Incepatori c desenati cu linii

Self Portrait

Brenda Hoddinott

C01 Beginner: Draw with Lines

Document your current drawing skills by drawing yourself.

Supplies: paper, erasers, a 2B pencil, and a mirror

1. Gather your supplies and set yourself up in front of a mirror (or bring a small mirror to the place where you draw) .

Set yourself up so you can clearly see your reflection in the mirror.

2. Draw a portrait of yourself as realistically as possible.

This lesson is meant to document your current skills, so don’t worry if your drawing isn’t perfect. Just do your best!

3. When you’re finished, sign your name and write the date on the back of your drawing .

Put your drawing away in a safe place, and give yourself a big bear hug!

Recommended for traditional and digital artists of all ages, as well as students of home schooling, academic, and recreational fine art educators

Published by Drawspace Publishing, Halifax, NS, Canada – 2011

THREE FAMILIES OF

Brenda Hoddinott

C-02 BEGINNER: DRAW WITH LINES Lines visually separate and/or define the forms, shapes, and patterns of the various components of a drawing. This lesson illustrates and demonstrates how to identify and draw the three families of lines, straight, angle, and curved, which are the basic building blocks of drawing.

Four worksheets offer a total of sixteen fun exercises designed to help you incorporate various combinations of different lines and shapes into drawings. Shapes are the outward contours or outlines of forms or figures. Basic shapes include circles, ovals, squares, and rectangles.

You need an HB or 2B pencil, a vinyl eraser, and drawing paper.

This project is recommended for artists and aspiring artists of all ages, as well as home schooling, academic and recreational fine art educators.

8 PAGES – 3 ILLUSTRATIONS – 4 WORKSHEETS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, Revised 2006

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 sites http://www.finearteducation.com and http://www.drawspace.com

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THREE FAMILIES OF LINES Lines visually separate and/or define the forms, shapes, and patterns of the various components of a drawing. Straight, angle, and curved lines are the basic building blocks of drawing.

STRAIGHT LINES Straight lines can be thick or thin, long or short, and can be drawn in any direction. The basic types of straight lines include:

Vertical lines are straight up and down and at a right angle to a level surface.

Horizontal lines are at a right angle to vertical lines, and are parallel to a level surface.

Diagonal lines are neither vertical nor horizontal, but rather, slant at various angles.

1) Find examples of each in the next drawing.

2) Practice drawing straight lines (without a ruler) any way you find comfortable.

ILLUSTRATION 02-01

ANGLE LINES Angle lines occur when two straight lines meet (or join together), and are used to draw various straight-sided shapes, such as squares, rectangles, and triangles. The sizes of the angles ultimately determine the shapes of the objects you are drawing.

3) Practice drawing various angle lines as in the following drawing.

ILLUSTRATION 02-02

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CURVED LINES Curved lines are formed when a straight line curves or bends (as in the letters "C" and "U"). A compound curve is created when a curved line changes direction (as in the letter S).

4) Examine the different shapes and sizes of curved lines in the next drawing.

5) Draw as many different curved lines as you possibly can.

ILLUSTRATION 02-03

FAMILIES OF LINES - WORKSHEETS In the following four worksheets with four exercises on each, you complete a total of sixteen fun lessons designed to help you identify and draw various lines and shapes. Shapes are the outward contours or outlines of forms or figures. Basic shapes include circles, ovals, squares, and rectangles.

Before you begin each exercise, take some time to look closely at the lines and shapes in each box while referring to the following:

Can you find any straight lines?

Are the straight lines vertical, horizontal, or angular?

Can you find any places where straight lines meet to form angle lines?

Are the spaces inside the angles big or small?

Look for curved lines.

If lines are curved, in what direction do they curve?

Do you see any curved lines that change direction to make compound curves, such as in the letter “S”?

Examine the sizes and shapes of the spaces on either side of each line.

Study the outlines of shapes, such as circles, ovals, rectangles, triangles, or squares.

6) Find your drawing supplies and get started. You can do your drawings in the spaces provided below each of the following.






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WORKSHEET ONE






5

WORKSHEET TWO






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WORKSHEET THREE






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WORKSHEET FOUR






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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.





THE KOALA Brenda Hoddinott

C-03 BEGINNER: DRAW WITH LINES This project is designed to help improve your skills at seeing and drawing lines – especially fuzzy lines, which are the foundation for drawing animals with fur.

This project is divided into the following three sections:

OUTLINING KAYLA’S PROPORTIONS: In this section, your goal is to sketch Kayla’s head, face, and ears on your drawing paper proportionately correct.

HATCHING FUZZY OUTLINES: Fuzzy lines are used to outline almost all furry animals. What I call a “fuzzy line” is actually a grouping of short curved lines. When you look at most drawings (especially contour drawings) of fur-coated animals, the perimeter appears to be one raggedy line. However, when you look closely, you can see that the edges of the fur are made up of tons of lines that are curving in various directions, ragged, uneven, and of various lengths and thicknesses.

OUTLINING A KOALA’S FACE: In this section, you outline Kayla’s eyes, nose, and mouth with nice neat lines.

Suggested drawing supplies include good quality white drawing paper, graphite pencils, kneaded and vinyl erasers and a pencil sharpener

11 PAGES – 18 ILLUSTRATIONS This project is recommended for artists from age 8 to adult, as well as home schooling, academic

and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – Revised 2006



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OUTLINING KAYLA’S PROPORTIONS In this section, your goal is to lightly sketch Kayla’s head, face, and ears on your drawing paper proportionately correct. A sketch is a quickly rendered drawing that illustrates the basic elements of your subject with very few details. Proportion refers to the relationship in size of one component of a drawing to another or others.

Pay close attention to the lengths and curves of the various lines which outline the different parts of Kayla. Use an HB pencil, and keep your lines very light so they can be easily erased.

ILLUSTRATION 03-01

When drawing an oval or a circle, rotate your paper and look at your shape from different perspectives. Examine its reflection in a mirror to help locate problem areas.

1. Draw a circular-shape to represent Kayla’s head. Leave space on either side for her big fuzzy ears. Shapes are the outward contours or outlines of forms or figures. Basic shapes include circles, ovals, squares, or rectangles.

ILLUSTRATION 03-02

2. Sketch a partial circle on each side of her head to mark the locations of her ears. Remember; don’t press too hard with your pencils!






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3. Sketch two small circles, approximately halfway between the top and bottom of her head, to mark the locations of her eyes.

ILLUSTRATION 03-03

4. Sketch a circle close to the bottom of her face to mark her snout.

ILLUSTRATION 03-04






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5. Sketch a vertical oval shape, as her nose, extending from the space between the eyes down to the center of the circle that is the snout. Note that the oval (the nose) cuts into the snout.

6. Compare your drawing to mine and fix any areas you’re not happy with. Double check the various spaces, and the lengths and curves of the various lines, which outline the different parts of the sketch.

ILLUSTRATION 03-05

HATCHING FUZZY OUTLINES Fuzzy lines are used to outline almost all furry animals. What I call a “fuzzy line” is actually a grouping of several lines of different lengths. Yet, when you look at most drawings (especially outline or contour drawings) of animals, the perimeter appears to be one raggedy line.

A contour drawing is a drawing comprised of lines that follow the contours of the edges of various components of a subject and define the outlines of its forms. A quickly sketched contour drawing captures a seated figure and his clothing.

The illustrations on the next page show how the edges of fur are actually made up of tons of lines that curve in various directions, and are ragged, uneven, and of assorted lengths and thicknesses.






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ILLUSTRATION 03-06

Look at this contour drawing of a dog. Then examine close-up views of the lines that make up the outlines.

ILLUSTRATION 03-07

ILLUSTRATION 03-08

ILLUSTRATION 03-09






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7. Use your kneaded eraser to pat your sketch lines until they are so light that you can barely see them. You can clean your kneaded eraser by stretching and reshaping (also known as “kneading”) it several times until it comes clean.

8. Outline Kayla’s head with short fuzzy hatching lines. As you render each section of fur, watch very closely the different directions in which the lines are drawn. Take your time.

