Hi guys and welcome to this week's video!
Today I'll be showing you some tips for how to draw a realistic-looking horse alongside
some examples of common mistakes that detract from a realistic looking outcome.
As always, these opinions are my own and you're free to draw however you like to.
These are just things that I've learned to pay attention to whilst drawing to ensure
a more accurate result.
If you'd like to follow along, a link to the original reference is in the description
box down below, along with a link to the edited version I used for my drawing.
So starting off with the "what not to do" side, I'm going to begin by putting down
an outline.
I'm going to build up the structure of this horse using some regular-looking geometric
shapes and I'll do very little to mesh them together or alter the structure around them.
Here I'm also not carefully considering the actual quality of the shape that I'm
putting down- I'm not really taking my time or controlling my line, I'll put down multiple
shapes overlapping and hope that one is workable.
I've noticed a lot of beginner artists use generic shapes to build up a foundation.
And it's not necessarily a bad way of doing things, but you need to watch out and make
sure to refine the foundation enough afterwards.
Consider the anatomy of the animal rather than rigidly sticking to regular geometric
shapes.
It may be helpful to think of this as a scaffold for your drawing rather than a foundation.
On this side you see that my outline is very boxy-looking and angular.
The jaw is far too circular and I'm missing some nuance in the anatomy in some places,
whereas other areas are very exaggerated.
Moving over to the other side now- I'm going to start off by putting down a grid on my
paper.
I like to use a 3x3 grid as it's quick and easy but you can use as many squares as you
like.
I have an identical grid laid over my reference photo and this means that I can more easily
transfer the image onto my paper.
On this side I'm going to be really paying attention to my reference photo and judge
the subject matter by breaking it down into angles and lines- or curves- as well as shapes
and negative shapes.
I want to just make clear here that horses come in all sorts of different shapes and
sizes, so the way that I draw a horse here might not apply for say for example an Arabian
horse or a Shire horse.
It's important to pay attention to your specific reference.
The tips I give here aren't hard-and-fast rules, but these things that can be helpful
to look out for and pay closer attention to.
You can use whatever support you'd like when sketching- I've made a whole video
about different techniques you can use to check and improve the accuracy of a drawing,
so I'll leave a link to that in the cards and description.
I personally like to use a grid as this helps to break down the subject matter into sections
which makes it easier to check distances and lengths.
Today I'm be drawing on the smooth side of Canson Mi Teintes paper with Prismacolor
Col-Erase pencils.
I like to use a couple of different colours when sketching as I find that it helps break
up the image further.
You can see that I'm taking my time putting down individual lines and I'm moving my pencil
more slowly and deliberately- compared to the other side where I rushed to put down
just a few overlapping shapes in hopes that one was ok.
But that isn't to say that the sketch has to be perfect from the very beginning- I'll
be refining things the whole way through- but I find that a cleaner sketch is much easier
to judge and correct.
As I work, I'll also blocking in shapes of shadows and highlights to help build up
a feel for the anatomy and this is where using multiple colours can really help.
I like to use at least a dark and a light colour to make a distinction between highlights
and shadows.
Unfortunately, my white pencil doesn't show up very well on this paper, so I didn't use
this pencil as much as I would've liked to.
You'll also see that I take a lot longer to draw this outline, and that there are many
more pauses between pencil strokes.
This shows how much I'm observing the reference.
I've also used a much lighter hand because there's no need to reinforce the "correct"
lines- I'll just erase away the ones that are incorrect as I work.
Thick and heavy lines are difficult to erase and cover over in the colouring stage, so
it's best to avoid them where possible.
Now working on the ears, again rather than actually study the reference, I'm going
to glance at it and just draw what I think I see.
So for instance, the ears could be simply described as two pointed ovals, so that's
what I'll draw.
I won't actually consider the form or thickness of the ears, or their direction or placement.
On the other hand, here I'll break the reference down into sections.
I'll judge just how much of the ear is passing over the grid line and where it intersects.
