. Then, with a sharp 2H clutch lead, I work down the forearms and the back of the kangaroo, following the direction of the fur and trying not to create any obvious patterns or edges when I apply my strokes. I refer to my reference photo often to make sure I am following the fur direction correctly.

Step 7 I use a sharp HB clutch lead to add a second layer of fur over the undercoat. Where the fur is darker, the strokes are closer together; where the fur is lighter, the strokes are farther apart. I notice that the fur is longer and wavier on the kangaroo’s back, so my pencil strokes reflect this. For the fur over the back and sides, I keep the strokes short and close together, allowing the HB to blend into the 2H layer. Then I use a sharp 2B lead to darken the fur, adding form and tone. I use a 2B lead to darken the areas above the animal’s right arm and along the front of its shoulders to create the patch of white fur on the chest. I also darken the front paws, building form and detail.

Step 8 To give the impression of sunlight shining across the body, I leave some white showing in the highlight areas of the leg and hip. I also leave a small area of white on the tail where I eventually will add some blades of grass. This overlap helps show that the tail is resting on the ground. I proceed to build the undercoat into the rest of the torso and tail with a 2H clutch lead. Then I apply a second layer with an HB lead, taking care to leave some white areas showing on the leg, hip, and tail. I keep my strokes a little looser around the hip, giving them a bit more length and wave. I make tighter strokes on the tail to reflect its shorter, denser fur.

Step 9 Now I use a 2B clutch lead to create darker fur over the back and down the tail. The tail is quite dark and needs a bit of layering to build up the correct tone. I do not take this darkest tone to the edge of the back and tail; instead I leave the tone lighter along this edge to create the illusion of a rounded, three-dimensional form. Moving to the legs, I soften the guidelines with a kneaded eraser; then I use an HB lead and light pressure to create the fine fur. There is reflected light on the sides and backs of the legs, so I keep these areas lighter in tone. I use only a sharp HB lead here, as there is not a great tonal range in the legs, but I do apply several layers to build up the texture. I add a few strokes of a sharp 2B lead to deepen the tone around the ankle and under the hip.

Step 10 With a sharp HB clutch lead, I work lightly over the entire body and head, defining and sharpening the tones in the fur. Referring to my photo, I emphasize the paws, deepen the tone under the shoulder and neck, and add more fur across the hip and back. I also use my kneaded eraser to lighten the highlight on the leg a little. While adding these final touches, I am careful not to touch the drawing as I do not want to smudge the graphite. The crispness of the strokes is what makes the fur work, so any smudging would be tragic.

Step 11 Now it is time to “ground” my kangaroo. To do this, I draw grass around the feet and tail with loose, curved strokes and a sharp HB clutch lead. To avoid creating any regular patterns, I randomly place long and short strokes, varying the direction of each stroke as much as possible. I draw some grass overlapping the area of the tail I left white in step 8. I also draw a faint line of grass along the horizon, after removing most of the guideline with a kneaded eraser. I try to work quickly and avoid focusing on accuracy or details, instead leaving the grass loose and spontaneous.

Step 12 I continue to develop the grass, darkening the tone under the kangaroo’s feet to further ground the animal. When I’m satisfied with my drawing, I sign the work and lightly spray the entire drawing with workable fixative to help prevent smudging.

ASIAN ELEPHANT

Large animals such as elephants are great subjects for your first attempts at drawing wildlife. The big, round forms are easy to understand, and the texture of the skin is less daunting than fur. This project features an Asian elephant, which differs slightly from an African elephant in that it has a smaller body and ears, as well as a more rounded back. It also has a fourth toenail on its rear feet and only one “finger” at the end of its trunk. The head and body are sparsely covered in wiry hair. Because they are working animals, their tusks often have been cut short to prevent damage to their surroundings. Noting these characteristics will help you accurately portray this type of elephant.

Rough Sketch I start with a rough sketch as a plan for the final drawing. Using a soft 2B pencil, I define the general forms of the elephant. I also indicate the lights and darks, keeping in mind that the light is coming from above right. I want the viewer to know that this elephant is Asian, so I decide to add a Malaysian-style house in the background.

