Avansati v natura si natura moarta

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Avansati v natura si natura moarta

  1. 1. LIGHT BEYOND THE Brenda HoddinottV-01 ADVANCED: NATURE & STILL LIFEUsing both geometric and atmospheric perspectives, you create a three-dimensional space withina forest. Emphasis is also placed on several techniques for rendering textured values.The rendering of textures, and geometric and aerial perspectives, focus on the following: Texture is defined with various tools and shading techniques which illustrate the surface details of the trees and ground foliage. Geometric perspective is applied to create the illusion that the closer trees are larger than those farther away. Also, the bases of each tree seem to recede into the distance by drawing each, from foreground to background, progressively higher within the drawing space. Atmospheric (sometimes called aerial) perspective is utilized by illustrating the components of the atmosphere, such as tiny particles of dust, pollen, or droplets of moisture. The trees in the foreground are more detailed and have brighter highlights and darker shadows than the ones farther away. Trees which are far away appear lighter in value and less detailed because of the presence of more atmospheric components between them and the viewer.Suggested drawing supplies include 2H, HB, 2B, 4B and 6B pencils (but a complete set from 6Hto 8B would be advantageous), vinyl and kneaded erasers, and 90 lb. cold pressed (heavilytextured) watercolor paper. This lesson is recommended for artists with strong drawing skills, as well as home schooling, academic and recreational fine art educators of advanced students. 14 PAGES – 25 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2002 (Revised 2006)
  2. 2. 2 PLANNING THE COMPOSITION Fourteen trees create the illusion of depth in this drawing. Assume that all the trees in this drawing are, in reality, approximately the same size. However, in viewing them within the rules of geometric perspective, they will be drawn various sizes. Compare the following two illustrations to gain further insights into the process of creating this drawing. To help identify which trees are closer to you, each one is numbered, thereby establishing a guide for shading. ILLUSTRATION 01-01 Tree number 1 is closest to the viewer and number 14 is the farthest away. Each tree is drawn progressively darker from the distant ground toward the foreground, until you get to number 1, which is the darkest of all Conversely, the higher numbered trees have more light values. . ILLUSTRATION 01-02 The trees with low numbers are more detailed and have brighter highlights and darker shadows. The light source in this drawing is from behind and to the right. The shadow side of each tree is shaded slightly darker on the left. PLANTING THE TREES WITHIN A DRAWING FORMAT In the first few steps of this project, before you begin shading, you draw the outlines of all fourteen trees. Remember to draw the base of each tree a little higher as the numbers get higher. Also, the trees should become progressively smaller, as the numbers become higher.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  3. 3. 3 1. Outline a drawing format that is proportionately the same as mine. My drawing is 4 by 6.5 inches. Other options include 6 by 9.75 inches or 8 by 13 inches. 2. Draw the outlines of the three trees closest to the viewer. Tree 1, the largest tree, is the focal point of this drawing. Observe its location to the right of the center of your drawing space. Its base is close to the bottom of the drawing space. Tree 2, the second largest tree, is sketched close to the left edge of the drawing space, and is smaller than the first tree. Its base is slightly higher than tree 1. Tree 3, the third largest tree, is located on the right side of the drawing space. The base is a little higher than tree 2. ILLUSTRATION 01-03 3. Outline trees 4, 5, and 6. Trees that are in front of others sometimes overlap trees behind them, providing an obvious clue that one is in front of the other. Note how tree 4 appears to be in front of tree 6. Also, trees appear smaller the farther they are away from you. Conversely, the closer they are to you, the larger they look. Tree 4 is not as wide as 1, 2 or 3, and has a base higher within the drawing format. Tree 5 is sketched slightly to the left of 3. Tree 6 is slightly behind 4, so you only need to indicate its right side and base.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  4. 4. 4 ILLUSTRATION 01-04 4. Sketch trees 7, 8, and 9. Tree 7 is very slightly to the left of 1. Tree 8 is to the left of Tree 7 (with a space in between them). Tree 9 has a higher base than 8, and has only one vertical line to create the illusion that it’s behind 7. ILLUSTRATION 1-05Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  5. 5. 5 ILLUSTRATION 01-06 5. Add trees 10 and 13 to the left of 7, 8, and 9. Keep in mind that the trees are drawn progressively higher in the drawing space as each number gets higher, and each is a little smaller as the numbers get higher. 