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CATS

To my daughter Sara,

First published in Great Britain in 2001 by Collins & Brown Limited

London House

Great Eastern Wharf Parkgate Road London SW11 4NO First published in North America

in 2001 by North Light Books an imprint of F&W Publications, Inc

1507 Dana Avenue

Cincinnati, OH 45207 1-800/289-0963

Copyright © Collins & Brown Limited 2001 Illustration copyright © Melvyn Petterson 2001

The right of Melvyn Petterson to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs

and Patents Act, 1988

All rights reserved No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except

by a reviewer, who may quote brief passages in a review

Illustrations by Melvyn Petterson Edited by lan Kearey Designed by Alison Shackleton Photography by George Taylor

135798642

Reproduction by Classicscan Pte Ltd, Singapore

a i §ỉ/ ea ow CONTENTS

CHAPTER 1: Basic Shapes 6 CHAPTER 2: Aspects of Cats 20

CHAPTER 3: Fur and Markings 42

CHAPTER 4: Cat Poses 66

Index 94

Acknowledgements 96

BASIC SHAPES

Before you begin to draw cats with any accuracy, you need to understand how their skeletons and

muscles form the framework for what we see This chapter looks at cat proportions and at the two basic

CaT SHAPES

Part of the dictionary definition of ‘cat’ is ‘an agile, partly nocturnal, quadrupedal

carnivorous mammal, Felis catus, with

retractable claws The other thing common to all members of the extended cat family - from lions and tigers to house cats - is the

Tail used for balance

i

A The shoulders and hind legs

f have pronounced muscles

8 Basic SHAPES

shape and anatomy, which provide a cat with its characteristic and unique flexibility and strength

It's worth taking some time to study what lies beneath the fur, as the arrange- ment of bones and muscles is what allows

Large eye

sockets

SKELETON

A cat's almost double-jointed control over its movements is based on a very flexible spine The shoulder blades and hip

bones are often prominent,

and the construction of the legs and feet means they can both grip hard and propel the cat from a standing position

The most noticeable feature of cat

musculature is the large, powerful

muscles of the hindquarters and hind legs On long-haired breeds it's difficult to get an idea of anatomy, so study short-haired cats or try to look at big cats: their muscles may be more developed, but the structure is the same

Pee

PP

POO

# lí ( U lRÍ IH li (Hl li lỦ ÍỦ (Ủ (RÍ UU MU Ủ (Ủ ( (U UU (U ÚC tU tẾ

cats to adopt their most characteristic poses: curled round, at full stretch, or crouched while stalking, for example

This is particularly true if, like most artists who draw cats, you make some use of reference photographs or have to rely onSIAMESE

Nearly all slim cats possess elegance and grace This mixed- media sketch captures the characteristic high belly position and arched back

putting together a single composite draw- ing from a number of quick sketches The bottom line is that the more you observe and come to understand what physically makes up a cat, the better you will be able to set it down on paper

A VARIETY OF SHAPES

Within the basic anatomical framework there is a vast range of variations, due to the different types of cat and the elasticity common to all Look at these drawings with the skeleton and muscles in mind

REAR VIEW

From this angle, it's not easy to imagine the skeleton beneath, since the fur and muscles produce rounded curves along the body

Bopy SIZE

The sheer variety of cat breeds makes it almost impossible to define a standard cat shape and size The size and proportions of

a slim, attenuated Siamese will differ con-

siderably from a large Maine Coon, for example Look at your cat as an individual and note the relative size of its key features

— the head, body, tail and legs Think about

the underlying structure and also about the

Adults‘ long tails are very flexible and expressive

10 Basic SHAPES

thickness of the fur - a long-coated cat will appear larger than its short-coated equivalent The age of your cat will also determine the size of its features

Standing or walking poses show the relation of the key features most clearly, but be ready for these to alter in other poses - sitting and lying down both produce great changes and demand patient observation

ADULT CATS

Compared with kittens, adult cats are quite long and lanky A long tail is essential for balance and should be considered as an extension of the body

The long front legs are

surprisingly sturdy

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li lái tứ ul wi lãi ow a li lài lãj lảj w Ww lãi Hi È) HEAD PROPORTIONS