ILLUSTRATION 03-10

ILLUSTRATION 03-11






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ILLUSTRATION 03-12

9. Use both long and short fuzzy lines to outline her ears. Take note that the lines are longer along the lower edges of the ears. Longer lines indicate that the fur is longer in these sections.

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.

ILLUSTRATION 03-13






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OUTLINING A KOALA’S FACE In this section, you outline Kayla’s eyes, nose, and mouth with nice neat lines. Keep your pencils sharpened so your lines stay crisp and thin.

ILLUSTRATION 03-14

10. Use a freshly sharpened 2B pencil to outline the eyes with neat lines.

11. Draw a tiny circle in the upper left section of each eye, as the highlights. A highlight is the brightest area of an eye where light bounces off its surface.

12. Add a small curved line to the lower inside section of each eye to complete their almond shapes.

ILLUSTRATION 03-15






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ILLUSTRATION 03-16

13. Use your 2B pencil to outline the nose. Take note that the nose is wider at the bottom. Also, the lower part is not as rounded as the top section.

14. Add two small comma shapes as Kayla’s nostrils.

15. Outline Kayla’s muzzle as two separate sections, with the top section wider. Take note that the lower section is a simple U-shape.

16. Fill in a small dark section (where the two sections meet) as her mouth.

ILLUSTRATION 03-17






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17. Use a 4B or 6B pencil to fill in the circular sections of the eyes. Leave the highlights and the tiny inner section white, to help make the eyes look more realistic and shiny.

18. Erase any sketch lines, fingerprints, or smudges with your kneaded eraser molded to a point (or you can use a sharp edge of your vinyl eraser).

ILLUSTRATION 03-18

If you wish you can try drawing some fur on her face and ears.

When you are happy with your drawing, sign your name and put today’s date on

the back.






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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.








THE LION Brenda Hoddinott

C-05 BEGINNER: DRAW WITH LINES

This project offers simple step-by-step illustrated instructions, to guide you through the basic process of combining various lines to create a cartoon of Linus the Lion.

You exercise your observation skills by using a line of symmetry to help you draw both sides of the lion the same.

There’s a method to my madness in having you draw cartoons of animals. First of all, your brain won’t get stuck telling you something is anatomically wrong, because cartoons are not supposed to look real! Secondly, cartoons are fun to draw!

This project is divided into the following parts:

PUTTING PROPER PROPORTIONS ON PAPER: In this section, your goal is to sketch Linus’s head, ears, and facial features on your drawing paper proportionately correct while using a line of symmetry as a guideline.

OUTLINING LINUS THE LION WITH LINES: In this section, you outline Linus with thin neat lines. Keep your pencils sharpened so your lines stay crisp and thin.

For this project you need good quality white drawing paper, different grades of graphite pencils (such as 2H, HB, 2B, 4B, and 6B), kneaded and vinyl erasers, and a pencil sharpener.

This project is recommended for artists of all ages, as well as home schooling, academic and recreational fine art educators.

11 PAGES – 13 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – Revised 2006



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PUTTING PROPER PROPORTIONS ON PAPER In this section, your goal is to sketch Linus’s head, ears, and facial features on your drawing paper proportionately correct, while using a line of symmetry as a guideline. Proportion refers to the relationship in size of one component of a drawing to another or others. Symmetry refers to a balanced arrangement (sometimes called a mirror image) of lines and/or shapes on opposite sides of an often-imaginary centerline. Shapes are the outward contours or outlines of forms or figures.

1. Turn your drawing paper to a vertical format (also referred to as a portrait format).

2. Use a 2H or HB pencil to lightly sketch a vertical line down the center of your paper. This line is called a line of symmetry. Keep the line very light! Do not press on your pencil – just the weight of the pencil will make a nice faint line.

ILLUSTRATION 02-01

3. Use an HB pencil to sketch an egg-shape (Linus’s head) close to the center of your drawing space. Your goal is to draw one half of Linus on each side of the line of symmetry – each a mirror image of the other.

As you draw, rotate your paper and look at both sides of your egg-shape from different perspectives. Leave lots of space above, below, and on either side for Linus’s big mane.

ILLUSTRATION 02-02

4. Lightly sketch a partial circle on each side of the upper section of his head to mark his ears. Pay close attention to the lengths, angles, and curves of the various lines which outline his different parts.

Examine the reflection of your drawing in a mirror to help locate problem areas. Remember to keep your lines very light!






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ILLUSTRATION 02-03

5. Sketch two curved lines below his head as the upper section of his muzzle. Note that these two lines meet in the center, at the same point on the line of symmetry.

Lions live in a family group called a pride, which usually includes at least one male, as well as several females (called lionesses), and their babies (referred to as cubs).

ILLUSTRATION 02-04

6. Add a wide U-shape below the upper muzzle section as his jaw (also called the lower muzzle or chin).

Lionesses work together with other female lions to hunt for food.

Fashionable footwear for hunting adventures includes sneakers – but not like those of humans!

Lionesses have rubbery pads on the bottoms of their feet, which allow them to quietly sneak up on their prey, by softening the sounds of their footsteps.






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ILLUSTRATION 02-05

7. Sketch two circles as his eyes. The eyes are the same size and the same distance from the line of symmetry. Feel free to measure the distances with a ruler if you want to be really precise.

Despite stories to the contrary, lions are not the kings of the jungle. In fact, lions are rarely found in jungles – rather, they live in the savannas and grassy plains of Africa.

ILLUSTRATION 02-06

8. Sketch Linus’s nose by using the line of symmetry to visually measure the spaces, distances, sizes and shapes. Remember; don’t press too hard with your pencils!

While commonly called the king of the beasts, a lion actually has several enemies, including elephants, water buffalos, and packs of hyenas.






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9. Pat your entire drawing with a kneaded eraser, until all your sketch lines become so light that you can barely see them.

10. Mark an X on the line of symmetry between the eyes.

11. Neatly sketch lots of lines outward from the perimeter of Linus’s head as the mane.

ILLUSTRATION 02-07 The lines of the mane are unevenly spaced and of various lengths. Use the X as the center point from which each line originates.

Sketching straight lines is a lot more fun when you don’t have to depend on a ruler.

With practice you can teach yourself how to sketch straight line freehand.

1. Draw a dot at the place where you want your straight line to begin and another where you want it to end.

2. Before you draw, imagine the straight line connecting these two dots.

3. Connect the dots with a straight line! Draw the straight line in between the dots with one continuous movement rather than a series of stroking movements.

OUTLINING LINUS THE LION WITH LINES In this section, you outline Linus with thin neat lines. Keep your pencils sharpened so your lines stay crisp and thin.






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ILLUSTRATION 02-08

12. Outline Linus’s head, face, and ears with freshly sharpened 2B pencils. Keep your pencil sharpener and sandpaper block handy so your lines stay thin and crisp.

The number of lions living in the wilds of Africa is steadily decreasing. As the populations of African peoples increase, they take over more grasslands as their homes. Subsequently the natural habitats of the African animals become smaller.






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ILLUSTRATION 02-09

13. Outline the perimeter of each eye with a freshly sharpened 2B pencil.

14. Outline a tiny circle in the upper left of each eye as a highlight. A highlight is the brightest area where light bounces off the surface of an object. By leaving the highlight white, the eye will look shiny.

15. Use a 4B pencil to add shading to Linus’s eyes. Shading refers to the process of adding values to a drawing so as to create the illusion of form and/or three-dimensional spaces.

Values are the different shades of gray created in a drawing by various means, such as using different grades of pencils, varying the density of the shading lines and/or the pressure used in holding a pencil.

Refer to Illustrations 02-09 and 02-10.

16. Use your kneaded eraser molded to a point, to lighten a tiny section of shading in the lower right of each eye.

ILLUSTRATION 02-10






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17. Outline a small oval shape on the upper left of the nose, as the highlight.

18. Add shading to the nose, except the highlight, with a 4B pencil.

19. Sketch a few small dots on each side of his muzzle to mark his whiskers.

ILLUSTRATION 02-11






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ILLUSTRATION 02-12

20. Use a 2B pencil to make the lines of the mane crisp and neat.

21. Draw another straight line in between each line that marks the lion’s mane.

For a more interesting drawing, make these lines various lengths – long, medium, and short!