6. Draw the outlines of trees 11 and 14 (to the right of 1). ILLUSTRATION 01-07 7. Draw tree 12 on the far left of your drawing space (refer to the illustration on the next page). 8. Compare your drawing to mine and make any changes you want. Check the bases of all fourteen trees, beginning with tree number 1 (the largest tree), and working your way back to number 14 (the smallest tree). Make sure each base is drawn slightly higher than the last.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  6. 6. 6 ILLUSTRATION 01-08 CREATING DIVERSE TEXTURES This section offers suggestions for rendering the various textures in this project. ILLUSTRATION 01-09 The tooth of heavily textured watercolor paper can help create many of the textures of the trees and foliage! Hold your pencil sideways and use a gentle circular motion as you add the shading. Don’t press too hard with your pencil! The gorgeous texture of this paper can be easily flattened. Please be careful! ILLUSTRATION 01-10 Remember to leave more white paper showing through, on the lighter sides of the trees.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  7. 7. 7 If you have a full set of pencils, use them to their full advantage, to draw many different values without damaging the tooth of the paper. Refer to the following chart to help you choose pencils for each value in this drawing: ILLUSTRATION 01-11 6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B ILLUSTRATION 01-12 Squirkling is a fun way to render various textures, including trees, plants, and ground foliage. Leave lots of the white of your paper showing through for the lighter values by making your squirkle lines lighter and farther apart. In the darker values, the lines are darker and closer together. ILLUSTRATION 01-13 Take note of the wide range of values used for drawing the texture of the ground foliages. ADDING DEPTH AND TEXTURE TO A FOREST In this section you add the shading that creates the illusion of numerous textures within a perceived three-dimensional space 9. Shade in the sections behind the smaller trees, graduating from white at the top to darker values towards the bottom. Note that the shading only goes down as far as the base of the background trees.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  8. 8. 8 10. Shade in trees 11, 12, 13, and 14. ILLUSTRATION 01-14 ILLUSTRATION 01-15 11. Shade in trees 6, 7, 8, 9 and 10. Refer to the illustrations 01-15 to 01-18 (on the next page). Note that each tree is darker on the left, Keep in mind that the lower the numbers become, the darker the shading needs to be. 12. Use a combination of hatching and squirkles to draw the texture of the distant ground foliage. Also, add a little darker shading to the bases of the trees.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  9. 9. 9 ILLUSTRATION 01-16 ILLUSTRATION 01-17 ILLUSTRATION 01-18Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  10. 10. 10 13. Finish the shading of all the trees except the big one in the very front. Use whatever pencils work best for you, and refer to illustrations 01-19 to 01-21, as you add the following:  More textured shading at the base of the trees (to look like ground plants).  More contrast to the trunks of the trees.  A few small branches (growing downward) in the upper sections of some of the trees in both the background and foreground. ILLUSTRATION 01-19Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  11. 11. 11 ILLUSTRATION 01-20 ILLUSTRATION 01-21 14. Use various pencils and a full range of values to finish the largest tree. Refer to the following four illustrations. 15. Add darker values with very dark pencils to the shadow side. 16. Add more high contrast, textured shading to look like ground plants in the foreground. ILLUSTRATION 01-22Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  12. 12. 12 ILLUSTRATION 01-23Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  13. 13. 13 ILLUSTRATION 01-24 17. Check over your drawing and make any adjustments needed. Then sign your name and go hug a tree!  ILLUSTRATION 01-25Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  14. 14. 14 BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda 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. This site is 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 (2003): 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 (2004): 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  15. 