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Brenda Hoddinott

O-01 INTERMEDIATE: CARICATURES

Plan on having some productive fun giving Gentle an endearing facial expression. This
caricature uses three different graduated shading techniques, squirkling, hatching, and
crosshatching, to define the three- dimensional forms and the texture of a face, facial
features, and short curly hair.
This project is divided into the following two parts:
 OUTLINING THE HEAD AND FACE: You render a contour drawing of all aspects of
an endearing human cartoon face by setting up your drawing format with a super
simple grid of four squares.
 SHADING THE FACE AND HAIR: You add the texture of his hair with squirkle
graduations, and then use hatching lines to lay down a base of values on his face to
identify the various facial forms. You enhance the features and add final touches
with crosshatching graduations.

Suggested drawing supplies include good quality white drawing paper, kneaded and vinyl
erasers, various graphite pencils such as 2H, HB, 2B, 4B, and 6B, and a ruler.

Recommended for artists from age 12 to adult with basic drawing skills, as well as students of home
schooling, academic and recreational fine art educators

10 PAGES – 15 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada – 2004 (Revised - August, 2009)

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OUTLINING THE HEAD
ART SPEAK

In this part, you set up your drawing space and
AND FACE

render a contour drawing of all aspects of an
Contour drawing (also called a line

endearing realistic human cartoon face.
drawing) is comprised of lines which follow
the contours of various sections of a
drawing subject and define the outlines of
its forms.
1. Draw a large square as your drawing Drawing space (also called a drawing
space. surface or a drawing format) is the area in
which you render a drawing within a
specific perimeter. It can be the shape of
2. Measure the halfway point on each of the paper or outlined by any shape you
the four sides of the square and mark draw, such as a square, rectangle, or
them with dots. circle.
Shape refers to the outward outline of a
3. Divide your drawing space into four form. Basic shapes include circles, squares
equal sections to create a very simple and triangles.

Draw these lines VERY lightly because
grid, by connecting the opposite dots. Proportion refers to the relationship in size

you have to erase them later!
of one part of a drawing to another or
others.
Symmetry is a balanced arrangement
(sometimes referred to as a mirror image)
4. Use an HB pencil to very lightly sketch
of lines and shapes on opposite sides of an
a large oval shape as close as possible often-imaginary centerline.

This will be the outline of Gentle’s head.
to the one in my drawing.

Use the grid lines inside the
drawing space to visually measure
spaces so both sides of the oval are
Figure 101

the same shape and size (so his
head isn’t lop-sided).

TIP Drawing circular shapes that
are symmetrical isn’t easy! So, before
you begin, practice drawing curved
lines on some scrap paper. Use the
grid lines to measure the spaces,
either visually or with a ruler.

5. Use your kneaded eraser to
lighten your sketch lines
until you can barely see
them.

Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

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TIP Rotate your paper, and look at your drawing from different perspectives. This little trick often
allows you insight into any problem areas with symmetry.

I used a very sharp 4B pencil so my outlines would be dark. Use slightly wiggly lines
6. Re-draw the outline of Gentle’s head with nice crisp lines (Figure 102).

for the upper part of his head that will later be turned into curly hair. Check that the
size and shape of his head is the same size on both sides of the vertical center line. You
can even measure with a ruler if you want to be really precise.
Don’t draw directly over your sketch lines. Rather, use them as a guide for making a
more accurate drawing.
Don’t press too hard with your pencil. You have to erase two sections for his ears in
the next step.
Figure 102
7. Use your vinyl eraser to
erase sections on either
side of his head so you can
add his ears.

8. Draw the outlines of his

Look closely at their shapes.
ears (Figure 103).

The tops stick out a little
farther from the sides of his
head than the bottoms.

Figure 103

9. Extend the line, which is
outlining the tops of the
ears, a little inward on his
face (Figure 104).

10. Redraw the section of his
face (beside his ears) a
little closer to the center of
his face than it was earlier.


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11. Add an oval shape for his Figure 104

Take note of its size and
nose.

position in relation to the
vertical and horizontal lines.

12. Draw the outlines of his

Take note that they are
eyes (Figure 105).

slightly above the center
horizontal line.

Figure 105

TIP Looking at the reflection of the
head and face in a mirror, can help
you see areas in need of fixing.

Figure 106

13. Outline the hairline that
separates his hair from his

This line is a little wiggly
face (Figure 106).

rather than smoothly curved.

14. Add the irises of his eyes

The upper and lower section
inside the outlines.

of each eye is hidden under
his upper and lower eyelids.


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The ends of this line are directly below the outside edges of the irises.
15. Outline the top of his lower lip (Figure 107).

They extend farther outward (toward the sides of his face) than the ends of his eyes.
16. With gently curving lines, draw the creases of his upper eyelids above the eyes.

17. Add the outlines of his Figure 107

Closer to the center they are
eyebrows.

thicker and curve upward.
His eyebrows are an
important component of his
facial expression.

