Avansati w studio

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Avansati w studio

  1. 1. Brenda Hoddinott W-01 Advanced: Studio Series This diary explores the entire process of choosing a photo, planning a composition, and setting up grids on both the photo and paper, to draw a fun portrait of a beautiful child named Karin.You will find no step-by-step directions in this heavily illustrated diary; rather Isimply share my drawing process, including my motivation for using variousartistic tools and techniques. You can follow along with me and gain a greaterunderstanding into my drawing processes, and also gather up your drawingmaterials, and either draw Karin, or someone special in your own life.The most important component of learning to draw is maintaining theenthusiasm. Aspiring artists should feel comfortable in using whatever tools areavailable to them, such as viewfinder frames and grids, so as to create drawingsthat make them happy and subsequently motivated to continue onward. Gridsdo not hinder artistic growth; rather, they serve as tools to make the learningprocess more pleasurable by helping with such challenges as renderingbelievable proportions and correct perspective. 21 PAGES – 25 ILLUSTRATIONS Recommended for artists with advanced drawing skills, as well as home schooling, academic and recreational fine art educators Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – January, 2005
  2. 2. 2 Learning to draw is not a short term goal but rather a lifelong journey. 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. If you decide to work from your own photo, make sure you choose a large one in which the facial features are clear and in focus. I took this photo of my friend Kathleen’s daughter, Karin, several years ago, always with a drawing in mind someday. Today Karin is 14 years old! I prefer to make modifications to my photo in the planning stages, before I actually start to draw. After playing with the photo for a few minutes, I decided that the composition would be more expressive and aesthetically pleasing if her head appeared to be more tilted in the drawing than in my photo. Therefore, I taped my photo to a sheet of grid paper at an angle, rather than lined up with the grid lines.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  3. 3. 3 Using the lines of the graph paper as guidelines, I drew the horizontal and vertical grid lines with a fine tip ballpoint pen. My graph paper has one quarter inch squares; hence, the grid squares on the photo are the same size. I placed a viewfinder frame on my photo and continuously adjusted both sections until I found a composition I liked. I usually keep a few viewfinder frames of various sizes handy, for helping me with choosing compositions when I work from photos.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  4. 4. 4 I taped the perimeter of my composition with masking tape, and then used a pen to mark letters and numbers on the tape to identify each vertical and horizontal row. Next, I carefully taped the corners of my Arches 140lb. watercolor paper to a large sheet of graph paper. I wanted my drawing to be twice the size of the photo, so I drew half inch squares on my drawing paper. Hence, four (2 by 2) of the graph squares on the paper, represent one of the grid squares on the photo. As I drew the grid on the paper with an HB pencil, only the weight of the pencil itself created the very faint lines. Needless to say, this illustration has been scanned much darker than the original drawing, so you can see it! I added letters and numbers to the drawing paper to correspond with those on the photo. I can now identify each square as I work; hopefully, I can avoid drawing the wrong image in a grid square.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  5. 5. 5 When I work with a grid, I prefer beginning my drawing in the upper left and then work downward toward the right (I’m right handed). Again, the following illustrations have been scanned very dark so you can see my sketch lines, which are in fact very light. I used an HB pencil, and worked on one square at a time, while constantly referring to my photo to make sure that I was working in the correct squares.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  6. 6. 6 As I drew the lines inside each square, I visually measured the proportions, and observed the relationships between the lines, shapes, and spaces.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  7. 7. 7Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  8. 8. 8Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  9. 9. 9Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  10. 10. 10 Sometimes I add diagonal lines in the grid squares of those sections that have more details. However, in this case, my grid squares are very small anyway, so this is not necessary. I’ve sketched the location of her eyebrow even lighter than the eye and nose; a darker outline may be difficult to completely erase. The individual hairs of the eyebrow will be drawn with hatching lines.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  11. 11. 11 After completing the initial sketch, I took a break, then came back and corrected a few sections with which I wasn’t completely happy. I’m now ready to plan my shading and get started on the really fun stuff – adding values!Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  12. 12. 12 With everything in place, I then referred to the photo to map out where I planed to draw the light and dark values. And yes! This scan is much darker than the actual sketch! Next, I erased the grid lines in the facial area and used my kneaded eraser to gently pat the mapping lines until they were barely visible.