15. PHOTOREALISM:Brenda HoddinottV-02 ADVANCED: NATURE AND STILL LIFEArtists can take their skills beyond simply outlining andfilling in values, by learning how to draw without lines.In the real world, very few objects have actual linesdefining their forms. Rather, contrasting values identifythe edges of the object’s parts according to the lightsand darks created by the dominant light source.In this lesson, you render a drawing of a tiny section ofan object, by focusing on values and forms, rather thanlines and shapes. Even outlining the basic proportionsbefore adding shading is a no-no.You need 2H (very good for light values), HB (great for middle values), and 2B (works well fordark values) mechanical pencils, good quality drawing paper, and erasers. If you plan to useregular wood pencils instead of mechanical, you also need a pencil sharpener and a sandpaperblock.This lesson is divided into the following three sections: THE PROCESS OF SHADING WITH SQUIRKLES: I discuss the process of using only shading, rather than a combination of lines and shading, to draw a tiny section of an object. SHADING SQUIRKLE GRADUATIONS STEP-BY-STEP: In three steps, you draw a small section of the object, with light, medium, and dark graduations, by layering darker values on top of light values. RENDERING SHADING WITHOUT OUTLINES: You complete the drawing by relying on only your visual skills; other than a few tips, text instructions are kept to a bare minimum.This lesson is recommended for artists with a lot of patience and/or strong drawing skills, as well as home schooling, academic and recreational fine art educators of advanced students. 10 PAGES – 16 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2006
  16. 16. 2 THE PROCESS OF SHADING WITH SQUIRKLES In this section, I discuss the process of using only shading, rather than a combination of lines and shading, to draw a tiny section of an object. The light source is from above and slightly to the left. By the way, can you identify this object (you receive more clues at the end of the lesson)? ILLUSTRATION 02-01 ILLUSTRATION 02-02 No lines separate (or outline) the many different sections of the object, in either the reference photo or the completed drawing. Rather, contrasting values define the edges of the object’s parts. The process used to render the drawing in this lesson, focuses on values and forms rather than lines and shapes. Even outlining the basic proportions before adding shading, is a no-no. 2H (very good for light values), HB (great for middle values), and 2B (works well for dark values) mechanical pencils can create a full range of values when you vary the density of the shading lines and the pressure used in holding the pencils. The process of adding values from light to dark is demonstrated in the following three sequential drawings of the upper left section of the photo. ILLUSTRATION 02-03 ILLUSTRATION 02-04 ILLUSTRATION 02-05 1. Light values 2. Medium values 3. Dark values are added with are added with are added with a 2H pencil a HB pencil a 2B pencilCopyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  17. 17. 3 SHADING SQUIRKLE GRADUATIONS STEP-BY-STEP Squirkling is a method of shading in which randomly drawn, overlapping curved lines create textured values. I chose this name based on the process of morphing squiggles with circles to create shading. Many of my students from the past two decades are very familiar with this word! ILLUSTRATION 02-06 To prepare you for using this drawing technique on your own (in the next section), three steps take you through the process of actually rendering the light, medium, and dark graduations, as shown in the upper left corner section of the reference photo (page 2). 1. Use squirkling graduations and a 2H pencil to render the light values. Squirkling lines cut across themselves in many places, creating lots of different shapes. Also, the less pressure you apply to the pencil, the lighter the values become. In my lightest shading, only the weight of the pencil itself makes the very faint values. By varying the density (drawing the lines either far apart or close together) of the lines, you can achieve many different values. Light values with squirkles tend to have noticeable curved lines with lots of white space showing. In darker values, the lines are drawn more closely together, filling in most of the paper with the texture of squirkles.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  18. 18. 4 ILLUSTRATION 02-07 2. Use a HB pencil to add medium values to sections that need to be darker. You create medium values by layering more squirkles over some sections of light values. Make sure you leave lots of light values, as in the photo. Very little white paper is showing in the darker sections. ILLUSTRATION 02-08 3. Examine the reference photo closely and add dark values where indicated. Many more lines make up dark squirkling values, and the lines are much closer together. No white paper is visible in the darkest of the dark values. Squirkles are fantastic for adding shading to detailed figure drawings and portraits. Squirkling, especially when finely rendered, produces an infinite range of values and a highly realistic skin texture.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  19. 19. 5 RENDERING SHADING WITHOUT OUTLINES In this section you complete the drawing by relying on only your visual skills; Other than a few tips, text instructions are kept to a bare minimum. ILLUSTRATION 02-09 4. Refer to the reference photo and the following nine illustrations, to guide you through the process of completing your drawing. I’ve taken a little artistic license with the triangular thingy, by rounding its corners a little more than in the photo. As you complete each section, continuously go back over your drawing and adjust the values. ILLUSTRATION 02-10 To make a section lighter, pat the squirkles gently with a kneaded eraser that is molded to a point. To make a section darker, simply add more squirkles and/or use a darker pencil.