Step 1 Now I transfer only the outline of my sketch to my final art paper. I tape the sketch to a bright window and place a piece of art paper over the sketch. Then I use an HB pencil to carefully trace the outline on the art paper. I do not include any details or the background at this time. For reproduction purposes, the outline you see here is much darker than I would use in my work. I will erase much of the outline by dabbing at it with a kneaded eraser as I work.

Step 2 I need to create a very soft, smooth tone to represent the underlayer of skin prior to adding the rough, cracked texture. Using a 2B woodless pencil, I make small circular strokes to fill in the darkest shadow areas. I leave large areas of white, as I will blend the graphite into these areas in the next step. To help protect the white of the paper, I wear a cotton glove with the tips of the fingers cut off. I also rest my hand on a sheet of paper that covers part of the drawing surface.

Step 3 Using a tortillon and light, circular motions, I slowly blend the dark graphite into the white areas of the paper for a smooth, satiny look. I use this residual graphite on the tip of the tortillon to “paint” lighter tones over the white areas of the elephant. Then I use a 2B and circular motions to darken the shadows from step 2.

Step 4 I use the graphite on the tip of the tortillon to “paint” softer tones into the whites of the tusks, across the forehead and ears, and on the trunk and chest to form ridges and folds of skin. Working over the head, ears, and a bit of the trunk, I add some wrinkles using a sharp HB mechanical pencil. I sharpen the edges of the curls in the ears and use circular strokes around the eyes and brows. Then I continue down the body, adding wrinkles and creases. I refer to my reference to see how the wrinkles flow over the legs. I add details to the toes and trunk, and I darken the ends of the tusks. I blend this linework slightly with a tortillon. I realize that something is not quite right with the legs, but I keep drawing. Using a sharp 2B mechanical pencil, I further darken and enhance the wrinkles, as well as areas around the eyes and inside the ears. I use adhesive putty to lift out tone from the outward side of the elephant’s front left leg, as well as areas on the head and trunk.

Step 5 With the 2B pencil, I continue to build up the form of the tough, wrinkled skin. I also deepen the tones in the darkest shadows, and I add some dark hairs on the elephant’s head and back. With a very sharp HB pencil, I draw strokes of various lengths to represent the grass on the ground as well as at the end of the elephant’s trunk. Then I use a sharp 2B to fill in dark areas between the strokes, giving the grass some depth. Next I add further detail in the feet and toes.

Step 6 After adding more dark values to the grass, I switch to an HB pencil and return to the elephant, emphasizing darks and adding more wrinkles where needed. At this point I still am not happy with the legs; they seem too long and out of proportion. Then I realize my error—I was fooled by the photographic distortion of perspective in my reference, which resulted in the elephant’s rear right leg appearing too long. I need to raise the elephant’s rear right foot and shorten the leg. I very carefully erase the bottom portion of the rear right leg with a kneaded eraser. As the graphite has been blended, I cannot quite remove all the tone. As you can see here, there is a faint “ghost” foot remaining. I will need to hide this under grass in the next step.

Step 7 I lightly redraw the foot, setting it back farther in the picture. Then I draw grass over the areas of the original foot that I couldn’t entirely erase. Now I turn my attention to the background, using an F pencil to draw the shapes of the house freehand. Then I sketch some palm trees and vegetation around the house. After switching to an HB pencil to develop the details of the house and vegetation, my drawing is complete. Overall, I’m happy with the drawing; I like how the animal is placed in an environment that identifies its location and also hints at its working life. The correction to the length of the back leg has certainly improved the work.

KOALA

Koalas’ faces have such character, and their simple, round bodies are easy to draw freehand. Koalas don’t move about much—in fact, they sleep more than 18 hours a day! So if you see a koala awake, be sure to take a photo because it is a rare opportunity. When drawing a koala, you will need to use a number of pencil techniques to create short and long fur, white and dark fur, and the varied textures of the nose, claws, and eyes.