The features of the head and face also vary between breeds Judge the position of the eyes, nose and mouth by observing the whole

head (see pages 22-27) and consider the length of the neck

ADULT HEAD KITTEN HEAD

In adults, the positions of the ears, eyes, Kittens’ eyes are disproportionately large,

nose and mouth are regularly balanced within while the ears, nose and mouth are more in

the overall size of the head The neck is keeping with the head size The neck is

relatively long barely discernible

Kittens’ tails are KITTENS

shorter and more At first glance, a kitten may

rigid than adults’ appear to be just a scaled-down

version of an adult cat, but if you draw it as such, the result will be disappointing Look at the propor- tionally rounder chest, larger head and wider-set legs to begin with, then observe and put down the other, subtler differences

Kittens’ paws are often large in proportion to their short legs

SLIM CATS

Cats can be divided into two groups, according to their body shape The term slim cats encompasses most of what are called the ‘exotic’ breeds - Siamese and Abyssinian are the longest established in the West, Siamese being imported since the nineteenth century, although newer breeds, such as Singapura and Balinese, have become increasingly popular with the public What distinguishes cats in this group is slender bodies, often longer than the

average, arched backs, long legs and tails, and long muzzles and noses; the ears may

also be larger than in other breeds

WATCHFUL SIAMESE

In some poses slim cats seem to be nothing but a set of angles - here, the body rises to make a triangle at the top, while the bottom edge is broken by the hind paw and tail The long head makes an inverted triangle in the middle of the composition

12 Basic SHAPES

The challenge of capturing slim cats on paper is an exciting one, for both their colouring and their shapes and proportions The next chapter, ‘Aspects of Cats’, concen- trates on setting down the details of stocky cats because they are numerically the most likely to be owned or encountered, but exactly the same rules of observation apply when dealing with slim cats Perhaps this is

even more the case, since the attenuated —

FUR GRADATIONS

LyING D0WN

Because you usually don't have much time to capture a particular pose, use what you have to bring out the recognizable aspects of a cat: this sketch concentrates on the length and curves of the slim body, and the size of the front paws

WorKING IN MONOCHROME

Black-and-white media help you to simplify your approac : on

and at the same time expand your repertoire Soft graphite

sticks combine well with graphite powder, blended with a E

torchon or finger, to catch the sweep of the tail and create

contours on the legs and head E

& IU I lÉ lÚÉ l lRÃ (M lW l l (U ( ( l l l l MỆ l l st SLIM KITTEN

Even young slim cats, as yet undeveloped in muscle growth, share the long legs and tail of fully grown ones The arched back and swept- over tail are held very high in this standing pose, and the head, with its characteristic large ears, is carried well below the spine

SITTING POSTURE

‘We are Siamese if you don't please Points to look out for in this front view of a seal-point cat include the angle of the front legs and the curves where they meet the chest, and the high shoulders that lead into the slim neck

STocky CATS

The most common body shape among domestic cats is the stocky The basic shape includes everything from pedigree and highly expensive breeds of self- coloured and perfectly marked cats, through large American breeds such as ragdoll and Maine Coon, to the enormous variety of most house cats Even within this large class there are some unusual

STOCKY SHAPE

variations, such as the tailless Manx and curly-haired Cornish Rex, not to mention

the virtually furless Sphynx cats

Stocky cats differ from slim cats in that they all have a shorter body and leg length and a rounder head and flatter face Most long-haired breeds are stocky, so always look

for the basic shape underneath the fur, as

the coat can produce some unusual shapes!

A standing profile view gives you the best opportunity to capture

the details of what makes a stocky cat Note the protruding

breastbone (the front edge of the ribcage), the comparatively

R W W WH l lí l lí l li lI li à l l t lễ l lM tứ BACK VIEW

A stocky cat doesn't have to be fat or overweight to end up in this rounded shape when lying on its side - the width of the ribcage produces the effect It is particularly noticeable from the rear, when there are no facial details to distract you

TABBY HEAD

This view encapsulates the differences between slim

and stocky heads: the round (4Ÿ shape with its short muzzle hi

and nose, wide cheekbones `? \ and average-size ears all are le ae

typical of stocky cats The %

differences become even more accentuated when

dealing with flat-faced cats \

18 Basic SHAPES HEAD-ON VIEW

Like the other drawings on this spread, this was made of a sleeping cat, when you have the possibility of producing a reasonably finished picture The impression of width is brought about by the large front paws, the position of the hind legs, set on either side of the hips, and the markings that go across the body