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  20. 20. 6 ILLUSTRATION 02-11 ILLUSTRATION 02-12 If you are using regular pencils, make sure you sharpen the point of the pencil with a sharpener and/or sandpaper block after each tiny section of shading is added.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  21. 21. 7 As you work, focus on the broad range of values that exists in between the darks and lights. Very light and very dark values are fairly easy to achieve. The real challenge is creating graduations of medium values (refer to the graduation of medium values on the left). ILLUSTRATION 02-13Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  22. 22. 8 ILLUSTRATION 02-14 ILLUSTRATION 02-15 Refer to the final drawing on the next page and make changes to any sections of your drawing with which you are not happy. As you can tell, I also took a little artistic license with the circular form by adding a tiny rim of reflected light on the lower edge; hence the illusion of depth is enhanced. The more technical skills you acquire, the better your drawings become. You feel more confident to use your creativity to make changes and adjustments to your drawings. Try this same technique to draw another object (or small section of an object) from either a photo or life.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  23. 23. 9 ILLUSTRATION 02-16Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  24. 24. 10 These three photos solve the mystery of identifying the object in the drawing. BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda 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. This site is 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 (2003): 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 (2004): 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  25. 25. PHOTOREALISTICBrenda HoddinottV-03 ADVANCED: NATURE AND STILL LIFEIn this project featuring a detailed drawing of a dagger rendered from aphotograph, artists use contrasting values to identify its forms, textures andpatterns according to the lights and darks created by the dominant light source.This lesson is divided into the following three sections: BEFORE THE DRAWING BEGINS: I briefly discuss the processes of taking reference photos, and choosing a composition. FROM PHOTO TO DRAWING PAPER: The goal of the initial sketch is to put the dagger on the paper proportionately correct. You stretch your visual skills as you follow along with drawings that illustrate each important stage. SHADE IN THE BLADE AND GUARD: From this perspective, the blade is farther away from the viewer than the handle. Hence, the shading of the blade needs less contrast in values than the handle, which is the focal point. The handle sections are drawn with more intricate details than the blade. ADD THE PATTERN AND SHINY TEXTURE TO THE GRIP: You create a shiny texture and an intricate pattern with a full range of values, by progressively layering medium and dark hatching and/or crosshatching over some sections of lighter values. ADD SHINE TO THE POMMEL: You complete the drawing by shading the end of the handle. Light values are added before the medium and dark.You need 2H (light values), HB (middle values), and 2B (dark values) mechanical pencils, goodquality drawing paper, and erasers. If you plan to use regular wood pencils instead ofmechanical, you also need a pencil sharpener and a sandpaper block.This lesson is recommended for artists with a lot of patience and/or strong drawing skills, as well as home schooling, academic and recreational fine art educators of advanced students. 11 PAGES – 23 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2006
  26. 26. 2 BEFORE THE DRAWING BEGINS In this section, I briefly discuss the process of taking reference photos, choosing a composition, and enhancing the primary photo in Adobe Photoshop. To take a photo of the dagger, I first placed it on a flat surface in front of a brightly lit window. I took several photos from various angles, and downloaded them to my computer. After examining them closely, I finally settled on this one. However, I wasn’t thrilled with the idea of drawing the dagger from this angle, so I rotated the photo in Adobe Photoshop until I was happy with the composition. I also changed the image to black and white instead of color, so the individual values were easier to distinguish. I then digitally erased the background and enhanced the contrast, to make the pattern on the handle stand out more. Using photos as references is rarely as reliable as drawing from actual objects. However, if you have no choice, make sure you take lots and lots of photos from every conceivable angle. Also, take numerous close- ups of the more intricate parts of your subject, so you won’t be left guessing which parts connect to what and how! As an aside, my fascination with medieval history motivated a friend to give me this wonderful replica of an old dagger. Ever since I removed the gift wrap, I’ve wanted to try to capture its fascinating forms, textures and pattern in a drawing.