Taking Multiple Photos I spent several days taking photos at a local koala sanctuary, but I couldn’t get a “perfect” shot. The best-posed animals were asleep or squinting, and those with their eyes open were in awkward positions. So I took as many photos as I could of koalas both asleep and awake, and I combined multiple references for the final composition.

Finding the Proportions To figure out the correct proportions of the koala, I first draw a 6.5" × 9" rectangle on a sheet of tracing paper. I divide this shape horizontally into thirds; then I draw a vertical plumb line that is slightly off-center down the length of the rectangle. Referring to my main reference photo for the scale and size of the head, I center the head circle exactly where the plumb line and the first horizontal line meet. Then I roughly divide the head circle into thirds horizontally and vertically—this will help me correctly position the facial features. I do not need to use a ruler to measure this; I just use my eyes to judge the correct distances. Now I use simple oval shapes to block in the round shapes of the body and ears. Using my reference as a guide, I sketch the arms, fingers, and tree branches.

Blocking in the Features Now that I have the proportions down, I place another sheet of tracing paper over my drawing and begin refining the shape of the koala. Constantly referring to my main reference shot, I block in the nose, noting where it starts and finishes in relation to the grid. Using my other reference shots as a guide, I position the open eyes almost exactly on the top horizontal line of the grid. Now I place the mouth and cheeks, which are a series of arcs within the bottom third of the head circle. I build up some fur in the ears, on top of the head, and on the chest; then I develop the arms and legs, adding the long claws and noting where the heel of the foot rests against the upright branch. I decide to omit the back foot that awkwardly overlaps the chest area in the main reference photo. I know enough about koalas to know that my drawing will be believable if the foot is tucked out of sight behind the branch. Finally, I add a few more tree branches and leaves.

Step 1 After transferring the outlines of my sketch to a piece of 300 gsm (140 lb) hot-pressed paper, I start developing the ear on the left, as I plan to work down and across to the right. First I lighten the outline of the ear with a kneaded eraser. Then I use a sharp 2H clutch pencil to draw long, smooth lines for the undercoat, varying their lengths and directions.

Step 2 I switch to an HB clutch pencil and draw more long, broken strokes around the 2H strokes, carefully leaving the paper white in areas. As I work in the dark strokes, the white of the paper begins to form the white hairs. (This is a form of negative drawing.)

Step 3 Using a sharp 2B clutch pencil, I begin to intensify the shadowed areas of the fur under and on the edge of the ear. This dark tone creates a high contrast and makes the white areas stand out, increasing the impression of long, white fur. I return to the ear again with the 2H clutch pencil, refining and smoothing out the detail. By completing the ear on the left first, I have established a value range for the rest of my drawing; the ear will act as a visual gauge.

Step 4 After lightening the outline of the rest of the head with a kneaded eraser, I use a 2H clutch pencil to create short, quick strokes all over the head, avoiding the eyes and the nose. I draw in the direction of fur growth, placing my strokes very close together and using a tight, controlled movement. My wrist does not move at all; my fingers do all the work. When I’ve covered the face, I go back in with an HB pencil and darken the areas across the forehead and above the nose, using the same short strokes as before. Then I use a 2H to add a quick layer of fur to the ear on the right, as well as to build up the fur around the cheeks, chin, and mouth. I form the shape of the iris in each eye with a light layer of 2H, and I add some tone to the nose.

Step 5 After dulling an HB pencil by rubbing it on a piece of scrap paper, I add circular strokes to the nose, leaving some areas white. I switch to a 2B and use short strokes above and below areas of the nose to create more contrast. I also use the 2B to darken the nostrils. Switching back to the HB, I create short lines in the mouth and under the nose. At this point, I realize that the pupils look too human in my sketch—a koala actually has a narrow, vertical slit for a pupil. I sharpen the HB and use it to redraw the pupils and darken them. I also use the HB to form the eyelids and brows with short, directional strokes. I use the 2B to darken the irises and areas around the eyes.

