BT HOW TO DRAW & ma Animals Learn to draw with colored pencil step by step Layering and blending = Focusing on features Building form « Working on toned paper BY DEBRA KAUFFMAN YAUNinne Chia 20, 200,01 Wer oer ig gi sn ee a 00 a a "Sia Ftc! oa ‘en en ied a he pin ai gin lea sy aie ss eyo dn er onchange cm orms te on ease er oer ongAnimals in Colored Pencil Animals are some of my favorite subjects to draw. if you love animals a I do, you will have no trouble finding the excitement and inspiration needed for great drawings. To help you get started, the book begins with helpful information about colored pencil tools and techniques. Then I will guide you step by step through a number of projects—from wild animals and farm animals to adorable pets. You will also find helpful information on drawing specific animal features in detail, such as fur and eyes. As you follow the lessons in this book, you'll discover that colored pencils are easy to use and provide you with a good amount of control over your strokes. They are also a convenient medium; artists with limited time can stop and restart projects easily, and artists-on-the-go will find them to be very portable. So grab your paper and pencils, and let's get started! —Debra Kauffman Yaun COIN WISIN 1S : Tools & Techniques .... of) Maine Coon 18 Rooster 4 Alpaca 2 Aa Shetland Sheepdog. ... a6 Box Torde.........0-.<-10 emo ? Gray Squirrel. . a Red Fox... 26 tiie Horse... eccccceeeeeseeeeseesees 10 Bush Baby... wees es Lory “4 Cow 30 f Leopard 16 63 “cd cam pis. "This book ie dedicated tthe memory afmy father, Waren KaffeTOOLS & TECHNIQUES Yes dated nny tpl gestured in cle pn 0 ou wort ned ves. ot of any Ayu ned sta our fe bs cles, an eraser, a sharpener, and some paper. (Se page 3 for the colors used in this book) Below are a few recommended tools that are good for beginners. You'll also find information on using colored peneil—remembe thatthe way you sharpen your penel, dhe way you hold the pen sft blends to brilliant highlights to realistic animal textures with colored pen- the bases, youl be able to decide which tots and techniques w sure you apply all aflect the strokes you crete. You can create everything fr cil Once you become familar wit Pencits The pric ofa pencil indicates its quality; beter pencils have truer coor. Many brands offer sets of pencils that provide a haste ana of colors. Some art stores also sell colored pencil individually this way you can choose Which hues you like best among several diferent brands. Once you've cho- sen your palette, make sure to store your penis safely ina container—and tay not to drop them. The lead in a colored penell is very brite, and ifs bke- ly to breakin the shai the pencil s dropped, This may not be immediatly apparent, bu it will eventually render the pene useless > choosing Pencts There are many diferent types of colored pens vale arene ease ial rendering ine es an deta wheres sft, cher lend re reat frfng in are areas. Experiment nd wich you elt Erasers (Ondinary erasers cant be used to remove colored pencil; the friction between a rubber or ving eraser and the paper wil acta melt the wa pigment and late the took (or gra) of the paper. Instead, many arsts use a small battery-powered eraser to remove the pigment without crushing the papee underneath. A kneaded eraser is also useful for removing small amounts of «or; tit or pinch it ito any shape you lke and then press lightly on the paper to pick up the pigment. When it gots “dirty” and isnot a effec: tive, you ean knead i (like dough) thoroughly to reveal aelean surface. To emove unwanted pigment, you can press clear tape over an area, You can also use an craft knife to carefully remove colored pencil from small areas. Paper Slightly textured, thicker paper is best for colored pencil work because the rough grain “catches” the color so i aces more pigment than avery smooth paper would. Art and caf stores carry a variety of textured water- ‘olor papers and illustration boards that offer a good tooth for colored-pencll art look for a paper with a medium grain to start. For practice or doing Aulck studies on site, youll want to havea sketch pad or sketchbook > Experimenting with Paper You ig so onside experimenting wit feet ‘olred papers esr to tse he ls eid ie a he pape you choose aoe perth shares onan hein our ning you tan ete car army nye ‘rang Using black paper ih ight cols ceatesasens of drama and coma. / @ Tangle and the amount of pres: ‘apture your subjeet’s unique qualities. SHARPENERS You can achieve various effects depending on how sharp or dull your pencil fs, but generally youl want to make sure your penis ae sharp at lies sharp point will ulimately provide a smoother layer of colo. Although a mall hand-held sharpener wil do, an electee or battery-powered sharpener {is bewer suited for fine art purposes. You ean also use a sandpaper block ‘o sharpen your pencils the sandpaper wll qulkly hone the lead ino any shape you wish, It will also sand down some ofthe wood. The finer the grit ofthe paper, the more controllable the resulting poi. Roll the pencil in your fingers when sharpening 1 keep the shape even, Extras You'll ned brash to gently remove the peril reside fom you paper (a camera lens brush will work well) a spray fixative to preserve your finished drawing, anda blending stump to ereate soft blends. A pencil extender is Jhandy when the penil gets too short to old onto comfortably, and you may want a telangle for malking straight lines and some artists tape for masking of edges. 