Heinrich Kley - Leut und Viecher, published 1912 - high-resolution scans

Look at what I was able to get my hands on!

Photo of the book Leut und ViecherPhoto of the book Leut und Viecher

It's a book with art by Heinrich Kley--published in 1912!

This means that it is in the public domain, and that I can legally share scans from the book.

Below you can see double-page spreads where the image is 1600 pixels wide.

But you can also download a zipfile with all the double-page spreads scanned at much higher resolution:

Download Heinrich Kley - Leut Und Viecher Scans
I mentioned before that I joined Marshall Vandruff's course “Drawing Lessons From Heinrich Kley”, which was, again, a life-changing experience.

The lessons I learned are bound to seep into my future letters, but today I wanted to share something else with you: these scans.The pages are huge, around 12 by 16 inches, and the art is just stunning, and hard to come by.

The images in the zip file (see button above) are scanned at 600 pixels per inch — the images are around 140 megapixels.

I hope you enjoy!

Ayal

(Again, you can click on these images and you will get a 1600-pixel wide image, but the zip file linked to above has the images at far higher resolution!)

Heinrich Kley Leut Und Viecher Pages 00-01
Heinrich Kley Leut Und Viecher Pages 02-03
Heinrich Kley Leut Und Viecher Pages 04-05
Heinrich Kley Leut Und Viecher Pages 06-07
Heinrich Kley Leut Und Viecher Pages 08-09
Heinrich Kley Leut Und Viecher Pages 10-11
Heinrich Kley Leut Und Viecher Pages 12-13
Heinrich Kley Leut Und Viecher Pages 14-15
Heinrich Kley Leut Und Viecher Pages 16-17
Heinrich Kley Leut Und Viecher Pages 18-19
Heinrich Kley Leut Und Viecher Pages 20-21
Heinrich Kley Leut Und Viecher Pages 22-23
Heinrich Kley Leut Und Viecher Pages 24-25
Heinrich Kley Leut Und Viecher Pages 26-27
Heinrich Kley Leut Und Viecher Pages 28-29
Heinrich Kley Leut Und Viecher Pages 30-31
Heinrich Kley Leut Und Viecher Pages 32-33
Heinrich Kley Leut Und Viecher Pages 34-35
Heinrich Kley Leut Und Viecher Pages 36-37
Heinrich Kley Leut Und Viecher Pages 38-39
Heinrich Kley Leut Und Viecher Pages 40-41
Heinrich Kley Leut Und Viecher Pages 42-43
Heinrich Kley Leut Und Viecher Pages 44-45
Heinrich Kley Leut Und Viecher Pages 46-47
Heinrich Kley Leut Und Viecher Pages 48-49
Heinrich Kley Leut Und Viecher Pages 50-51
Heinrich Kley Leut Und Viecher Pages 52-53
Heinrich Kley Leut Und Viecher Pages 54-55
Heinrich Kley Leut Und Viecher Pages 56-57
Heinrich Kley Leut Und Viecher Pages 58-59
Heinrich Kley Leut Und Viecher Pages 60-61
Heinrich Kley Leut Und Viecher Pages 62-63
Heinrich Kley Leut Und Viecher Pages 64-65

I hope Marshall Vandruff makes the recordings of his course available somehow. They are really worth your time and money. What I am taking from it is that I have to become more fearless, to just draw without needing every drawing to be good. Heinrich Kley seems to have been drawing these from his imagination! Or rather, perhaps, from memory.

His knowledge of anatomy is, of course, knowledge, thus from memory. But still! He drew them straight in pen! Novel idea, to just start drawing and to see what story comes out of it. Because each of these illustrations tells a story.

I took a fresh new sketchbook, and I made it a routine to do several different types of drawing exercises in it, all focusing around the Heinrich Kley Art:

  1. Dexterity: the various exercises I have for practicing becoming better at placing ink lines with intent. (I need to update my article on that exercise!)
  2. Memory: Look at a Heinrich Kley illustration, put it away, and draw it from memory. If I had forgotten things, I tried to imagine it and tried to make it a good-looking thing anyway.
  3. Observation: Copy the Heinrich Kley illustrations from observation — typically after I had done a it drawing from memory, to see where I was off.
  4. Analysis: This was three-dimensional form studies and anatomy studies of poses.
  5. Reveries: The real meat: trying to draw in an improvisational way, seeing what was on the page and then adding lines to it to turn it into a drawing.

This deviated slightly from Marshall's instructions (sorry, Marshall!) but I found this worked for me, also because it provided sufficient variety to not become bored. I could switch from one exercise to another.

Anyway, maybe give it a shot too! Here are some of his amazing direct-to-pen-and-ink drawings.

I secretly suspect that he drew these illustrations many, many times before he arrived at versions he was happy to show to the world. He must have, right? No one can draw that well, right?

Stay well!
Ayal Pinkus

My Favorite Drawing Exercises

If you feel like drawing, then check out my favorite drawing exercises!

Do these exercises

form studies to warm up, slow down, get into the right meditative state, and improve your draftsmanship skills.

Do these form studies

form studies to help you improve creating underdrawings, place things in space, practice doing perspective by sight.

Practice drawing from memory to fill your visual bank, ability to memorize, ability to visualize, ability to draw what you see in your imagination and your ability to see what is wrong with your drawings.

If you find it hard to create or maintain a creative habit, you can find some habit-related tips here. Lastly, also make sure you have fun in your sketchbook after the hard practice!

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