Step By Step Realistic Horse Projects Drawing And Painting In Pencil Acrylic And Oil.

166 Pages·2022·12.912 MB·English

by  coll.

Contents
Introduction
PART I
Getting Started
Supplies
TechniQucs
Refcrcnce Matcrials
PART 2
HODe Anatomy and Characteristics
Drawinl,l the Basic Shapes atxl Fonrn
Gcttinl,l the Correct Proportions
Horse Colors
PART 3
Horse Portraits
Thoroul,lbbred in Conforrrotion Pose
Thoroujibbred in Classic Hcad Portrait
Appaloosa in Relaxed Pose
Tboroujibbred Foal
Paint Foal
Quartcr Horse Foal
PART 4
HODes in Action
Frisky Pony Foal
Rearinl,l Lipiw l[)cr Stallion
Donkcy Walkinl,l
Pnmcinl,l Arabian Filly
Friesian Stallion Trottinl,l
Trottinl,l Arabian Geldinl,l
Gallery
oil 011 can,"a, • 27" ~ 40" (69cm ~ I02cm)' pr;""ate collect"'"
Introduction
Horses are SOrTl! of the nIlst beautiful anilmls on earth. Their combination of strenboth
atxl elegance, as well as the role that horses have played in human history, have Erode
them a favorite subject of artists. Even those who have never had the opportunity to own
or to get to know a horse personally admire atxl feel a closeness with horses.
Whether or not you have horses, you can becOrTl! a great equine artist. From the age of
five, I have drawn horses, even though I grew up in a place where there was no place to
keep one. I began drawing horses after I was taken to Ahnahurst Farm in Kentucky. I
still ren~mber how awed I felt at seeing the horses in the barn, their heads looking out
at n~ from their stalls. From then on, I began to draw lots of horses.
When I was a teenager, I was surprised to learn from my father that his father, Gu~tav
Filler, who had died before I was born, was a talented artist who had always liked to
draw horses. Although he never owned a horse, he lived when horses atxl wagons were
cOllU1Ilnplace, and he would have seen horses every day. My lnaternal grandfhther,
Aubrey Brooks, lt~ed to drive a horse atxl buggy atxl worked at horse farms when he
was older. I have both grandfathers to thank for my interest in horses as well as my
talent for art.
I did not have my own horse until I was in my late thirties, atxl I now feel privileged
to have eight of these wOlxlerful animals U1xler my protection and care. It's never been
sOlocthing I take for granted. Read books about horses, study artwork by artists whose
work you admire, atxl seck out any opportunities to observe horses. Even in cities, there
arc IroUllted police officers atxl horse and carriage rides. Other places to look for
horses include race tracks, parades and horse shows. The [rore you sec horses up close,
the nIlre you will learn.
This book will give you step-by-step itl~tructiotls for drawing atxl painting lnany
different kitxls of horses in different poses and settings. I have also included drawings
to give you nIlre insight into horse anatomy as well as the differences between breeds. I
hope you learn a lot atxl have fUll!
ORA WING OF A LEAPING HORSE
by Gustav Charles Filler (1812- 1947)
peocil OIl paper ' 8" ~ 10'1.." (2Oem ~ 27cm)· I";"'atc collcctoo
PART I
Getting Started
oil on panel' 18" ~ 24" (46cm ~ 61 em) • an;'!'. collec!ioo
To get started drawing aoo painting, you will need the right supplies. You don't have to
buy the ITX)st cxpcfL"ivc art supplies but you soould b'Ct the best available to you.
Rcn-.::mbcr, the nus! expcll."ive bru.. hes aren't the key to becoming a IUIs!cr, and a good
artist can use nooeratcly priced bru"hes to produce a masterpiece!
Three n-.::diulTti arc u. . cd in this book: acrylics, oils alxl penciL [n this section, I'll
provide you with a list and description of everything you'll need for each n-.::diwTl. I'll
also cover basic teclmiques to get you started drawing and painting as well as
SOIT"M:!
filxling referC1K:Cs.
SUPPLIES
Drawing Materials
We'll start with pencil drawings, which require just a few simple materials:
Surf",,~
Bristol paper with a SJTX)oth finish makes an excellent surface for fine pencil work arxl
withstarxls some erasure without roughening the paper surface. You can also usc hOI
pressed illu"tration board, which has slightly nme texture than the Bristol paper arxl
can also withstmxl erasures.
I'ondl.
Use a no. 2 pencil for your preliminary tmdcrlying sketch, whether you're sketching