HEAD DOWN

You don't need to see the whole head to know that this is a stocky Even when half-hidden, the shortness of the nose and its distance from the eyes are a giveaway Work carefully to capture the correct angle of the dark ear; look at the contrast between this and the other ear, which blends into the paw

5

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tí IUU IUU 1 l li ee a lễ li ái FUR LENGTH

Most slim cats have very short, smooth fur, So your main focus will be on getting the colour right Stocky cats, however, have fur of varying length, which

adds interest to your drawing The differing length of fur

along the top and bottom of Was

this black-and-white cat make for a compete study of their ownBUNCHED UP

In terms of outline, this is an exercise in a series of different-size curves - the back, head, chest and paw - interrupted only by the angular ears In stocky cats particularly, the amazing flexibility of the spine produces this effect, where a sitting cat appears to be only about two-thirds the length of a standing one

STRETCHED OUT

Even though stocky cats’ legs are not as long as those of slim cats, they are still very prominent ina completely relaxed cat When this cat is standing, the tail appears to be longer than the hind legs, but when the legs are stretched out the tail looks shorter

ASPECTS OF CATS

This chapter examines the elements that often cause beginners to lose confidence: the details of the head

and face, and the subtlety of the paws

HEADS

To start with a generalization, cats’ skulls protruding The short muzzles of a cat are are round and their faces are, for the most another distinguishing feature Even the part, flat The features common to all cats muzzle of slim cats, the longest of all are their huge, forward-facing eye sockets domestic cats, is only about one-third the and wide cheekbones, which can be very _ length of that of the average dog

LONG-HAIRED HEAD

This drawing emphasizes the softness and length of the fur - a soft- grade pencil or a soft medium like charcoal or pastel is ideal for producing this effect The eyes and ears appear to be quite small set against the size of the whole head, and the head and ruff hair blend together

SHORT-HAIRED HEAD

A comparatively hard-grade pencil allows you to capture the short fur texture and strong markings of a tabby If the ears are very large, they can become the first focus of the drawing and enable you to concentrate on setting down the delicate hairs inside them At this distance and from this view, cats often

appear to have a slight squint

i ee | IHÍ lHÍ lãi lä| l4 lã{ lHÍ lj (lš LU lU

The ears can range from large and wide-set

to comparatively small and close-set, but

there are likely to be variations, with large and close-set a well-known combination Again, there are many eye shapes and sizes,

CAPTURING HEAD SHAPES

even stocky cats show the changes

Quick SKETCHES

These sketches were made in a matter of minutes, as an exercise in setting the features in the context of the shape of the whole head

As with any object, the basic shape of a cat's head appears to change with every marginal difference in the angle from which you view it This is most marked in slim cats, but

and their prominence can be linked to the angle from which they are viewed The

necks can be long and slender, or seem to

disappear when the cat is bunched up The following pages show some Of the range

HEAD AND NECK

You would hardly know that this cat's head was round and that it had a neck from this view! There is a kind of monolithic quality in this

pose, and it is vital to

& Ú Ú W lÚ a lÃ Ú M l lí l tứ DISTINCTIVE SHAPES

z TT This cat's ears took on a

— , a flattish top profile when it was

ay asleep, thus losing the

roundness of the top of the skull in the detail This quick sketch emphasizes this ear angle and the width of the cheekbones going down to the narrow muzzle and chin

UNUSUAL ANGLES

Once you get away from profile, full-face and three-quarter views, you have to bring out the character without recourse to the features A cat on its back, viewed from below the chin, becomes an

exercise in pure form In the right-hand sketch, note the kink in the

ear where it is bent by the ground

StTockY HEAD PROFILE

The differences between the tabby below and the Balinese above are evident: the tabby's head is rounder and shorter, the nose is only about half the

length, the cheeks are more

rounded and the lower jaw is set further forward Note the angles of the ears - this cat's left ear is flatter than the right

26 Aspects oF CATS

SLIM HEAD PROFILE

This Balinese cat has a sharp head and a typically elongated face The long, straight nose

is flatter along its length than stocky noses, and the cheekbones are less

pronounced The lower jaw is set

back from the upper one, and

the eyebrows are quite pronounced in this

profile view

Top View

Drawing a cat head from above is an interesting exercise This view emphasizes the flatness of a stocky face - the distance from the front of the ears to the eyebrows is only a third of that from the eyebrows to the tip of the nose The direction of the fur reinforces the contours of the head