Step 6 Alternating between my sharp HB and 2B pencils, I build up the fur all over the face and chin. I use the 2B to create dark shadows around the mouth, nose, chin, and cheeks; then I use the HB like a tortillon to blend the tone. Using both pencils and circular strokes, I further develop the tone on the nose, creating a dark, leathery texture. Turning to the eyes, I define the darks with the 2B and accentuate the shape and form with the HB. I also slightly widen the eyes by darkening the lower lids. Then I carefully lift out a highlight in each eye with adhesive putty. Now I concentrate on the ear on the right, repeating steps 2 and 3. I don’t finish the ear completely.

Step 7 After lightening the outline of the body with a kneaded eraser, I use short, light strokes with a 2H pencil to create the undercoat for the entire body. Again, I always draw in the direction of the fur growth and avoid creating patterns. I leave the chest and underarms white, but cover the rest of the body with a light network of interlacing 2H strokes. The fur on the arms is the shortest and most random in direction, so I make my lines reflect this. I notice that I’ve made the fur on the koala’s leg (near the main branch) too patterned and regular; I will remedy this by adding some overlapping strokes as I darken this area in the next step. Now I add tone to both paws with the HB pencil, and I draw the long claws.

Step 8 I work over the entire body at once with very sharp HB and 2B pencils. I use the 2B to create the blackest areas near the white fur—the 2B “cuts” into the white areas, forming white “hairs.” I refer to my reference photo to see how the fur curls and swirls over areas of the body. I add some overlapping strokes on the left side of the body to avoid creating a pattern.

Step 9 I create a light background at the top of the image with a dull F wood-cased pencil. Then I begin adding tone to the main tree branch with 2H and HB pencils, using my entire hand and wrist to create long, smooth strokes. I build up the tone of the branch as a series of long lines of different values, creating the lined texture of a eucalyptus tree. I also add some spots and nicks with the HB to add more texture.

Step 10 Now I use an HB pencil to add the slightly curved shadows cast on the branch by the koala’s fingers and claws. Then I use the 2B to deepen the tone of the shadows, as well as darken and intensify the hand and claws to create more form. I continue working down the branch, alternating between the 2H and 2B pencils. I add tone to the fattest part of the branch, where the koala rests, and create the three strips of bark hanging over this wide section. The tree branches in this drawing frame the work nicely; they also keep the viewer’s eye from straying out of the picture by forming a visual “wall” that leads the eye back into the center of the work.

Step 11 Now that my drawing is nearly finished, I just need to complete the background and foreground leaves. I create the foreground leaves with an HB pencil and loose, soft lines. I am not too concerned with accuracy and detail here; these leaves simply add compositional balance. Now I add tone to the branches behind the koala, using the technique from step 9. I make the branches behind the ear on the right fairly dark, as this makes the white fur of the ear advance forward. Then I finish the ear by adding a bit more detail, allowing the hairs to overlap the branch. I switch to an F pencil to add more tone in the background. Instead of creating defined shapes, I use circular strokes and let my hand sort of wander about the area. I add a short, hanging branch in the upper-left corner. This branch has less contrast than the others, making it recede behind the koala and providing a sense of depth; it also adds to the framing effect and helps complete the composition.

Step 12 To finish, I add final touches with an HB pencil: I deepen some tones for more contrast, add detail lines in the eyes and nose, and build up just a bit more fur texture all over the body. I am very pleased with this drawing and the “framed” composition.

ACHIEVING A LIKENESS

Capturing a likeness can be one of the greatest challenges for an artist, yet it also can be incredibly rewarding. The foundation of a successful portrait is careful observation coupled with a thorough understanding of the head’s form. Take time to study the subject’s shapes and proportions. The German Shepherd Dog’s high-set ears take up almost half of the vertical area of the face. The large muzzle narrows gradually toward the blunt tip of the nose, with a gentle sloping along the bridge. The short hair of the face closely follows the form of the head and neck. In addition to breed characteristics, take notice of any elements that make this particular dog unique, such as the mole next to its mouth.