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  13. 13. 13 In my photo, the light source is from the right. To keep her face looking soft, I’ll use mostly light and middle values, and use dark values very sparingly. I began shading with a 2H pencil. The crosshatching lines graduate smoothly to create the various light values identified by my shading map. I then used an HB pencil to add medium values to the shadowed areas. This foundation of shading has identified the facial forms; the next step is to add more details to her individual features.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  14. 14. 14 I completed her hair and eyebrow with hatching lines that curve in many different directions. I used darker shading to accentuate some sections of her upper face around her eyes. I shaded her eye with my usual techniques. The iris and white of the eye are darker under the upper eyelid and on the right. The darkest shading is in the pupil. The eyelashes appear thicker closer to the eyelids. This effect was rendered by using curved hatching lines of various thicknesses and lengths.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  15. 15. 15 I used HB and 2B pencils to add more contrast by adding darker values to the face around the nose, lips, forms of the lower face, and the opening of her mouth. I left a section around her mouth very light to further accentuate the three-dimensional forms of her lower face.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  16. 16. 16 I darkened the shading of the neck. Then, to make the mouth look more realistic, I completely erased the outlines around the lips and teeth, and added shading to the teeth.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  17. 17. 17 I wanted the entire facial area to be the focal point of this drawing; hence the shading needed to be perfect. Before I continued on to the clothing, I took several breaks, coming back after each and making tiny adjustments to sections that didn’t look quite right. To further accentuate Karin’s face, I plan to use various shades of gray for the dark sections of her clothing rather than black.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  18. 18. 18 At this point, I checked my drawing carefully to make sure all the grid lines were erased from the clothing sections. I began shading the clothing by using crosshatching to add light values to define the major forms.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  19. 19. 19 I added darker shading to the shadowed areas of her clothing and hat, and to the background sections on the right.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  20. 20. 20 After shading in some polka dots and ribbons on her clothing, my drawing is complete!Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  21. 21. 21 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. 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 andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  22. 22. View 2 Brenda Hoddinott W-02 Advanced: Studio Series This heavily illustrated diary invites artists to follow along with me through the entire process of planning a composition, modifying a frontal light source, and rendering diverse shading techniques to define various textures and patterns.This animal portrait is based on a photograph of Bill the cat, the proud owner ofmy friend Lynn. You are invited to gather up your drawing materials, and eitherdraw Bill or a special animal in your own life. As an artist, you should worktoward creating drawings that make you happy, and subsequently motivated tocontinue onward in your art making journey; hence, you should feelcomfortable in using whatever drawing tools are available to you, such asviewfinder frames and grids.This project expands on Lesson W-02: Bill the Cat: View 1, which offers detailedinstructions for drawing Bill’s head and facial features. 21 PAGES – 22 ILLUSTRATIONS Recommended for artists with advanced drawing skills, as well as home schooling, academic and recreational fine art educators Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – March, 2005
  23. 23. -2- If you decide to work from your own photo, make sure you choose a large one in which the facial features are clear and in focus. My friend Lynn generously supplied this photo of Bill. While this is a great photo, its translation into a drawing requires a little tweaking. I generally prefer to modify photos in the planning stages, before I actually start to draw. After playing with the photo for a few minutes, I decide that the composition would be more expressive and aesthetically pleasing if I use a vertical (portrait) composition, rather than a horizontal (landscape). I then take the photo into my Photoshop program and rotate it until I find an angle that I like. As I view this new version of the photo, I realize that in addition to modifying the direction of the light source, I also need to change the pattern of the linoleum so the lines are at more of an angle.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  24. 24. -3- Setting up accurate proportions is a great way to make sure my drawing is off to a great start! The lines in this sketch seem dark; however, in reality the lines are so light that I can barely see them. I have made them darker in a computer program so you can see them. As I sketch, I continuously refer to the photo and constantly compare and double check the relationships of lines and spaces to one another.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  25. 25. -4- I’m now reasonably happy with my proportions, so I begin the process of very lightly outlining Bill’s body and facial features with thin neat lines. As I complete each section, I erase the rough sketch lines.