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  27. 27. 3 FROM PHOTO TO DRAWING PAPER Set up your drawing supplies, make sure you have good lighting, and get comfortable. In this lesson you need to stretch your visual skills to their limit, and follow along with drawings that illustrate each important stage. However, just so you don’t feel totally abandoned, I do offer a few tidbits of information and suggestions along the way. The goal of the initial sketch is to put the dagger on the paper proportionately correct. The lines need to be sketched so faintly that you can barely see them. When you are happy with your sketch, begin adding more details and refining the outlines of the various parts of the dagger (refer to the drawings on the next page). Remember to keep the outlines very light so they will eventually blend into the shading.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  28. 28. 4 The guard section of the handle of a dagger (also called a hand- guard) is the section between the handle grip and the blade, and is designed to prevent the hand from slipping toward the blade. The grip is the cylindrical section that is held to safely control the dagger. The pommel is on the end of the handle and is often distinctively shaped, giving the dagger its charm and status. SHADE IN THE BLADE AND GUARD From this perspective, the blade is farther away from the viewer than the handle. Hence, the shading of the blade needs less contrast in values than the handle, which is the focal point. The guard is drawn with more intricate details than the blade.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  29. 29. 5 A 2H pencil and hatching lines work well to add light values to the blade. Light values are added along the edges of the triangular-shaped form of the blade to enhance the illusion of three dimensions. A highlight, on the section of the blade close to the guard, is left white. Hatching lines become crosshatching and the texture of the blade becomes smoother. In preparation for adding shading to the hand guard section of the handle, a shading map is lightly sketched, based on the different values I see in the reference photo.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  30. 30. 6 The process of adding values to the hand guard is demonstrated in the following three drawings. 2H (light values), HB (middle values), and 2B (dark values) mechanical pencils are sequentially layered to create a full range of values. I also vary the density of the shading lines and the pressure used in holding the pencils. The shading process focuses on values and forms rather than lines and shapes. Very few lines separate (or outline) the many different parts of the dagger, in either the reference photo or the drawing. Rather, contrasting values help define the edges of the hand guard to visually separate it from the blade.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  31. 31. 7 ADD THE PATTERN AND SHINY TEXTURE TO THE GRIP The hatching lines run along the contours of each individual form of the grip. You create medium values by layering hatching or crosshatching lines over some sections of light values. Make sure you leave lots of light values close to the highlights on the grip. The cast shadow and the pattern on the grip are shaded with an HB pencil. As you work, continuously go back over your drawing and adjust the values. To make a section lighter, pat the shading lines gently with a kneaded eraser that is molded to a point. To make a section darker, simply add more shading lines and/or use a darker pencil.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  32. 32. 8 If you are using regular pencils, make sure you sharpen the point of the pencil with a sharpener and/or sandpaper block after each tiny section of shading is added. The outline of the shape of the cast shadow is very similar to that of the upper edge of the handle. Light and medium values are added to the cast shadow with crosshatching. As you work, focus on the broad range of values that exists in between the darks and lights. Very light and very dark values are fairly easy to achieve. The real challenge is creating graduations of medium values.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  33. 33. 9 The dark values of the cast shadow graduate from very dark close to the dagger, to slightly lighter farther away. Many more curved lines make up the striped pattern in the darker sections of the grip than in the lighter areas. No white paper is visible in the darkest of the dark values. Very little white paper is showing through in the sections with light and medium values, except for the highlights of course, which are left completely white.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  34. 34. 10 ADD SHINE TO THE POMMEL In this section, you complete the drawing by shading the end of the handle. Light values are added before the medium and dark. Compare the final drawing to the photo (below) and make changes to any sections of your drawing with which you are not happy. I took a little artistic license by lightening some sections of the dagger that are hidden in the shadows of the photo; hence the illusion of depth is enhanced. As you develop stronger technical skills, you feel more confident to make changes and adjustments to your drawings.