Brenda Hoddinott T-01 ADVANCED: DIVERSE ANIMALS A lovable Soft Coated Wheaton Terrier is the subject of this project, which features advanced drawing techniques for accurately rendering both long and short fur, realistic “puppy dog” eyes, and a shiny textured nose. A complex grid helps you to sketch accurate proportions. The shading focuses on rendering the forms of the fur and individual features, as defined by a dominant light source. This project is divided into the following seven sections: SETTING UP THE FORMAT AND GRID: You use careful observation of spaces and lines within individual squares to measure and sketch accurate proportions. OUTLINING ROSEY’S PORTRAIT: You draw a detailed outline of Rosey within your drawing space in preparation for shading. CROSSHATCHING THE BACKGROUND: You erase the grid lines before you begin adding crosshatching lines to the background. USING HATCHING LINES TO DRAW FUZZY EARS: The light source is from the left front, so the shading is slightly lighter on the left. DRAWING BIG BEAUTIFUL BROWN EYES: You begin to give personality to Rosey’s face, by drawing her gorgeous eyes. SHADING THE “NOSEY” OF ROSEY: Rosey’s nose is rendered with mostly squirkling. ADDING LOTS OF LONG FUR TO A FACE AND CHEST: You use hatching lines to render the texture of the fur on her chest, face, mustache and beard. Suggested drawing supplies include: 2H, HB, 2B, 4B and 6B pencils; vinyl and kneaded erasers; a ruler (if you choose to work with a grid); and smooth hot-pressed watercolor paper (or another good quality paper). You are mostly on your own when choosing which pencils to use for shading the individual sections of long and short fur.
20 PAGES - 19 ILLUSTRATIONS Recommended for artists, from age 12 to adult, with advanced drawing skills, as well as home schooling, academic and recreational fine art educators Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada
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SETTING UP THE FORMAT AND GRID This drawing is done from a combination of photos and my memory, but I’ve drawn it in a grid format to help you set up proportions (if you are not yet comfortable drawing freehand). You will use careful observation of spaces and lines within individual squares to measure for accurate proportions. Illustrations that show the progression of my drawing are fairly self-explanatory; hence, there is very little instructional text in this project. I’ve chosen the size 5 by 7 inches with 1 inch squares, but please feel free to do a larger drawing by using 1½ inch or 2 inch squares. Please make sure you draw your lines very lightly, preferably with your HB mechanical pencil. Use numbers along the top and letters down the side to help place Rosey’s face correctly within the drawing format. ILLUSTRATION 01-01
1)
Draw a rectangular drawing format 5 by 7 inches (7½ by 10½ inches, or 10 by 14 inches, if you want a larger drawing). Remember to press lightly with your pencil, because all grid lines and most sketch lines will need to be erased. Pressing too hard can also damage the tooth of the paper.
2)
Divide your rectangle into 35 equal squares, 5 across by 7 down as in Illustration 01-01. Use 1 inch squares, if you want your final drawing to be 5 by 7 inches or larger squares for a larger drawing.
3)
Add the numbers along the top and letters down the side as illustrated.
OUTLINING ROSEY’S PORTRAIT Throughout this section you draw a detailed outline of Rosey within your drawing space in preparation for adding shading. 4)
Draw the basic outline of the head, ears, and shoulders very lightly with your HB pencil as in Illustration 01-02. You can add a few diagonal lines to the grid to help you place everything more accurately within the drawing space.
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3 As you draw, don’t think about what the subject is. Focus on only one square at a time and pretend this one square is the total drawing. Examine the shapes, and negative and positive spaces that define the actual lines and their positions within the perimeter of this one square. Observe whether the lines are straight, curved or angular. Take note of the directions in which curved lines bend, and the length and angle of straight lines in relation to the sides of this particular square. Take note of the areas where curved lines meet straight lines. ILLUSTRATION 01-02
Please make sure you draw your lines VERY lightly, preferably with your HB mechanical pencil. My scanner software has darkened this sketch, so that you are able to see my lines (as in Illustration 0102), but on the actual drawing, the lines are so light that you can barely see them. Take your time and check your proportions often.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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4 5)
Draw the eyes, mustache and nose. I decided not to include the bottom lip and the teeth and preferred to have her mouth closed, so no need to draw them. I’m writing this text after the drawing is complete, so there are a couple of other minor changes on upcoming pages. ILLUSTRATION 01-03
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5 6)
Draw the fur between her eyes (called her “fall” or “mane”), and also the wisps of fur above her nose. ILLUSTRATION 01-04
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CROSSHATCHING THE BACKGROUND There are many ways to draw. I am right-handed and prefer to start my shading in the upper left hand corner and work my way across and down the page so as not to smudge my completed sections as I draw. Find a way to draw that is best for you. Remember to erase your grid lines with either your vinyl or kneaded eraser before you begin each section of shading. In this drawing, assume the dominant light source is from the upper left. The background is done with crosshatching. 7)
Erase your grid lines in the sections in which you will be working and then redraw the sections of the actual sketch, which were erased. Use the edge of your vinyl eraser to erase the lines, and very lightly brush away the eraser crumbs with a soft paintbrush. Then, use your kneaded eraser to gently pat the paper surface to pick up any remaining eraser crumbs.