15 also nice to have white gouache (similar to watercolor paint >but more opaque) and asinall rush on hand for adding tiny’ highCoton Paterre Below are the main colors used for the projects in this book. Keep in mind {hat the names of the colors may vary among brands ls, sometimes two pencils that have the same name are diferent hues, uf i i ‘ur seme ' i i g ia . : : ig: ia: t i z i kG = 2 == ae a 7 4 _ a) 3 i i : Foch ay a | z £ i i g i i F a8 i r | F Pumpkin onze ‘ow soma sunbwsytow aaa ? E ag is ica | Strokes ach line you make in a colored pencil drawing i important—and the diree- tion, width, and texture of the line you draw will al contribute to the effects you create. Practice making diferent strokes, as shown in the examples below. Apply ight, medium, and heavy presure; us the sie and then the point of your pencil; and experiment with long, sweeping strokes aswell as short, precise ones, Pressure ith it pressr, he oar almost tansparet Medi pressure creates ‘too leundaan a yering, and ney peste tens he ppet etre, making the {clo apperamest soi ayaa sa i it ce ‘Strokes and Texture You can cate 2 number of deen texturesby resting pattems of ots and dashes onthe paper To reat even, dense dos esting he pln ‘tyour penton he paper LAYERING AND BLENDING Because colored pencils ate translucent, artists use a transparent layering process ether buildup color or create new hues, This layering proces is ‘wonderful because it creates a much richer hue than you could ever achieve you were using just one pute color. To deepen a col, layer more ofthe same over it IFyou want to blend your strokes together, you ean use a sti bustle brush (see page 21). Layering with atch Strokes Her eon, range, ead blue were layered 0 top of ‘one another with cossathing (ang one se a hatched nes over arate but sign leet dection to demons ate one way a eating anew clr When cosshathing, ‘ok rom ght dark void geting dey miROOSTER ‘Step One 1 bein by loosely sketching the rosters bey using a ie forthe head and ‘an oa forthe al. Then ad the reaiving deta, sing my polo eeence asa gle. Notice how the opal eaters extend over theres ofthe a, ‘Step Two {refine ad detail the face an hed oping sideline aang the tp ofthe comb el ine up the ages pope. aso draw aie fom he wale tothe est lnethen up acura then ease these gudelines. When raving the feathers, dot aw nciua feathers but stead show how the are grouped, Met aw same rocks ‘round the rooster eet. ‘Step Thee | bsin establishing he dark areas wth cool ry 90% {saring th highlight white), outin some ethers ae shade 2 eo bene etl feathers Then fila ost the cet and the top al ether sa Shace some af the dark wing fates, lavng sme white stipes, ad estab afew Smal dar eaters and some dark pos on te ground, sing alu to hard presur ‘Step Four Swtchingto dark purple ight shade afew areas onthe body and head, 35 ‘own Using Tuscan re with ight to medum prestr,|aline a den sora seas the ace, com and wale, Thent ase nig bet raw shat cenerins in same ‘the feathers and shade up tothe ceneie wih medium pressure Using col ray 90% Teade th bottom haves othe thee lest leathers nd den some ofthe Dac taeaters‘Step Five 1a more aaa 90% to thea The gly dk brown othe Ics a eps Using medium 1 hard pressure wih the sme cl, lin some the feathers onthe back ard neck Then us oo gay 30% to shade the ay white eaters atthe base of hea blend the edges of these feathers into the suroundng areas using ‘nal ray 90% making them appear so and Ful alain the ower wing with senna. brown, ang srkes that flow the decton ofthe ethers, Net apy more sean red tothe ac, leaving some areas wht. Then, using small cruises| apy a ye of ‘Step Si app Tio oe tthe face an wate the shade around te pup th 2 ‘ey sharp cool ray go sing burt oe, Tn mast ofthe heck eather, aig the Paper white rte pest areas. With fim pesur, ad aayer of utramarine tothe hast, oveiapping thecal ry 90% om step ively ot the beak with cot {pay so and then iii wth aight ayer of burt yellow ean the ip white poly Back chert the tp part ofthe wing, leaving several wht pos Nex iin he spes ‘onthe wing wh yellow ochre Then we ulramarin to ish the wing a add eno 2 thetipsosome ofthe tafser. 4 Step Seven 1a burt tre tthe {apo the rosters ight gard Some ofthe ong feathers on he oosters back Then shade the spurs on he es with French ray 50%. Using frm pressure and ‘ool ry 96% | rw the eather shapes ‘onthe ent. 3a more Tha ole toe mt ad ce, deepening the aa and leaving some wht showing. aaa Indigo the mit al eaters ith Frm pressure Then woken the tp pat ofthe wing Ia smal touches of To Wilt tothe spots tat were preouly hte, sping smal stokes a ght Spots then ty blend the clos wth white, Next apt some yon ace to the white areas onthe nec; aso darken ‘ome lines onthe neck with Bak chery Tse mal aunt of Tuscan eo akan the bran ethers on the Back then us em pressure apd digo bie to daten arene around thes ack Feathers aswell arcane al eters. also se peacock geen to Blend some of then nthe tal fester To ound” the rooster 8 spots of oor around fa sina hen add ome slate ayo Indeate the roosters shadow, Ae a ial, touch lus eae pressure and white 0 