Ñ

nmmmmmmmmmmmmmmmmmwrmmrmmnw

= S!RANGE SIZES

;spending on the angle from

“= which you draw the head, you

can come across some

Lm surprising sights - because the

SB ecaron the cat below is in full

view and does not show any

= markings, it looks enormous! To

the right, a slight change of

= view and no markings shows

| the proportions of the features

EYES

With their unwavering gaze, cats’ eyes have an intensity that forces you to focus on them Given the variety of eye shapes, sizes, position on the head and pupil size, once you have established the constituent parts of the eye and how to observe and set them down, you can use the eyes as the starting point for portraits It's worth noting that the space between the eyes is usually about the same as an eyeball - though, of course, this can vary from cat to cat

This and the following pages employ my method for accurate positioning of the features, by working outwards: when the central elements - eyes, nose and mouth - are in place, you can move confidently out to the ears and top and sides of the head

Kittens’ EYES

All kittens’ eyes are blue once they open after birth, but after a while they take on their final colour Although they are comparatively large

on the head (see page 11), the pupils are even

larger when dilated and can take up the whole eyeball area — the ‘button eyes’ effect

28 ASPECTS OF CATS

PUPILS AND IRISES

The features of the head and face also vary between breeds Judge the position of the eyes, nose and mouth by observing the

whole head (see pages 22-27), and

consider the length of the neck

CHANGING SHAPES

From a thin slit in bright light to a circle at night, the pupils take on a multiplicity of shapes and sizes Note also the shadows at

ÚÍ li lš U UU l/ t tứ | WW | DRAWING EYES

The faint vertical and horizontal positional lines help to find the correct spacing and level for the eyes, and can be erased later | used graphite and water-soluble coloured pencilsœ

Lightly pencil in the basic 1 shape of the eyes, paying attention to the space between them Inset: Strengthen the marks before adding the shadows of the eyelids and the pupils — here, the light source stopped the top of the pupils from being an ellipse

Use a black water-soluble 2 pencil to block in the pupils, lightly where the light catches the surface, and darker to show the full black Establish the lightest iris colour tone, leaving the paper white for highlights, and gently blend in the other iris colours on top

As you add the iris colours, 3 remember that they may not be exactly the same for both eyes Apply more black to the outlines and corners; this also helps to check that the colours are accurate Use a dry pencil for the fur around the eyes, again working outwards from the eyes

CLOSED EYES

NOSES

There is as great a variety of noses among cats as there is of colours and markings - although you wouldn't always know it from cat drawings If you recognize that the differences are more than just between long

and short noses, but take in their height,

width and colour and the angle from which you are making a drawing, you are well on the way to portraying them accurately

When it comes to setting down the delicate details and tone of a particular nose, careful observation is the watchword, as always; but you can find the placing of a

nose in relation to the eyes (see right and

below) within a triangle The method

shown here is effective for frontal and three-quarter frontal views You could photocopy pictures of cat heads and see how the triangle works on them

TRIANGLES

The triangle superimposed here contains the nose and eyes The length of the sides will vary depending on the cat, but using a triangle will help you to establish the basic placings

DRAWING NOSES

a torchon and eraser to soften the tones

This front view uses the triangle from the top of the eyes to

help place and shape the nose | used a B graphite pencil andbesi

Gently sketch a triangle to take in the eyes and nose, and then create their shapes Concentrate on getting the placings accurate, and mark Work very lightly, and make changes as required

the top and middle of the nose

Start to form the nose, looking to capture its roundness and the delicate curve into the nostrils, which must be in proportion with the length of the nose Strengthen the shape of the eyes to keep the distances accurate

Build up the dark tones on the nose, then indicate the lines to the corners of the eyes and the pupils Inset: Add the shadows cast by the nose and the inner dark eye lines The cleft through the nose extends

eee ee ee ee DIFFERENT ANGLES

The triangle that includes the eyes and nose is always there, whatever the angle of

the head A short nose in an upward-tilted

head almost flattens the triangle

Nose Cotours

Although it is eye colours that draw the

MOouTHS AND WHISKERS

Reduced to the basics, a

cat's mouth can be seen as a pair of arcs that include

the cheeks, with another,

smaller arc below to represent the lower jaw Within this

over-simple definition,

however, lies a whole range of shapes, and the

angle from which you make a drawing can straighten or intensify the curves to a great degree Whiskers, too, can be simplified without proper observation - greatly to their detriment - and it's surprising how many people forget to include the eyebrow whiskers

