So the last Vilppu class was a disaster. I don't know what it is but some days just turn out to be the worst for drawing. Instead of posting those life drawings, I thought I would post some drawings that I did at the zoo this past week. I can't say enough about the Hultgren book (clearly... this is the third time I have mentioned it in as many posts). So here are a few of my drawings from 2 days at the zoo:
This first set is the Gerenuk. He's usually pretty hard to draw because none of his proportions make sense. His neck is way too long and his head is too small.
They also have really flexible mouths so I drew this guy chewing. As you go down the image, I got a little more crazy with the exaggeration. I'm not necessarily "proud" of these drawings. I just think they are fun.
I also drew some lions. Those guys are SUPER difficult for me for some reason. You would think it would be easier, since The Lion King was what first turned me onto becoming and animator in the first place. I kept accidentally stretching out the proportions as I was drawing them. So for this next one, I just did it on purpose.
Through Photoshop trickery, this is how the head SHOULD have been drawn... Now I know.
Lastly, I reluctantly drew a zebra. Their proportions are so much different than a horse's. First of all, their heads are MUCH larger than a horses head. And their legs are short and stubby.
From studying a horses anatomy for a while, it took some getting used to. But sometimes, in order to get the best perspective, its best to be able to compare what your subject isn't, and use those comparisons to draw more effectively.
Not amazing, but on my way.
Here are 2 bonus drawings I did. The first one was at Porto's and the second one is my dog at home.
Lastly, I wanted to put this up. This past Saturday, I went with some friends to the Getty Museum to see the Rembrandt exhibit. They had some of his drawings alongside his student's drawings. The purpose was to compare his technique and approach to his students. There were so many great drawings there but my favorite had to be "The Return of the Prodigal Son."
There is so much going on here. (Keep in mind that I basically am pulling at strings here but I think I am starting to understand what is going on here). He does such a great job at focusing your attention in all the right places. Even by adding certain "non essential" elements to the drawing, he is leading your eye to the prodigal son's face and ultimately to the father's face.
Once you get there, it is hugely impressive. This guy knew how to get the most out of his forms. I would love to be able to get to the point where I am not worrying about the drawing so much as I am focused on the clarity of storytelling. That's my ultimate goal here and I hope I am closer to achieving it.