Avansati u chipuri si cifre

Brenda Hoddinott

U-01 ADVANCED: FACES & FIGURES In this lesson you draw a frontal view of a small child, with emphasis on correct facial proportions. You use both crosshatching and hatching to define textures and forms, and utilize a challenging grid to help you render the accurate proportions of the various parts of her head and face.

This lesson is divided into the following five sections:

SETTING UP A COMPLEX GRID: Until your artistic eye is well trained, using a grid is a huge help with establishing accurate proportions.

OUTLINING A CHILD’S HEAD WITHIN A GRID: As you work, you closely examine the shapes, spaces, and lines within each individual grid square.

SHADING LIGHT AND MEDIUM VALUES: The dominant light source, which is to the front and right of Annie’s face, determines where the various light and medium values are located.

SHADING FACIAL FEATURES: You add shading to the shadow sections, and more details to the eyes, nose, and mouth.

ADDING THE HAIR AND FINAL SHADING: You work from dark to light with HB, 2B, and 4B pencils to add shading to the hair with contour hatching.

Suggested drawing supplies include 2H, HB, 2B, 4B, and 6B pencils, vinyl and kneaded erasers, ruler, pencil sharpener, and good quality drawing paper.

21 PAGES – 19 ILLUSTRATIONS This lesson is recommended for artists from age twelve through adulthood with good drawing

skills, as well as home schooling, academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada 2002 (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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SETTING UP A COMPLEX GRID A grid is a framework of vertical and horizontal reference squares on an image and/or drawing paper, used by artists to either enlarge or reduce the size of the original image. Until your artistic eye is well trained, using a grid is a huge help with establishing accurate proportions. If you prefer to work freehand, simply ignore the instructions and illustrations pertaining to the grid method.

Remember to press very lightly with your pencil because all your grid lines and most of your contour lines will need to be erased (or lightened) later. The lines in the following illustrations have been darkened in a computer program and appear much darker that they actually are.

ILLUSTRATION 01-01

1) With your ruler and an HB mechanical pencil, draw a rectangle, as your drawing space. Drawing space (sometimes called a drawing format): refers to the area of a drawing surface within a specific perimeter, outlined by a shape of any size, such as a square, rectangle or circle.

Mine is 6.5 by 7 inches. Suggested alternative sizes include 9.75 by 10.5 inches, or 13 by 14 inches.

2) Use a ruler to measure and divide your rectangle into 182 equal squares, 13 across and 14 down. For a 6.5 by 7 inch rectangle use half-inch squares. If your rectangle is 9.75 by 10.5 inches, use three-quarter inch squares, and for a 13 by 14 inch format, use one-inch squares.

3) Add letters and numbers to the grid as in the following illustration. Starting from the left, add numbers 1 through 13 to the vertical squares along the top and bottom of the 6.5” sides. Starting from the top, add letters A through N to the horizontal squares down both sides of the 7” sides. Lettering and numbering your grid squares helps you keep track of each square as you draw.

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ILLUSTRATION 01-02

OUTLINING A CHILD’S HEAD WITHIN A GRID When working with a grid, think of each square as a separate drawing. As you work, closely examine the shapes, spaces and lines within each individual grid square. 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.






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4) With your HB pencil, very lightly draw the outline of the head, face and ears. The shape of her head is very similar to that of an egg. The ears are located almost halfway between the top of the head and the chin. As you draw, don’t think about what the subject is. Focus on the shapes, and negative and positive spaces that define the lines within each grid square. Constantly double-check your proportions

ILLUSTRATION 01-03

5) With your 2H or HB pencil, lightly sketch the eyes, nose, and mouth in their correct places. If you wish, you can print out the following page and add diagonal lines on the facial area of it and your grid, to help you place the features more accurately.






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6) Outline the iris, pupil and highlight in each eye. The upper sections of the eyes are approximately halfway between the bottom of the chin and the top of the head, and have double lines around their lower edges to indicate the lower eyelids. The space between the eyes is slightly wider than the width of an eye, and the nose is the same width as the space between the eyes.

This child is approximately 8-9 years old. The nose and mouth of a younger child would appear higher on the face, closer to the eyes. As a child matures into an adult, the nose and mouth appear to shift downwards on the face.

ILLUSTRATION 01-04






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7) With your HB pencil, very lightly refine your drawing of each feature, until your drawing is as close as possible to mine. This step is the most important towards completing a drawing with which you’ll be happy. Take your time; patience is a virtue!

Not even super fantastic shading, can rescue a drawing if the proportions are off! Work on only one feature at a time and draw it as well as you can. Observe the fine details of the nose (such as the placement of the nostrils) and the lips (such as the location of each end of the mouth and the curves of the lines which outline the lips), and the ear. An ear is a very intricate part of the head and is for most people even more difficult to draw than an eye. At this point you will appreciate a grid!!!

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.

8) Before you continue, examine the placement of the outlines of the individual features and correct any areas that you’re not happy with

9) Erase the grid lines around and below her face.

ILLUSTRATION 01-05






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10) With your HB pencil outline the strands of hair around her face. Observe that the various sections of hair are different lengths and thickness so as to give the hair a natural appearance. Some strands of hair appear to cut across and through the eyebrows and ears. On the outer sides of the head, the hair extends outside the outline of the skull.