shine te some othe a estesSHETLAND SHEEPDOG ‘Step One than HB pen, sketch a dice forte dog's hed and rounded tangle forthe uz, than dra the vertical cetetine sot refecs the angled poston othe ‘dog’ hea. Next a8 he sight curved hrzttal centering Las hese guielites a pasion the eyes and nose; then | raw the arge eats and th asc shape othe body. ‘Step Twa trainee ees oe, nd mouth, ding dete and erasing unneeded nes 1510. some jagged ines fr the ur, ming ure they rele the cvs ofthe fogs body. Then establish he ight ad dak areas ofthe fron he face, ch why Imewhen appyng ol ‘Step Thee si using the MB pec, ald onger softer ines inate the fa. Then btn apiing clo by establishing the darkest areas wth cool ay 90% using Svokes ‘that flow te direction of he fr growth. se the sae pend olin he ees and rae leaving the ight white Nex se mediom reser to 343 ew lng rokes ‘feo pay State ees unde the ein ‘Step Four | ihn the nner ers wt henna and use lng srokes of dark umber forthe fr on the ees of the ears. othe ur onthe fae, use the same peal ad shot stots, folowing my sketch an leaving some areas white. Then ppiy Veretan edt these, se col ry 39% torent nose appl, 5 wel sto darken he on Turon te sides ofthe head and neck. Then sing medium pressure and sen brown, ‘teat ong stokes onthe ears an peck and short Steaks on the ac, pesing harder for ‘ike areas. 0 apy ight aye a senna brown ver the henna teers.D Step Six apply Fench gray oto areas ofthe chest ‘nd under the neck, sing fm pressure inthe darkest, Sree Then use darkumber to sharpen the eyes and {th areas around then stepping back om my angst “unt my eyerto see which area edt be daa, thon Traine the Back edges fhe ur with ew frm strokes. Using medium pressure, apply yellow acre over ares ‘ofthe fae and neck aig enough colar otha abut ‘he testa lcovered, Then luse medi pressure to ‘apply ase tothe her reason thea, leaving the “ralaren around the mouth and he dee ofthe nase ‘heen sgl darken he nose with cool ry 90%. ‘Tofnish edd stokes ofseana brown ana yellow che tothe ur onthe dog's lave sie 4 Step Five owt sem pressure to apply dak umber othe darkest ees nthe tips a the ears and ‘long the ies the ead. use the sae col to sharpen the edges of some of the fal ur and outine the eyes: Ten sth to bur ech and hy apply ioe the rst ofthe ace leaving some white long the brief the nose and around the mouth. When shading the face, |pul th stokes over the Steady shaded areas to Blend ad smooth the edges, But eave some wht Showing hough to ndate Tighter areas ae ilies. aeGRAY SQUIRREL ‘Step One Fst ase an HB pent shetch he hai shapes of the squire ody, hed, ‘natal Then adhe es and eats. 1 aw the vel centetne one facet help ace the faal features, and add caved nest nate here branch. ‘Step Three {2d the whiskers wth he HB pen then seh toa very sharp col ‘ay 90% and begin estaishing the dirk ares. ist akon the whiskers with medion Pressure: thon use shot toesorthe shadowed ares onthe lg. algo duten the {oes and cls, use apt ove to shade sound the nat and under the ee, and use Shr strokes forthe fron top ofthe ead sing fm ressre in the ees leaving thehighens and ne unde the squire et eye white Next ad short stokes to pressure andthe eton fh ines fone he changes in ne es ofthe ears an a8 ena brown tothe edges ofthe ears rin ew places nthe ta appy aight ye ure Yellow dhe to mast ofthe head, using shor stokes othe Bog. Then use ang and Shor strokes to 26d deta to th ranch th col ray 9% Next | senlgo leo 26d Shadows where the paws ouch the ranch. Then wih meeium hard pressure, apply {eal ry 30% to the chin chest, parts ofthe es andthe stomach ‘Step Twa Irene he shapes and ad tai, clung he invites and cls. Then add some shor, quck esto theta to show the dreton of gon, ls da deta to the ranch DRAWING THE TAIL ‘The squire featured in he poet i young sui nate that his fat look too bigfor hs body and that tal ie a flan ean dls. The awing above ie sde view aFa matire say sqirel. Despite the name, most squires re ust ray ther frends tobe made up of may dierent Celrs. Als, same squies are more ray whereas tis oe more own. The farina squires tas sully very color ech strand oar anges calor Aromheeitaltaches othe body tothe tip ofthe al This squeal stats ut own, goes o black ans tppd wth white ths geste appearance ‘fbands oer. The strands fan out n several ection, with ome crn Strait tonard the viewer, whch makes teat confusing to drow ust make sure you dro the stokes inthe proper ection. When caving this {a eave some areas completely white forex contrast: also a a ark acground rou the tas the it aris ease tse, Because the ar ofthe verti allow he background cla to show trough ina few laces lng the edge of he Tal ao caret end along the edges the {urs they ae nattoo snap agit the background hs ao Plo keep the {ur Fem eoking to thik“Step Four using stot toes with medium igh ess, apply sepa tothe head and body, making he Stokes taht longer onthe leg. Teave sme areas ‘ite on the toes eel nae the rounded shape Te longer ros nthe al eving te edges fhe tal wht a ool gray 30% tothe users fhe Section the tit puttin shadow Then eae the tlged teste ofthe ranch wth lang stokes of el, ‘sing more pressure for carer areas ‘Step Five | sate the ight inthe queef y by spoving indigo lve slong the ‘edge ao seth colo to caw afew eyebrow a's ovr the eyes Nes | apy