DOGS

. ING *tJ--"UtlG~~N

l;UNTl:NT5

PRACTICE EXERCISES 3 IMPORTANCE OF LINE 32

ACTION 4 F ORESHORTENING 33

APPROACH 5 P ERSPECTIVE . 34

S1MPLf: Hl?Al> CONSTRUCTION 7 FEMININE FIGURE 36 SIMPLE S HAPES FOR VARIOUS TYPES 8 F EMININE H EAD 40 fEAlURES ANO EXPRESSIONS 9 ANIMAL COMICS 41 H.~NOS 10

P UGNACIOUS TYPES 46 LETTERING 12

C ONTRAST 49 ANIMATION 14

INCONGRUITY AND DISTORTION 50 SQ UASH AND STR ETCH 16

LAYOUT 51 WF.IGH1. 17

BR USH TREATMENT FOR PROPS 52 SIJ.IPLffl ED APPROACH FOR ANIMALS 19 PROPS 53 ANIMAL HEADS 24

ANIMALS 25 T EXTURE 54

Puu ANO TENSION 26 U SE OF BLACK 55

CARICATURE 29 C HILDREN H

B IRDS 30 DOGS 60

OF

A MANUAL OF INSTRUcnONS AND SUGGESTIONS ON THE ART OF CARTOONING, INCLUDING ANIMATION.

FOR USE OF BEGINNERS AS WELL AS ADVANCED STUDENTS.

B7

KEN HULTGRBN

RESEARCH PUBLISHING COMPANY 126 WEST THIRD STllEBT Los ANGELES 13

THE AUTHOR

Ken Hultgren is the creator of several popular strips currently appearing in some of America's top comic magazines. His natural ability as a cartoonist was devel-oped and perfected by years of technical training and by experience gained in Disney's and other Hollywood

studios, where he held positions as animator, layout man, and story director.

Mr. Hultgren's war posters, prepared for the govern-ment, attracted wide attention and received high recog-nition in art circles, one of the posters having been granted an official government award.

Mr. Hultgren is co-author and illustrator of Daddy and the Gol-L111nph, an unusual, delightfully entertain-ing child's story book, based upon an imaginative animal world ; to be published in June, 1946.

THE PUBLISHER.

PRACTICE EXERCISES KEEP YOUR. L INES CRISP AND CLEAN - TRY TO MAKE YOUR..

L INES UNIFORM. DON'T"Fl

4 -ACTION

REGAR.DLESS OF 1-lO\IV WELL you MAY !=IN IS~ A DRAWING/ II= YOUR POSE l-1ASN,T ''PUNCf-14' OR. DOESN'T TELL Tl-1E STORY, IT,S NOT A COt'v\PLl:TE SUCCE:SS. 12EW012K YOUR POSE! ESTABUS!4 A L INE" OF ACTION IN )10Ul2 DRAWINGS .

} / c /

--

5 APPROACl-t

FIG. I SHOWING START- USING OVAL Sl-tAPES FOR. 1-lEAD AND UPPER T012SO.- FIG. II. r START BY DEVE L OPING FEA"TUl2~S, HAIR, ETC.-FIG.fil- 15 Tl-l= FOUSl-tlNG-OFl= STAGE, ADDING DET~1 .... S AS SHOWN.

v \ (, )

~XAMPLE-f-lE~E IS TJ...jE SAME li APPlc:'.OAC!-1 AS 'l USED IN ASOVE SETO!= FIGURES. ~

AcoMMON MISTAK'E WIT &EGINNEl2.S IS ""."HE112. INTEREST IN DETAILS W ITI-IOUT Fil2ST

G IVING rm\ P120PEl2. \!:::.) il-lOUGI-IT TO CON~UCTlNG THE F IGUi2E AS

A WHOLE.

6 APPROACH ( CONT.) ( , '

\._ I .I

I

/

~ \ L ... .,I

1

8 ....... SIMPLE S~APES FOR VARIOUS TYPES -

c.. r_ ____ ( \ / ....-'."\

9

FEATURES and EXPRESSIONS _ EXPRESSION IS FEELING, ANDPER..HAPSTHE BESTWAYTO

STUDY IT IS TO SE.TA M IRROR IN Fl20NT OF YOUR DRAWING BOAl2D AND LET LOOSE WITH SOME GRIMACES OF YOUR OWN.

