#656 In the field . . . birthday #72

Last week was my birthday and we returned to the rustic
cabin in remote northern Colorado where we celebrated 

July 24 last year.  We lived in Colorado for many years
and know the area very well . . . we know all of the backroads,

 the best places to fish for Rainbow and Cutthroat Trout,
the trails to the little streams where the Brook Trout
hang out,and where to see wildlife.
The old camp where we stay is close to
timberline and is heavily populated with moose . . .
we never fail to see them.





Below, are images of moose taken last week in the high country.

Below, I spotted a recumbent young bull in the shade from a distance . . .
we left him at peace but got him with a telephoto.

Below, Trish is fishing at a favorite high country lake where we saw nesting Ospreys.

Shown below, is another favorite lake . . . I photographed a Mule Deer doe while enjoying a cold beer and the scenery.

The temperature dips down at night and the old housekeeping cabin is heated with an ancient wood burning cookstove.
The wood and kindling is provided for us, chopped, split, and always plentiful . . . I'm used to wood heat and love it!
Below, is a photo of the dogs warming up on a chilly morning in front of the cookstove while the boiled coffee perks.

The proprietors of the camp are fellow bird lovers and have hummingbird feeders everywhere.  

Below, are photos of Trish, a feeder outside our cabin, and along with the resident Chipmunk,
we could count on a live model and plenty of entertainment during the cocktail hour!

Below, is an early etching of hummingbirds.

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#654 Plantigrades, Digitigrades, and Unguligrades . . . land animals

Please see the previous two posts for more information about this subject.

The focus of this blog is four basic types of land animals which are:
Plantigrades, Digitigrades, and Unguligrades . . . both odd-toed and even-toed.

1.  Plantigrades are slow land animals such as bears, raccoons, squirrels, etc. and the paws
 function similar to human hands.  The drawings below are from one of my journals and sketchbook.

2.  Digitigrades are intermediate speed land animals such as dogs, cats, birds, and most mammals.
Surprisingly, elephants are included in this group . . . much more about elephant anatomy in an upcoming blog.
Also, birds - who stand upright like humans -  are included in this group.
Digitigrades walk on the pad of the foot and hand as shown in the drawings below.

3.  Even-toed Unguligrades are faster land animals such as deer, cattle, sheep, goats, pigs, antelope, giraffe, etc.
  I can find no info on why they are called "toed" instead of "fingered".
Below is a drawing of a cow that shows hand and foot basics followed by that of a deer.

4. Odd-toed Unguligrades are fast land animals such as rhinos and horses.
The lower leg and arm is the foot and hand region and the animal walks and runs on the toe and finger.
Below, a drawing of a horse shows hand [thoracic limb] and foot [pelvic limb] basics.

                                                                                            

Go to the BLOG INDEX and Reference Page for more information.  See post #616 and #655

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#653 Locomotive anatomy . . . deer

Please see the previous post for more information about this blog.

The focus of this post is anatomical considerations of the deer in motion.

Every artist knows that it's difficult to sketch a jumping or running animal.  Studying skeletons, muscles, and proportions of a species and understanding "nature's one pattern" and waypoints - see blog #644 thru #648 - is invaluable knowledge
for the sculptor and will initiate an understanding of all quadruped locomotive anatomy . . . deer included.

Drawing action gestures and lines in the field, will help you catch the spirit of the pose and will  prevent becoming
involved in the details before you have established proportions and character of the pose.
The legs of a running or jumping deer are moved one after the other in rotation . . . a horse moves the legs diagonally.
Shown below, are quick sketches created afield.

In the field, you will observe that at the beginning of a deer's leap or jump, the head and neck are extended.
As the deer lands, the head is drawn back.  Below, are additional drawings depicting the deer's anatomical structure.
Remember . . . drawing in the field is about curiosity; not the final product.
Look for the big picture . . . don't get mired in details.

Photography is an invaluable tool for the artist in the field.  This little Mule Deer fawn didn't see me crouching behind a bush and ran right toward me before veering off!  All four legs were off the ground and it was demonstrating a maneuver
peculiar to Mule Deer called "stotting".  White-tailed Deer don't do it but some African antelope do.

Shown below, is a recent sculpture of a White-tailed Deer in motion entitled, "Swamp Buck".