The mouths shown on these pages are of stocky cats

- look at pages 12-15 and 60-61 for examples of Siamese and other exotic

breeds, whose longer face means that the

cheeks are less rounded and meet the nose No Two THE SAME

along more of their length White whiskers on a black face show that each

whisker has its own droop and fall, and that

each grows out of its own separate groove in the cheek Whiskers are indicators of mood, and you should look to add to the character of your subject by catching their angles correctlyMouTH AND CHIN

Hunn MÚ ải là From Below

You are unlikely to be able to draw the underside of a mouth unless the cat is asleep, so seize the chance when it comes From this angle, the curve of the

cheeks and the upward movement of the mouth are lost, replaced by a straightish line

Note the shadow below the upper jawOpen MoutH

Unless you are very patient and very lucky, you have to use photographs as reference for yawning or yowling cats Combine this with accurate observation to find the variations in pink and red tones on the tongue and roof of the mouth, and the length of the teeth

| |

DRAWING MouTHs

| The faint vertical and horizontal positional lines help to find the correct | spacing and level for the eyes, and can be erased later | used graphite

and water-soluble coloured pencils

Gently work down from the Add a little colour to the Lightly sketch in the sides

1 nose to establish the cleft 2 cheeks and neck fur while 3 of the face to set a context

of the mouth and shape of the _ reinforcing the positional lines for the mouth, and indicate the

| cheeks and lower jaw Inset: Make the first marks to curve of the upper cheeks from

Use thin charcoal to show the _ establish the grooves on the below the eyes Working out-

shadow depth between the jaw cheeks for the whiskers - these wards from the grooves in the and the shape of the chin, then are less noticeable on dark- or cheeks, make bold sweeps for soften the dust with a torchon long-haired cats, but they are each whisker, concentrating on

EARS

For the artist, ears are possibly the most

challenging detail to set down successfully, because they incorporate so many different textures - the velvety down on the outer

surface and the smooth skin on the inside,

the elaborate curves and folds and wispy

hairs inside, not to mention tufts of hair As always, don't assume that all cat ears

are the same: apart from the size, shape

FRONT VIEW

This head-on study of a Devon Rex's ears emphasizes the pinkness of the inner surface and the intricate folds where the ears meet the head - look closely at these, and try to capture their seashell-like whorls

and crevices, which are as likely to be coloured as monochrome34 ASPECTS 0F CATS

and setting on the head, look out for indi-

vidual marks such as the nicked and battle-scarred ears of a tomcat or the strangely folded ears of some breeds

If you are lucky enough to observe a cat's ears with a strong light source behind them, you can set down the fascinating and intricate pattern of tiny red veins that are otherwise invisible

LARGE EARS

Ee ee ee ee ee ee | Top VIEW

Seen from above, the width between the tips of the ears can be surprisingly large, even on a cat with

small ears This view also allows you to catch the contrast between the flat

area of one ear and

the foreshortened area of Sf CC „” the one pointing towards the viewer7 THREE-QUARTER PROFILE

The bold nature of pen and ink means that you do not have the luxury of tentative marks that can be gone over later This study focuses on the relationship of the slope of the further ear with the cavity of the inner one; sensitive hairs are suggested by short pen strokes

DRAWING EARS

With the eyes in place, a couple of vertical lines from the pupils helps to set the placing of the ears | used graphite pencil for this study

Use the vertical and horizontal guide lines to position the inner and outer limits of the ears, then sketch their shape in lightly Even though not much of the top of the head is visible from this angle, make sure you set its curvature correctly

When you are happy with the proportions and dimensions, strengthen the outlines Add the pattern that shows the folds on the nearer ear, and make light strokes to suggest the hairs and inner curve, as well as the shading for the back of the head

Darken the whole of the 3 orifice area, looking at how it is lighter away from the hole Add the darkest shades and lines, bringing out the sharp curves and folds Use a shard of eraser to wipe away the marks that indicate the