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  26. 26. -5- I use a ruler to outline the pattern of the floor. In that perspective in photos is sometimes deceiving, I make sure that the lines are progressively closer together toward the top of the page so as to enhance the illusion of depth.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  27. 27. -6- By carefully scrutinizing the photo, I map out the approximate locations, shapes, and sizes of the major stripes of his fur. To accentuate the forms of his body, I pay special attention to curving my mapping lines around the perceived three-dimensional structures of various parts of his body, legs, and head.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  28. 28. -7- In that the eyes and furry face will be the focal points of this drawing, I spend considerable time carefully mapping and outlining the subtle nuances of values needed to accurately portray a likeness to Bill.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  29. 29. -8- Before I begin shading, I lighten the mapping lines with my kneaded eraser, and then examine the photo closely and plan modifications that will enhance the drawing. This photo of Bill was taken with a flash; consequently, the cat’s face and body appear somewhat flat, and the eyes lack strong contrast. My task is to adjust all the values I see in the photo to represent a new light source. You can tell by the highlights in his eyes that the light source is now from the upper right. Accordingly, my overall shading for the face and body will be darker on the lower left. The eyes will be rendered with high contrast shading to enhance their spherical forms. I also plan to make the pupils of the eyes larger and darker, and soften the overall contrast of the striped fur by making the darkest darks and the lightest lights less extreme.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  30. 30. -9- If you anticipate that shading Bill’s face may be too difficult for your current skill level, refer to the detailed step-by-step instructions in “Bill the Cat: Version 1”. As I continue to block in values on his face, I refer to the photo and examine the different directions in which the fur grows. My individual hatching lines vary in length to keep the fur looking natural; they also curve in various directions to help give the illusion of depth to the forms of the face under the fur. When adding shading to a drawing, I prefer to work from light to dark. In the lightest sections, some values are almost white and the hatching lines are faint and far apart. In darker sections, the hatching lines are dark and close together.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  31. 31. - 10 - I generally work with mechanical pencils to avoid having to constantly sharpen my pencils. However, when I draw with regular pencils, I keep the points very sharp with a sandpaper block. When drawing striped fur, I keep the transitions between values short and abrupt. I prefer 2H and HB pencils for light values, and 2B and 4B pencils work well for the dark values, especially the darkest stripes in the shadow sections. My favorite part of drawing animals is bringing their eyes to life. I first add light values to the iris with an HB, and then draw dark values around the rims of the eyes with 2B and 4B. I use a Q-tip to gently blend the shading in the irises. With my kneaded eraser, I next pull out a small section of lighter shading in the lower left section of the iris, opposite the highlight.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  32. 32. - 11 - 2B and 4B pencils help create the dark cast shadows on the uppermost sections of the irises, and a 6B works beautifully for shading the pupil. After shading the nose, I blend it slightly and then use my kneaded eraser to brighten the primary highlight on its tip. As I add shading to his ears and lower face, I keep in mind that the shading needs to be lighter on the upper right because these sections are closer to the light source. I add slightly darker shading along the insides of the edges of the ears, which helps give the illusion of depth to their forms. As I render each section of fur, I take my time and frequently refer to the photo to determine the different directions in which the hatching lines need to curve.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  33. 33. - 12 - The overall shading of his lower face becomes progressively darker toward the lower left. As I draw, I continually refer back to other sections that are almost complete, compare those values to the section in which I am working, and make adjustments as needed. To make a section darker I simply add more hatching lines. To lighten a section, I pat it very gently and carefully with a kneaded eraser that is molded to a wedge shape. The shading of the head and neck has the darkest darks and the lightest lights, so as to bring the attention of the viewer directly to these sections. To define the cast shadow of his head on his body, and further emphasize the edge of his lower face, I use very dark shading under his chin on the left.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  34. 34. - 13 - As I begin shading the body, I frequently refer back to the shading of the head to make sure that I am using mostly mid range values so as to not detract attention away from his eyes. I indicate the whiskers in the upper section by shading the negative spaces on both sides of the individual hairs.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  35. 35. - 14 - My overall values become progressively lighter toward the upper sections of the drawing, and his back is shaded with less contrast toward the edge of the drawing space. Hence, no section of my drawing will compete with Bill’s beautiful eyes and face, which are rendered with high contrast shading.