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# Mediu p oameni

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### Mediu p oameni

2. 2. 2 DRAWING OUTLINES WITHIN A GRID Throughout this section, you use careful observation of spaces and lines within individual grid squares to measure for accurate proportions. A grid is a framework of vertical and horizontal reference lines on an image and/or drawing paper, used by artists to either enlarge or reduce the size of the original image. Proportion is the relationship in size of one component of a drawing to another or others. Remember to press very lightly with your pencil because all your grid lines and most of your contour lines will need to be erased (or lightened) later. Contour lines are created when the shared edges of spaces and/or objects meet. Contour lines can define complete objects or small sections or details within drawing subjects. The lines in the following illustrations have been darkened in a computer program and appear much darker that they actually are. 1) Draw a rectangle as your drawing space, and then measure and divide your rectangle into 56 equal squares, seven across by eight down. A drawing space (sometimes called a drawing format) refers to the area of a drawing surface within a specific perimeter, outlined by a shape of any size, such as a square, rectangle or circle. Use a light pencil (2H or HB). You will have 7 squares across and 8 squares down (a total of 56 squares). My drawing format is 7 by 8 inches with 1-inch squares. You may choose to use a larger drawing format for a larger drawing; simply make each of the 56 squares larger. Suggested alternative sizes include 10.5 by 12 inches (with 1.5-inch squares) or 14 by 16 inches (with 2-inch squares). ILLUSTRATION 01-01 2) Starting from the left, number the vertical squares along the top and bottom of with numbers 1 through 7. Lettering and numbering your grid squares helps you keep track of each square as you draw. For example, the nostrils will be drawn in square F-4. 3) Starting from the top, letter the horizontal squares down both sides with letters A through H.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 4) With your HB pencil, very lightly draw the outline of the head and chin. Until your eye is well trained to draw accurate proportions, using a grid is a huge help. When working with a grid, think of each square as a separate drawing. Following is the basic procedure for drawing with a grid:  Focus on one square  Pretend this one square is the total drawing.  Look at each line (or lines) and its position within this one square.  Note the shape of the spaces on either side of each line.  Take note of the areas where the various curved lines meet straight lines (such as the sides of the grid squares). ILLUSTRATION 01-02  As you draw, don’t think about what the subject is; rather, focus on the shapes, and spaces that define the actual lines.  Constantly double- check your proportions!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 5) Draw the outline of the face (as indicated by the outline of the hair around the face) and the tiny section of one ear that is showing (Square F-6). ILLUSTRATION 01-03Copyright 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 6) With your 2H or HB pencil, lightly draw the outlines of the eyes, nose and mouth. If you wish, you can add diagonal lines on the facial area of your grid, to help place the features more accurately. Refer to the next illustration. Observe that: the eyes are placed approximately halfway between the bottom of the chin and the top of the head, the eyes have double lines around their edges to indicate upper and lower eyelids, the space between the eyes is slightly wider than the width of an eye, and the nose is the same width as the space between the eyes. Work on only one feature at a time and draw it as well as you can. Observe the fine details of the nose (such as the placement of the nostrils) and the lips (such as the location of each end of the mouth and the curves of the lines which outline the lips). ILLUSTRATION 01-04 Take your time; patience is a virtue! This step is the most important towards completing a drawing with which you’ll be happy. Not even super fantastic shading, can rescue a drawing if the proportions are off!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 7) Before you continue, examine the placement of the outlines of the individual features and correct any areas that you’re not happy with 8) Outline the iris, pupil and highlight in each eye. 9) Add the outline of her sweater. ILLUSTRATION 01-05Copyright 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
8. 8. 8 10) Use your kneaded eraser to gently pat your lines until you can barely see them. 11) Erase your grid lines with either your vinyl or kneaded eraser. You can either erase all your grid lines at once, or only the grid lines that need to be erased before you begin each section of shading. 12) Use a freshly sharpened HB pencil and curved hatching lines to draw the section of hair in the following illustration. ILLUSTRATION 01-07Copyright 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 13) Add light and medium values to the bangs of her hair. If you have very little hatching experience, or if your hatching skills have become a little rusty, refer to the lessons in F-Level Beginner: Hatching. ILLUSTRATION 01-08Copyright 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 14) Add shading to the hair on the other side of the head. Don’t forget to add those soft wispy lines, which extend outside the perimeter of the hair, and create a realistic and natural texture. ILLUSTRATION 01-09Copyright 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 15) Lightly draw the visible sections of her eyebrows. 