TRY TO FEEL THAT Tl-lE FACE IS A RUBBER-LIKE M ASS, CAPAB L E OF SQUASHING' AND STRETCHING

/ -~~Jt,~ \ ~

;

--4-- - -' ....

11

HANDS ( CONT)

,. --

-

\

I / .

12 LETTERING

KEEP YOUR. LETTER ING IN YOUR. BALLOONS W ELL SPACED.

TOO CROWDED

~ DONT MAKE THIS MISTAKE- PLAN

YOUR. BALLOON.

WATCH S~CING BETWEEN WOl2DS AS WELL AS BETWEEN

THIS IS A THOUGHT BALLOON.

~'--.:=0~ 00

00 r

B R.OKEN BLOCK LET'iERING

LINES.

ACCENTUATE WOR.DS INYOUR. DIALOGUE-IT RELIEVES THE MONOTONY OF SAMENESS

)( ~ / __ .;-- DROP SHADOWS ARE SIMPLE ANO ARE E'F'FECT'IVE IN i"ITLES PRACTICE YOUR ALPI-IABET......, MA.KE IT CLEAR AND LEGIBLE:/

LETTERING CcoNT.) 13

a /Jcdefg h!J k!_m~CA9s~~tuvwxyz

VARIOUS TYPES OF CAPITALS.----..

PERSPECTlVE LETTERING

FOR. W'41SPERIN(3, JUST GO SM.>.LL LIKE TMIS - IF YOU MAVEN T YOU!it GLA~S ON I CAN TAU< LOUDER- I~ FACT I CAN EVEN ~~'irff

A GOOD E XAMPLE OF ~W

NOT TO LETTER! \/J'HATS W RONG

WITH IT~

14 ANIMATION

FIG. I-NO!: L;::"(; ST'2E1Cl-l =OR LEG REACHING

"' '

''TAKE ,,, F1G. IANTICIPATION FOi< TAK.E-l NOTE SQUt>Sl-tED, BuNCl-4ED UP POSE CONTRASTED BY ELONGATED POSE

OF FIG. JI

1-4EAD TURN F IG.i' 1-h:.AD NOl

ANIMATtON (CONT.)

~ L -'~~ ~ ~-15

FORE LEGS REACH- FORE L EGS HIND LEGS HIND LEGS GATI-Ei21NG ING FOR G120UND. TAK ING WEIGHT, STRETCHING FOR. PUSl-lOFF

BODY' STRETCHING FOR. TAKEOFF

HIND L EGS =01- OF ITS AQC I

SQUASH AND STRETCH APPLY 1'0 COMIC STI21PS TOO. DON'T BE AFRAID TO E:)(AGGEl

WEIGHT OPPOSE A HORIZONTAL L INE W ITH A CURVED LINE UNDER.NEATH -AS IN F IG. I

FOR. SOME Pl2ACT1CE E.XEl2CISES, Dt;?.AW A HEAVY SACK AND PUT IT IN SE:V-El2A.L POScS.

F IG.I

f~

- :5 ..__ _ _ 5__,

17

11 WEIGl-{T(.CONT.) ) OBSERVE f-.0\,\,'

CHIPS WHOLE BODY 12EACTS

TO WEIGi-iT/

--

SIMPLIFIE'D APPROAC~ FOR ANIMALS.

19

NATURALLY Tl-lE CONFORMATION OF E:ACl-l ANIMAL IS DI FFEREN,: BUT Tl-lERE IS A PAl

20 ANIMALS ( CONT.)

k'EEP YOUR CONST12UCTION SIMPLE AND DIRECT. IF= DRAWING FROM Pl-lOfOGRAPHS, BOXING IN YOUR CI-V>.RACTER W ILL l-lELP ">'OU IN S I-ZING YOLJR PROPOl2Tl0NS.

ANIMALS ( CONT.) 21

BASIC CONSTRUCTION FOR. VARIOUS TYPE S OF

ANIMALS.

KEEP YOUR.. PROPORrlONS S IMPLE-TRY TO IMA.GINE 1-lOW YOUR. CHARACTER. WOULD LOOK IN S I LI-IOUETTE.- IS IT C L EA.R. "? IS THERE PLENTY OF SPACE AROUND YOU R.-

C HARACTER..?

\ .... -.....)