Shown below, is another sculpture of a White-tailed Deer in motion entitled, "Whitetail".

                                                                                            

Go to the BLOG INDEX and Reference Page for more information.  See post #616 and #655

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#617 Reference for the horse artist . . . Sam Savitt

When I left art school in Kansas City in the early 1960s, I entered the realm of commercial art and animation.
My heroes then remain my heroes now . . . one of them was the outstanding illustrator of horses:  Sam Savitt.
 Born in 1917, he passed away in the year 2000.  He illustrated for outdoor magazines but horse stories
was always his specialty . . . be it racing, polo, western, rodeo, dressage, or fox hunting and I remember him
as a youngster when my Father would give me his magazines to tear the pictures for my scrapbooks.

He authored numerous books, illustrated over 150 books, and among many other publications,  illustrated a line of comics for Gene Autry's horse, Champion for Dell Comics in 1951 which I eagerly collected. . . and wish I had saved. 

 Not only was he a great illustrator, he was a horseman with a great knowledge of horses.  

Below, is the cover of one of his best know books, "Draw Horses With Sam Savitt", originally published in 1981
by Half Halt Press, Middletown, Maryland.  Also shown are images of pages from the book.
This is a very informative book and he shows you how to draw and understand the horse in motion, 

conformation and markings, anatomy, and breeds of horses, and much more.

In 1995, while teaching a bird sculpture workshop at Scottsdale Artists' School,  Mr. Savitt was also an instructor there. 

 I had the great pleasure of meeting him and was truly star-struck!  Trish and I had just picked up our new West Highland Terrier puppy and he was totally charmed by the little dog and would play with it every day when we took our breaks. 

 A few years later, after he had died I found the book, published 1969, shown below in a flea market and rescued it.  

To my delight, when I opened the book, it had been signed to someone and had a sketch of a horse 

which is also shown below.  His elegant style and presentation of the horse is my ideal.

www.samsavitt

www.samsavitt.com/books

Go to the BLOG INDEX and Reference Page for more information.  See posts # 616 and 655

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#110 In the studio: Drawing con't . . .

Drawing forces careful observation causing the artist to understand and know the creature.

Shown below is a recent oil painting . . .  I approached it as a drawing using brush and pigment.

Original oil painting by Sandy Scott
5 x 7

Note: The etching link from sandyscott.com is being redesigned and is temporarily offline

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#109 In the studio: Drawing con't . . .

A sculptor knows that drawing strengthens observation skills. 

Understanding the subject enables the artist to see, draw and model the animal.

Learning to draw is really a matter of 

learning to see - to see correctly - and

that means a good deal more than merely 

looking with the eyes.

                                  - Kimon Nicolaides

Dominick
8 3/4 x 7
Original etching by Sandy Scott 

Note: The etching link from sandyscott.com is being redesigned and is temporarily offline

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#108 In the studio: Drawing con't . . .

Simple shapes are the foundation of drawing and to draw accurately we must use all these shapes - circles, squares, triangles, rectangles, ovals, etc. - in correct relation to each other.


The handling of clay and other sculptural material can be taught and learned.  Sculpture involves the consideration of three dimensions - width, height and depth.  If you can see your subject, you can draw it and therefore express it in clay.

Cochin China
17"H 14"W 9"D

Note: The etching link from sandyscott.com is being redesigned and is temporarily offline

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#107 In the studio: Drawing con't . . .

Drawing is a skill that can be taught and learned, and like any skill, it takes practice.

How does one learn to draw?  The answer is irritatingly simple: You must learn to see your subject.  If you can see your subject, you can draw it and therefore express it by painting it or modeling it in clay.

Note: The etching link from sandyscott.com is being redesigned and is temporarily offline

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#106 Throw on Another Log: Drawing

Drawing is essential to creating art.  It should be approached as a way of learning.

Unfortunately, most students, whether through their own fault or the fault of their instructors, seem to be dreadfully afraid of making technical mistakes.  You should understand that these mistakes are unavoidable.  The sooner you make your first 5000 mistakes, the sooner you will be able to correct them.

- Kimon Nicolaides

Eager
Original etching by Sandy Scott
6 3/4 x 7

An etching is a drawing, created by the artist on a copper or zinc plate.

Note: The etching link from sandyscott.com is being redesigned and is temporarily offline

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish