w03 evie

Brenda Hoddinott W-03 Advanced: Studio Diary Series

A complex grid assists with the setting up of proportions for this drawing of a beautiful, seventeen- year-old lady named Evie. Two reference photographs provide adequate information for modifying the composition and light source, and rendering diverse shading techniques to define various textures and furry patterns. As Evie aged, the overall values of the fur on her face lightened as some of her dark fur turned 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 secondary center of attention. You are invited to gather up your drawing materials, and either draw Evie or a special animal in your own life. Or, if you prefer, simply print this lesson, curl up in your favorite comfy chair, and explore thirty-five illustrations as you read about the process of creating 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

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: [email protected] Web site: http://www.finearteducation.com or http://www.drawspace.com

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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.



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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.



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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.



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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.



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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!



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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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.



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As an artist, you should work toward creating drawings that make you happy, and subsequently motivated to continue onward in your art making journey; hence, you should feel comfortable in using whatever drawing tools are available to you, such as viewfinder frames or grids. In closing, remember that learning to draw is not a short term goal but rather a lifelong journey.

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.

w03 evie

Education

grid paper

drawing class

drawing paper arches

drawing materials

photo of evie

grid squares

grid lines

advanced drawing skills