22

'

NOTESMA5 EYES AND B IG

JO\NLS

ANIMA.LS ( CONT. )

~ ~ !((:;) II y ,...: / / "' ('

, , ) \ '--'

ANIMALS (coNT) 23 '

\ I

ANIMAL ~EADS ( A S IMPUFIED CONSTRUCTION)

24

- - - ----

ANIMALS 25 LINE: OF=' ACTION -

A DEFIN ITE LINE OF ACTION CAN BECO\t\E MONOTONOUS UNLESS ~ YOU BRS..K IT BY AN ~ NOTE TAIL DOESN/T

ACCENT. ~ ) FALL INTO GENERAL __....._::,,,,~-....;~~ ) L INE OF ACTION, BUT IS

II I . USED AS AN ACCENT

~ NOTE LEG LEA.DING IN TO UNEOF

ACTION.

M ~

\NORK FORCES AGOJNST FORCES - T!-ll2USTS

AGAINST COUNTE12-THRUSTS.

26 PULL and TENSION IN TAKING UP Tl-115

SUBJECT, LET'S TA-KE A PIECE OF CLOTl-l AS IN FIG. I AS AN EXAMPLE.

FIG. I

NOfE REACTION OF CLOTl-l WHEN TWO OF ITS CORNERS ARE PULLED ( AS IN F IG. II )

PULL --- -1~~

(._ FIG. IT Non: 1-bVv LO\lvER PA!

PULL and TENSION lCoNT.) I-JERE A'i2E. SOME

::iltv\PL~ ILLUSTRATIONS 51-IOWING PULL AND TENS ION IN F!GUl2ES.

/~ ~ ~ --~ / ARRO\'VS DE'10TE :)IRECT\O OF PLJ:....L

NOTS STI

PULL and TENSION 21 ( CONT.)

\ I I

/

CARICATURE A CARICATURE IS AN 8

30 BIRDS ~ACI-I TYP~ OF 8 112.D 1-\AS A DIFFER.ENT FORM. HERE ARE A FEW ~;:,i:; SUGGESTIONS FOl2 SOME TYPES-

I '

T l2Y FOl2. RI-IYTM AND SWEEP IN YOUl2.

Dl

BIRDS (CONT) STUDY YOUR. PHOTOGRAPHS OE BIRDS-THEN TRY ro BREAK THEM DOWN TO SIMPLE FORMS

31

32 IMPORTANCE of LINE L INE CAN SUGGEST WEIGHT, F012M, MATERIAL AND OTI-IER

TI-IINGS TOO NUMEROUS TO MENTION. 81::LOW Al2!: A FEW EXAMPLES.

J NOTE Tl-IE WEIGi-iT OR. THICKNESS OF LINE ON UNDEl2SIDE- IT/S USED10 ACCEN"TUATE

WEIGi-fr.

Tl-IE EXAMPLE ABOVE l LLUSTl2ATES Tl-IE USE OF LINE TO EMPHASIZE STRESS AND STRAIN OR RELAXATION OF MATERIAL.

I

(

IN FOgES\-lORl"ENED A.RM- Nari: '.-J.OW LINES WRAP IN AND AROUND TO Sl-lOW ARM GOING AWJ:;.Y FOOM

READER'S !::)IE.

~p//

!-4ERE LINE IS USED TO SJ.ON PERSPECTIVE. NOTE CONT12AST IN LINE USED IN Tl-lE BRANCl-l lNT\.4E FORE-GROUND AND Tl-IE Bl2ANCl-l IN Tl-IE

BAClc:::GROUND.

FORESHORTENING

TI-IINK OF YOUl2SELF AS A CAMERA WITI-I YOUR LENS NEAR Tl-IE OBJECT IN FRONT OF YOU, WI-IILE E REST OF Tl-IE OBJECT RECEDES -IT'LL GIVE YOU A DQAMATIC FEELING AND DEPT~!

33

~ERE ARE A FEW EXAMPLES-T12EES ARE AN EXCEL.LENT SUBJECT TO WORK O\I. TRY SOME Win-I Tl-IE Bl2ANC~ES 12UNNING INlD CAMEl2A WI-IILE ~E'2S DIMINISl-l.

~~

rOR. Tl-1AT FEELING OF DISlANCE USE. FOREGl20UND

Pl20PS AGAINST BAO(GROUND.

34

PlE RSPIECTUVIE --

VANISl,tlNG l'>OINT

~~ ~p I

___.ci~-====:!:z:::::::icf.ttc3:::zc:=::=-=:::!:J.~___:_I--IOR.IZON _

TO KEEP YOUR. Cl-lARACTERS ANCH012ED TO Tf-lE Gl

'

PERSPECTIVEccoNT.) 35

W!--lEN PERSPECTIVE ~ DIMINlSI-IES IN A GRACEFUL

ARC IT Mi.\;(ES roe A ..z-,', r~ PLEASING PATTERN .

