Originally Posted by cwilliamson
Still working on animals in preparation for Inktober. If anyone has any suggestions on how to convey tautness in muscles or an animal in motion I'm all ears.
C&C welcome as always.
Canson mixed media 7x10" sketchbook
Copic multiiner pens
Pentel gray brush pen
Nice work Clark, your outline is really tight & keenly observed.
"How to convey tautness in muscles or an animal in motion I'm all ears".?
That doesn't sound like the beginners class !
I personally have never developed the skill of drawing movement but studied all kinds of drawings carefully & bow in admiration to people who can do this well.
I think the answer lies in definition in both cases -so the taught muscles would be drawn to be more finely detailed compared to the lack of detail in the relaxed muscles ,more defined.
- A good profile is the starting point, usually the animal/person should be drawn at the moment just
before the point of maximum impact or extension. By doing this it suggests to the viewer to complete the movement in their mind.
Your profile above surely ticks these boxes at the least.
Always leave space into which the animal can run into.
Draw the background thinly ,suggesting out of focus or out of viewers interest in the centre of a quick moment.Again you've done all that
So all of that to begin with! but now equally crucially the lines
you use to draw the animal with & how may you choose to use - you need to use a pen or a brush which is capable of different weights/thicknesses of line or a choice of pen sizes.
Those profile lines do not want necessarily to be joined up.
The sight of a fast moving animal is a fleeting impression so detailed fur etc. will work against your aims.
I would advise you to start drawing it using the absolute
minimum of lines to start with & stand back & have a long look at it.
It is all about suggestion.
Another way to go about this very challenging task is to (hard to put into words this) , on the profile suggest a blur around the moving part by offering alternative interpretations of where the leg or head finally is to the viewer. A bit like when you make a correction early on in a rough sketch when you draw that leg line a bit further forward to make it "right". But in this case don't make the "correct line" bold . So you have left the viewer to decide which is the line - indeed - they are all correct lines within the time of the movement! = suggestion & choice for them.
The perfection of all these devices & methods to suggest movement is balancing the weight of line in such a way as to make it loose & ambiguous, suggested - giving the viewer options as to interpretation of the drawing.
The above drawing is already further than half way there - you just need to practice more to build on this firm foundation. But I'm sure you already knew that too !