cal ray oto theif te paws to shaw how they curve around the rach. ada more stokes ‘foo gay go% tothe branch, using more presse onthe lower shadowed side to make Teer. raw afew smal cular spts on he ranch th thecal ray 90% then use ‘the same color oad more shot stokes tothe que body and ong stokes tote tl. sal eave a ew ite areas on the body andin thea especaly lng the edges ofthe talto show the whitetippd ur Mest apply avery ight ayer of ceulan be tothe gray ‘din, ces and tummy ls apply some spots of his color othe squires tal. ada tiny spo of cralean lu tothe ee hghlgh ard then lus a small amount of ng ue ‘onthe underside ard along the top edge ofthe ranch, These touches be add some ‘loro the most brown and ry compostion. Now use avery tap cel gay 9% longa the edges to sharpenthe crowing Using in pressure, deepen some fhe ‘ares areas with lc ore const Now my rowing compteHORSE Step One With an H perc us asic shapesto sketch the hea nec as, and ey. “Then! ar thee euning it flow te shape therasti and moth ‘Step Two using he basic seth as a guide, develop he aia features, ers, and bd Then draw the ane and inde some ofthe fed fhe skin ard sawed 10é Ww Step Thre {iin some of the shadowed areas using cool gray 90% then ayer incgo ‘ur over some a the shadow edges. Not cole he ts with sean own. Using recium pest, apply yl acre othe metal ares of he ri, ang sal reas efor hah. ‘Sap Four | ight apply dak uber othe ble, ean smal ares white to suggest the shin ofthe ete. eave ager whi tes near the metal ings to show tha he eater iswom ther. aso use short stokes and medlum pressure to nate some stihing onthe bri where stretches over te cheek Then using ool say 90% outne ad shade te rst andthe ine ofthe mouth Fr the gtr areas rund the maze vse col a 50% Neat crete sow whisher om the cin wh col ray 90% ete same ert create mare Shadows under the eu Moving down the ac, apy enna othe comer the ee, Then! ‘hd some color tothe shadows under the chesk and onthe nek ith ndge ue, 1"2 ‘Step Five Now| 36d mre color othe esther of thei by ght apg bart inna ‘ove the darker, sigmere pressure to crate aver rss gv he metal ings Bt Imore frm by adding some burt sienna onthe edges of he metal Uso 2 90% | Datine te eyelashes an shade araund the eyes. Next ad dark umbe tthe shadows nthe ead end neck develop the aio the mane ard oseock sig col ray 90% leaving wes the paper white or shine aa pressing harder fo the ake fas ae batt the ane Then ght iin the neck wth an even yer of burt oe aso use burt ate cating ‘hedges ofthe ene andthe Daze tat extend om he forehead ote tap ote nose ‘Step Sia fine ene fac, ying ovr the shadowed aes and leaving he laze ‘hehe erty apaly burt ace tothe gay an the nse and maze ete ‘he dare folds nd areas on he ae ard neck by adengmote burt ochve Nex ghly ‘pp ultramaine forthe dark ares of the mane, leaving seas wht for shine Then ppt cool ray 70% around the eye, nse, and mouth‘Step Seven To ecpen the color ofthe oat, | ada ayer of sienna brown oer mos ofthe horses hea and nec, leaving somes a1eas tone sie. |g ove the ges ofthese iter reas wih wht to san the asin, To aa low of oo ft stadew ‘nde the nek, pp) Venetian ed Using col ry 90%, add ve darker stokes tthe mane an pl some oth kes na the rect lengthen the mares dae sroes tothe forelck. To deepen areas ofthe head and neck even ure, apy ear Stokes ferns bown, Finally darken he nse and muzzle wth ante! ae of oa ay 90%LorY ‘Stop One 1 begin by sketching the basic shapes fhe ry wth nH pel crea 1 acral loki ned's proportions ana poston. Tiss omering hishead he bends formar When lacing te eye, eep i mind thatthe foreheads etl. | ‘Step Twa next refine the shape othe irl and raw the age feathers, nating afew the smal eters detal the eve, whih features several ings. The ppl has ace ‘round then a teardrop sureunde by aatet eardap shape. aso eine the shape of ‘the rane nd ae few ies othe talons. sharp Tuscan rd drove he ner ead shape ofthe een he op an bottom beak and ake a smal ie athe {ap fhe beak film the pup wth a vey sharp lak then outne the outer teardrop ‘shape. add afew bac nes sie ts aea a then sete back 0 the oeais and ‘thi thefeates 35 shown. 2d blak chery 0 some feather ees and apt ht layer ofthe ack chery to some ofthe darkest ras fhe efter ale clothe “ven om te eye lng te upper Beak with lak chery tenure sepa 034d Some ines tothe branch 4 ‘Step Fou | ppy bunt octet the rachin ew sales. Then use warm gray 50% othe branch pressing hard forthe ies ad using mdm pressuefr the shaded yeas. | aa col gay se around the ppl and he sie of he ea shadows. da canary ello evenly ver he beak wth medium rss To achive mare reals, Tindleate Smale feates with Tscan re, athough is ot necessary to render every fener: Using link pressrs, a Toscan eo the shagowe area he eters With the same calor, gp aver some feather edges and atine he i's Ne sing mem pressure. add ultomarne othe eather edges on the y's back ad ea at ih Fem pressure, pling he colt the Tuscan ed‘Step Five | spp col ay 0% tthe olemost ee shape ae the fot, arty leaving the ighighted areas white. enor some ofthe medium dark reas the lays ad ih sone using median pressure and pling the coor ove the Tascan ted Next use tebe onthe estes over the utanarne wth fim test deine ‘the shape ofthe feathers also ada ght hiro re blue over the foot. Then apply 2 Tight ayr of lacktoa ew eater for greater const. use warm say 5% over he ‘ranch with medio strokes, folowing the conoueatheba ls adh ayer of ‘acum orange he the Bek, ang ela sowing he one, ‘Step Six Nex appy pope ed othe remainder ofthe bid using Stokes in the Section of feather gowth bu ave af areas onthe back and wings white ndicte the lustrous eather tenure pul poppy red aver the edges of th ensting es 1 lend the clos mare evenly. The tl esters af ap her red sols cadmium orange hoe et the eds, leaving ew ght areas fo ghighs. 