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  36. 36. - 15 - I need to modify the pattern of the floor to be more three-dimensional and less drastic in terms of contrast, so as to provide interest to the overall drawing without detracting from the cat’s face. I love how the lines of the pattern lead the viewer’s eye toward the head, further accentuating the focal point.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  37. 37. - 16 - By adding a little texture to the surface of the flooring I am setting the stage for a more interesting cast shadow. The upper leg and paw are rendered with mostly light values and very few details, so as to establish a baseline for adding low contrast shading to the rest of the body.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  38. 38. - 17 - The pattern of Bill’s chest is gorgeous; hence I use a broad range of values that are darker on the lower left to enhance the form. By adding a foundation of light values over the remainder of the body, I am defining the lightest values in this section, which need to be subdued rather than harsh white.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  39. 39. - 18 - As I add the cast shadow of his body on the flooring according to the new light source. The shadows are darkest closest to his body and graduate lighter outward. I use mostly horizontal hatching lines, but add diagonal crosshatching lines to soften the outer sections. I then add more contrast to the areas of the floor that are in shadow, by slightly darkening the darks, and then using my kneaded eraser to somewhat lighten the sections between the tiles.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  40. 40. - 19 - I complete the shading of his body by adding medium values to represent his dark stripes. As a grand finale, I check over my drawing and add a few final touches, such as lightening the edges of his fur in some places, including the edge of the top of his head (between his ears) above the cast shadow of his ear.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  41. 41. - 20 - I always love to take a final look at the reference photo and compare it to my drawing. Hence, I can find any areas still in need of fixing. In closing, remember that learning to draw is not a short term goal but rather a lifelong journey. 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.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  42. 42. - 21 - 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. 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 andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
  43. 43. Brenda HoddinottW-03 Advanced: Studio Diary SeriesA complex grid assists with the settingup of proportions for this drawing of abeautiful, seventeen- year-old ladynamed Evie.Two reference photographs provideadequate information for modifying thecomposition and light source, andrendering diverse shading techniques todefine various textures and furry patterns.As Evie aged, the overall values of the fur on her face lightened as some of her dark furturned silver. Hence, I plan to portray this “salt and pepper” effect to depict her age.Evie’s eyes will be the primary focal points and her furry face will be the secondarycenter of attention.You are invited to gather up your drawing materials, and either draw Evie or a specialanimal in your own life. Or, if you prefer, simply print this lesson, curl up in yourfavorite comfy chair, and explore thirty-five illustrations as you read about the process ofcreating this drawing. 29 PAGES – 35 ILLUSTRATIONS Recommended for artists with advanced drawing skills, as well as home schooling, academic and recreational fine art educators Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2005
  44. 44. -2- PLANNING AND SETTING UP PROPORTIONS Learning to draw is not a short term goal but rather a lifelong journey. 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. I took this photo of Evie, the owner of my friend John, without a flash. In that my finger is sometimes quicker than my camera’s ability to recharge the flash, this photo was a happy accident. Evie’s pose is fabulous, but the photo is out of focus. Not a problem! I will work from an additional resource photo so I can add intricate details. If you decide to render a drawing from a photo, try and choose a large one that is clear and in focus. Setting up accurate proportions is a great way to make sure my drawing is off to a great start! Therefore, I will use a grid to help me sketch her markings and features in their correct places. After examining the composition of the photo, I decide that Evie’s endearing expression will be more aesthetically pleasing if I tilt her head a little more upward.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 site: http://www.finearteducation.com or http://www.drawspace.com
  45. 45. -3- I rotate the photo until I find an angle that I like. In that I’ve already decided to work with a grid, I simply tape the photo to my graph paper at an angle rather that vertical. Using the lines of the graph paper as guidelines, I draw the grid lines with a fine tip ballpoint pen. My graph paper has one quarter inch squares; hence, the grid squares on the photo are the same size. Each square becomes easy to keep track of by marking letters (A to T) and numbers (1 to 15) on the grid paper to identify each vertical and horizontal row. Next, I carefully tape the corners of my drawing paper (Arches 140lb. hot pressed, watercolor paper) to a large sheet of graph paper. My photo is 4 by 6 inches; however, I want my drawing to be larger. So, I draw each square on my drawing paper three-eighths of an inch; hence, my drawing will be one and a half times larger than the photo. By the same formula, if you want a drawing that is twice the size of a photo, you use squares that are twice the size of the graph squares; hence, four (2 by 2) of the graph squares on the drawing paper, represent one of the grid squares on the 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 site: http://www.finearteducation.com or http://www.drawspace.com