22. Complete the drawing by adding more straight lines to what appears to be the section of his mane behind his ears. Erase any sketch lines, fingerprints, or smudges with your kneaded eraser molded to a point (or a sharp edge of your vinyl eraser), sign your name, and put today’s date on the back of your drawing.






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ILLUSTRATION 02-13






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Brenda Hoddinott C-06 BEGINNER: DRAW WITH LINES In this project, you set up proportional guidelines, and then draw the adorable facial features and hair of a young anime child named Bitty. Suggested drawing supplies include drawing paper, graphite pencils, kneaded and vinyl erasers, a pencil sharpener, a sandpaper block, a ruler, and a fine tip black marker (optional)

Manga comic books, based on a unique genre of cartooning, are popular with artists of all ages all around the world! The eyes of anime characters generally appear very large, and are the most expressive part of the face. 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.

This lesson is divided into the following four sections:

SETTING UP PROPORTIONAL GUIDELINES: I take you step by step through the process of setting up proportional guidelines for a frontal view of a young anime cartoon.

SKETCHING THE FACIAL FEATURES, EARS, AND HAIR: The proportional guidelines help identify the placement of every aspect of a frontal view of a baby anime’s face and head.

OUTLINING BITTY’S HAIR, FACE, AND EARS The crisp neat lines of the manga style will replace your original sketch lines. Your outline can be drawn with either pencil or a very fine tip black marker.

DRAWING THE DETAILS OF THE EYES AND FACE The faces of very young anime cartoon characters are similar to human children. In this section, simple guidelines show you how to draw Bitty’s eyes, nose, and mouth according to manga style.

This project is recommended for artists from age 10 to adult, as well as home schooling, academic and recreational fine art educators.




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SETTING UP PROPORTIONAL GUIDELINES In this section, I take you step by step through the process of setting up proportional guidelines for a frontal view of a young anime cartoon. Proportion is the relationship in size of one component of a drawing to another or others.

ILLUSTRATION 06-01

You can use the proportional guidelines in this lesson for drawing tons of different anime children.

1. With a ruler, draw a square any size you wish. The entire face of Bitty, including the ears and forehead will fit inside this square. The bigger the square, the bigger your completed drawing will be.

Keep your lines very light by pressing very gently on the paper with your pencil (I used an HB).

ILLUSTRATION 06-02

2. Measure and mark the halfway points along the two sides of the square.

3. Use a ruler to draw a straight line (marked line AB) through these points, thereby dividing your square into two identical rectangles.

With lots of practice in 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 and draw the proportions of your subject’s face freehand.






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ILLUSTRATION 06-03

4. Measure the halfway distance along the top and bottom sides of the square and mark these two points.

5. Draw a vertical line (often referred to as a line of symmetry) through the points, (marked CD). Remember to keep your line light by applying very little pressure to your pencil as you draw. With the addition of this line (CD) the original big square is now divided into four small squares.

Symmetry is balanced arrangement (sometimes referred to as a mirror image) of lines and shapes on opposite sides of an often-imaginary centerline.

ILLUSTRATION 06-04

6. Sketch a circle inside the big square. Use the sides of the big square and the two lines (AB and CD) to help guide you toward drawing a great-looking circle.

A couple of helpful hints for drawing a circle include:

Try rotating your paper and looking at your drawing from different perspectives. This little trick often allows you insights into the problem areas.

Looking at the reflection of your circle in a mirror will also help you to see areas in need of fixing.






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ILLUSTRATION 06-05

7. Lightly sketch two more vertical lines slightly inside the right and left sections of the circle.

8. Mark these two lines EF and GH. With the addition of these two lines, your proportional guidelines are complete.

In the next section I show you how to use these guidelines to sketch the facial feature and ears.

SKETCHING THE FACIAL FEATURES, EARS, AND HAIR The various shapes and lines of the proportional guideline help identify the placement of every aspect of a frontal view of a baby anime’s face and head.

ILLUSTRATION 06-06 Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. 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.

9. Erase the lines of the outer square.

10. Lightly sketch Bitty’s ears below line AB and inside the circular shape. The entire lower section of the face, including the ears, will fit into the bottom half of the circle. Take note that the upper edges of the ears touch line AB.






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Before you attempt to draw eyes, you need to be familiar with the names of each part. The same names that identify the various parts of realistic eyes are also used for anime eyes.

Refer to the next drawing and become familiar with the following terms: 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. A small triangular shape in the inside corner of the eye, is called the inner corner (rarely drawn in manga art).

5. The white of the eye (the visible section of the eyeball) is light, but not really white.

6. A highlight is the brightest area where light bounces off the surface of the eye.

7. Eyelashes are fine hairs that grow from the outer edges of the upper and lower eyelids.

8. The pupil of an eye is the darkest circular shape within the iris.

9. The iris is the colored circular section of the eyeball surrounding the pupil.

10. The lower eyelid is a fold of skin protecting the lower section of the eyeball.

ILLUSTRATION 06-07






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ILLUSTRATION 06-08

11. Lightly sketch two ovals to mark the place where the irises of Bitty’s eyes are.

The irises are very large and take up a lot of space on the lower section of the tiny face.

Observe that the bottom of each iris ends more than halfway down between line CD and the bottom of the chin. Also note that the distance between the eyes is quite a bit more than the width of an iris.

ILLUSTRATION 06-09

12. Add Bitty’s eyebrows above her eyes. The eyebrows are shaped like commas with the wider ends pointed toward the center section of her forehead.

13. Sketch in a tiny curved line as Bitty’s nose touching line CD, and about halfway between line AB and the bottom of the chin.

14. Add another curved line close to the bottom of the chin as the mouth.






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ILLUSTRATION 06-10

15. Sketch a small circular shape in the upper left of each iris to represent the highlights of the eyes.

ILLUSTRATION 06-11

16. Add a partial oval shape inside each iris to represent the pupils of the eyes. Take note that the outline of each pupil ends at the point where it meets the highlight.

Also observe that the space between the outline of the pupil and the outline of the iris is the same all around.






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ILLUSTRATION 06-12

17. Sketch in the various strands of hair resting on Bitty’s forehead around the upper section of her face. Observe the following before you begin to draw:

a. The lines are all curved even though her hair looks straight.

b. All sections of hair end in a sharp point.

c. The longest section of her bangs is right in the middle and the lines curve toward the left.

ILLUSTRATION 06-13

18. Lightly sketch another line on each side of her forehead connecting the bangs of her hair to the inside upper section of each ear.






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19. Sketch the strands of hair around the perimeter of her head.

ILLUSTRATION 06-14

Examine the distances between the outer strands of hair and the perimeter of her face to help you draw your proportions more accurately.

The hair is considerably higher than the top of her forehead to allow for the upper section of her head (often called the skull or cranium) under the hair.

ILLUSTRATION 06-15

20. Lightly sketch more strands of hair on the top of Bitty’s head.






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ILLUSTRATION 06-16

21. Erase all remaining guidelines and sections of her skull and ears that are behind her hair.

22. Redraw any sections that are accidentally erased.

23. Use your kneaded eraser to pat your entire drawing until the lines are so light that you can barely see them.

OUTLINING BITTY’S HAIR, FACE, AND EARS In this section you discover all the fun parts of this project. The crisp neat lines of the manga style will replace your original sketch lines. You first neatly outline Bitty’s face and hair, and then (in the final section of this lesson) you draw the details of her eyes. Your outline can be drawn with either pencil or a very fine tip black marker. Even though the following text instructions are for pencil, I used a fine tip black marker to complete my drawing.






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If you are working in pencil, you may need to re-sharpen your pencil several times as your work to keep the lines thin and neat. Consider using a freshly sharpened 2B pencil and you can use a sandpaper block to keep the point very sharp. If you are planning to use a marker, take your time and slowly and carefully redraw each line.

