How to learn to draw a horse: #3 Automatic translate
Value comparison
The value probably represents the most noticeable difference between the breeds. In order to realize how great this range is, compare the miniature Shetland pony and the huge heavy shire.
Aspect ratio comparison
The proportions of the horse body vary depending on the breed. Thus, the proportions of the Kledesdal heavy truck are a bit like purebred horses - although it is generally much heavier complex, its head is relatively small, and its neck and legs are quite clay. But the Shetland pony has a relatively large head, and yogis are short.
Wild horses
The only really wild horse is the Przhevalsky horse, which lives in Mongolia and was discovered at the end of the 19th century. Its height at the withers is 1.2 m, and the most striking feature is a stiff mane, like a brush.
Zebras
A close relative of the horse is a zebra. There are three types of zebras; at the largest Grevy’s zebra, the whole body is covered with many stripes, and the widest strip runs along the back. Burchell’s zebra has wider stripes, but they are smaller, and there is absolutely no croup. The smallest zebra is mountain, its height at the withers is less than 1.2 m.
Work fast
The characteristic stripes are probably the most attractive feature of zebras, but their image takes a lot of time. If you work on photography, you have no problem with “posing”. Nevertheless, it is always preferable to draw from life, seeing a real animal in front of you - and then you better go to the zoo and do more sketches there.
In the zoo, your subject of the image will not run far, but the animals are always very mobile and do not stand still for more than a couple of seconds - so you have to work quickly.
Wireframe
It is very important to build a good frame on paper from lines, on the basis of which you can work further. You may not have time to take measurements and determine the proportions, so do it by eye, constantly comparing the magnitude and angles of various parts of the animal’s body and quickly marking the direction of the stripes on the zebra’s body. Having correctly built the main picture, then you can add details, carefully examining your subject image.
Chiaroscuro
Without the application of chiaroscuro, the pattern may remain an inexpressive flat outline - as shown in the lower figure. The left ball without black and white modeling seems to be a circle floating in space; add shadows to it, and it instantly turns into a volume sphere.
Experiment with light
To learn the principles of chiaroscuro molding, try to observe for some time how the light affects objects. You can choose any item, but for a start it is better if it is simple and round, for example, like a ball or a round fruit. Natural light cannot be controlled as artificial as light, so conduct your experiments indoors by starting with a desk lamp or a lantern to avoid complex shadows. Move the lamp around the object of your choice, bringing it in and out, and see how it affects the modeling - creating a three-dimensional shape with chiaroscuro.
Lighted and shaded places
In addition to turning a flat object into a volumetric one, light and shadow also help to show in which places the object is bulged and where it is hollow or concave.
In general, light illuminates convex or protruding forward shapes facing it. Concave shapes on the side turned away from the light are shaded.
Reflected light
With careful observation, you will find that light can behave in a rather unexpected way. So, the places most hidden from the light source are not necessarily the darkest, and this is because light reflected from surrounding surfaces can fall there. The result is shadows of varying intensity. Inside these shadows, lighter spots, or reflections, can be observed.
Light can come not only from one source, but from several, although one of them may turn out to be stronger than the others.
Tone variations
Modeling a horse’s drawing is an excellent example of such subtle ratios of light and shadow. Unlike a round ball or an orange, the horse’s shape is complex, it consists of a series of convex and concave surfaces.
To determine how illuminated spots, highlights and shadows are placed on your subject, break it down into several basic shapes. You will find many transitional tones between the lightest and darkest areas, but the task can be simplified by taking, say, two or three tones: dark for the darkest places, light gray for medium tones and white paper for surfaces directly facing the light.
Changing light
If you work with natural light - say, make a sketch of a horse grazing in a meadow - remember that its strength and direction will change over time and this will affect the intensity of light tones and the location of shadows. In order that you do not have to correct your picture many times, it is best to immediately remember the direction of the light source and apply a slight outline to the shadow side immediately after applying the basic forms.
Falling shadows
Light causes an object to cast shadows on other objects or surfaces. This can be complicated if for some reason the light comes from two or more different sources. In this case, one light source will eat part of the shadow cast by another source, or all of it entirely, as shown in the figure below. And if you draw specifically to study the distribution of chiaroscuro, make sure that the light comes from only one source.
Outlines and Scaffolds
Carefully look at the angle of incidence of the shadow from the subject of the image and its connection with the direction from where the light comes.
Also watch out for the shape of the shadow. A shadow is never exactly the same shape as an object casting it, but always with its distorted likeness. The position of the light source affects the length of the shadow: for example, if the sun is high in the sky, the shadows are short, and if it is low above the horizon, the shadows are elongated.
The surface on which the shadow falls also changes its shape. Such a relatively flat surface, like a wooden floor, creates smooth outlines of the shadow; such an uneven surface, like grass or rocky soil, breaks the shadow, which makes its outlines uneven, spotty.
Invoice and marks
Effective transmission of various textures and marks on the horse’s body requires not only skills, but also knowledge of the effect produced by various materials. The more you practice and experiment with various coloring materials, the more you will know and be able to. And then it will be easier for you to choose the appropriate materials to create the desired effect. You will also find that you can achieve the desired texture not in one but in several ways.
Contrasting textures
The contrast between the "furrowed" mane and the tail and the smooth body of the horse is perhaps the brightest. A similar texture can be transmitted in various ways. For example, you can draw both with a pencil, just take a dark and soft pencil B for hair, and light and hard N for the body. Or you can use the same pencil for both textures, and soften the effect by carefully rubbing the horse’s body with your finger, with a cotton swab or even shading (a special tool designed to spread soft materials such as pastel or charcoal).
And here is another option - use a gentle watercolor wash for the horse’s body, and pass the mane and tail with dark brush strokes.
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