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  35. 35. 11 Try this same technique to draw another object (or small section of an object) from either a photo or life. BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda 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. This site is 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 (2003): 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 (2004): 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  36. 36. Brenda HoddinottV-04 ADVANCED: NATURE & STILL LIFEIn this project, you use graduated hatching to definethe three dimensional forms and the fuzzy texture ofan adorable teddy bear. The little model for thisproject was incredibly cooperative. He stayed verystill, didn’t talk my ear off, and didn’t require anycoffee breaks!This project is divided into the following four parts: OUTLINING BASIC PROPORTIONS: You lightly sketch the proportions of the various shapes that make up Teddy Tink. OUTLINING A CUTE FACE AND FUZZY BODY: You draw Tink’s ears and facial features, and outline his fuzzy body with furry hatching lines. ADDING LIGHT AND MIDDLE VALUES WITH HATCHING: You use graduated hatching to render the light and middle values of fuzzy fur on Teddy Tink, that bring out the forms of the various parts of his body. SHINY EYES AND A THREE DIMENSIONAL NOSE: You add shading to create the illusion of shiny three-dimensional eyes, and a big realistic teddy bear nose.Suggested drawing supplies include good quality white drawing paper, various graphite pencilsincluding 2H, HB, 2B, 4B, and 6B, kneaded and vinyl erasers, and a pencil sharpener. 12 PAGES – 24 ILLUSTRATIONS This lesson is recommended for artists and aspiring artists, from age 12 to adult with good drawing skills, including the shading techniques used for hatching fur. The curriculum of this lesson is easily implemented into instructional programs for home schooling, academic and recreational learning environments. Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007
  37. 37. -2-OUTLINING BASIC PROPORTIONSIn this section, I demonstrate the process of lightly sketching the proportions of the variousshapes that make up Teddy Tink.Sketch (noun) is a simple drawing that captures the integral aspects of a subject quickly andefficiently; (verb) refers to the process of rendering a sketch. Proportion is the relationship insize of one component of a drawing to another or others. FIGURE 4-011. Lightly sketch an oval shape for the body, slightly over to the right of your drawing space. Make sure you leave room to later add his head, arms and legs. Don’t press too hard with your pencil. You may want to erase these sketch lines later.2. Draw a circle for his head. Notice that the circle overlaps the body. At this stage, Teddy Tink looks like a snowman with one ball of snow on top of a larger oval shaped one. FIGURE 4-02 3. Add a curved line across his head. This curved line is simply a guideline for marking the positions of the tops of his eyes, FIGURE 4-03 and will be erased later. It extends from the left and upward, and then curves downward until it touches the lower right section of the face. 4. Add another curved line from the first back to the top of his head.This line meets the first curved line at a point closer to the leftthan the right. It merely serves as a guideline to identify thecenter of his face, which is turned a little toward the left, andwill need to be erased later.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  38. 38. -3- FIGURE 4-04 5. Draw a “light bulb” shape as his snout. This shape also identifies the tops of his eyes. 6. Draw his left arm. The wider section at the bottom is one of his paws. 7. Draw his other arm. FIGURE 4-05 This arm is a little smaller than his left. 8. Draw the tiny section of his right leg that is showing and add the bottoms of his feet. His feet are almost directly under FIGURE 4-06 each of his arms. 9. Erase the outlines of the body that are inside the outlines of his arms and feet. 10. Replace the single curved line at the bottom of his tummy with two smaller curved lines. A reminder that Teddy Tink is a stuffed toy; the center of these two curved lines marks the location of the seam that will run downward from his neck to the bottom of his tummy. 11. Add a line down the center of his body, with a curve where his tummy will be.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  39. 39. -4-OUTLINING A CUTE FACE AND FUZZY BODYIn this section you draw Tink’s ears and facial features, and outline his fuzzy body with furryhatching lines. FIGURE 4-0712. Add his ears and outline his eyes. His small ears are drawn as curved lines. His head is tilted; hence, the ear on the left seems smaller and higher that the other. His eyes are resting on either side of the top of his snout. FIGURE 4-08 13. Draw his nose. His nose is a little to the left of the center of his snout. FIGURE 4-09 14. Add a short curved line connecting the bottom of his nose to the bottom of his snout. 