Introduction 6; The blank page 8; Study sheets 16; The sea, and life 20; Connections 22; Common features 24; Anatomical adaptation 32; Welcome to the animal kingdom 34; Sponges 36; Jellyfish 38; Corals 40; Cephalopods 42; Octopuses 44; Slugs and snails 46; Arthropods 48; Habitat: Coast 50; Shrimp 52; Insects 54; Praying mantises 58; Metamorphosis 60; Butterflies and moths 62; Monarch butterflies 64; Spiders and scorpions 66; Fish 68; Sharks 72; Boxfish 74; Symbiosis 76; Seahorses 78; Seadragons 80; Habitat: Coral reefs 82; Porcupine fish 84; Common goldfish 86; Amphibians and reptiles 88; Frogs and toads 90; Green iguanas 92; Crocodilians 94; Crocodiles 96; Tortoises, turtles and terrapins 98; Dinosaurs 100; Mammals 102; Red deer 104; Fallow deer 106; Red river hogs 108; Warthogs 110; Hippopotamuses 112; Giraffes 114; Pivot points 116; Malayan tapirs 118; Rhinoceroses 120; Zebras 122; Habitat: The farm 124; Elephants 126; Sloths 130; Cats 132; Jaguars 134; Cheetahs 136; Lions 138; Tigers 140; Habitat: Woodlands 142; African hunting dogs 144; Bears 148; South American coatis 150; Red kangaroos 152; Primates 154; Lemurs 156; Monkeys 158; Gorillas 160; Chimpanzees 162; Movement through water 164; Pinnipeds 166; Otters 168; Blue whales 170; Movement through air 172; Bats 174; Birds 176; Bird origins 178; Bird anatomy 180; Owls 184; Greater flamingos 188; Penguins 190; Index 192.
Tim Pond's artwork and illustration is widely recognised. His work spans two decades working in a great variety of media and for a range of different clients, including books, magazines, newspapers and film. Tim has always made his living as an illustrator and graphic designer, as well as lecturing at the Richmond upon Thames College, where he is the Curriculum Co-ordinator of Graphic Communications and teaches on a variety of courses. Tim is currently the associate artist at ZSL (Zoological Society of London).
This is, I think, the best book on drawing animals I've seen. The sheer breadth of the coverage and the amount of detail that Tim goes into is breathtaking. More than that, though, it remains at all times completely accessible and you're never left feeling bewildered by the amount of information on every page.
The ability to do this comes from confidence and, as you can see from the results, Tim is completely at home with his subject and his materials. For what is avowedly a book about drawing, there's a lot of colour, much of it in the form of washes. As I write, I have to keep reminding myself that this is a drawing, not a painting, book although there is a convincing argument for treating it as the latter. One of the things I particularly like is that Tim doesn't bother with backgrounds, except for the occasional prop of a bit of vegetation. Too many artists opt either for a complete jungle or a nondescript cyclorama that makes the subject look like an exhibit in a menagerie. Tim's creatures exist for themselves and in their own right. They leap off the page and they're all the better for that.
Drawing (or painting) animals is a complex subject. There's structure, form and behaviour as well as that elephant in the corner, anatomy. Tim has a neat way of dealing with that: shading. I've seen this done before and, frankly, it often just adds to the confusion. Tim uses a lot more colours than is usual and it just works. Even I can understand it and, more to the point, I believe I can. Another of his tricks is what he calls Wizards and Gizmos, little shortcuts to getting shapes and proportions right that allow you to build solid foundations for your subject that will pay dividends later. These are more than clever tricks for their own sake and are very handy ways of dealing with some of the more technical aspects of the subject.
There's masses to get your teeth into here, from techniques to almost every living thing you can think of, from crustaceans to ungulates. This is a book that will keep you engaged - even engrossed - for a very long time and which delivers everything it promises as well as a lot more.-- Henry Malt * Artbookreview.net *