Resources: • 3.1.A3 Shade Graduations of Values• 3.1.A4 Shade Three Dimensional Shapes

Supplies: paper, 4H, 3H, 2H, HB, 2B, 3B, 4B, 5B, and 6B pencils; pencil sharpener, sandpaper block, erasers

This activity has three sections:• Sketch Petal Contours• Establish a Full Range of Values • Shade Light and Shadow

Sketch Petal Contours 1. Use a 2H or HB pencil to lightly

outline the fl ower’s petals (Figures 1 to 4).

Figure 1 shows how lightly rendered the original sketch is in reality.

Figures 2 to 4 have been darkened in Photoshop to more clearly demonstrate the three-step process used to draw the contours of each petal.

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Realistic Petals on a Flower

Use a chisel point on nine grades of pencils to render a detailed drawing of a flower with a focus on shading light and shadow

Flesch-Kincaid Grade Level: 7.6Flesch-Kincaid Reading Ease: 66.5Drawspace Curriculum 3.1.A27 - 8 Pages and 19 Illustrations

Figure 1

Most illustrations are shown larger than the actual drawing so you can better see how the shading is rendered.

As an Aside

2 Drawspace Curriculum 3.1.A27

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Figure 4

Figure 3Figure 2

I spend as much time as I can sketching from nature. Dartmoor contains such a rich variety of landscape, as many boulders, foaming rivers and twisted trees as my heart could ever desire... When I look into a river, I feel I could spend a whole lifetime just painting that river.Alan Lee

As an Aside

Establish a Full Range of Values2. Sharpen all nine grades of

pencils to a chisel point.

3. Use 5B and 6B pencils to shade four of the darkest shadow sections of the fl ower (Figure 5).

All other values used to render this fl ower fall somewhere in between the white of the paper and these very dark values.

4. Use 4H, 3H, 2H, HB, 2B, 3B, and 4B pencils to shade the visible sections of the three petals in the upper left of Figure 5.

Refer to Figures 6 to 10.

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

3Drawspace Curriculum 3.1.A27

Figure 7

Figure 5

Figure 6

Figure 8

You now have at least nine different values (the base value of nine pencil grades) represented in your drawing (Figure 10).

As an Aside

Figure 9

Figure 11

4 Drawspace Curriculum 3.1.A27

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Shade Light and Shadow5. Use pencils from 4H to 4B to add shading to

all the other petals (Figures 11 to 17).

Examine each reference image closely and choose whichever pencils can render the same ranges of graduated values.

Figure 10

The fi rst function of an art student is to observe, to study nature.Kimon Nicolaides, The Natural Way to Draw

If you are not sure where a specifi c petal is located on the fl ower, peek ahead to Figure 19.

When I draw something, I try to build some kind of history into it. Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged. I love trying to render not just the object, but what it has been through. Alan Lee

Figure 12

5Drawspace Curriculum 3.1.A27

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Figure 14

Figure 13

As an Aside

I keep drawing the trees, the rocks, the river, I’m still learning how to see them; I’m still discovering how to render their forms. I will spend a lifetime doing that. Maybe someday I’ll get it right.Alan Lee

As an Aside

6 Drawspace Curriculum 3.1.A27 6 Drawspace Curriculum 3.1.A27

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Alan Lee is a world renowned illustrator of books as well as a conceptional designer and illustrator for movies. He was born on August 20, 1947 in Middlesex, England. Alan studied at the Ealing School of Art and specialized in illustration.

As an Aside

As an Aside

Alan Lee is probably best known for his award winning work on the The Lord of The Rings and The Hobbit by J.R.R. Tolkien. He created unique conceptional images and illustrations for these books and for the movies that were directed by Peter Jackson. His phenomenal illustrations can also be seen in a broad range of popular books including: Faeries (with Brian Froud), The Mabinogion, Castles, Merlin Dreams, The Black Ships of Troy, and The Wanderings of Oysseus.

Figure 16

Figure 15Examine the values of each cast shadow to help you choose the appropriate pencils for their graduations.

7Drawspace Curriculum 3.1.A27 7Drawspace Curriculum 3.1.A27

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Figures 17 and 18 are shown the same size as the original drawing.

A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely... But by watching for a time his motions and plays, the painter enters into his nature and can then draw him at every attitude. Ralph Waldo Emerson

As an Aside

Figure 17

Figure 18

6. Use HB and 2B pencils to add additional middle values where needed (Figures 18 and 19).

7. Compare your drawing to Figure 19 and make any changes that bring your drawing closer to the original.

The tiny white sections in the core of the fl ower were pulled out with a kneaded eraser molded to a point.

8 Drawspace Curriculum 3.1.A27

ISBN: 978-1-927539-61-3Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including

electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of a licence from drawspace.com or the prior written consent of Brenda Hoddinott and Drawspace Publishing.

Figure 19

Sign and date your drawing, and go fi nd another fl ower, leaf, or tree to draw.