  46. 46. -4- As I draw the grid on the paper (with an HB pencil), only the weight of the pencil itself creates the very faint lines. The lines in the next few illustrations seem dark; however, in reality the lines are so light that I can barely see them. I have made them darker in a computer program so you can see them. I add letters and numbers to the drawing paper to correspond with those on the photo. I can now easily identify each square as I work. Hopefully, I can avoid drawing the wrong image in a grid square! When I draw with a grid, I generally prefer to begin in the upper left and work downward toward the right (I’m right handed). Naturally, you should work in any way you prefer. 2H or HB pencils are great for drawing within a grid. I prefer using mechanical pencils to avoid having to constantly sharpen my pencils. On the other hand, when I do draw with regular pencils, I keep the points very sharp with a sandpaper block. I work in only one square at a time. I visually measure the proportions, and observe the relationships between the lines, shapes, and spaces in that square, while constantly referring to my 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 site: http://www.finearteducation.com or http://www.drawspace.com
  47. 47. -5- Sometimes I add diagonal lines in the grid squares of highly detailed sections, such as an eye or nose. However, in this particular drawing, my grid squares are very small anyway, so this is not necessary. This small illustration shows my entire sketch within the grid, as well as the mapping lines I will use to help me with the shading. But, no need to look for a magnifying glass to try and draw from this small illustration! On the following five pages I provide computer enhanced versions of this sketch, including close up illustrations of each section.  Remember, no actual drawings have been injured in the production of the next five images! (I love my Photoshop!) Please don’t adjust your grid lines to be as dark as mine. Also, don’t add numbers as close to the actual drawing as my computer enhanced drawings show. By the way, I deleted the letters S and T, which are now redundant. I first sketched all the parts of the dog’s head, ears, and face in their correct places, beginning in the upper right. I then referred to the photo to map out where to draw the light and dark values. I won’t be deciding the final composition until the drawing is complete. Therefore the letters identifying the rows are far away from the actual sketch to provide me with lots of leeway for adding any background I may (or may not) choose to later add.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 site: http://www.finearteducation.com or http://www.drawspace.com
  48. 48. -6- Don’t press too hard with your pencils! No matter how careful you are, when you draw with a grid, accidents do happen. If you draw some lines in the wrong grid squares, simply erase that section, redraw the grid lines, and keep on going! Lightly drawn lines are easy to erase!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 site: http://www.finearteducation.com or http://www.drawspace.com
  49. 49. -7- When drawing an oval or a circle, rotate your paper and look at it from different perspectives. Examine its reflection in a mirror to help locate problems.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 site: http://www.finearteducation.com or http://www.drawspace.com
  50. 50. -8- Confirm that objects, spaces, and perspective elements are drawn correctly. Check the relationships of objects to one another, observe that angles, sizes, and proportions are accurate, and adjust as needed. Pay close attention to the shapes created by negative and positive spaces. Draw slowly. Accuracy is more important than speed. Your speed will automatically improve the more you practice.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 site: http://www.finearteducation.com or http://www.drawspace.com
  51. 51. -9-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 site: http://www.finearteducation.com or http://www.drawspace.com
  52. 52. - 10 - Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin. Handle your drawing paper by the edges. Don’t touch (or let anyone else touch) the surface of your drawing paper, unless absolutely necessary (even before you begin to draw). The natural oils or dirt on someone’s hands can damage your drawing paper.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 site: http://www.finearteducation.com or http://www.drawspace.com
  53. 53. - 11 - After completing the initial sketch, I took a break, then came back and corrected a few sections with which I wasn’t completely happy. Next, I use my kneaded eraser to gently pat the entire sketch, including the grid lines, until they are barely visible. I’m now ready to get started on the really fun stuff – adding values! In that my primary reference photo isn’t very detailed, I will also be referring to this photo. This close-up of Evie’s face provides lots of information, including the beautifully symmetrical markings of the fur on her face. As you can no doubt see, Evie is not exactly a puppy. This loveable and gentle old girl is over 120 years old in people years. Yet, she still loves to play with her toys and drag her person outside for a walk each day! To prevent your eyes from becoming too tired, always make sure you have adequate lighting. Natural light through a window is best in the daytime. On overcast days and in the evenings, a flexible-neck study lamp can focus light directly on your drawing surface.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 site: http://www.finearteducation.com or http://www.drawspace.com
  54. 54. - 12 - ADDING VALUES AND TEXTURES TO EVIE’S EYE Evie’s eyes will be the primary focal points of this drawing, and her furry face will be the secondary center of attention. I will begin by shading her left eye, and then work outward with a focus on illustrating the subtle nuances of values and textures needed to capture her likeness and portray her age. I closely examine Evie’s left eye in both reference photos, and then visually merge the information I gather. I carefully replace the initial sketch lines of my drawing with detailed outlines that definitively identify the shapes of the various parts of her eye. By mapping the locations of the highlights and various values, I can easily visualize the proposed shading. Before I actually begin shading, I lighten the mapping lines with my kneaded eraser. As I add values, I use my mapping lines as guides, and work from light to dark. You can tell by the highlights in the main photo that a light source is coming from the upper left. However, I may later decide to change it to come more from above. I use a 2H pencil for those values that are almost white, such as the crescent shaped section of the white of the eye. An HB works well for the middle values of the iris.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 site: http://www.finearteducation.com or http://www.drawspace.com
  55. 55. - 13 - Even though Evie doesn’t see very well anymore, her eyes are still bright and very expressive. I use a Q-tip to gently blend the medium values of the irises. With my kneaded eraser, I then pull out a small section of lighter shading in the lower right, opposite the highlight. 2B and 4B pencils help shade the dark cast shadows on the uppermost sections of the irises, and 6B and 8B work beautifully for the pupil. The highlight is left white and therefore contrasts sharply to the dark pupil. By the way, all sections of fur will be shaded with values that are lighter than those of the pupil. I draw medium and dark values around the rims of the eyes with 2B and 4B, and then use a kneaded eraser shaped to a point to pull out a couple of lighter sections. As I begin to draw the fur around the eye with hatching, I continuously refer to both photos and examine the different directions in which the fur grows. I outline a few wisps of long light fur that grow from between her eyes toward the right. As I draw Evie’s fur, I make sure that I am using mostly mid range values so as to not take attention away from the pupil of her eye, which will be the darkest value of the entire 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 site: http://www.finearteducation.com or http://www.drawspace.com
  56. 56. - 14 - As Evie aged, the fur on her face lightened. Hence, I need to portray this “salt and pepper” effect in order to accurately depict her age. Refer to the drawings on the next few pages to see what I mean. My individual hatching lines vary in length to keep the fur looking natural, and curve in various directions to help give the illusion of depth to the forms of her face under the fur. The high contrast shading around her left eye establishes a baseline for all the values still to add. (Check out the drawing on the right and the close-up on the next page.) At this point, I can visualize the shading of the remainder of the drawing. Evie’s face will be shaded slightly darker on the lower right, farther from the light. I also need to draw (pun intended) attention away from the outer edges of the drawing, so this eye and the fur surrounding it, remain very strong as the focal points. Therefore, I will render the shading toward the lower edge of the paper with less contrast, by gradually making the darkest darks and the lightest lights less extreme.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 site: http://www.finearteducation.com or http://www.drawspace.com
  57. 57. - 15 -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 site: http://www.finearteducation.com or http://www.drawspace.com
  58. 58. - 16 -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 site: http://www.finearteducation.com or http://www.drawspace.com
  59. 59. - 17 - When indicating the patterns of Evie’s facial fur, I keep the transitions between values short and abrupt. For example, take note of the V-shaped section of dark fur in the upper section of her forehead. I prefer 2H and HB pencils for shading light fur, and 2B and 4B pencils work well for the dark sections. Examine Evie’s eyes in the next drawing, and note that the highlights in her eyes represent two different light sources. The highlight of the eye on the left side of the drawing indicates a light source that is more from above than from the side. Just before I added shading to this eye, I decided to modify the light source very slightly, so it seems to come more from above. In that she is looking upward, she will appear to be looking into the light, an effect that I love from both technical and philosophical perspectives. I now need to erase and redraw sections of the eye on the right, to represent this new light source.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 site: http://www.finearteducation.com or http://www.drawspace.com