24. Use a very sharp pencil to outline each strand of hair with neat crisp lines.

ILLUSTRATION 06-17






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ILLUSTRATION 06-18

25. Outline the ears and the perimeter of the face with nice neat lines.

Observe how the shape of the face at the bottom, is curved so as to look like a chin and two chubby cheeks.

DRAWING THE DETAILS OF THE EYES AND FACE The faces of very young anime cartoon characters are similar to human children. In this section, simple guidelines show you how to draw Bitty’s eyes, nose, and mouth according to manga style.






- 13 -

26. Outline Bitty’s irises, pupils, highlights, eyebrows, nose, and mouth.

ILLUSTRATION 06-19

27. Draw two dark, thick, slightly curved lines along the upper sections of each iris to indicate the edges of her upper eyelids. Observe that these lines extend beyond the width of the irises in two directions - toward the center of her face and the outside edge of her face and slightly downward.

ILLUSTRATION 06-20






- 14 -

28. Add some curved lines to the outer edges of her eyes to represent eyelashes. When you are drawing eyelashes, resist the temptation to draw too many. Less is more!

ILLUSTRATION 06-21

29. Use a 6B pencil to fill in the pupils of the eyes.

ILLUSTRATION 06-22






- 15 -

30. Fill in the upper left section of each iris around the highlight. This dark section helps make the eyes look bright and shiny.

ILLUSTRATION 06-23

31. Add three parallel angular lines in the upper left section of each iris.

ILLUSTRATION 06-24






- 16 -

32. Add a dark line along the lower eyelid with a few tiny lashes on the outer ends.

33. Pat yourself on the back for having done a great job with your drawing!

ILLUSTRATION 06-25

If you enjoyed drawing this anime baby, you may want to consider drawing her big sister Kira, in Beginner B-level.






- 17 -













Brenda Hoddinott C-07 BEGINNER: DRAW WITH LINES This fun project takes you step by step through the process of setting up proportional guidelines, and drawing the facial features and hair, of a female anime character named Kira.

If you choose to render this drawing completely in pencil you need: good quality white drawing paper, graphite pencils, kneaded and vinyl erasers, pencil sharpener, sandpaper block, and a ruler. If you plan to use a marker for the final version, you will also need a fine tip permanent marker, and you should use a drawing paper that is specifically designed for drawing with markers, rather than regular paper.

Mangas originated in Japan and are popular with artists of every age all over the world! The eyes generally appear disproportionately large, and the nose and mouth tend to be drawn small and simple so as to emphasize the powerful expressions of the eyes.

This project is divided into the following sections:

INTRODUCTION SETTING UP FACIAL PROPORTIONS SKETCHING KIRA’S FACE AND HAIR THE PARTS OF AN EYE DRAWING THE INDIVIDUAL FACIAL FEATURES SKETCHING MORE DETAILED INFORMATION ADDING FINAL TOUCHES WITH THIN NEAT LINES

This project is recommended for artists from age 10 to adult, as well as home schooling, academic and recreational fine art educators.




- 2 -

INTRODUCTION While Mangas originated in Japan, today these comic books, based on a unique genre of cartooning, are popular with artists of every age all over the world! The overall proportions of most manga adult faces closely resemble those of a young human child, giving the characters the appearance of having a childlike head attached to a mature adult body.

The eyes generally appear disproportionately large, and are the most expressive part of the face. 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. Keep in mind that the term Manga encompasses a vast array of individual styles, which allows artists to use their creative license in the design of their characters’ faces, hairstyles, personalities, and clothing.

If you choose to render this drawing completely in pencil you need: good quality white drawing paper, graphite pencils, kneaded and vinyl erasers, pencil sharpener, sandpaper block, and a ruler. If you plan to use a marker for the final version, you will also need a fine tip permanent marker, and you should use a drawing paper that is specifically designed for drawing with markers, rather than regular paper.

GLOSSARY OF ART TERMS

Curved lines: are created when a straight line curves (or bends). Curved lines can be drawn thick or thin.

Drawing: is the application of an art medium to a surface so as to produce a visual image, which visually defines an artist’s choice of drawing subjects from his or her own unique perspective.

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: is 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.

Proportion: is the relationship in size of one component of a drawing to another or others.

Shape: refers to the outward outline of a form. Basic shapes include circles, squares and triangles.

Sketch: is a quick, rough representation or outline of a planned drawing subject. A sketch can also be a completed work of art.

Symmetry: is balanced arrangement (sometimes referred to as a mirror image) of lines and shapes on opposite sides of an often-imaginary centerline.

Values: are the different shades of gray created when you draw by varying both the density of the shading lines, and the pressure used in holding various pencils.






- 3 -

SETTING UP FACIAL PROPORTIONS In this section, simple guidelines show you how to place Kira’s features on her face. Keep in mind that the faces of many adult manga characters are similar to those of real life children.

I now take you step by step through the process of setting up proportional guidelines on a frontal view of an adult female anime head in preparation for drawing facial features. Remember, you can use these same guidelines for drawing tons of different anime characters.

1. Use a ruler to draw a straight line down the center of your page. Use an HB pencil, and keep your line very light so it can be easily erased. This is a line of symmetry and provides you with a guideline for drawing both sides of the head the same size. You simply measure various horizontal distances on either side of the center line.

2. Lightly sketch an egg-shape with the small end at the bottom of your drawing space. Use your line of symmetry to make sure both sides are approximately the same size.

3. Refine your egg-shape so it more closely resembles the shape of a human head.

ILLUSTRATION 07-01 ILLUSTRATION 07-02






- 4 -

4. Measure the distance from the top of the head to the chin along your line of symmetry.

5. Divide this distance in half and mark this point on the line of symmetry.

6. Draw a horizontal line through the point. Remember to keep your line very light by applying very little pressure to your pencil as you draw. This line marks the placement of the tops of the eyes.

7. Measure the distance between the horizontal line and the bottom of the chin, divide this distance in half, and mark it with a dot.

8. Draw a second horizontal line through this point. This line marks the location of the lowest section of the tip of the nose. The mouth will be drawn below it.







- 5 -

SKETCHING KIRA’S FACE AND HAIR It’s now time to use the proportional guidelines to begin sketching Kira’s facial features and hair in their correct places.

9. Measure the distance from the vertical line of symmetry to each outer edge of the head along the upper horizontal line.

10. Mark each point with a dot (or a tiny vertical line). These two dots mark the vertical centers of the eyes. Now you know both the position of the top of each eye (the upper horizontal line), and where the center of each eye will be.

11. Lightly sketch two circular shapes to represent the eyes. Observe that the bottom of each eye ends approximately halfway between the two horizontal lines. Also note that the distance between the eyes is slightly more than the width of an eye.


With lots of practice in 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.






- 6 -

ILLUSTRATION 07-07

12. Sketch in a tiny curved line slightly above the lower horizontal line to represent the lower tip of the nose.

13. Add a line almost halfway down from the lower horizontal line. This line marks the placement of the lower edge of the bottom lip.

ILLUSTRATION 07-08

14. Draw Kira’s ears (or ear). You only need to draw the one on the right because the other will be hidden under her hair. Take note that the upper edges of the ears touch the upper horizontal line, and the bottoms touch the lower one.

15. Carefully erase the guidelines including the line of symmetry. You may need to redraw a few sections that are accidentally erased.

Drawing a realistic circle freehand becomes quite simple when you’ve devoted lots of time to practicing this skill. A couple of helpful hints include:

1. Try rotating your paper and looking at your drawing from different perspectives. This little trick often allows you insight into the problem areas.

2. Looking at the reflection of your circle in a mirror will also help you to see areas in need of fixing.






- 7 -

ILLUSTRATION 07-09

16. Sketch in the various strands of hair around her face. Refer to Illustration 07-09 and Observe the following before you begin to draw:

a. The lines are all curved even though her hair looks straight.

b. All sections of hair end in a sharp point.

c. The strand on the left side of her head is longer than the one on the right.

d. The longest section of her bangs is right in the middle and the lines curve toward the left.

ILLUSTRATION 07-10

17. Use your vinyl eraser to erase the sections of her ears that appear to be hidden under her hair.

18. Sketch the strands of hair around the perimeter of her head. Take note of the distance of the strands of hair from the perimeter of her head to help you draw your proportions more accurately.






- 8 -

THE PARTS OF AN EYE The same names that identify the various parts of realistic eyes are used for anime eyes. Refer to the next drawing and become familiar with the 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. A small triangular shape in the inside corner of the eye, is called the inner corner (rarely drawn in manga art).

5. The white of the eye (the visible section of the eyeball) is light, but not really white.

6. A highlight is the brightest area where light bounces off the surface of the eye.

7. Eyelashes are fine hairs that grow from the outer edges of the upper and lower eyelids.

8. The pupil of an eye is the darkest circular shape within the iris.

9. The iris is the colored circular section of the eyeball surrounding the pupil.

10. The lower eyelid is a fold of skin protecting the lower section of the eyeball.

ILLUSTRATION 07-11

In the following sections you discover all the fun parts of this project. You first add more details to Kira’s face and hair, and then outline your drawing with nice neat lines.






- 9 -

DRAWING THE INDIVIDUAL FACIAL FEATURES The faces of adult anime cartoon characters are very similar to those of children. In this section, simple guidelines show you how to draw Kira’s eyes according to manga style.

ILLUSTRATION 07-12

19. Sketch Kira’s upper lip above the line that indicates the location of her mouth. The line that marks the mouth (step 13), now becomes the bottom of the lower lip. Take note that the width of her mouth is the same as the space between her eyes.

ILLUSTRATION 07-13

20. Add a slightly curved line along the lower edge of the two circles. Note that the lines extend beyond the eye circles on both sides. At this stage the drawing looks like an anime character with her eyes closed. However, in this drawing these lines indicate the edges of the lower eyelids.






- 10 -

ILLUSTRATION 07-14

21. Add a curved line to the upper section of each eye to indicate the edges of her upper eyelids. These lines are longer than those marking the edges of her lower eyelids.

ILLUSTRATION 07-15

22. Add Kira’s eyebrows above her eyes. The eyebrows are shaped like commas with the wider ends pointed toward the upper center section of her forehead (hidden under the hair).

ILLUSTRATION 07-16

23. Outline the irises of Kira’s eyes. Observe that a small section of the top and bottom of each iris seems to be hidden under the upper and lower eyelids.

24. Slightly extend the lines marking the upper eyelids toward the center of her face and downward.






- 11 -

ILLUSTRATION 07-17

25. Add a smaller circle inside each iris to represent the pupils of the eyes. Observe that a small section on the upper left of each pupil is a short straight line rather than a continuation of the circle.

SKETCHING MORE DETAILED INFORMATION Anime cartoons tend to be rendered with thin neat lines. Keep a pencil sharpener and sandpaper block handy so you can easily keep your pencil points nice and sharp.

ILLUSTRATION 07-18

26. Use your kneaded eraser to lighten all the lines that define the hair until you can barely see them.

27. Use a very sharp pencil to outline each strand with neat crisp lines. You may need to re-sharpen your pencil several times as your work to keep the lines thin and neat.

If you plan to later use a fine tip marker to outline Kira, use a 2H pencil.

Should you prefer to finish your drawing in pencil rather than pen, consider using a freshly sharpened 2B pencil. You may want to use a sandpaper block to keep the point very sharp.






- 12 -

ILLUSTRATION 07-19

28. Use your kneaded eraser to lighten all the lines of her facial features, ear, and the outline of her face.

29. Redraw each section with thin neat lines.

ILLUSTRATION 07-20

30. Draw a U-shaped line in the upper left section of each iris. The circular shapes created when you add these lines are referred to as highlights. In that these highlights are more on the left than the right, we can safely assume that the dominant light source is coming from the left.






- 13 -

ADDING FINAL TOUCHES WITH THIN NEAT LINES The final lines can be drawn with either pencil or a very fine tip black marker. In this section you will complete your drawing using either of the following methods:

If you are working in pencil, add the details of the eyes and tidy up any untidy lines. Keep your pencil points nice and sharp.

If you are planning to use a marker, first lighten all your pencil lines until you can barely see them. Then you take your time and slowly and carefully redraw each line.

ILLUSTRATION 07-21

31. Check over the upper face and change or modify any sections you are not happy with.

32. Add final touches so your lines are all neat.

ILLUSTRATION 07-22

33. Add a slightly curved line above each eye to represent the upper eyelid creases.

ILLUSTRATION 07-23

34. Fill in the pupils of the eyes. If you are using pencil use a 4B or 6B.






- 14 -

ILLUSTRATION 07-24

35. Fill in the upper section of each iris around the pupil.

ILLUSTRATION 07-25

36. Add some eyelashes along the upper and lower eyelids.

ILLUSTRATION 07-26

37. Add some lines extending from the pupil outward to the edge of the iris in the upper sections. These lines help make the eyes appear more realistic.






- 15 -

38. Finish outlining all other sections of your drawing.

ILLUSTRATION 07-27

Sign your name, put the date on the back of your drawing paper, pat yourself on the head, give yourself a big hug and choose another drawing project!






- 16 -

Of course, if you want to add color to your drawing, you have many options such as markers or colored pencils. You can even bring your image into a computer program and add colors. The drawing below was colored with Adobe Photoshop.

ILLUSTRATION 07-28






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Brenda Hoddinott C-08 BEGINNER: DRAW WITH LINES

Learning to see as an artist is the very foundation of drawing. This lesson challenges you to rely

completely on your visual skills rather than verbal instructions. Twenty-nine illustrations take you

through the process of combining lines with shapes to create a cartoon drawing of a fish.

A thorough visual examination of your subject is the most important

ingredient for making great sketches.

This visual exercise is divided into the following two sections:

SKETCHING WANDA IN PENCIL: In this first half of the lesson, your goal is to lightly sketch a cartoon fish proportionately correct, with an HB pencil, by referring to ten illustrations. As you sketch, you visually break the subject down into shapes and measure proportions.

OUTLINING WANDA WITH A FINE TIP MARKER: With help from sixteen illustrations, you outline Wanda with a fine tip permanent black marker. The final three illustrations demonstrate potential creative options for adding final touches to your cartoon.

You need basic drawing supplies including good quality white paper, graphite pencils, erasers, a pencil sharpener and a permanent fine tip black marker to outline the final sketch.

This visual exercise is recommended for artists from age 10 to adult, as well as home schooling, academic and recreational fine art educators.

22 PAGES – 29 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2005 (Revised 2006)


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

- 2 -

SKETCHING WANDA IN PENCIL In the first half of this lesson, your goal is to lightly sketch a cartoon fish proportionately correct, with an HB pencil, by referring to ten illustrations. Sketch (noun) is a simple drawing that captures the integral aspects of a subject quickly and efficiently; (verb) refers to the process of rendering a sketch. Proportion is the relationship in size of one component of a drawing to another or others.

A thorough visual examination of your subject is the most important ingredient for making great sketches. Hence, as you sketch, visually break the subject down into shapes and measure proportions. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles.


Complete a sketch of Wanda, by examining each of the following ten illustrations in sequence, and then sketching what you see. To get an idea of your long-term goals, examine the completed sketch (above).

The initial sketch lines throughout Illustrations

08-01 to 08-10 are intended to establish

proportions.

Keep your lines very light by pressing very gently with your pencil (I used an HB).






- 3 -

ILLUSTRATION 08-03

Don’t press too hard with your pencils!

No matter how careful you are, accidents do happen.

If you’re not happy with some of the lines you draw, simply erase that section, redraw the

lines, and keep on going.

ILLUSTRATION 08-04

Pay close attention to the shapes created by negative and

positive spaces.






- 4 -

ILLUSTRATION 08-05

ILLUSTRATION 08-06






- 5 -

ILLUSTRATION 08-07

ILLUSTRATION 08-08






- 6 -

ILLUSTRATION 08-09

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 problem

areas.

As you sketch, constantly check the relationships of lines and spaces to one

another.

Note whether the sizes and proportions are accurate, and adjust as needed.






- 7 -

ILLUSTRATION 08-10

Patience and practice are the keys, to

successfully rendering a quick sketch, of the

most important elements of any subject

that intrigues and inspires you.

You need three invaluable ingredients in order to improve your drawing skills - practice, practice,

and more practice!






- 8 -

ILLUSTRATION 08-11

OUTLINING WANDA WITH A FINE TIP MARKER The following sixteen illustrations, guide you through the process of rendering the final outline of Wanda, with a fine tip permanent black marker.

The final three illustrations demonstrate potential creative options for adding final touches to your cartoon.

Keep a piece of paper under your hand!

All markers can be easily smudged if you don’t give the ink

a chance to dry well.






- 9 -

ILLUSTRATION 08-12

ILLUSTRATION 08-13






- 10 -

ILLUSTRATION 08-14

Never draw eyelashes from the tip down toward the eyelid.

Always draw them in the direction in which they grow, from the eyelid (or root) outward.

ILLUSTRATION 08-15






- 11 -

ILLUSTRATION 08-16

ILLUSTRATION 08-17






- 12 -

ILLUSTRATION 08-18

ILLUSTRATION 08-19






- 13 -

ILLUSTRATION 08-20

Don’t forget that you can turn your sketchbook around as

you draw.

Draw slowly!

Accuracy is more important than speed.

Your speed will automatically improve the more you practice.






- 14 -

ILLUSTRATION 08-21

Talent is the self-discovery that you

possess the ability, and motivation needed to become exceptional.

You can develop your drawing talent with hard work, patience,

and dedication.






- 15 -

ILLUSTRATION 08-22






- 16 -

ILLUSTRATION 08-23

Drawing is an action word – you learn by

doing!






- 17 -

ILLUSTRATION 08-24

Draw in a way you really love!

Styles are neither right nor wrong… they just are.

With time, your style develops all by itself.






- 18 -

ILLUSTRATION 08-25 When you’re sure that your ink is completely dry, very gently erase your pencil lines with

either a vinyl or kneaded eraser.

Experiment with the erasing process on a piece of scrap paper

before you begin, to find out which eraser works best for you and

doesn’t smudge the ink outline.






- 19 -

ILLUSTRATION 08-26

At this point, your drawing is complete!

However, many additional details can be added if you so wish.

For example, you can scan your drawing and then add color in a

computer program, such as Photoshop.






- 20 -

ILLUSTRATION 08-27

Maybe, you’d like to add a thick bold line around

the exterior outline.

Consider adding color with colored pencils or markers.

If you’re using markers, test them on some scrap paper first, to make sure they don’t cause the black outline to smudge!






- 21 -


I added color to my wild and crazy

Rainbow Fish in my Photoshop program!

Drawing is a journey, not a destination.

The day that you are totally happy with your drawings is the day you pack up your supplies and quit.

Learning to draw is an infinite quest.






- 22 -















This lesson challenges you to rely completely on your visual skills rather than verbal

instructions. After all, learning to draw is all about learning to see!

Twenty-three illustrations take you through the process of enhancing your visual skills while creating a cartoon drawing of a starfish named Starr Fish. Various beginner drawing skills are utilized including sketching accurate proportions, combining lines to make shapes, and adding details with lines and circular shapes.

This lesson is divided into the following two sections:

LIGHTLY SKETCHING STARR IN PENCIL: The eleven illustrations in this section, challenge you to rely completely on your visual skills rather than verbal instructions, to sketch a simple starfish by combining lines with shapes.

OUTLINING STARR WITH MARKERS: The final outline of the starfish is rendered, either with medium and fine tip permanent black markers, or with a freshly sharpened 4B or 6B pencil.

Suggested supplies include white paper, HB and 4B (or 6B) graphite pencils, kneaded and vinyl erasers, a pencil sharpener, and fine and medium tip black markers. Should you choose to add color to your drawing, colored pencils or markers will come in handy.

13 PAGES – 23 ILLUSTRATIONS Recommended for beginner level artists with limited drawing skills, as well as home schooling,

academic and recreational fine art educators

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada –2005 (Revised 2006)



- 2 -

LIGHTLY SKETCHING STARR IN PENCIL Learning to draw is all about learning to see! The eleven illustrations in this section challenge you to rely completely on your visual skills rather than verbal instructions to sketch a simple starfish by combining lines with shapes.

ILLUSTRATION 09-01 Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Sketch (noun) is a simple drawing that captures the integral aspects of a subject quickly and efficiently; (verb) refers to the process of rendering a sketch.

The initial sketch lines throughout Illustrations 09-01 to 09-11 are intended to establish accurate proportions.

ILLUSTRATION 09-02 Proportion is the relationship in size of one component of a drawing to another or others.

Keep your lines very light by pressing very gently with your pencil (I used an HB).

ILLUSTRATION 09-03

When drawing an oval or a circle, rotate your paper and look at it from different perspectives. Pay close attention to the shapes created by negative and positive spaces.

Negative space refers to the background around and/or behind a drawing subject such as objects, people, or animals.

Positive space refers to the space occupied by the drawing subject and/or its (or his or her) various parts.






- 3 -

ILLUSTRATION 09-04 Visually break down each section of the starfish into simple shapes and measure proportions.

Take note of the parts of the starfish that overlap others. Overlapping refers to a technique for creating the illusion of depth in a drawing by drawing a subject so it visually appears to be in front of another (or others).

As you sketch, constantly check the relationships of lines and spaces to one another. Note whether the sizes and proportions are accurate, and adjust as needed.

ILLUSTRATION 09-05

Don’t press too hard with your pencils!

No matter how careful you are, accidents do happen, and you may need to erase sections you aren’t happy with.






- 4 -

ILLUSTRATION 09-06

If you’re not happy with some of the lines you draw,

simply erase that section, redraw the lines, and keep on

going.

ILLUSTRATION 09-07

Remember, learning to see as an artist is the very foundation

of drawing.






- 5 -


ILLUSTRATION 09-10

ILLUSTRATION 09-11

Check over your drawing carefully and make any changes you want.

Once you start outlining the starfish with a fine tip marker, you can’t erase sections you aren’t happy with.






- 6 -

OUTLINING STARR WITH MARKERS In this section, the final outline of the starfish is rendered, either with medium and fine tip permanent black markers, or with a freshly sharpened 4B or 6B pencil. A medium tip permanent black marker works well for the exterior outline of the starfish. If you choose to use a dark pencil instead of markers, keep your pencil freshly sharpened so your outlines are neat.

Keep a piece of paper under your hand! All markers can be easily smudged if you don’t give the ink a chance to dry well. Also, 4B and 6B pencils are very easily smudged.

Follow along with the following fifteen illustrations and take your time. Also, don’t forget that you can turn your sketchbook around as you draw.

ILLUSTRATION 09-12

Draw slowly! Accuracy is more important than speed.

Your speed will automatically improve the more you practice.






- 7 -

ILLUSTRATION 09-13

A thorough visual examination of your subject is the most important

ingredient for making great drawings and sketches.

Talent is the self-discovery that you possess the ability, and motivation

needed to become exceptional

Your talent for drawing can be developed with hard work, patience,

and dedication.

ILLUSTRATION 09-14

A fine tip permanent black marker is ideal for outlining all the inner details of the starfish.






- 8 -

ILLUSTRATION 09-15

ILLUSTRATION 09-16

ILLUSTRATION 09-17

ILLUSTRATION 09-18






- 9 -

ILLUSTRATION 09-19

ILLUSTRATION 09-20

You need three invaluable ingredients in order to

improve your drawing skills - practice, practice, and more

practice!






- 10 -

When your ink is completely dry, very gently erase your pencil lines. Experiment with the erasing process on a piece of scrap paper before you begin.

ILLUSTRATION 09-21









- 11 -

Drawing is an action word – you learn by doing!

ILLUSTRATION 09-22

At this point, your drawing is complete – or is it?

Many additional details can be added if you so wish. For example, you can scan your drawing and then add color in a computer program, such as Photoshop. Or, consider adding color with colored pencils or markers.

If you’re using markers, test them on some scrap paper first, to make sure they don’t smudge the black outlines.