DRAWING THE WHOLE HEAD

The last few pages have looked at the main parts that go to make up a cat's head - the shape, proportions, dimensions and facial features This exercise pulls all these elements together to produce a head-and- shoulders portrait of a Maine Coon Apart from being larger overall than most domes-

tic cats, this breed is noted for having a

broad nose and large, upright ears

SUBTLE DISTINCTIONS

When the cat's coat is so long and delicate that the colours of the head blend almost imperceptibly into those of the body, take care to get the relationship between the central features and the side of the head

absolutely

correct

36 ASPECTS OF CATS

The starting point is the triangle that can be used to find the relationship between the eyes and nose (see page 30); once you

have established that, it is just a matter of

ll lÚ lj (RW lj lj (ãj ldj l) lHj tứ lR l tM l l tứ tứ

Usinc Mixep MEDIA

To capture the subtle colours that go to make up this long-haired cat, | used a combination of graphite and water-soluble pencils and pastels on an off-white paper or

1 Lightly sketch the shape of the eyes in pencil, then | use q flattened triangle to find

the nose The width of the nose and the position of the pupils are foreshortened, so | get this correct before

beginning to round the forms

Working outwards from the triangle, find the position and shape of the ears, using guide lines from the eyes if necessary Next, begin the curves of the mouth and cheeks, and move outwards again to outline the head

With the facial structure 3 established - step back to check it - strengthen the pupil black and lightly add colour to the irises and the nose Reinforce the mascara lines and eye corners, then add colour, leaving highlights8 =“ e 24 ia MỜ) - TT ? # #Ỳ TP JÌ : Le

After adding a little pink for the mouth, use colours to define the contours of the ears: pink first, then white to soften it and make a base Using bold colours, start to show the top of the head and under the chin

Free, light strokes create 5 the main areas of colour around the head: use the side of the pencil to shade in the

main areas, and the point for the edge of the rough fur around the neck and ruff Note the single red-brown stroke

Fillin the markings and 6 whisker marks, working

lightly at first Use these

colours to strengthen the eyes, nose and mouth Work round the drawing, emphasizing and softening,lines, and add the whiskers and eye hairs

FEET AND PAWS

Cats' paws are among the most contradic- tory features of these contradictory animals: they are soft and extraordinarily sensitive - especially if you try to tickle or stroke them - but at the same time they are tough enough to let the cat run across gravel and stones without apparently flinching Again, with the claws sheathed they can look harmless, but with the claws extended they show aggression

When it comes to drawing feet and

pans, all toe Gite they ats WeaESI He an they extend when the ligament is tensed There

afterthought and the finished drawing can is albo.a “tfth toe wor thunih: the dewelam, suffer as a result Recognize that they are which is set away from the others as important as hands and feet in a full-

length human portrait, and make an effort to discover the structure beneath the

covering, using tone, contour and colour

Dewclaw

FRONT FOOT SKELETON

The bones of the toes are controlled by a ligament that runs beneath them The position here is with the toes and claws retracted -Claws EXTENDED

Cats' claws are surprisingly small and delicate - though they don't feel like that when they scratch you! They are only fully extended in fright or in a fight, and most often the extent is as shown here Observe how much of the bone is also extended, and take time to set it down accurately

Hind Foot

The structure of the hind legs and paws is often misunderstood, and it is worth practising drawing them The tufts of fur between the soft pads are usually quite long; make sure you capture them, or the pads will seem to be floating on top of the paw 38 Aspects oF CATS

mm

ownwnwenhnnenununeuwkhHuuuud LONG HAIR Sometimes on long-haired cats, the fur is so long that nothing of the structure of the paws can be seen at all, and the covering also has the effect of making the

paws look much larger than they actually are In this case, use the direction

and fall of the fur to suggest what lies beneath it CHANGING ANGLES \

As with any object, the basic shape of a cat's foot and leg can appear to change with every marginal difference in the angle from which you view it Even under the same lighting, the colours can change, too

SLEEPING POSITIONS

Much of the attraction of sleeping

| cats lies in the poses their legs and

feet adopt, from front feet curled neatly into the chest to all four limbs

LOOKING FOR LINE stretched out and entangled This is a

These sketches were made from the same typical position, which enables you to

cat; note how smooth the fur is on the hind study both the top and bottom of the

foot, and how much rougher it is on the front paws

front one