2d ate more lack a he long wing fates “4 Stop Seven owt make the shapes efter rip ving rimson re fn ew sroes 9 Tuscan rd blend the igh a the feathers on the bac wth ite, using em presse 0 pullthe white ovr the edges of thee Fis appt ate uttamarne othe blue feathers ard lend with white sing Fim srkes. | apply few shor sokes white othe side ofthe head 0 reine Tharound fom, Lada very ih yer ‘ultramarine tothe lower part of the bandh indeating a shadow and ging the branch more depth rly enhance the deta around the ee using avery sharp lack 1sLEOPARD ‘Step One | hoch the tsi shape of he head with an HB pen The head tured ata thre quarter angle, shit the vert carerine tthe ight and carve a lon the formate face Nate tt he guidelines ote ayes, ose and mouth ae aa crved Tindcat he ars and nose wth angle shapes, and | depict the casks wth vo all ‘ies. Nest I dra the bod, adding a smal hump othe shoulders. ‘Step Twa tree he features, aking te eye on the ight smal to sow that es father aay. aso aust he leapt’ et ear oes of the inside shows, ndeating the tured angle ofthe head Next |r the whiskers and some curved les onthe body alpen up the spots inthe next step. alse a some langlade of rss Wot ‘Step Fou swching col gray 20% add moe lng, cued whiskers. Then use @ ‘ery sharp lak pent ote the ees ad ls the pupil asi, mouth, and areas bon the cheeks and inthe et, a5 shot Nex clr te bades of ass wth dark bow Using cool ry 90 ity shade rand the ear’ ight ee and along the dg of ‘the nose use the same clr ogy shade along he creases on he as tndngtem stg Apatem sen because find eas | LAS \y ‘eee pts. ou may way coetngu soe fe ear oyu an \ “Steen on snare) The det ame ede oo 8 Wk ‘cuore / \\ ¥ VY AY WAN Ys 16LEOPARD Spots ere you can see the Kinds of strokes that makeup this pares Tur isinpontant to make Sure your stokes fol the arma the dy. Also make suo eave the edges somewhat ragged and ough Snooth edges wil mate the spts lek "stuck o” and ural Step Five Now ito the iss with yellow ee, leaving 2 wht highlight inthe leaps right ee. (Going oer the ight wit white colred pect hgs protect it from being covered by ote alors) Using medium pressure |appiy burt ochre tthe ‘asad soe areas ofthe hea; use the sare clr opty inthe centers of rest ‘tthe spot another eas fhe body. With mst, add but sienna tothe ‘ting pas nd daw afew moe Blades, Then use fm pressure to apy enna tthe ase ad tongue. witching to back ris the spots using ver short toes tha ow ‘he dection afr gow, Then | a even more lass wh ow sienna, “4 Step Six apy aight aye of sepa er mest ofthe body a inet face Then add coo gray go tothe eas and mil ofthe body fo emphasize the {ease behind thet eg ex acl hte Using short stokes, au Some dr areasto the grass with sepa nd burt ce Now apply dark umber to most ofthe body, adding afew stokes of burt ochre tthe spots and some coo {ay goto te lopae's ump Trish ge very sharp col ry got darken ‘few reat onthe body and go ore the butines ofthe eges of the body and heaving the pressures the Uns ‘en sald ad ok more reliMAINE COON D Step Two now devnap the deta, erasing unneeded lines grate afew short sakes one lace toindeate the direction af th fr Then athe nes "Mound the eyes tat extend dow alan the nse. aso ‘rate pups which ae shaped the footalindeate 2 few whiskers, 35 wel a the white areas on he ont as and some ofthe or paterson te bo. Next Trans this drawing toa sheet of sanded pastel pape. 4 Step One | stat by using an Hi pena seth the Bsieshapes ona pce of ap paper. lockinthe cas ead ad body using ovals forthe pas and tal and| tang shapes forthe eas also nate the round Chest andthe ceterine othe et fe, Then nde the fail features. New| chek the proportions making Sr the tured ead postion cored. TRANSFERRING A SKETCH Face a het of wating pape ontop your ato reference an ace he mao au ‘de nh an ve pplesin oat =to anthems tyr owns poe. Face the aster paper onto of your dang pape, apie dove, hldngthe trae paper pace wth ais ape Then place the ain ape on athe ‘nse paper ou ey need tena or edce he mage ona poco ot your ring pape ty ace ens wh pec ora stupa that wor are amar sich a5 sys he pola edge ofthe fal ofa thin pants, The ines ‘rosette droning pape below ‘You can purchase aster operat an a sup so, oyu can make your om ist over thebakof he Ycedimage with at een ae of wane, ace the papi de ‘ontopofthe rains apr ae iy tae tenes he tte anthem ‘heck andemsth te raver pape ocala fo mat sae the esha have as fered rer te gto ao dark‘Step Four Now 3 lake othe nose and pads on he paws Then adi ayer of dark brown to ares ofthe hea ith ced grea. he pupils wih ack being sre eae a gh eah pe‘Step Five Referng to my reletence photo, continue to acolo the ct. apply ait of Jasmine to afew patches an the body, a wells onthe ‘en nose, and around the mouth, Then | apply Fenn gray 