- 12 -

ILLUSTRATION 09-23









- 13 -















Learning to see as an artist is the very foundation of drawing. A thorough visual examination of your subject is the most important ingredient for making great sketches.

This lesson challenges you to rely completely on your visual skills rather than verbal instructions. Thirty illustrations take you through the process of combining lines with shapes to create a cartoon drawing of an alligator.


LIGHTLY SKETCHING SHAPES IN PENCIL: You rely completely on your visual skills rather than verbal instructions to sketch a simple cartoon alligator by combining lines with shapes. The initial sketch lines demonstrated in the illustrations are intended to establish proportions.

OUTLINING STARR WITH MARKERS: The final outline of the alligator is rendered with a fine-tip, permanent black marker. If you choose to use a 4B or 6B pencil instead of markers, keep your pencil freshly sharpened so your outlines are neat.

You need basic drawing supplies including good quality white paper, graphite pencils, erasers, a pencil sharpener and a permanent fine tip black marker to outline the final sketch.

This visual exercise is recommended for artists from age 10 to adult, as well as home schooling, academic and recreational fine art educators.

17 PAGES – 30 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2005 (Revised 2006)



- 2 -

LIGHTLY SKETCHING SHAPES IN PENCIL This section challenges you to rely completely on your visual skills rather than verbal instructions to sketch a simple cartoon alligator by combining lines with shapes. The initial sketch lines demonstrated in Illustrations 10-01 to 10-09 are intended to establish proportions.

ILLUSTRATION 10-01 Proportion is the relationship in size of one component of a drawing to another or others. As you sketch what you see

in the following illustrations, keep your lines very light

by pressing gently with your HB pencil.

ILLUSTRATION 10-02 Shape refers to the outward outline of a form. Sketch (noun) is a simple drawing that captures the integral aspects of a subject quickly and efficiently; (verb) refers to the process of rendering a sketch.

ILLUSTRATION 10-03 Examine the

shapes created by negative and positive spaces.

Negative space refers to the background

around and/or behind a

drawing subject. Positive space refers to the

space occupied by the drawing subject and/or its (or

his or her) various parts.






- 3 -

ILLUSTRATION 10-04

As you sketch, constantly check the relationships of lines

and spaces to one another.

Note whether the sizes and proportions are accurate, and adjust as needed.

ILLUSTRATION 10-05

Don’t press too hard with your pencils! No matter how careful you

are, accidents do happen.






- 4 -

ILLUSTRATION 10-06

If you’re not happy with some of the lines you draw, simply erase

that section, redraw the lines, and keep on going.

ILLUSTRATION 10-07

When drawing an oval or a circle, rotate your paper

and look at it from different perspectives.






- 5 -

ILLUSTRATION 10-08

Learning to see as an artist is the very foundation of drawing.

ILLUSTRATION 10-09

Check over your drawing carefully and make any changes you want.

Once you start outlining the starfish with a fine tip marker, it’s too late to erase sections you aren’t happy with.






- 6 -

OUTLINING STARR WITH MARKERS In this section, the final outline of the alligator is rendered with a fine tip permanent black marker. If you choose to use a 4B or 6B pencil instead of markers, keep your pencil freshly sharpened so your outlines are neat.

Follow along with the following illustrations and take your time. Also, don’t forget that you can turn your sketchbook around as you draw.

ILLUSTRATION 10-10

Keep a piece of paper

under your hand! All markers can be easily

smudged if you don’t give the ink a chance to dry well.

ILLUSTRATION 10-11

Don’t forget that you can turn your sketchbook around as you draw.






- 7 -

ILLUSTRATION 10-12

ILLUSTRATION 10-13

Draw slowly! Accuracy is more

important than speed.






- 8 -

ILLUSTRATION 10-14

Your speed will automatically improve the

more you practice.

ILLUSTRATION 10-15

Talent is the self-discovery that you possess the ability,

and motivation needed to become

exceptional.






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ILLUSTRATION 10-16

ILLUSTRATION 10-17






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ILLUSTRATION 10-18

ILLUSTRATION 10-19






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ILLUSTRATION 10-20

ILLUSTRATION 10-21

You can develop your drawing talent with hard

work, patience, and dedication.






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ILLUSTRATION 10-22

You need three invaluable ingredients in order to improve your drawing

skills - practice, practice, and more practice!

ILLUSTRATION 10-23

Drawing is an action word – you

learn by doing!






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ILLUSTRATION 10-24


ILLUSTRATION 10-25








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ILLUSTRATION 10-26

When your ink is completely dry, very gently

erase your pencil lines.

ILLUSTRATION 10-27

Experiment with the erasing process on a piece of scrap

paper before you begin.






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ILLUSTRATION 10-28

At this point, your drawing is complete!

Consider adding color with colored pencils or markers.

ILLUSTRATION 10-29

If you’re using markers, test them on

some scrap paper first, to make sure they don’t

smudge the black outline.






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However, many additional details can be added if you so wish.

For example, you can scan your drawing and then add color in a computer program, such as Photoshop.

ILLUSTRATION 10-30









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Brenda Hoddinott

C-11 BEGINNER: DRAW WITH LINES This heavily illustrated lesson challenges you to

rely primarily on your visual skills as you combine lines with shapes to create a cartoon

drawing of a baby mermaid.

Learning to see as an artist is the very foundation of drawing. A thorough visual examination of your subject is the most important ingredient for making great sketches.


LIGHTLY SKETCHING SHAPES: You rely on your visual skills rather than verbal instructions to sketch a cartoon figure of a baby mermaid. Your goal is to lightly sketch accurate proportions of the various shapes of the cartoon baby.

DRAWING THE FINAL OUTLINE: You render the final outline of the baby mermaid with either a 4B or 6B pencil, or a fine tip permanent black marker. If you choose to use a pencil, keep its tip freshly sharpened so your outlines are neat. Using a marker is more challenging; once you start drawing with a fine tip marker, you can’t erase mistakes.

You need basic drawing supplies including good quality white paper, graphite pencils, erasers, a pencil sharpener and a permanent fine tip black marker (optional) to outline the final sketch.

11 PAGES – 45 ILLUSTRATIONS

This visual exercise is recommended for artists from age 10 to adult, as well as students of home schooling, academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, 2008

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

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ARTSPEAK Proportion is the relationship in size of one component of a drawing to another or others. Shape refers to the outward outline of a form. Sketch (noun) is a simple drawing that captures the integral aspects of a subject quickly and efficiently; (verb) refers to the process of rendering a sketch. Negative space refers to the background around and/or behind a drawing subject. Positive space refers to the space occupied by the drawing subject and/or its (or his or her) various parts.

FIGURE 1003 FIGURE 1002

FIGURE 1001

LIGHTLY SKETCHING SHAPES This section challenges you to rely on your visual skills rather than verbal instructions to sketch a cartoon figure of a baby mermaid. Your goal is to lightly sketch accurate proportions of the various shapes of the cartoon baby.

As you sketch what you see (in Figures 1001 to 1011), press gently with your HB pencil to keep your lines very light.

You begin by sketching the shape of the head (Figure 1001) in the upper left section of your paper. Leave a space in the outline to later add the hand.

Also, keep lots of space on your paper above, to the right and below for the arms, body, and tail.

As you sketch, constantly check the relationships of lines and spaces to one another. Note whether the sizes and proportions are accurate, and adjust as needed. If you’re not happy with something, simply erase it, redraw the lines, and keep on going.




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FIGURE 1009 FIGURE 1008 FIGURE 1010

When drawing an oval or a

circle, rotate your paper

and look at it from

different perspectives.




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FIGURE 1011



Check over your sketch carefully and make any changes you want. Examine the shapes created by negative and positive spaces.

DRAWING THE FINAL OUTLINE In this section, the final outline of the baby mermaid is rendered with either a 4B or 6B pencil, or a fine tip permanent black marker.

If you choose to use a pencil, keep its tip freshly sharpened so your outlines are neat. Using a marker is more challenging; once you start drawing with a fine tip marker, you can’t erase mistakes.

Follow along with Figures 1012 to 1045 and take your time. Accuracy is more important than speed.

Keep a piece of paper under your hand! Both graphite and markers can be easily smudged.