  60. 60. - 18 - Compare these two drawings to see how I modified the eye on the right to represent the same light source as the other. Thankfully, I didn’t apply too much pressure to my pencils as I originally drew this eye, so erasing did not create major problems. I always place a piece of clean paper under my hand as I draw, to shield my drawing from smudging and protect the paper from the oils in my skin. Take note of how the nostril on the left is considerably higher than the other. Also, the lines marking the placement of the various parts of the nose are at an angle rather than horizontal. Before I begin adding shading to the nose with squirkles, I use my kneaded eraser to lighten my grid lines until they are almost invisible. I then redraw the outline of the nose with neat, thin lines.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 site: http://www.finearteducation.com or http://www.drawspace.com
  61. 61. - 19 - Keep in mind that the light source is from above and slightly to the left; hence, the values need to be slightly lighter on the upper left, closer to the light source. Observe the v-shape in the center of the very bottom section of the nose. I use 2H and HB pencils to lay down a layer of light and medium values with squirkles. A combination of tiny circles, dots and squirkle lines provides the fun texture to all sections of the nose. I use a 2B pencil to add darker shading to the sections in shadow and a 4B for the inner sections of the nostrils. At this point, I examine the nose closely and modify any sections I’m not happy with. To darken a section of her nose, I simply add more squirkling lines. To lighten a section, I pat it with a kneaded eraser that is molded to a point.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 site: http://www.finearteducation.com or http://www.drawspace.com
  62. 62. - 20 - The hatching lines used to indicate the fur around the nose are ragged and uneven, and are also various values, lengths and thicknesses. As I render each section of fur, I take my time and refer to the photos to determine the different directions in which the hatching lines need to curve. The overall shading of her lower face becomes progressively darker toward the lower right. As I draw, I continually refer back to other sections that are almost complete, compare those values to the section in which I am working, and make adjustments as needed. To make a section of fur darker I simply add more hatching lines. To lighten a furry section, I pat the individual hatching lines very gently and carefully with a kneaded eraser that is molded to a wedge shape.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 site: http://www.finearteducation.com or http://www.drawspace.com
  63. 63. - 21 - The shading of Evie’s face has the darkest darks and the lightest lights, so as to bring the attention of the viewer directly to this center of interest. Her ears will be rendered with slightly less contrast toward their tips. Hence, the sections of the drawing around the edges will not draw attention away from her beautiful eyes and face, which are rendered with high contrast 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 site: http://www.finearteducation.com or http://www.drawspace.com
  64. 64. - 22 - I identify and outline the lightest wisps of hair on her right ear with neat thin lines so I won’t be as likely to accidentally add shading to these sections. I continuously examine both reference photos as I add shading to the negative spaces behind the outlined fur. Refer to the following five illustrations to check out my shading process.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 site: http://www.finearteducation.com or http://www.drawspace.com
  65. 65. - 23 - As I add shading to her ear, I keep in mind that the values need to be lighter on the upper left because these sections are closer to the light source. I add slightly darker shading along the inside edges, which helps give the illusion of depth to the forms.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 site: http://www.finearteducation.com or http://www.drawspace.com
  66. 66. - 24 -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 site: http://www.finearteducation.com or http://www.drawspace.com
  67. 67. - 25 -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 site: http://www.finearteducation.com or http://www.drawspace.com
  68. 68. - 26 -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 site: http://www.finearteducation.com or http://www.drawspace.com
  69. 69. - 27 - Her second ear is shaded in much the same way as the first. The overall values are slightly darker however, because this ear is more in shadow. I indicate her whiskers and unruly gray wisps of fur by shading the negative spaces on both sides of the individual strands. In some places, I use my kneaded eraser, shaped to a wedge, to pull out long thin strands of fur. I layer a light value (with my HB pencil) over the shadow areas to very slightly darken any sections of white paper that are showing through.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 site: http://www.finearteducation.com or http://www.drawspace.com
  70. 70. - 28 - I complete the shading of her neck and upper body. I then take a final look at the reference photos and compare them to my drawing. Hence, I can find any areas that can still use a little improvement. I add a few final touches, such as adding more contrast to the fur. Additional dark, short hatching lines, and light sections pulled out with my kneaded eraser, accentuate the silver hairs amidst the black. As a grand finale, I accentuate some of the individual strands of fur around her ears and lower 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: bhoddinott@hoddinott.com Web site: http://www.finearteducation.com or http://www.drawspace.com

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