70% to areas fhe fae and bay, using shat strokes that fol the deco fur {sro Using melum pressure adda layer ef chartreuse othe ss; the apply bakto the side the nose andthe mouth, Net apy hears {othe pas on te paws and use shot stokes of col way 9% on he pas, inating te fr, Ten Tuse medion pressure to apply col ry 90% t the undersides of he chi strac, an paw to sugges shadows; wae heer pressure unde te paws yer sort stokes of Dru! ove thejasmine res the head abo to depen te cola ala apply lng sates ol bun ce and French gay othe Nes 488 sme long ‘Stokes Feach ay 7o% othe frinside the as. DRAWING Cats’ Eves The shape of cats pps changes withthe lighing the pups appear ager and more cae (Gs shown ere), whereas in tong gig the ups cn appear ite ny vera sts. When Growing acat rom asain view, make sre ‘he ups ae faing saan head rete of taeda they aein the featured te queer ‘iow, Aso Leepin ind that wea sce or ‘Sent ofthe eye, much es visible tha a uma, as cats ies cover much ager area than uma’, 20‘Step Six apy cool ray goon the sides of the nec, making sure to aod the ove Tapping whiskers then apt th same clr al veh ody to darken teu. adda ral spot of ue Bue othe highlights Fhe pup the blend wth white. Net ayer ‘aary yellow over the charseuse inthe ses making te clr of the eyes more intense Nest shade areas onthe chest and ecko elp etn the mises th col ay 50% also ada tt of ol ray 30% to the owe pat fhe stomach Now stand bak etorine wheter any are eas moc aor. For eta contrast add ite more but bere ta the aeas where Ive aay applet anda black athe dahat aes fhe fue gem pla st ile rsh owe te fur to help lend and saten the clr. Ido the very caeily, rough, a oo much Bending can sudgethe drawing. vad blending the eyes, 25 want them tobe cer an shiny. stand Back rom the drawing gal make any necessary adjustments an ln my nae. 21ALPACA ‘Stap One Using a H8 pec | sketch th asc shape of the body and then add the as, Tong nek and otal shpea esd Nest plac the eve and mouth, adding 2 modified ova forthe ti The bed, es, anda ae hick det the fr, bt they would be eve ihe Irs alpaca wasnt shor, ‘Step Two Now refine he eutne ane feats, a adda few nesta inate the changes nthe ‘Step Thre | apply col ry 90% to he mouth, nose, ye, er, ad fet, sing frm pressure forte daet seas. |am creo eave a wht ighlaht inthe ye. 3150 ‘Step Four How poy ait ayer foo gray soto the alga’ ont right eto ‘dd ight shang under thea make recede and appear moe distant eh Ug pressure, edd more shading under thea an on he alpacas back eg, Using cool gray so and mecium pressure, Shade the face anders. haying pressure, odd small mas ihdiate te ak ‘yeas between sections au In sete areas, lading he al, aw sa nes found Smal sections off Then layer burt che with fm to medium pressure oer mos of ‘the extn ras apply smalamount of burt ocr to he nse ard ears. With frm "totes, |aw grass aroun the fet with Pusan green The, wing col ray 90% | tate rocks on he sound. 2“4 Step Fve 1a several frm stokes of carves tthe np of gas the foreground. Then shade the ground ith dak brow, varying the strokes with med ig pressure Using shor srakes with Fim pressure, ad el rent the rea behing the fg. sete same oor and onge stokes rte 1955 under the et, Now| se rig ue ad era soko start testa ree, eaving some ite Showing trough in small spots tthe top. a0 ad some dark own tothe backs othe fet > Stop Six | at short strokes of peacock bu tothe gras behind thelees. Nec apty neve yer of Prussian eeen othe estan tres, caving some othe whit spats ee rom clr Using frm pressure and ong, verti stakes, If the sy th ia cesean blue pull is colori the ee, ling the white spat lending he cols. This also pushes he ees back no the astance Usinghozomal stokes, appiy a it ayer of oud tue ot ‘ound beneath the trees and over he center patch of ree, Retuning {othe alpaca define te edges ofthe ace aur with very sharp. ‘ema brown. Then add sll mount of col ray 30% tthe fee, ‘rg ad ace lesing same aes white Nest use fem presto ‘Sly burnt yellow ode to masta teu use Some cesar stokes nd Some short staight stokes porta the wooly appearance To fs, add same fem stokes of but ocve othe fu naa bit moe 11955 rund the fet wth Prussian ween 23Box TURTLE ‘Step One rst shtes the basic shapes ofthe turtle’ ead and shel using a8 HB pen ‘Tent ad the eye and raw ate ines onthe shel to inate the pater he Back lege are hidden byte shells dart rather. ‘Step Twa | add mot neste pattern on the shell then ea some spot a folds ‘round thee ‘Step Thee | continue adang tines tthe sel and mara nthe tte’ sn then Tr more eaves and ose underneath te trl, ‘Step Four Now lus dark io to establish he dark areas onthe shel and body. voli the pts on thes Then use the ame clr ad rm pressure create the ark shadow beneath te trl, rawing around the moss and ares. 24‘Step Five Using oo gy 90% Shel gr pressure, apply cleo the batom ofthe iy Hetenng the peste to show a change vasa se tical, totghtly shade the chin and mouth. add ore deta the hel and body with indigo ue using ht pressure for ter teas ard gong over he dark ing on some areas 2 small white highlight also use hs oar and Shar, fm stokes to shade he moss ‘ofthe shells use gtr Bue on op ofthe head and on some the spats on the sith a kelp ee ad ight nthe, evig Teg and he Now | apply lack tothe pup ply dr indigo wi sho strokes ore feloron