And I'll also observe how much distance there is between the ear tip and the edge
of the page or image.
Similarly I'll use the negative shape between the ears to help position them on the paper,
along with an indication of the mane.
Back on over the left side of the page, I'll start working on the eyes.
I've noticed that a common mistake when drawing animals in general is to draw the
eyes too large and too far up- and additionally here perhaps a little too front-facing.
So that's what I'm drawing here.
It's also common to draw eyes to appear more human-looking- and distinctly almond
shaped- perhaps too much white showing and with a round pupil.
Again, this has to draw what we think we're seeing rather than we actually see.
It's easy to assume that the eye is just "eye-shaped", rather than analysing the actual shapes its
built up of.
I'm also going to incorrectly draw in the far eye, not taking into consideration perspective.
On the "good" side I'll start working out the correct eye placement.
I'll do this by measuring and mapping in some of the shapes that the shadows cast in the
area around the eye, and that helps better break up this large part of the face.
The shape of the eye and the taper of the eyelids it are important in conveying the
plane that the eye sits on the head of the horse.
I'll do some subtle shading to indicate the form of the eyeball here- the highlight
and where the eyelashes obscure the eyeball.
Horse's pupils are a horizontal oblong or oval type shape- but often this isn't clearly
apparent because their irises are usually dark coloured and hidden behind their beautifully
long eyelashes.
I ended up adjusting the eye a lot during the process of this drawing- I think eyes
are the most important part of a drawing and they need to be just right in order to capture
the desired expression.
On the other side of the horse's head there is a sliver of the eye and eyelashes visible.
The subtle dips and curves of the anatomy around this section is crucial as it helps
indicate the fact that there is an eye there despite not being obvious.
Now moving on down to the nose and mouth of the horse.
A common mistake that I see is the mouth being described as either too boxy or too rounded-
and here I'll go for too rounded.
Moreover it's easy to overlook and simplify the anatomy of the jaw and mouth- especially
how the lower jaw attaches and interacts with the upper part of the skull- so rather than
look at the subtle folds and creases I'm going to heavily line this area in.
I'm also placing in the nostrils incorrectly- here I haven't considered the way the nostril
is formed.
Here I've also oriented the nostril in the wrong direction- it appears more horizontal
than vertical.
I've also drawn the nostrils too far off to the side and given each nostril a very
distinct hood.
I'm not considering perspective here, so the nostril furthest away is too visible.
On the other side of the paper, I'm going to much more carefully look at the reference
photo.
I'll build up the area by blocking in some shapes and shadows to help describe the form.
I'm also paying attention to all the subtle variations in the outline- it's not one
singular smooth line.
In the reference photo I'm using, it's hard to see here how the bottom jaw and bottom
lip interacts with the rest of the face as the bridle in the reference is obscuring it.
But I can get a clearer idea by using other references to help make sense of the small
visible portions.
Moreover, I'm not going to heavily draw in the difference between the top and bottom
lip.
Instead I'll indicate this with a subtle difference in value.
If I was to draw in a thick line here- like I did on the left hand side- it wouldn't
help make sense of the anatomy, and the creases and folds that actually make up the form of
the mouth.
Next up I'll be drawing the bridle.
Although I won't be showing it so much here, something I see often is the bridle being
drawn to much higher contrast and detail compared to the horse itself.
On a similar note, it can be difficult to get the bridle and horse look like they're
interacting with one another.
Having corresponding light sources will help, along with making sure that the horse has
appropriate shadows where the bridle touches.
Here on the "what not to do" side I'm going to ignore the thickness of the bridle-
especially on the far side of the horse's face, where the profile of the bridle should
stand out against the horse's silhouette.
I'm also going to be careless and not pay attention to how this bridle is formed, and
miss out one of the straps that goes up underneath the eye.
Missing out one of these straps could become a critical mistake if you're using the distances
from these straps as a form of visual queue- say for example in where to place other shapes
and lines in your drawing- and therefore could have a knock-on effect for the rest of the
image.
