#685 In the studio: Eyes. . . predator or prey?

Whether your creation is human or animal, every figurative artist should have an understanding of eyes.  

It's important to know the difference between an animal that is a predator or a prey species.
Once this information is processed . . . eye location become logical:  See and be seen.

Predator animals such as a wolf, lion, bear, cat, dog, and human have forward-facing eyes that are placed 

on the front of the head while animals that are preyed upon have eyes that are on the side of the head.  

Preyed upon animals include rabbits, mice, deer. antelope, zebras, horses, and more.

The same is true of birds:  Birds of prey include eagles, hawks, and owls and have eyes located on the 

front of their heads.  Most other birds have eyes on the side of their heads and are preyed upon.

When you research your subject, pay special attention to the eyes and where they are located.

Ask yourself . . . is this critter the hunter or the hunted?

Below, are images of predator eyes.

Below, are images of prey eyes.

Go to the BLOG INDEX and Reference Page for more information.  

See post #616

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

#655 Animals in motion

It's important for the artist to understand that one of the main anatomical difference between upright humans and quadruped mammals on all fours is the shape and position of the shoulder blades as outlined in the previous 3 blogs. 


Below, is the clay model of a sculpture in progress depicting running horses.

   


Unlike humans, a quadruped does not have the skeletal support of a clavicle attached to the scapula and humerus. . .

there is no collarbone [clavicle] attachment to the scapula [shoulder blades] and the scapula is not attached to the ribcage.

The weight of the front end of a quadruped is supported by sliding scapulas and the muscles that surround them.
Birds like mammals are vertebrates, they stand upright like humans, and they have a clavicle.

While the shoulder blades are not attached to the ribcage, the hips are. 

   The artist should know how the animal's skeleton is structured and how it is designed to function.

The artist must sense when to exaggerate or diminish proportions to achieve the illusion of movement.

It's the subject's gesture or movement that the artist must capture.

Don't be afraid to "stretch" a proportion to trick the viewer's eye into seeing what you want them to see!

Caliper restricted and exact measurements can result in the creation of a specimen and leave the realm of art.

Calipers and measuring devices are useful for depicting poses of the animal at ease, for blocking in the start-up,
 and especially for those times when you simply stop seeing the work . . . you know something is wrong, but what?
Measuring can get you back on track but don't forget your first impression of the animal's gesture and action . . .
 refer to your drawings or take a picture of the existing work before making too many adjustments and changes.

Note:  A great book and resource for the artist is "Animals in Motion" by Eadweard Muybridge; published by Dover.

Remember, if you know what to look for and where to expect to find it, your art immediately becomes more easily accomplished.  Since the bones of a specific species are fixed as to length and restricted as to range of movement,

they can only assume positions that are governed by the laws of mechanics. 

The first thing to be aware of is the position of the skeleton.  All of this becomes evident if you know

where to locate the scapula (shoulder blade), the humerus, elbow, wrist, pelvis, femur, knee, and the ankle.  

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

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

Below, is a link to a credit list of references and resources used for preparing visual images of skeletal anatomy, and structural data for the instructional portion of this blog.  This material is meant to be used for teaching information and studio reference.  Not included in the link is "Zoobooks" which is an excellent artist's resource. Additional sources will be noted when used in upcoming blogs.

Link to post #616

#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

# 652 Locomotive anatomy . . . muscle bunching, stretching and more

I've been a journal keeper for many years and my spiral binder journals are filled with notes, sketches, and lots of information that I've deemed worthy of writing down . . . many of my blogs originate from these old journals.  

Recently, I came across an entry that I hope is informative and interesting to you about quadruped anatomy.  

The focus of this post is quadruped locomotive anatomy . . . muscle bunching, stretching, and more.

Below, is an image from an old journal entry depicting locomotive anatomy; bunching and stretching.

Locomotive anatomy, or how the muscles bunch and stretch, must be understood by the artist.
An animal's body compresses, or bunches and extends, or stretches when in motion.
Below, are two images of a sculpture depicting muscle bunching entitled, "Coyote Clipper".