directly on the bristol paper or tnlll"ferring your sketch with tracing paper.
For the final drawing, ll"C ebony pencils. TIlCY are jet black mxl SITY.lOth to work with
bccau"c they are softer mxl dCl1"cr than ordinary pcllCils. This also ffi1kes them easier to
blend with a stump. [ ll~e Sanford Design pcllCils, but other companies also produce
similar products.
Kn~aded Eraoer
The kneaded eraser is best for pcncil work as it erases cleanly and can be fomed into
any shape for dctailed erasures. Also, you can easily clean the eraser by kneading mxl
working it around. You can use a kneaded eraser to lighten areas that have b'Otten too
dark by repeatedly pressing the eraser lightlyonto the area until it is the right tone.
Blending Stump
Similar to tortillions, stumps arc ITDde of soft, tightly spiral-wowxl paper. Tbcy are a
good tool for slTKJothing atxl blelxling and give a softer look to som: areas of your
drawing than can be achieved by the pencil alone.
rendl Sha'l"'ncr
It's important to have a good pelx:il sharpclx:r, preferably cleetrie, so you can quickly
sharpen your pCIx:ils to a fine point. It's a good idea to sharpen several pCIx:ils at once
so when one get~ dun, you don't have to stop to sharpen it.
Spray fixative stabilizes drawing.~ so that the penciling won't slnud!;,'C or Slrear if it is
accidentally touched or rubbed. Workable fixative is best since it provides lasting
protection, yet you can still rework the drawing if you decide to make changes. Apply it
in a place with plenty of ventilation, placing the drawing on a larger piece of scrap
paper or cardboard so you don't get the spray onto anything else. Cover the surfacc
lUliformly but without drips.
Gather Your Supplies
Here is what you'll nced for your pencil drawings: a slll"face (Bristol paper or
illustration board), a no. 2 pencil, ebony pencils, kneaded eraser, blending snunps and
spray fixative. It's also u~eful to have a good pencil sharpener and tracing paper for
transferring your sketch to the surface. Drawing supplies arc relatively inexpen.~ive and
easy to order over the Internet.
Painting Materials
As you'll sec, the list of materials you'll need for painting is ITX)re than for
exten.~ive
drawing. However, once you've purchased basic painting supplies, they are well worth
the expenditure since they'll provide you OOlll"S of satisfaction aoo enjoyment as you
create your own paintings.
Surface
The Sur£1CC for nlJst of the oil and acrylic painting deloon.<.;trations in this book is
Gessobord, a preprinl:!d Masonite panel with a nice texture for realistic painting. It
cOires in a variety of sizes. I cOlTl'leted most of the delTlJnstratiolls in this book on 8" x
10" (20cm x 25cm) panels. I used hot-pressed illustration board for the horse eye and
mane denlJI1"tratiOll". lIIu"tration board is fine for acrylic paintings, but since it is paper
based, it is not suitable for oils. Although I prefer Gessobord for finished oil alxl
acrylic paintings because of its penmnence and slllJotncr sur£1ce, illustration board has
the advantage of being less expensive to buy mxl it can be easily cut to any size you
desire.
rap"rTow~I'
Paper towels are lL"eful for blotting excess paint, watcr, turpentine or Ill:!diwn from your
bru"h. Keep a folded paper towel by yoW" palette mxl a cnul1'led one in your hand or on
the table.
,
Versatile Materials
Many of the smre materials u"ed for oil pallltlllg can also be u"ed for acrylics -
bru"hes. surface (Gessobord), palette knife, paper towels, no. 2 pencils mxl tracing
paper. The difference is in the paint" (oil or acrylic), Jrediwn (Liquin or water) and
type of palette (disposable wax paper or Masterson Sta-Wet Palette).
M~dium
Medium improves the flow of the paint so it is casicr to sprcad mxl blelxl, mxl it can
also be uscd for glazing. For acrylics, 1 lL"e plain water ill"tead of a Imnufactured
locdium. For oil painting, IlL<';c Will"or & Newton Liquin. 11 improves the flow of paint,
Imkes the paint dry fastcr and is b'Ood for blelxling and glazing. I ll"e turpentine or a
turpentine substitute to thin a neutral color for blocking in the form in the first stcp of the
painting, mxl for cleaning brushes.
When painting with acryl ics, it's important to change the water £1irly frequently so it