I'll also draw the ring near the mouth so it appears too perfectly circular, which alters
the perspective and makes the ring look too front-facing.
Building on some of my construction lines I made earlier, I'll refine the bridle.
I will really take my time here as it's important to get consistent thickness along
these leather straps- whilst considering the way they move around the form of the horse.
Any inaccuracies here will be more obvious because of the straight edges.
It's also extra important to pay close attention to the way the straps interact with each other-
if this was a commission or a drawing for a horse enthusiast, they'd no doubt notice
if there was anything wrong with the bridle as they likely have hours of experience using
and handling this tool.
The thick section that crosses the horse's muzzle- the noseband- has a good thickness
and I'll consider the way that it curves over the nose.
The parts that cross the horse's cheek are quite complex and have lots buckles and straps,
but I'll tackle this by breaking things down using negative shapes and measuring the
distances between sections.
The cheek piece on the far side of the horse is also slightly visible, and including a
suggestion of this is important in describing the horse's form.
The bit that goes into the horse's mouth- the ring- isn't just a circle and I'll
tackle drawing this shape by using the negative shapes contained within it.
Usually, I also find it helpful here to draw in the highlights and shadows of metal parts.
Now moving on to the other side of the paper again to draw in the neck, I'm going to
draw it very simply here and give the neck an almost sausage like appearance with no
distinction in anatomy.
It's common to draw the neck in too long, and also not consider how the spine attaches
to the top of the skull.:
On the other side I'll block in some shadows to help define the difference between the
horse's jaw and neck, and the neck's form.
The neck tapers and the shoulder of the horse is also visible in the picture.
Something I'd really recommend doing is looking at anatomical pictures of the animal
that you want to draw as you'll very quickly learn how the animal is built in terms of
skeleton and musculature, and you'll be more aware of how to describe things in your
drawing- especially if the reference photo is ambiguous.
Taking a look at the mane now, I'm going to sketch this in by building up a section
of fur by using lots of individual pencil strokes.
I'll also not really pay attention to direction, curve, thickness or taper of these lines.
And the result is flat- the entire mane consists of one single value- and the fur has a rough
and stringy quality.
On the "good" side I'll break down the mane into blocks of different value, or individual
clusters of hair.
Mapping in the differences in value and getting the form correct to help indicate direction,
is far more important in a base sketch than trying to draw in individual hairs.
The texture is something I can focus on later during the colouring.
And finally, finishing up the sketch by indicating some extra anatomy, like veins and hollows
in the face.
And here I'm going to do this very quickly with just some basic lines.
So moving on to the other side of the page- I don't want to spend too much time here
mapping in details and values, but I want to give enough structure to my drawing that
I'd find useful during the colouring stage.
So, I'll focus on breaking up the face into different sections using my different pencil
colours.
I actually ended up spending a long time refining things here because I didn't pay attention
to where my hand was sitting on the paper, and I ended up smudging away a lot of the
saturated areas and detail that I had obtained earlier.
I tried using another white pencil to give a better indication of highlights, but that
didn't work out either.
I would make the contrasts and details more visible, but this is a sketch after all, and
if I wanted things to be more polished I'd focus on that during the colouring stage.
Before we finish up I want to announce a new winner of the giveaway- so congratulations
to Rita Alarcon!
Get in contact with me as soon as possible using the e-mail in the description box down
below, and use the same e-mail that you signed up the competition with.
And again, a new winner will be drawn in the next video if the winner doesn't claim their
prize!
So that just about summarises this video- I've already done two similarly formatted
videos where I show tips on how to draw a cat and another dog.
I'd love to hear what animal you think I should make a tutorial on next!
And of course, if you have any questions leave them down below in the comment section and
either me or a lovely viewer will respond to your question as soon as possible.
Thank you very much for watching, if you found this video helpful please leave it a like!
Don't forget to subscribe if you'd like to stay up to date with my latest arty videos-
tutorials, reviews and art advice.
Hope you have a lovely week and I'll see you in the next video.
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