15. Add seams to his FIGURE 4-10 forehead with curved lines (Figure 4-09). These seam lines also provide the illusion of eyebrows. FIGURE 4-11 16. Erase the two guidelines that marked the locations of the center of his forehead and the upper sections of the eyes.17. Check your proportions carefully and adjust any sections you don’t like. Break the subject down into shapes and visually measure how the various parts relate to one another.18. Lightly pat all your lines with your kneaded eraser to make them lighter.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  40. 40. -5-19. Use a freshly sharpened pencil and thin neat lines FIGURE 4-12 to redraw the nose and eyes.20. Draw “fuzzy” lines (lines that look like fur) around all edges except the nose and eyes. These fuzzy lines are different lengths and curve in many different directions. Don’t forget to draw curved fuzzy lines for his eyebrows. Remember, don’t simply trace over the rough sketch lines. Rather, take this opportunity to refine the various shapes of the bear. For example, FIGURE 4-13 take note of the accentuated angle of the inside of the arm on the right; the arm now looks like it is bent rather than straight. FIGURE 4-14 At this point, you can choose to either leave the rough sketch lines as they are or use your kneaded eraser to erase them. (As you can see, I erased mine.) If you leave them, most will be covered with shading anyway.21. Draw the pads on the bottoms of his feet with smooth lines. Now you have a detailed line drawing; next, you will shade his fur.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  41. 41. -6-ADDING LIGHT AND MIDDLE VALUES WITH HATCHINGIn this section, I demonstrate the hatching, of the light and middle values of fuzzy fur, on TeddyTink that bring out the forms of the various parts of his body. Hatching is a series of lines (calleda set) drawn closely together to give the illusion of values. The hatching lines used for drawingfur, are several different lengths and values. The edges are not abrupt stops, but rather feathered(or ragged) to give a more realistic appearance. If you have very little hatching experience, or if your hatching skills have become a little rusty, try your hand at the exercises and projects in F-LEVEL BEGINNER: HATCHING.The light source is from the left in this drawing, so the shading will be a little darker on the right.Light source refers to the direction from which a dominant light originates. Remember, lightaffects the placement and value of every section of shading. Also, keep in mind that a full rangeof values gives contrast between the light and the shadow areas.22. Beginning at the top of his head, use your 2H pencil, to add light values to his fur. Refer to Figures 4-15 and 4-16. Make sure the hatching lines are curved rather than straight. Watch very closely the different directions in which the hatching lines curve. Take your time. The directions, in which the fur seems to curve, are important, because this helps give the illusion of depth to the bear’s form. Many sections of shading used to depict forms need values that smoothly graduate into one another. Graduated shading is a continuous progression of graduated values from dark to light or from light to dark.23. Use HB and 2B pencils to add middle values to cast shadows, and sections that receive less light (mostly on the right). FIGURE 4-15Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  42. 42. -7-Remember to leave sections of light shading, as reflected light, along some of the edges on theright, such as the lower right section of his cheek, and the lower right edge of his snout.Reflected light is a faint FIGURE 4-16rim of light reflected orbounced back on anobject (especiallynoticeable on a sphere)from the surfaces close toand around the object. RememberThe darkest of the to keepmiddle values are your pencilrendered with a 2B pointpencil. sharpened.Don’t miss the Sandpapershadow sections blocks orunder his nose, finesnout, and arms, sandpaperand on his left are ideal.shoulder underhis head.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  43. 43. -8-SHINY EYES AND A THREE DIMENSIONAL NOSEIn this section, you add shading to create the illusion of shiny three-dimensional eyes, and a bigrealistic teddy bear nose. FIGURE 4-1724. Map in the details of his eyes by outlining the pupil and the highlight, inside the iris. The largest circles of his eyes are the irises. The dark circles in the centers of the irises are the pupils. The tiny white circles are the highlights.25. Map out the locations of the highlight and the darkest shadow section of the nose. FIGURE 4-18 26. Use a 2H pencil to add light values to the irises. 27. Add shading guidelines to the nose to identify the directions the hatching lines will take. 28. Shade in the lower section of each iris with your HB, and the top sections with your 4B. 29. Use your 6B pencil to shade the pupil. FIGURE 4-1930. Shade in his nose. Leave a small oval section white (highlight). Lighter values (use a 2H) are around the highlight on the upper left. The tiny glow on the lower right edge of his nose is the reflected light. You need to leave this section as a light value. Use an HB for the medium values and a 2B to add the darker shading.31. Use 2B and 4B to darken the shading of the cast shadow below and to the right of his nose.