- -==--:-=~k--l.t" ~7

"""" \ /

36 FEMININE FIGURE (APPROACH)

_J !

J

\ W~EN DRAWING THE

FEMININE FIGU12.E, FIR.ST' TRY FOR. 11-lE ACTION O F THE POSE

1~

' ,,......

Tl-IE NEXT STEP--PUT IN THE MAIN ACTION LINES AS IN NUMBERS I TO ISZ". TI4EN PUr IN THE MAIN ACCENTS IN Tl4E FIGURE .

l { I

THE THIRD sr.AGE-PULL IT TOGETHER..

37

FEMININE FIGURE

I

1 \

AVOID DRAWING YOUR FIGURE IN A STRAIGHT, STIFF POSE.

]IT

NOTETl-!E ADDED INTEREST IN FIG.NOYER.. FIG. m: BECAUSE OF ITS MOVEME:NT

\

LINE OF ACTION AS IN

FiGUR.E Ir

TRY FOR. ACTION lN YOUR.. POSE BY ESTABLISHING A DEFINITE LINE OF

ACTION.

38

)

FEMININE FIGURE NOTE F1Gu12E is sJ[ HEADS HIGH- NOTE

, , ,:__ PROPORTIONS

.I

KEEP YOUR G IRLS GRACEFUL. TRYSHIF=T-ING THEIR. WEIGHT FR.OM ONE LEG TO A..NOTHER.. IT'LL GIVE MOVEMENT TO YOUR. OR.AWING-TRY FOR VARIETY IN iHE POSIT ION OF THE ARMS, LEGS/ ETC.

NOTE TAPERING LEGS AND THIN ANKLES

I

PRACTICE QUICK ACTIONS LIKE THESE.

( I I KEEP

HANDS GRACERJL

(/};, (/ fV v

39

40

I

FEMININE ~EAD U SING A. C IRCLE FOR.A START.

,~~ ~ ) '

\

.

I

I I ' \

ANIMAL COMICS

~' r~~,

42 ANIMAL COMICS (CONT. )

ANIMAL COMICS 43 ( CONT.)

44 ANl~AAL COMICS CONT.

T II

0

ANIMAL COMICS lCONT)

T

II[ N

45

II III

46

/

PUGNACIOUS TYPES ANIMAL COMICS

GORILLA TYPE ON HEAD, NOTE EMPHASIS ON JAW

AS W!:LL AS I~ PR.OT12UD!NG

.,._,.._,,,,vv LOWER UP.

NOTE HOW I--IEAD IS BURIED INTO BODY-ARMS LONG AND POWE12-FUL- BARREL Cf-lESTEP AND Sl-lOR.T STOCKY

LEGS-

EXPRESSION (ANIMAL CO'AICS) DON'T BE AFRAID TO

EXAGGEl2ATE IN E>

48

~\) ' \ \

EXPRESSION ANIMAL COMICS ~ERE1S ONE M012E! NOTE I--IOW ~ EAD FLATTENS IN CONTACT, AND NOfE OFF-BALANCE

POSE! ~---

( CONT ) ---~

WELL r TI-IINK TI-IAT'S ALL t ABOUT EXPl2ESSIO'lS.

CONTRAsr 49 CoNTl2AST BETWEEN c~RACTER.s CAN BE s~ovvN

BY OPPOSITE PROPOl2TIONS. Tl-HS GIVES A RE'ADEI< A MORE DEFINITE PICTURE: OF YOUR CI-IARACTER.

J\Ml(E' YOU!< Cl-lARACTEi:25 DEFINITE - IF 1-ll:;1$ WEAK, M A.Id: HIM \/VEA',(-TRY TO EXAGGERATE THAT QLJl:>.L1TY IN EVERY WAY-Tl-IE S,AME NATURALLY APPLIES IF 1-lE'S STRONG E;OASTFUL, ARROGANT, ETC.

~ r, '

-AND C i-HP-WELL, ~E:S Tl-!E ~ MO~ONIC,

IMBECILIC TYPE!

T1-1E/'v\s PUrzTY WORDS

TOO'

50 I NCONGRUITY T H:: 1v\0!2E IN CONGRUOUS' Tl-\E C f..-1.AR.A.CTi::R., T l--lE S IL LIEI<

W ILL EsE T l-lE S F FECT .