8)
Add the graduated shading in the upper left corner. Use a 2B pencil for the darker areas closer to the edges, and a HB for the lighter values. ILLUSTRATION 01-05
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USING HATCHING LINES TO DRAW FUZZY EARS I have chosen a light source slightly from the left front, so the shading will be slightly lighter on the left. In addition, cast shadows will need to be added to her neck on the right, and the right side of her nose. As you will soon see, my choice of light source will also affect where I place the values in her eyes and on her nose. 9)
Using short hatching lines to represent fuzzy shading on the ear. Start with your HB pencil and then use your 2B until you are happy with the texture and values. Examine the various directions of my hatching lines. The fur is lighter in some places with white paper showing clearly. The hatching lines are different lengths and values. A few individual wispy and untidy hairs are rendered with thin lines, to keep the fur looking soft and natural. ILLUSTRATION 01-06
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8 10) With your HB pencil, add the light shading on the top of her head and draw the fur on the top half of her other ear. Take a moment and observe how dark the fur on her ears looks, when compared to the top section of her fuzzy head. When you draw dark fur, you use mostly dark hatching lines. On the other hand, light fur needs to be rendered with lighter values. As with most Soft Coated Wheaton Terriers, Rosey had dark gray ears, and her lower face and beard were a combination of dark gray and black fur. The rest of her fur, from the top of her head back to the tip of her tail was a soft reddish wheaten color. 11) Continue with the background shading along the top section of your drawing. ILLUSTRATION 01-07
DRAWING BIG BEAUTIFUL BROWN EYES In this section, we begin to give personality to Rosey’s face, by drawing her gorgeous eyes. 12) Draw the fur around the eye (on the left) with various pencils. 13) Use your 2B pencil to add the dark areas around the perimeter of the eyes. Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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9 ILLUSTRATION 01-08
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10 14) Shade in the iris (on the left), leaving a white spot for the primary highlight and a light area for the secondary highlight. Note that the shading of the iris is darker under the upper eyelid and on the side where the highlight is drawn. 15) With your 6B pencil, shade in the sections of the pupil that are really dark. 16) Complete this eye with HB and 2B pencils. Don’t forget the shading in the “white” of the eye. 17) Continue drawing the fur between her eyes and around her other eye. Don’t forget to erase the grid lines in the sections in which you will be working! ILLUSTRATION 01-09
18) Draw the fur under and between her eyes and down toward her nose. Observe closely the direction in which the fur grows in this section. 19) Add shading to the lower section of her other ear (on the right). Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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11 ILLUSTRATION 01-10
20) Complete the shading of the other eye. 21) Add the fur around this eye and make her “eyelashes” a little darker on both sides. By the way, Rosey actually did have eyebrows and fur over her eyes that looked like eyelashes!
ILLUSTRATION 01-11
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12 22) Add more shading to the background on both sides 23) Shade in the fur on her back. I’ve moved the outline of her back (on the right) up (one grid square) closer to her ear. This is the section of fur on her back that needs to be shaded. 24) Add more fur to her lower ear on the left to make it a little longer. ILLUSTRATION 01-12
SHADING THE “NOSEY” OF ROSEY The remainder of this drawing is done with HB, 2B and 4B pencils. Use your own discretion as to which pencil you use for each area. Observe closely the direction in which the fur grows in each section. Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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13 25) If you drew in the mouth, erase it now (yet one more change). 26) Finish the background shading. 27) Draw in the fur on the left, and add more details to her moustache. 28) Draw the small section of chest fur on the left (under the chin). ILLUSTRATION 01-13
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14 29) Erase the lower section of the nose and redraw it a little higher on the face. Yet one more change. I decided the nose was drawn too low on the face. 30) Use squirkling to add the shading on the nose. Note the areas, which are lighter. 31) With your 2B pencil, add squirkles and dots to represent the texture of a dog’s nose. 32) Draw the fur on the left section of her moustache. ILLUSTRATION 01-14
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ADDING LOTS OF LONG FUR TO A FACE AND CHEST Before you begin the step-by-step instructions in this lesson, closely examine a close-up of the completed drawing of the furry texture of her chest, face, mustache and beard. Observe the following as you plan your shading strategy and decide which pencils (HB, 2B or 4B) you should use for each area: The hatching lines are all curved. The fur grows in many different directions. Some sections of fur overlap others. The shading of the fur on her chest is darker, closer to her face, because of the cast shadow created by her head. The tips of the fur on her mane, mustache and beard are quite dark. ILLUSTRATION 01-15
ILLUSTRATION 2-15
33) Add the shading on the upper right under her mane, which defines the long fur growing from the center section of her snout (also called a muzzle). Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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16 ILLUSTRATION 01-16
34) Draw more fur on the left side of her chest, watching closely the direction in which it grows. 35) Add her beard under the opening of her mouth. Take note of the dark shading used to define the opening of her mouth and on the ends of her beard. Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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17 ILLUSTRATION 01-17
36) Add the rest of the fur to her chest (Illustration 01-18). Note how dark the fur is in the shadow area on her neck and chest, under her face. Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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18 ILLUSTRATION 01-18
37) Refer to the final drawing (on the next page) and finish drawing the fur on the right side of her face and beard. Use your kneaded eraser molded to a narrow wedge, to pull a few lighter areas of beard fur from the dark shading. 38) Correct any areas that you’re not happy with and sign your name! Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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In Loving Memory
ROSEY (Windyflats Rose Dohmit) December 16, 1998 - December 30, 2000 Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints. My philosophy on teaching art is to focus primarily on the
enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. >Brenda Hoddinott<
Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”. Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites. Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. These sites are respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.
LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiot’s Guide to Drawing People: Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail
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