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### Incepatori f hasura

3. 3. 3 ILLUSTRATION 01-04 5) Draw a third set of parallel lines, closer together than in your first two sets. Note that there are many more lines than in the second set and the lines are much closer together. ILLUSTRATION 01-05 6) Draw the fourth set of hatching lines very closely together. More lines make up the fourth hatching set and they are much closer together than in the first three. Also, not as much of the white paper is still showing through. ILLUSTRATION 01-06 In Illustration 01-06, I show you a small sampling of hatching styles. Note the different types of hatching lines, such as curved and straight, and long and short. Try to imagine how you could apply each of these sets to something in a drawing. 7) Try drawing some sets of different styles of hatching lines in your sketchbook. CREATING VALUE SCALES In this section, you discover how you can achieve a full range of values by varying both the density of the hatching lines and the pressure applied, while using pencils of different grades. 8) Practice hatching with each of your pencils and notice their differences. The 2H is very light (hardest) and the 2B is quite dark (softest). By letting your pencils do some of the work, you don’t need to press as hard with your pencil to achieve dark values, and you have more control doing light values. In the next exercise, you use three different pencils to help create various values. 2B works best for creating the dark values, HB is great for middle values, and 2H is ideal for light 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
4. 4. 4 9) Draw a value scale of seven different values. Using your 2H pencil, draw the first three values beginning with the lightest. With your HB pencil, draw the next two values. Use your 2B for the two darkest values. Keep practicing this value scale in your sketchbook until you can draw all seven different values. Then try this same exercise in reverse from dark to light. ILLUSTRATION 01-07 ILLUSTRATION 01-08 Have a close look at these two sets of hatching lines and observe the following: In the hatching example in the upper left, you can clearly see my hatching lines. I draw my hatching lines very closely together in the lower right drawing, to create the illusion of a smooth, solid tone (without blending). In this next exercise, your goal is to make seven different smooth values by drawing the hatching lines close together. 10) With 2H and HB pencils, begin with the lightest value, and draw the first three light values as in the next illustration. 11) Use your 2B, 4B and 6B pencils to draw the four darker values. ILLUSTRATION 01-09 12) Draw a value scale of ten different values from light to dark. ILLUSTRATION 01-10 13) Draw another value scale of ten different values from dark to light.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 Practice drawing value scales every single day, until you can clearly distinguish ten different values! Put the date on the back of your drawings each day so you can enjoy watching your skills improve. 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
7. 7. 2 SKETCHING THREE MOUNTAINS In this section, you sketch three overlapping mountains beginning with the one that is closest, and working back toward the distant mountain and the sky. Overlapping is a technique that gives the illusion of depth in a drawing, and refers to the position of subjects in a composition, when one visually appears to be in front of another (or others). 1. Outline a horizontal rectangle (similar in shape to mine) as your drawing space. A horizontal rectangle is often referred to as a landscape format. Suggested sizes include 2 by 4 inches, or 3 by 6 inches. 2. Sketch the outline of the first mountain. This mountain is in the front, closer to the viewer than the other two. ILLUSTRATION 02-01 The outline begins about three-quarters of the way toward the top of the left side of the rectangle, and meets the lower side approximately three-quarters of the way toward the right. ILLUSTRATION 02-02 3. Outline a second mountain behind the first. Feel free to draw your mountains either more rounded or more jagged.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
9. 9. 4 5. Press very lightly with your 2B pencil to draw the lightest hatching lines of the sky. The lines are far apart and few in number. ILLUSTRATION 02-04 6. Use an HB pencil to add shading to the mountain in the distance. This mountain needs to be slightly darker than the sky; so, you need to press a little harder on your pencil, and also draw a few more hatching lines. However, keep in mind that the two closer mountains need to be even darker, so be careful not to make this shading too dark. ILLUSTRATION 02-05Copyright 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
10. 10. 5 7. Add shading to the second mountain with a 2B pencil. Press a little harder with your pencil, and add lots of hatching lines fairly close together. ILLUSTRATION 02-06 8. Add shading to the mountain in the foreground with a 2B pencil. More lines make up the fourth hatching set, and they are much closer together than in the first three. Also, not much of the white paper is still showing through. 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