16) With your 2H and/or HB pencil, very lightly add shading to the face around the eyes and the ear. ILLUSTRATION 01-10Copyright 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 17) Shade in the iris, upper and lower eyelids, whites of the eyes, and corners of the eyes. Note that the shading of the iris is darker under the upper eyelid and on the side where the highlight is drawn. ILLUSTRATION 01-11Copyright 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 18) Use your 2B pencil, to shade in the pupil. Don’t press too hard with your pencil; you’ll make the shading darker in the next section. 19) With your HB pencil, draw half as many eyelashes as you think there should be. Note that the upper and lower eyelashes grow in many different directions, are different lengths and thicknesses in some places, are curved, appear thicker closer to the eyelids, and grow from the edges of the upper and lower lids and not the whites of the eye ILLUSTRATION 01-12Copyright 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 20) With your 2H and HB pencils, add light shading to the nose, mouth, neck, and the forms of the face. 21) Add a few wispy hairs extending onto her face. ILLUSTRATION 01-13Copyright 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
16. 16. 16 ILLUSTRATION 01-15 26) With your 2B pencil, add the darker shading to her lips, in the shadow areas of the nose, and on the lower section of her face. Note the many different values used to complete this detailed area of shading. Some areas are almost black and other areas are completely white. Note the creases on the lips. Leave a lighter area on her face surrounding the perimeter of the mouth. 27) With your 4B pencil add darker values to the sections under her hair, the nostrils, and along the inner edges of the opening of her mouth. ILLUSTRATION 01-16Copyright 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
18. 18. 18 ILLUSTRATION 01-17Copyright 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. 19 BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. >Brenda Hoddinott< Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”. Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites. Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. These sites are respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world. LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiot’s Guide to Drawing People: Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
22. 22. -3- 3) Number your vertical squares 1 through 4 along both the top and bottom of your drawing format. 4) Letter your horizontal squares A through F down both sides of your drawing format. ILLUSTRATION 02-03 By numbering and lettering the squares, you can better keep track of which grid square you are working inside. Try to think of each square as a separate drawing. To measure for accurate proportions, you carefully observe the spaces and lines within individual squaresCopyright 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. -4- 5) Focus on square A-3 and draw what you see inside. ILLUSTRATION 02-04 Pretend this one square is the total drawing. Refer to illustrations 02-04 and 02-05, and the following step-by-step instructions. Find the place where a line meets the top of this square. It is very close to the right. Place a dot here. Check out the area where a line meets the bottom of the square. It is slightly right of the center of the bottom side of this square. Draw another dot here. Look at the lines themselves. Take note of the shapes of the spaces on either side. ILLUSTRATION 02-05 Observe whether the lines are straight, curved or angular. Note the size of the angle of angle lines, the directions in which the curved lines bend, and the length and angle of straight lines in relation to this square. Take note of the areas where curved lines meet straight lines. Be sure to check that your proportions are as close as possible to mine.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
24. 24. -5- 6) Lightly sketch the perimeter of the face, neck, and the top of the hair. Refer to the following five illustrations. Use the same technique for drawing the lines inside each square, as described in the previous step. ILLUSTRATION 02-06 Remember; don’t think about what the subject is. Instead, focus on the shapes, and negative and positive spaces that define the actual lines. If you wish, you may even want to try drawing upside-down!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. -6- ILLUSTRATION 02-07Copyright 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
26. 26. -7- ILLUSTRATION 02-08Copyright 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. -8- ILLUSTRATION 02-09Copyright 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. -9- ILLUSTRATION 02-10Copyright 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. - 10 - 7) With your 2H or HB pencil, very lightly draw the eye, eyelid, iris and eyebrow. Observe the placement of the eye within square C-3. Refer to the following illustrations as you outline the various parts of the eye. ILLUSTRATION 02-11 Note that the shape of the eye is almost triangular. ILLUSTRATION 02-12 The iris is represented by a vertical oval (called an ellipse). Approximately one-third of the iris is hidden under the upper eyelid. 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
30. 30. - 11 - The line which marks the outer corner of the eye is extended downward to the left. ILLUSTRATION 02-14 The form of the eyeball inside the orbital cavity is enhanced by adding an upward curved line to the edge of the upper eyelid and a downward curved line to the edge of the lower eyelid. ILLUSTRATION 02-15 Note the double line, which represents the edge of the lower eyelid. 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