18. Add another curved line
below the line indicating
the top of his upper lip
(Figure 108).

Figure 108

This line marks the lower edge of
his lower lip and is shorter and
more curved than the other.

19. Draw the two curved smile

They begin on either side of
lines (Figure 109).

his nose and curve outward
and downward until they
extend slightly past the
corners of his mouth.

Take note that a space is left between his lips so his mouth appears slightly open with
20. Add two curved lines above his lower lip, which represent his upper lip.

teeth showing.


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Figure 109 21. With wiggly lines, add two
long oval shapes above his
upper lip to represent his
mustache (Figure 110).

22. Add his goatee (beard) and
the little tuff of hair under
his lower lip.

23. Draw a few laugh lines (or
smile lines) around his
eyes to enhance his facial
expression.

Figure 110

SHADING THE FACE

In this section, you shade the
AND HAIR

texture of his hair with squirkle
graduations. You then use hatching
and crosshatching graduations
lines to add shading to his face to
identify the various facial forms.

ART SPEAK
Texture is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of
touch and sight help identify the surface texture of drawing subject.
Squirkling © is a method of shading incorporating randomly drawn curved lines to create textured values and
graduated value scales. I chose this name based on the method of morphing squiggles with circles to create
shading.
Graduated shading (also called graduations) is a continuous progression of values from dark to light or from
light to dark.
Hatching is a series of lines (called a set) drawn closely together to give the illusion of values.


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ART SPEAK
Crosshatching is a technique for rendering an infinite range of values within shading, in which one set of lines
crosses over (overlaps) another set.
Form as applied to drawing, is the illusion of the three-dimensional structure of a shape, such as a circle, square
or triangle, created in a drawing with shading and/or perspective.
Light source refers to the direction from which a dominant light originates. The placement of this light source
affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows.
Contrast measures the degree of difference between the light and dark values within shading, and creates the
illusion of three-dimensions.
Reflected light is a faint rim of light reflected or bounced back on an object (especially noticeable on a sphere)
from the surfaces close to and around the object, such as the surface on which the object is sitting.

Figure 111
TIP Remember, a full range of different
values is created by varying the density of
the lines, varying the pressure used in
holding your pencils, and using various
grades of pencils. For refresher courses on
various shading techniques, refer to
sections D Beginner: Squirkling, F
Beginner: Hatching, and L Intermediate:
Crosshatching.

24. Shade his hair with graduated

The light source is from the right
squirkles (Figure 111).

in this drawing, so the shading will
be a little darker on the left. Use a
4B pencil for the darker hair and a
HB for the lighter hair on the right.

25. With a HB pencil, lightly shade
the entire face with hatching

This first layer of shading is light in value. Hatching lines need to be several different
lines (Figure 112).

lengths and values. The edges are not abrupt stops, but rather feathered (or ragged)
to give a more realistic appearance.

26. Press a little harder with you HB pencil to add medium values to the sections of

Add these darker hatching lines in between the lighter lines. This shading helps to
his face that are in shadow.

create three-dimensional forms on his face.


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Figure 112 27. Add darker shading to the face with
crosshatching and a 2B pencil

Don’t forget his lips!
(Figures 113 and 114).

28. Add middle and dark values to the

Leave the highlight white. The lighter
nose.

values are closer to the highlight. The
tiny glow on the lower left edge of his
nose is reflected light. You need to
leave this section lighter than the rest.

Figure 113

29. Use your 4B pencil to add the darker
crescent shaped shading on his nose.

Figure 114

30. Use a 6B pencil to shade in the

Don’t forget to leave the
irises of his eyes (Figure 114).

highlights white.


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31. Use a 4B pencil to add shading to his eyebrows, mustache, goatee, and the tiny
tuff of hair under his lower lip (Figure 115).

You can make areas of the face and nose darker by adding more crosshatching lines
32. Add final touches to the shading on the hair and face with a 4B.

with a 4B pencil. You make sections of the hair darker by simply drawing more
squirkling lines with a 4B pencil.
You can make areas of the face and nose lighter by patting the shading with your
kneaded eraser.

Sign your name, write today’s date on the back of your
drawing, and put a smile on your face!

Figure 115


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As a self-educated teacher, visual artist, portraitist, forensic
BRENDA HODDINOTT

artist (retired), and illustrator, Brenda Hoddinott utilizes
diverse art media including her favorites: graphite and paint.
Brenda is the author of Drawing for Dummies (Wiley
Publishing, Inc., New York, NY) and 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). She is currently writing two
books on classical drawing.

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 drawing and painting skills through self-directed learning.
During her twenty-five year career as a self-educated civilian forensic artist, various
criminal investigation departments have employed Brenda’s skills, including the Royal
Canadian Mounted Police. 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”.
In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time
writing books and developing her website (Drawspace.com). This site is respected as a
resource for fine art educators, home schooling programs, and educational facilities
throughout the world.


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