11. 11. 6 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 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. Brenda Hoddinott F-03 BEGINNER: HATCHINGMany artists struggle unnecessarily for years to create a full range of values with only one or twopencils, totally unaware of how pencils themselves can create different values. In this lesson, youcreate the illusion of depth in a mountain range, by using various grades of pencils. You will alsoutilize two components of perspective, overlapping and atmospheric perspective.This lesson is divided into the following three parts: INTRODUCTION: When you use a combination of several H and B pencils you can easily create a full range of values in your drawings. SKETCHING ELEVEN MOUNTAINS: You sketch eleven overlapping mountains, beginning with the one that appears closest, and working back toward the distant mountain and the sky. PENCILS BUILD A MOUNTAIN RANGE: You use 12 different grades of pencils to add shading to each section of the sky and mountain range to render the illusion of depth as created by atmospheric perspective.Suggested supplies include white drawing paper, kneaded and vinyl erasers, a pencil sharpener,and 5H, 4H, 3H, 2H, HB, 2B, 3B, 4B, 5B, 6B, 7B and 8B pencils. This project is recommended for artists and aspiring artists of all ages, as well as home schooling, academic and recreational fine art educators. 14 PAGES – 27 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, 2005 (Revised 2006)
14. 14. 3 SKETCHING ELEVEN MOUNTAINS In this section, you sketch eleven overlapping mountains beginning with the one that is closest and working back toward the distant mountain and the sky. When sketching overlapping objects, I generally find it easier to draw those in the foreground first. 1. Outline a horizontal rectangle, similar in shape to mine, as your drawing space. A drawing space (also called the drawing surface or drawing format) is the area in which you render a drawing within a specific perimeter. A horizontal rectangle is often referred to as a landscape format. You can either turn your drawing paper horizontally, or you can use a ruler to draw a rectangle as your drawing space. My drawing space is 3 by 5 inches. As you continue through this section, try to draw the outlines of the mountains in approximately the same locations as in my sketches. ILLUSTRATION 03-03 2. Sketch the outline of a mountain in the lower left corner of the drawing space. Use a 2H pencil and press very lightly so you don’t indent the paper. ILLUSTRATION 03-04 3. Outline a second mountain behind the first. While it’s important to draw your mountains in approximately the same locations as mine, there’s no need to make their shapes exactly like mine. Feel free to draw them more rounded or jagged.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
15. 15. 4 ILLUSTRATION 03-05 4. Sketch the remaining nine mountains. Follow along with the following nine sketches (Illustrations 03-05 to 13). ILLUSTRATION 03-06 ILLUSTRATION 03-07Copyright 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
16. 16. 5 ILLUSTRATION 03-08 ILLUSTRATION 03-09 ILLUSTRATION 03-10 ILLUSTRATION 03-06Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
17. 17. 6 ILLUSTRATION 03-11 ILLUSTRATION 03-12 ILLUSTRATION 03-13Copyright 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
18. 18. 7 ILLUSTRATION 03-14 5. Neatly outline each mountain with the pencil that will be used for its shading. For example, the first one you drew in the lower left of the drawing space needs to be outlined with an 8B pencil, the one directly behind it with a 7B, and so on. PENCILS BUILD A MOUNTAIN RANGE Artists have been drawing with graphite for centuries and even today it remains the most popular drawing medium. It has withstood the test of time for permanence, and lends itself beautifully to all styles of drawing. In this section, you add shading to each section of the mountain range to render the illusion of depth as a result of various particles in the atmosphere. Shading is the process of adding values to a drawing so as to create the illusion of form and/or three-dimensional spaces. Feel free to use whatever style of shading you prefer, such as hatching or squirkling (I’ve used hatching). ILLUSTRATION 03-15 6. Use an 8B pencil to add a very dark value to the closest mountain, in the lower left corner.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
19. 19. 8 7. Continue shading each mountain in sequence from the foreground to distant space. Use the pencils indicated in Illustration 03-14. ILLUSTRATION 03-16 Use a 7B for this mountain ILLUSTRATION 03-17 Use a 6B for this mountainCopyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
20. 20. 9 Each mountain needs to be shaded a little lighter than the last. Hence, you may need to occasionally go back over some mountains and adjust their values a little. To make a mountain darker you need to press a little harder with your pencil, and to make the value lighter, you ease off on the pressure used. If a mountain seems way too dark, you can pat it with your kneaded eraser and redo the shading until you are happy with the results. ILLUSTRATION 03-18 Use a 5B for this mountain ILLUSTRATION 03-19 Use a 4B for this mountainCopyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
21. 21. 10 ILLUSTRATION 03-20 Use a 3B for this mountain ILLUSTRATION 03-13 ILLUSTRATION 03-21 Use a 2B for this mountainCopyright 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. 11 ILLUSTRATION 03-22 Use a HB for this mountain ILLUSTRATION 03-23 Use a 2H for this mountainCopyright 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. 12 ILLUSTRATION 03-24 Use a 3H for this mountain ILLUSTRATION 03-25 Use a 4H for this mountainCopyright 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. 13 ILLUSTRATION 03-26 Use a 5H to add shading to the sky As a final touch, (if you want your drawing to look really neat), you can outline the edges of each mountain again with freshly sharpened pencils (as you did in step 6). ILLUSTRATION 03-27Copyright 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. 14 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 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. 6 Note that the spots are not simply light and dark values, but rather, highly contrasting, graduated values which give a very realistic illusion of spots in her fur. Contrast measures the degree of difference between the light and dark values within shading, and creates the illusion of three- dimensions in a drawing. ILLUSTRATION 04-09 Try and find time every single day, to practice drawing different types of graduations, working from light to dark, and then from dark to light.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