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  44. 44. -9-32. Add the dark FIGURE 4-20 shading of his fur around his eyes. Take note that this shading graduates lighter up toward the center of his forehead, and is what gives him such an endearing facial expression.33. Enhance the overall contrast by adding dark values to a few small sections of the fur on his head, body, and feet with 2B and 4B pencils.34. Draw in the shadows below him with horizontal hatching lines (Figures 4-22 and 4-23). FIGURE 4-21Copyright 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  45. 45. - 10 - FIGURE 4-22 FIGURE 4-2335. Add final touches if needed. You can make areas lighter by patting them with your kneaded eraser. You can make sections of the fur darker by simply drawing more hatching lines in between others. Sign your name and put today’s date on the back of your drawing!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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  46. 46. - 11 - FIGURE 4-24CHALLENGEFind a stuffed animal with lots of fur, and draw a realistic, close-up portrait of him or her fromlife. Set up a light source from either the right or left before you begin. Use the shadingtechniques taught in this project to render the fur, eyes, face, and cast shadow.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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  47. 47. - 12 -Brenda HoddinottAs a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizesdiverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, contécrayon, and oil paints. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gentlyintroducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. Brenda HoddinottBiographyBorn in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. Shedeveloped 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 aself-educated civilian forensic artist, numerous criminal investigation departments haveemployed Brenda’s skills, including Royal Canadian Mounted Police and municipal policedepartments. In 1992, Brenda was honored with a commendation from the Royal CanadianMounted Police, and in 1994, she was awarded a Certificate of Membership from “ForensicArtists International”.Her home-based art career included graphic design, and teaching recreational drawing andpainting classes. As supervisor of her community’s recreational art department, Brenda hired andtrained teachers, and designed curriculum for several children’s art programs. In 1998, Brendachose 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 tocurriculum development. This site offers downloadable and printable drawing classes forstudents of all abilities from the age of eight through adult. Students of all ages, levels andabilities have praised the simple step-by-step instructional approach. This site is respected as aresource for fine art educators, home schooling programs, and educational facilities throughoutthe world.Learn-to-draw booksDrawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is availableon various websites and in major bookstores internationally.The Complete Idiot’s Guide to Drawing People: Winner of the Alpha-Penguin Book of theYear Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page bookis 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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
  48. 48. Brenda HoddinottV-06 ADVANCED:NATURE AND STILL LIFESquirkling works perfectly forrendering diverse highly realisticdrawing subjects, including manyfound in nature as well as severalmade by humans.In this heavily illustrated lesson, you render a detailed drawing of an old weathered tree with afocus on textures and forms. Contrasting values define the many overlapping branches accordingto the lights and darks created by the dominant light source.This project is divided into two sections: OUTLINING OVERLAPPING BRANCHES: You lightly sketch the outlines of the major branches of the tree, and refine the sketch by adding detailed branches that overlap others. The goal is to prepare a contour drawing to serve as a guideline for adding shading. SHADING WITH SQUIRKLES: Squirkling lends itself perfectly to a broad range of textures and diverse subjects. The shading of this tree is rendered with squirkles of various sizes from very large to tiny.You need 2H, HB, and 2B pencils, good quality drawing paper, and erasers. If you plan to useregular wood pencils instead of mechanical, you also need a pencil sharpener and a sandpaperblock.This lesson is recommended for artists with a lot of patience and/or strong drawing skills, as well as students of home schooling, academic and recreational fine art educators. 13 PAGES – 39 ILLUSTRATIONS Published by Hoddinott Publishing for Drawspace.com, Halifax, NS, Canada - 2008

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