some a the spts on the Body 1 emalare of wits soon Then far areas of most als seth do nd Shade the undersea the ta eves by the ‘Step Seven Hosp spis tothe ett ting ee pressure Using pope re oh wedges othe largest mushroom ao use hs caer to bighte up some of the spoon the stl ‘musvoons, ging ap 9o% lus beige ad clr swokes a shade the Bato ar ofthe sel lei the existing colors. The add more kelp lee fo the moss and darken soe areas the foeground wi few ates ofthe shal wth darkndg. Fly, apply sunburst yellow fo some spots onthe shel. sth Pasion Tuscan re eins ad eving some liste spts by nda row and da ings als darken a 25RED Fox ‘Step One Using a 8 pec seth he esc shapes fhe o's ea The nse Tongan extends rom he ead because the fons ata tree-qurte ange the vera ‘orale curves withthe head 2nd extends out alan the nose. ext ad angle shapes forthe eas ane forthe mouth, end ovas forthe eyes. te thatthe eye othe tights A ‘Step Thee | aa fow ore dts tthe drawing lang few stots to inate Inedirecion a the fur roath owt suite = ack oared pen to shade the sa ‘he eats the pupil and the aulines aru the ees. shade most the nase wth fom pressure, eaving the top white; aso state the mouth aes Newlin he et a the ‘th cot ray 90% singer pressure 2 | go down With the same oar and medum Pressure, shadearoune the ey, ferehead, neh, ard meuth and ad a path onthe side ‘ofthe uz. Tent make shot, i stokes inside te ear with white peel da few daver stokes bate the white strokes with oa pap 90% 26 ‘Step Twa trefioe he dawg. ding moro the neck and body ar the ates ofthe Inner ens. also ndate the tes ofr nth chin and nck Then daw the whisker Iathings andthe whsers theses. eine the eyes ad nos, dravig the and puis acres forthe eye onthe ight ‘Step Four How apoy shor strokes of dark brown to ares the ead nek face, and ‘nd. rma strokes aply dark own tthe re ea he lk the ane pulingthe sakes oer the ite fu alea ad layer af enna tothe et side the Innere. Then! a some rm stakes of wht tote head, body, and ras around the te et apply col way 9% to the nose tang the Might whe Using medium pressure and dark brown, ad stokes othe shat radate out rom the pup Now Ise {he H penta sete the hat above the eye: wil daean ther ate,Step Six Using shor strokes of dark, ‘rom Lad more aro most of ead and body, lysing over exsing ‘lors. apy ow ache f the bottom ‘Sle of theca onthe ead along the let ideo the body toad warmth ‘and show he ight sous Then add Some stokes of mineral orange tothe Unde ofthe neck to show the orange Taretecing onto the white uals ‘apply some em suokes a al gay atetothe nel ad depth, Wet ad {Small amount of pumplan orange to {height sie ofthe body | make shart ‘tvokes with Beige slong the inside ees ‘ofboth er to show ur overaping he inner eat. Then apply beige over the ar ‘onthe let ie o he bay oben the ‘lars and cover the all wit areas, Nest 3643 good amount of ate gay ‘the neck an chest areas to pute ‘shadow. Tn sae gray over the range furworeit meets the white raente 3 ‘at shadow Nex shade long the op ‘edge othe nose with ackto Bent, ‘tthe Surrounding fr ad a spt of ‘oud buetotheghghs inthe yes nda few stokes tthe white areas on th face and neck. also ala ayer ‘foul ue othe aang ur beret ‘he hin To ish use lack to sharpen ‘Some edges and daten nea fu also aren he wishes, adaig one more as ‘na touch Step ve | ad burnt oe othe iss ering it over existing cols. Than apy medum-ength Stokes of but ace to most ofthe furan ihe body. Where wan the fob date, se hater pressure. New ad cool gray 70% tothe whisker markings and along the bottom eée ofthe chin Then Ttde th white neck rea wih col rey 30% and meu pressure To show ates inthe press harder nd make some of the strokes poral, Now apy col ray 30% the ne ear sing sor Frm srokes nthe ear on he ad ihr, anger stokes nthe ear on ther Swchingo# hap ‘ark row, go ver the tno eye oath le Then a ml amour flack athe pup nd layer yw over the Bunt cee nthe ses With very smashes, apy ark brown tthe igh edge ofthe face along the nose. use a sharp back apply short and medum hast the bottom of the chin then darken the whiskers wth ong strokes ad aw th as above he ees 2BUSH BABY ‘Step One Using a 8 pec ighty dam a ice othe hen then Ladd the body, limbs, and ta mating the bo wraparound a we. Now| dr the ail guidelines snd place he features, making sre the noe low ont face. Then athe angular as. ‘Step Twa trefine he dain ing sf ines india some othe fr Then dae the nial gers antes, noting ha the second finger shrte than the ter. Next ad ranches nd Waves the te. aoa afew nes tothe a nate haw the changes asthe tal carves, Now wok onthe eyes: Starting wth he ginal Ces daw several more ccles that get large asthe go outward; then | ad the pupils nd ight. a0 eine teers, nose, and moth Step Three Now Itransethe drawing tothe smooth sé of gray toned pape (se “Transfering Seth on page 8). This paper wl provide mach othe ray fr or me. [Aer thetine are ransfrd, tinea fr on the ea and boy with to rm strokes ‘of oo gay 9% use the sume olor ight outine the ose, gers, ad toes then ‘eae the fight ridges nae th ears Aer covering the hight nthe eyes wth we | Fin Ue pups nd outine the jes andthe fr around he ees wit black, 28 ‘Step Four | cust the ear onthe leh tring itso more of the outer part ofthe car shows The, using aK nightly shade areas on the er and paws 35 wel 35 Unde he ein ad along the dere he aus the same colo sade the ‘ndesides ofthe ranches and both ides af there, mating te gh side darker Suggest the dteton of ght Schingo lack add veut he moth, and light shade the ies. Il ute lack ton the ur orund the yes with fim pressure and sar stokes.