Below, is an image of a sculpture depicting muscle stretching entitled, "Stealth".
Note the stretching of the skin over the muscles from joint to joint.
An understanding of skeletal structure is a necessity . . . see "nature's one pattern" in blog #644
through #648 for more information about quadruped anatomy.

Below, is another image of "Stealth" depicting muscle bunching.

                                                                                           

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

#625 "Riders of the Dawn" . . . the horse, con't

Please start this series of posts about the horse with blog #616

One of my all-time favorite equestrian monuments is a sculpture entitled "Riders of the Dawn" 

by Adolph Alexander Weinman, (1870 -1952).   Located at Brookgreen Gardens in Murrell's Inlet, South Carolina,  

it was commissioned by the Brookgreen founders,  Archer and Anna Hyatt Huntington in 1940.

http://www.brookgreen.org

The sculpture depicts a heroic group of two galloping horses ridden by jubilant young men blowing trumpets.  

Weinman combines every element to create the feeling of a great surge of high spirits and youthful vigor.  The powerful masses, the patterns of muscles, the wind-tossed manes, and the scrolled waves all contribute to the effect.

Below, is an image of "Riders of the Dawn".

Adolph Alexander Weinman was born in Germany and came to New York when he was 10 years old.

At the age of 15, he attended evening classes at Copper Union and later studies at the Art Student's League.  He later apprenticed and worked for Augustus Saint-Gaudens and Daniel Chester French and opened his own studio in 1904.  Weinman in known as an expert in medallic art, a carver of architectural ornament, and a sculptor of monuments.  

Many important buildings were beautified by his additions in New York, Washington D.C., 

 the state capitals of Missouri and Wisconsin and elsewhere.

Below, are details from the superb equestrian monument:  "Riders of the Dawn" which has had an enormous 

effect on my approach to equine sculpture since I first laid eyes on in it  almost 35 years ago.

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

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

#621 Equine conformation and proportion

Please start this series of posts with blog #616

Equine conformation is the method of evaluating correctness of a specific breed's body proportion, bone structure, and musculature.  While judging a horse's conformation, "form follows function" is considered:  What is the animal's intended use?  For instance, a Clydesdale is certainly not intended to be used in the same manner as the American Saddle Bred!

While researching a specific breed for sculpture subject matter,  I refrain from slavishly analyzing strict conformation and typically experience the breed in its environment, up-close and personal.  I pay attention to my first impression of the animal and what impressed me most.  Afterwards and in the studio, I usually have a more analytical approach - particularly to proportion -  while going over my sketches and photography.  I also obtain all the information

 and imagery I can in my library and the internet. . . I'm after the "look and feel" of the breed . . . 

the GISS, or General Impression, Size, and Shape.

Below, is a great source of equine reference:  The visible horse, purchased in a toy store.

Below, is a sketch of my approach to basic equine proportion which was discussed in the previous blog.  

Two different breeds are highlighted in this post:  The American Saddle Bred and the Clydesdale.

 I do not hesitate to exaggerate and/or distort proportion while seeking an artistic statement about the specific breed's conformation and proportions.   For instance, making the waist of the Saddle Bred a bit smaller causes the animal to look more athletic and modeling the head of a Saddler slightly more refined creates a more elegant appearance. 

 A great place to experience the beautiful American Saddle Bred is a horse show.   

I'm researching and planning a sculpture of a Saddler and below is an image of the horse's silhouette.

The American Saddle Bred - whether three-gaited or five-gaited  - is an elegant horse with well-sloped shoulders, 

flat croup, long and fine neck, and strong legs.  Three gaits are natural to most horses: The walk, trot, and cantor.  

The five-gaited horse must learn two more: The rack and the amble [also called the broken trot].   

Whether bred for show or pleasure riding, the Saddler's conformation is stylish and proud. 

The foremost quality that a Five-gaited Saddler must have when ridden in the ring is presence and flashy animation.  