32. 32. 7 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 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
34. 34. -2- INTRODUCTION The term Manga encompasses a vast array of individual styles of drawing, which allows artists to use their creative license in the design of their characters’ faces, hairstyles, personalities, and clothing. The eyes of anime characters generally appear disproportionately large, and are the most expressive part of their faces. The nose and mouth tend to be drawn small and simple so as to further emphasize the powerful expressions of the eyes and the facial area around the eyes. Refer to the next drawing and become familiar with terms used to identify each part of an eye: 1. The arch-shaped group of hairs, above the eye, is known as an eyebrow. 2. A fold in the skin, above the eye is called an upper eyelid crease. 3. The upper eyelid is a movable fold of skin that opens and closes to protect the eyeball. 4. The white of the eye (the visible section of the eyeball) is light, but not really white. 5. A highlight is the brightest area where light bounces off the surface of the eye. 6. The pupil of an eye is the darkest circular shape within the iris. 7. The iris is the colored circular section of the eyeball surrounding the pupil. 8. The lower eyelid is a fold of skin protecting the lower section of the eyeball. ILLUSTRATION 05-01 SETTING UP PROPORTIONS In this section, I take you step by step through the process of setting up proportional guidelines on a frontal view of an adult male anime head, and sketching his facial features, ears, and hair within the proportional guidelines. Proportion is the relationship in size of one component of a drawing to another or others. Keep in mind that the facial proportions of this adult manga character are very similar to those of a real life child.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. -4- ILLUSTRATION 05-03 7. Sketch the basic outline of the bottom half of Kobrah’s face with an HB pencil. Keep your lines very light so they can be easily erased. Use the line of symmetry (line AB) to provide you with a guideline for drawing both sides of his face the same size. 8. Lightly sketch the top and sides of the upper eyelids. Note that the tops are along line CD. Use the line of symmetry to help you draw both eyes the same size. Observe also that the eyes seem far apart. ILLUSTRATION 05-04 9. Draw a curved line to mark the opening of the mouth in between lines EF and GH. A curved line is created when a straight line curves (or bends). Curved lines can be drawn thick or thin. Note that this line is closer to line GH than EF. Leave space for his lower lip, the bottom of which will be even closer to line GH. 10. Add a tiny dark section, on each end of his mouth to mark the corners.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
37. 37. -5- ILLUSTRATION 05-05 11. Add a line under each eye to identify the location the edge of his lower eyelids. 12. Sketch another line under the opening of his mouth to mark the location of the bottom of his lower lip. This line is almost touching line GH. ILLUSTRATION 05-06 13. Lightly sketch two V-shapes with slightly curved lines. The upper v-shape marks the place where his hair grows from the top of his head. The point of the V is at point A. The lower V-shape identifies the outline of his hairline (commonly known as a widow’s peak).Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
38. 38. -6- ILLUSTRATION 05-07 14. Add the outline of his hair on each side of his head. Remember to measure various horizontal distances on either side of the center line. With lots of practice drawing manga faces, you won’t need to draw the proportional lines with a ruler. You’ll be able to simply eyeball the lines and distances in your mind. ILLUSTRATION 05-08 15. Use angle lines to sketch the positions of the top and bottom of each of his ears. Angle lines occur when two straight lines meet (or join together). The angle lines marking the tops of his ears begin on line CD and are drawn upward and outward from his face. The angle lines marking the bottoms of his ears begin on line EF and are also drawn upward and outward.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
39. 39. -7- ILLUSTRATION 05-09 16. Draw partial circles to identify the positions of the irises of his eyes. 17. Draw the eyebrows. Observe their overall shapes, and the angles of the outlines. Take note of how close together the center sections of the eyebrows are to one another. ILLUSTRATION 05-10Copyright 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
40. 40. -8- 18. Draw a long thin triangular shape (the pupil) inside each iris. 19. Add two comma-shapes as the nostrils of the nose. 20. Lightly sketch the texture of the hair with curved lines. Watch closely the various directions in which the lines curve. Also, remember to keep your lines very light by applying very little pressure to your pencil as you draw. ILLUSTRATION 05-11Copyright 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