Focusing on Details Including a dog’s accessories, such as a collar and tag, can help you personalize a portrait even more!

Step 1 For this drawing, I decide to leave out the background and focus solely on the shepherd’s noble expression. I use a sharp HB to create a freehand outline, beginning with basic shapes and then honing them into a detailed outline. I use a drawing compass to compare proportions from the reference photo with the proportions in my sketch to ensure that they match. This also can be done with a ruler, but I find the compass to be quicker and easier. Once I’m happy with the basic outline, I draw short lines to indicate the growth direction of the hair, and I map out the areas of greatest contrast.

Step 2 I shade the darkest parts of each eye using a 2B pencil, leaving a highlight across the pupil and iris. Then I add midtone lines radiating from the pupil for the iris. Working around the highlight, I use an H pencil to cover the eye with a layer of shading. I indicate the hair surrounding the eyes with lines curving outward, switching to an HB for the lighter areas of the eyebrow. The gaps between the lines provide highlights.

Step 3 I progress outward from the eyes, working up and over the forehead and into the dog’s left ear. There is a darker patch of hair in the middle of the forehead, so I apply this first, using a 2B pencil to draw the lines in the direction of hair growth. Then I switch to an HB for middle-value areas of the hair, and I use an H to create the lightest sections. For the lightest highlights, I let the white of the paper show through.

Step 4 The outer edge of the dog’s right ear is very dark, so I use heavy pressure and a 2B pencil to apply tapering strokes that suggest small tufts of hair. I leave the rest of the ear free of graphite for now; I will finish it in the next step. Now I switch to an HB pencil to render the left ear, which is lighter in value.

Step 5 For the smooth skin inside the ears, I shade with an HB pencil and then blend with a tortillon. Then I draw the hair over this shading, varying the values within the hair and adding shadows between the clumps of hair. I progress down the side of the head using an HB pencil, letting some of the paper show through for lighter areas.

Step 6 I use a 2B pencil to draw the nose, making a series of small, dark circles to create the unique texture. I leave the highlight areas white. Next I concentrate on darkening the nostrils and the crease down the middle of the nose. Then I finish the nose by applying some lighter circles to the “white” sections on top and under the nostrils. Before I move on to the muzzle, I use a blunt tool to indent some whiskers and coarse, longer hairs below the nose. (See step 7 for placement.)

Step 7 Using close, short strokes that move away from the nose, I fill in the muzzle, changing the direction of my strokes near the mouth. There is actually little detail involved in the hair; accurately depicting the direction of hair growth is the key. Now I use a 5B pencil to darken the hair along the edge of the mouth.

Step 8 With the muzzle defined, I move on to the inside of the mouth, shading the tongue with an HB pencil and blending with a tortillon for smooth transitions. I add tone to the gums and lips using a 2B pencil, taking care to leave patches of white for strong highlights that suggest wetness. I darken the whiskers where they overlap the mouth for continuity. I leave the teeth free of graphite. Still using an HB pencil, I fill in more hair on the cheek, darkening two lines to form a V shape near the corner of the mouth. (This suggests whiskers sprouting from the mole seen in the reference photo.)

Step 9 I finish filling in the hair on the cheek with an HB pencil, lightly shading over the V shape so it’s visible underneath. I continue the hair pattern down the neck, drawing sections of hair that roughly follow the direction of growth. As the hair is longer here, it’s important to show its flowing nature by making the strokes less uniform. The German Shepherd’s collar adds a bit of interest to the lower area of the drawing. I use a 2B to shade it, working around the hair that flows over the top of the collar. Then I switch to an H pencil for the shiny metal pieces.

Step 10 I complete the drawing by blending the pencil strokes along the base of the neck, creating a soft transition from the hair to the white background. The bottom section actually is more paper than it is pencil—there are just enough pencil strokes to imply the shape and direction of the hair. This allows me to avoid a harsh finish line to the drawing and reinforces the German Shepherd Dog’s happy, attentive expression as the focal point of the piece.