31. 31. - 12 - ILLUSTRATION 02-17 The overall shape of the eyebrow is more curved towards the edge of the face. Keep your lines light for now; you can make the eyebrows darker when you add shading. Observe the shape of the line that defines the crease of the upper eyelid, above the eye. This line identifies the form of the orbital cavity.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. - 13 - ILLUSTRATION 02-18 8) With careful attention to each square, draw the nose and mouth. Refer to illustrations 02-18 to 02-20 as you draw, and observe: The fine details of the nose, such as the placement of the nostril. The curved line that identifies the opening of the mouth. The curved outlines of the lips. The location of the corner of the mouth.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. - 14 - ILLUSTRATION 02-19Copyright 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
34. 34. - 15 - ILLUSTRATION 02-20Copyright 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. - 16 - ILLUSTRATION 02-21 OUTLINING STRANDS OF HAIR By outlining the strands of hair before you begin shading, you provide yourself with a roadmap for adding the various graduations. 9) With your HB pencil draw the outlines of the various sections of hair. Refer to illustrations 02-21 to 02-27. When outlining the individual strands of hair, use curved rather than straight lines, even when rendering what is considered straight hair.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. - 17 - ILLUSTRATION 02-22Copyright 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
37. 37. - 18 - ILLUSTRATION 02-23Copyright 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
38. 38. - 19 - ILLUSTRATION 02-24Copyright 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. - 20 - ILLUSTRATION 02-25Copyright 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
40. 40. - 21 - ILLUSTRATION 02-26Copyright 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. - 22 - ILLUSTRATION 02-27 Go over your drawing closely and compare it to mine. Examine closely the placement of the individual strands of hair as well as the facial features. Correct any areas that you’re not happy with. 10) Use your kneaded eraser to pat your entire drawing until all the lines are so faint that you can barely see them.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. - 24 - ILLUSTRATION 02-29 11) Use various freshly sharpened pencils, and curved hatching lines, to draw the dark sections of hair in illustrations 02-29 and 02-30. The hatching lines follow the contour of the lines drawn to indicate the outlines of the sections of hair. ILLUSTRATION 02-30 Also, observe that the hair is lighter in some places with white paper showing clearly, which indicates shine on the hair and the three dimensional form of the strands.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. - 25 - ILLUSTRATION 02-31 12) With your HB pencil draw the two sections of slightly lighter hair in illustrations 02-31 and 02-32. ILLUSTRATION 02-32 Before you move on to each new step, make sure all grid lines have been erased in the areas in which you will be 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
45. 45. - 26 - 13) Add shading to the remaining sections of hair on this side of her face. The overall shading becomes lighter in value closer to the face. ILLUSTRATION 02-33Copyright 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. - 27 - 14) Beginning at the forehead and slowly progressing down the face to the jaw and neck, use hatching lines, and a 2H pencil to add shading to the face. This shading defines the forms of the forehead, cheekbone, jaw and neck. ILLUSTRATION 02-34Copyright 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. - 28 - 15) With your 2H pencil, draw some very light wisps of hair that appear to fall gently onto her face. Keep in mind the old cliché “Less is more” as you draw the wisps of soft hair. They are drawn lightly and curve in many different directions. Each individual hair seems to originate from an existing strand and loosely follows its contours. ILLUSTRATION 02-35Copyright 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. - 29 - BRINGING THE EYE TO LIFE In this section, you add shading to Claudette’s eye, eyebrow, and the forms around her eye. You need to be familiar with the following terms: Highlight: a bright spot that defines where light bounces off the surface of the eye. Iris: the colored circular shape (surrounding the pupil) of the eye. Pupil: the dark circle inside the iris, which adjusts its size to different lighting conditions. ILLUSTRATION 02-36 Don’t forget to erase the grid lines in the areas where you will be drawing. 16) Lightly outline a small circular shape in the upper section of the iris as the highlight. The highlight will need to be left white. ILLUSTRATION 02-37 17) Add shading to the iris with HB and 2B pencils. The shading is darker closer to the upper eyelid. 18) With your 6B pencil, add shading to the pupil of the eye. ILLUSTRATION 02-38 19) With a great deal of patience, use a freshly sharpened HB pencil to draw the upper eyelashes. Note that they curve down (not up), and are very small and thin on the side farther away from the nose. Also note they are curved, all different lengths and grow in several different directions. Draw only half as many eyelashes as you feel there should 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
50. 50. - 31 - ILLUSTRATION 02-42 ILLUSTRATION 02-43Copyright 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
51. 51. - 32 - ILLUSTRATION 02-44 24) With your HB pencil and curved hatching lines, draw the eyebrow. Note that the hairs grow in different directions and that the brow is curved downward towards the edge of the face. ILLUSTRATION 02-45Copyright 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
52. 52. - 33 - 25) Use 2H and HB pencils to add the gentle shading on the forehead. 26) With your 2B and 4B pencils, lightly shade the background in the top right corner of your drawing and down toward the nose (this is also known as “negative space”). Refer to illustrations 02-45 and 02-46. Observe that the shading graduates darker toward the lower face, and defines and accentuates the profile of the face. 27) Add some soft wisps of hair to the front top of her hair with a 2H pencil. ILLUSTRATION 02-46 ILLUSTRATION 02-47Copyright 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