The judge looks for high action and high carriage of the head and tail.  I never fail to get a lump in my throat when the show ring announcer shouts, "rack on!". . .  the horse accelerates and goes faster and faster as the crowd goes wild!
The rack is a fast, smooth gait whereby the horse travels with each foot touching the ground separately to make four distinct beats.  The horse must be trained to do the rack . . it's demanding and tiring for the horse but comfortable
for the rider.  The Five-gaited is shown with long, flowing mane, while the mane of the Three-gaited is roached.

Big draft breeds like the Clydesdale were useful on farms and pulling wagons with heavy loads and have been replaced with tractors.  In towns, the nostalgic clopping of the Clydesdale can be imagined pulling carts piled high with beer kegs. 

The Clydesdale's history dates from the 18th century and originated in Scotland.  The breed evolved from the English draft horse and heavy Flemish stock and is not as heavy as other draft breeds such as the Shire, Belgian, or Percheron.


The Clydesdale has a distinctive style that is characterized by a brisk walk and stride.  The neck is well arched with long shoulders and high withers.  The back is short with well-sprung ribs and the strongly muscled hind quarters and legs convey an impression of strength and pulling power.  The long, sloping pasterns are feathered at the rear of the legs below the knees, wrist, and hocks . . .  most Clydesdales are either black, brown, or bay with white on the face and legs.

Below, is a recent bronze sculpture of a Clydesdale with tack entitled, "Horse Power".

Horse Power


There are many books about equine breeds and conformation . . . a good one is
"Storey's Illustrated Guide to 95 Horse Breeds" by Judith Harris Dutson;
Storey Publishing; 2005.  Also available on Kindle.

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

     

#618 In the studio: Bone structure and musculature of the horse

There are approximately 205 bones in the horse's skeleton and the artist must understand the skeletal structure. 

The artist must also know the major muscle groups.  Some of the muscles are deep and are hidden by outer muscles that lie over them.  The outer muscles - called superficial muscles - are those that lie just beneath the skin and are of major importance to the horse artist.  Some animals, such as bears are covered with thick fur but a horse's musculature, like humans, is revealed.  Please see blog #448, posted July 31, 2013; and blog #450, posted August 7, 2013 

for more information about this subject.

www.Blog#448

www.Blog#450

Shown below, is a drawing of the horse's superficial muscles with some of the main muscles identified.

Neck and shoulder:    1.  Deltoid                               Back and trunk:    10.  Latissimus Dorsi

                                   2.  Triceps                                                             11.  Longissimus

                                   3.  Brachiocephalus                                              12.  Fascia of Back and Loins

                                   4.  Splenius                                                           13.  Ventral part of Serratus

                                   5.  Trapezius                                                         14.  Intercostals

                                   6.  Cervical Part of Serratus                                 15.  External Abdominal 

                                   7.  Sternocephalicus                                                    Obliques

                                   8.  Trapezius                                                         16.  Ascending Pectoral

                                   9.  Pectoral

Hindquarters:             17.  Tensor Fascia Latae

                                   18.  Gluteals

                                   19.  Biceps 

                                   20.  Hamstrings

                                   21.  Hamstrings

                                   

    Although tissue, skin, and hair cover these muscles, they influence form.

The very nature of the horse's coat breaks reflections so that muscle masses become soft 

and fused into one another.  The artist must know what lies underneath. . .
In other words:  What causes the bumps, bulges, and hollows that I see on the animal?    

I have sketchbooks full of bone structure and musculature drawings of many animals including the horse.

I have found that drawing the skeleton and superficial muscles is an extraordinary way to analyze physical 

construction while a sculpture is in progress. . . much better than looking at pictures.

Keep in mind, drawing the animal from life allows the artist to portray the true character of the animal.

 I constantly refer to the authors, illustrators, and publications 

that are posted in the previous two blogs for anatomical information.

    Below, are drawings from my sketchbooks after A. Szunyoghy; credit resource.

                         

Below, are images of a great source of information . . . a plastic horse that I use in my studio for reference.

Contact Breyer Animal Creations - copyright, Susan L. Harris  2005

Go to the BLOG INDEX  and Reference Page for more information.

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