I IJ

'

/

LAYO UlT

IT

IV\Ak:E YOUl2 SCENES I TE2ESTING ~GET

VARIETY

l21G~T

MEDIU1\;\ LONG S HOT

MEDIUM SHOT

fv'1EDIUM CLOSE UP

C LOSE UP

!VIO Vf= Al

BRUS~ TREATMENT FOR PROPS

t /, , J/4

v ;/ ,,,.,

f,,/ h,/

WOOD NOTE FINE UNES SUGGES'TlNG GRAIN OF WOOD

-

-

WATER WATER. CAN BE SUCCESS!=ULLY SUGGESIED BY ~WINGTI-H: WAVES PROG~SSIVELY L.A12G~ AS TI-EY COME CLOSER. TO YOU~ EYl:S-NOTE SEE-SAW PATIE:k!N AS WA.VES COME CLOSER. TO )'OU.

POLE: FOR THAT ROUND EF'FCECT, SHADOWS CAN BE USED.

ROCKS ROCie:$ O!=FEl2 V.Ai:2.l~Y tN SHAPES AND PATTEgNS

C088LESTONI;

PR.OPS 53 TO GIVE YOUR DRAWING LOCAL

COLOR, PROPS PLAY AN IMPORTANT

-

-1.1 /f.. PART. IN MOST CASES YOU CAN SUGGEST BACKGROUND ~ BY VIGNET TES.

'~~J ~ = , -___,-==-~ ~ ~~ ''~)

PLA.N YOUR. DIR.ECTION OF LIGHT. NOTE LOCATION OF Sl-lA.DOW ON CACTUS.

54

SILK

I ',

I

FU R... ( LONG HAIR.ED )

CURTAIN

TEXTURE

UNPRESSED NOTE THA.T MATERIAL HERE IS AN 112.REGULA.::.

PA"iTE.12.N

(_ LIGHT WEIGHT MATERIAL)

KEI::::;:> LINES LIGHT Ai'lD LOOS:

P R.ESSED KEEP MATERIAL

\IERY ZEGULAR -UNES AR E CLEAN

CUT.

---~ I> ,(v {} j) ( '. ' ' i ' \ . : . ' . . \ .

i~, .~ ~ .

USE OF BLACK tSLACk S f-lOULD ALWAYS BE USED IN CONTRAST TO

\NHITE. BELOVV .. ~RE EXAi\i\PLES U S ING BL.ACK IN A ;:>ATTt:::RN.

,_

.~,.-

I I W.:;:.1

56 USE of BLACK

A SIMPLE EXAMPLE OF l-10W IT CAN BE

USED.

~\I ~ -

(CONT.)

MY DRAWING AT LEFT IS USED HERE TO Sl-40W 'r-lOW BLACK 15 USED IN CONT12AST

TO Wl-llTE .

DIRECTION of LIGHT

IN PLANNING A PICTUl2E WHERE ST120NG SHADOWS AQE REQUllc?ED-ESTABLISI-I YOU!

CI-HLDREN I DRAW MY K IDS FROM 3Ji TO 5 HC::-~DS IN HEIGHT

FOR. A VEl

58 CI-HLDREN (CONT)

Cl-llLDREN (CONT.)

~ ----,_

k lDS 1-lA\JE A GENE!2AL LACK. OF CO-ORDINATION-

59

60

I ~ I t .. , . ( I , --:::..::-.....-I I--I i - --

FORELEG

DOGS SIMPLIFIED ANAlOMY N ATURALLY ALL DOGS VARY IN

CQ'-l!=ORMATION, BUT T'"1ERE 1$ A SUvllLAR J:,.PPROACl-l 10 USE IN Tl-!Ell< STRUCTURE:. I STA.RT W IT ~ AN EGG SHAPE ( NOTE. Dl2AWING), AND BUILD MY PROPORTIONS FROM Tl-V\T .

IN MOTION _____x

( . (~ 1\

B ULL,

\ II ~rjt~ 'I J~ 1, .. ( (' ' ( \( \J _rt_~

1 I \ ,, ~ ~ ~ ~ l

GREYI-IOUND DACI-ISI-IUND ''ti 1" \J~i' -

OR. WHIPPET GREAT DANE VARIOUS TYPES

( NOTE B OvV LEGS)

DOGS ( CONt) 61

-

_ _,

62 DOGS ( coNT.) -

DOGS ( CONT.)

WEIGHT