Don’t draw directly over your sketch lines; they are merely a guide for basic proportions. Rather, closely examine each of my drawings in sequence, and adjust your final outlines to be as close as possible to mine. Also, don’t forget that you can turn your sketchbook around as you draw.




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FIGURE 1024

FIGURE 1022


FIGURE 1023




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FIGURE 1028

FIGURE 1027

FIGURE 1029




- 7 -


FIGURE 1032

FIGURE 1034

FIGURE 1035

FIGURE 1033




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FIGURE 1040

FIGURE 1039

FIGURE 1038

FIGURE 1041

The Merbaby’s tail is made up of several sections rendered with curved lines.

Take your time, examine the drawings closely, and draw one section at a time.




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FIGURE 1042

FIGURE 1044

FIGURE 1043

Refer to the completed drawing on the next page (Figure 1045) to add final details.

If your outline is in marker: When your ink is completely dry, very gently erase your pencil lines. Experiment with the erasing process on a piece of scrap paper before you begin.

If your outline is in pencil: Use a kneaded eraser molded to a wedge or point to erase as many of the rough sketch lines as possible. A few sections of the outline may need to be redrawn if they are accidentally erased.




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FIGURE 1045

At this point, your drawing is complete! Consider adding color with colored pencils or markers. If you’re using markers, test them on some scrap paper first, to make sure they don’t smudge the black outline.

Many additional details can be added either by hand or in a computer imaging program such as Photoshop. For example, you can scan your drawing and then add colors and textures.

CHALLENGE Draw another merbaby based on this lesson. However, instead of facing left as in this project, have the merbaby facing right; in other words, draw a mirror image of your merbaby.




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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<




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.




Brenda Hoddinott

C12 BEGINNER: DRAW WITH LINES Line drawings can look very different from one another even when the subject is identical. In this project, you draw six different versions of a simple flower bud based on a drawing by Leonardo da Vinci (of course, I named it Bud).

This project is divided into the following four sections:

Introduction

The Process of Drawing Each Bud

Soft Grades Create Light and Dark Lines

Hard Grades Create Light and Dark Lines

Suggested supplies: paper, 6H, 4H, 2H, HB, 4B, and 6B graphite pencils, 2B and 4B charcoal pencils, kneaded and vinyl erasers, sandpaper block, and pencil sharpener

This project is recommended for artists from age 10 to adult, as well as students of home schooling, academic, and recreational fine art educators.

7 PAGES – 11 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada – 2009


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INTRODUCTION When you know several different ways to draw lines, your drawings can evolve into more intriguing artworks that engage viewers for a longer period of time.

For instance, you can draw lines of different thicknesses and values by simply varying the pressure used when holding a pencil.

Also, using a variety of grades of pencils provides you with a whole new exciting selection of potential lines. You can draw outlines with only hard grades of pencils, only soft grades, or a combination of both. Your choices greatly influence the overall appearance and impact of your drawings.

My sketch of a flower in Figure 1201 (based on a drawing by Leonardo da Vinci) is a combination of light, dark, thick, and thin lines.

Figure 1201: The shapes of a flower are outlined with various types of lines that are rendered with different techniques.

ArtSpeak Drawing (noun) is an image created on a drawing surface with a drawing medium. Drawing (verb) refers to the process of applying a medium to a surface to create an image. Grade refers to the softness or hardness of the mixture used in the manufacture of drawing mediums. Graphite is a soft black form of opaque (non-transparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists. Line is the visually identifiable path of a point moving in space. Straight, angle, and curved lines can vary in width, direction, and length, and are used in drawings to visually separate and (or) define the forms of the various components of a drawing subject. Shape refers to the outward outline of a three-dimensional object. Sketch (noun) is a simple drawing of the important parts of a subject. A sketch is usually done quickly with simple lines and (or) shading. Sketch (verb) refers to the process of doing a sketch. Proportion is the relationship in size of one component of a drawing to another or others. Technique is a well known method (such as a specific way to do shading) that is used to accomplish a particular activity or task. For example, more than one shading technique may be suitable for a specific drawing. Hence, an artist’s selection of a shading technique is generally based on his or her skill level and what works best to capture the subject.




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Figure 1202: Step 1

Figure 1204: Step 3

THE PROCESS OF DRAWING EACH BUD In this project, you draw six different versions of bud by simply using different grades of pencils and methods of drawing lines. Following is the four-step process you use for each of the six drawings:

Step 1: Draw the bud as a long oval shape that splits into two sections at the top.

Step 2: Outline the leaf on the left.

Step 3: Outline a second leaf on the right.

Step 4: Add the stem.

When you complete each of the following six drawings, mark the grade of the pencil (or pencils) used on the back of the paper. You can then refer back to your drawings and notes at any time to duplicate a specific technique.

Don’t worry about sketching accurate shapes or proportions. Your goal is to simply create a slightly different drawing with each of the techniques discussed.

Figure 1205: Step 4

Figure 1203: Step 2




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SOFT GRADES CREATE LIGHT AND DARK LINES The following three exercises challenge you to create three different drawings of Bud by varying the pressure used when holding a soft grade of drawing pencil. All three techniques are perfect for sketching anything; from figure studies and portraits to landscapes and still life.

Drawing 1: Soft pencil makes light outlines Use a 4B graphite pencil or a 2B charcoal pencil with a slightly worn-down point, to sketch the bud with continuous lines. Hold the pencil loosely so only its weight touches the paper (Figure 1206).

Drawing 2: Soft pencil makes dark outlines Press firmly with the well-worn point of a 4B graphite pencil or a 2B charcoal pencil to sketch the flower bud with dark, continuous lines (Figure 1207). Be careful not to press so hard that you dent the paper!

Figure 1206: The soft charcoal of a 2B charcoal pencil sits on the tips of the peaks of a paper’s surface, resulting in a light outline.

Figure 1207: A dark outline is rendered by pressing firmly with a 2B charcoal pencil.




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Drawing 3: Soft pencil makes dark and light outlines Draw Bud again by continuously changing the pressure you apply to the 4B graphite pencil or a 2B charcoal pencil (Figure 1208). Press hard when you want a dark line; gradually ease off to make the line lighter, and slowly build up the pressure to go darker again. You can also draw darker lines over sections of light lines.

HARD GRADES CREATE LIGHT AND DARK LINES The process of using hard pencils to draw shapes is similar to using soft pencils.

However, by keeping the pencils freshly sharpened, the resulting drawings look very different.

The following three exercises provide you with opportunities to draw three additional sketches of Bud.

Drawing 4: 4H graphite pencil creates very light outlines Apply very little pressure to a sharpened 4H graphite pencil to sketch Bud with continuous light lines (Figure 1209).

I used a 0.3 mechanical pencil and a 4H lead. To make your lines as thin as mine with a wood-encased pencil, you need to sharpen the point frequently as you work.

Figure 1208: A combination of light and dark outlines adds interest to the drawing.

Figure 1209: Thin, light lines rendered with 4H graphite create a delicate contour drawing of Bud.




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Drawing 5: HB graphite pencil creates dark outlines Use a freshly sharpened HB pencil to sketch Bud with continuous dark lines (Figure 1210).

Press firmly with the pencil. I used a 0.5 mechanical pencil and an HB lead. Use sandpaper to keep the point of a regular pencil sharpened.

Drawing 6: Two H graphite pencils work together to combine light and dark outlines Outline Bud again with a 4H pencil, and then use an HB to darken some sections of the outlines (Figure 1211). Continuously sharpen the points as needed.

Figure 1210: The shapes of Bud are outlined with dark, thin lines by using the freshly sharpened point of an HB pencil.

Figure 1211: A combination of 2H and HB pencils create a gorgeous, delicate drawing of Bud.




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CHALLENGE Draw a variety of shapes with hard grades of graphite pencils (such as 6H, 4H, 2H, and HB). Then, use a combination of grades along with different techniques to sketch simple objects.

Draw several different shapes by using soft grades of pencils (such as 6B graphite or 4B charcoal) and a variety of different techniques. Sketch a few simple objects from life.

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

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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