“4 Step Five 1 ishtyappy kelp rent the leaves: hen apt alight ayer of hen to the nse, ‘is heii and ner eral claro thee with dak bow, using vert saes forthe ‘tunkand horaorta stokes forthe branches, Net emly apply sho stokes of French ay al over ‘he body and head, changing te dection ofthe stokes ste fr curves wh the body anal. Then Tply oo gray 7s tothe ur onthe body, cresting darker areas with col sy 90% aca ay ol ray 90% othe aps ofthe ers. Net 2 ove te hanna on the nose, is anne es ‘th peach out sme color along the ight fhe ree rn with 9 kneaded east ve 2 ‘ounded ok Next apply carteus to he het ides a the leaves, a5 wel asthe lt sie a the bush baby's body ang forearm Then fin the sesh Tuscan ed ing medium pressure and stokes hat alate out rom the pupil As usual leave whit ighlahisn each ee D Step Six tad tie mre henna tothe nose and around the ‘yes hen righten theses th asa aout of poppy red Using a white penct wi fim pressure and sho stokes, rate ‘white fur on the face and Dey, avin some gay paper showing {trough Then sete wht pect blend the clr sie thers as wells onthe paws Next add lt ray to some shadowed areas under he forearm and chi wel as ares betind thee Then ad black othe toes and shadowed ‘eas of he We. T ah bighten same light eas wth ‘Stokes of white, 29Cow ® ‘Step One Using an tye sketch an oval shape forthe head ands sale ice forthe nose Then a the facil guidelines sight curved vertical eteine and havizotl nes forthe ees and st, ext draw teens making the ea onthe et Slight larger because he ero the rights ued forward Naw ad the Ded, making Ieabou 6 mead longs daw the sand crved tal ‘Step Two trains ad detail the shapes, aig the ost, moth, nd hooves Then inate folds nthe sin and ad some short stokes othe edges the body to suggest 1 coat Nw | draw a background of es anda fence, ding camps of ass end lowers onthe ground ad aound the cow’ hooves. ta ¢ bel gras fp Poe ‘Step Thre Swiching col gay 9% | use melum pressure to shade the dakest _reason the co's body, nudge Roos, neck wiles, top ofthe nos, and chest This shaae the fence poss Then oe frm pressure ton the ees ard not 30 Step Four Aster aphinghennato the insides of the ears, lus ih to medium pressure toshade the ace and same areas of the ody with slate ray, ong ovr some of he ark ‘reas Hom ste the. tity apply burt seat arts a tego. Then ing Indigo ue a frm pressure, shade most fhe are ect behind the con ating "he ground ard the fence. use meu aight pressure ta shade the lege above he on ean malate of wie showing tu.“Step Five Now start the gras ih Pasa ren, using mare pressure forthe grass inthe foreground to help suggest depth The igs gras nthe background ok farther aay) ada ew stokes of pumpkin orange tthe gas: the use cna yellow nd ala oes forth Howes 2eding burt ochre othe lowe centrs. Rtg the on, cover most of te body with peach beg, leaving te tp ede ofthe cow's back het show the sunt coming om above abo eae 2 eat lf white onthe ‘riage an sides of the ose. Then se medlum pest to app Bue ste fo he sy, Stl evi some wie showing tough ‘round the jes, beige sen ise the ety re light ayer of beige sean oer same ofthe peach nose, ad the upper part the fag. To sh ‘th ow ad aight layer ef dark brown othe body and use enc Ty 50% and sho fim stokes tober te clrs on th coat Now fie the Background, To darken theowet pa ofthe backround adda aye of lac; then aly ayer ef Prussin ren ove the back apd up over most ofthe folage. Net sesh. vercl stokes to complete the sas, {sing ap seen forthe backround and apple ren forthe mile: and foreground Teal the rassin te bacaround recede | apply sme stokes oUght cerlean ue create he ‘at shadows on he ras rom lege it fm presse singing sappy his oar ve te grass nar he ene pots o sages the shadows othe tes Tash, amore indigo othe ees and ighon the pat hae more em stokes pate een,About the Artist Debra Kauffman Yaun discovered that she hada knack or drawing people when she was a young girl growing up in Tampa, Florida, After gradu- ating from the Ringling School of Art and Design in Sarasota, Florida, Debra ‘worked a fashion illustrator She has drawn and painted many commissioned Portraits, several of which have been of children—her favorite subject to draw. Debra's artwork has been published in several art magazines and books, and she has won numerous awards, including an international award, Shei a signature member of the Colored Pencil Society of America, having served as president ofthe Atlanta chapter and she sa juried member ofthe Portrait Society of Atlanta, She also enjoys teaching classes and workshops in portraits and colored pencil. Debra’s work is currently featured in five Walter Foster Publishing tiles: Drawing: aces &> Features (HT290) and Drawing: People (HT294) inthe How to Draw and Paint series; Colored Pencil top by Step (AL39) and Watercolor Pencil Step by Step (ALA3), oth in the Actis's Library series: and People (K27) in Walter Foster's Drawing Kits, Debra and her artist husband have two grown sons and currently reside on 11 acres of countryside in Georgia