11) Erase any sections of the eyebrows and ears that are hidden behind or underneath the hair.

ILLUSTRATION 01-06






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12) With your HB pencil outline the top and sides of the hair. Take note that the hair is outside the outline of the skull. Also, the edges of the hair show a few untidy strands of hair to keep it looking soft and natural.

ILLUSTRATION 01-07

13) Erase the line that outlines the skull and any grid lines still left on your drawing. You can either erase all your grid lines at once, or only those that need to be erased before you begin each section of shading.






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ILLUSTRATION 01-08

14) Pat your drawing lightly with your kneaded eraser to pick up any leftover eraser crumbs. What you have at this point is a line or contour drawing.

If your final goal was to draw a cartoon or comic book face, you’d be finished.

SHADING LIGHT AND MEDIUM VALUES The dominant light source, which is to the front and right of Annie’s face, determines where all the various values are located. Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing and subsequently tells you where to draw all the light values and shadows. 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.

Smoothly rendered crosshatching graduations give the illusion of depth (or a third dimension) to the drawing. Crosshatching is a technique for rendering an infinite range of values within shading, in which one set of lines crosses over (overlaps) another set. Graduated shading is a continuous progression of graduated values from dark to light or from light to dark.






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15) Use an HB pencil to add light and medium values to the ears and the areas on the face that are in shadow, under the strands of hair. At this point you use hatching lines that are diagonal and relatively parallel. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values.

ILLUSTRATION 01-09






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16) Add light shading to the remainder of the face while keeping the shading lines as parallel as possible. Before you begin, closely examine the shading around the nose, eyes, mouth and chin. Note that the shading around the sides and lower sections of the face does not extend completely to the edges.

ILLUSTRATION 01-10






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17) Complete the shading on the face by transforming the hatching lines into crosshatching. To create crosshatching you simply add more lines that cut through the hatching lines. Observe the darker shadow areas of the shading on the face.

18) Outline the sides of the neck, and add shading to the sections under the chin.

ILLUSTRATION 01-11






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SHADING FACIAL FEATURES In this section you finish Annie’s face by working from the forehead down toward the neck. You add additional shading to the shadow sections and more details to the eyes, nose, and mouth.

19) Complete the shading on the forehead and around the eyes.

20) Draw the fine hairs of the eyebrows.

ILLUSTRATION 01-12






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21) Shade in the iris, upper and lower eyelids, whites of the eyes, and corners of the eyes. Note that the shading of the iris is darker under the upper eyelid and on the side where the highlight is drawn. Also, the shading lines on the iris all seem to point towards the centre.

ILLUSTRATION 01-13






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22) Use a 6B pencil, to shade in the pupil.

23) With a freshly sharpened HB pencil, draw half as many eyelashes as you think there should be. Note that the upper and lower eyelashes grow in many different directions, are different lengths and thicknesses in some places, are curved, appear thicker closer to the eyelids, and grow from the edges of the upper and lower lids and not the whites of the eye

24) Add darker shading to the sections of the nose that are in shadow, such as the nostrils.

ILLUSTRATION 01-14






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25) Add shading to the lips and the sections of the face around the mouth. There are no noticeable lines outlining the lips. The shading follows the natural creases in each lip and is also directed perpendicular to the opening. The darkest shading is next to the line that indicates the opening of the mouth and on the side in shadow. Note the lighter shading and areas left white on the lips, which gives the illusion of form.

26) Compare your drawing to mine and adjust any sections you aren’t happy with.

ILLUSTRATION 01-15






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ADDING THE HAIR AND FINAL SHADING You use HB, 2B, and 4B pencils to add shading to the hair with contour hatching. You work from dark to light, beginning with dark values and ending with the very light values. Be careful to not add too much dark shading. Rather, focus on those sections that have light and middle values, or are left white.

ILLUSTRATION 01-16

27) With a freshly sharpened 4B pencil, add shading to the hair in the shadow areas.

The hatching lines follow the contours of the outlines of the hair and are many different lengths and unevenly spaced.

When adding shading to hair, remember to:

Keep the hatching lines curved, ragged, and uneven.

Keep your pencils very sharp.

Vary the density of the lines.

Vary the pressure used in holding your pencils.

Vary the lengths and thicknesses of the lines.






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28) With freshly sharpened HB and 2B pencils, follow the contours of the head and the outlines of the strands of hair, to add shading to the rest of the hair.

ILLUSTRATION 01-17

Refer to Illustrations 01-17 and 01-18.

Observe the many different values in the hair, from white for the highlights to very dark in the darkest shadows.

Take note of the directions in which the hatching lines curve. Also, they are different lengths and values.

The hair is lighter in some places, which indicates a shiny texture.

The outside edges of the hair show a few untidy hairs to keep it looking natural.

REMEMBER! You can draw the three-dimensional forms of a face more accurately, when you have carefully observed and done drawings from the faces of actual models, such as yourself and your family and friends.






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ILLUSTRATION 01-18

REMEMBER! There is no right or wrong way to draw!

As an artist, you can draw the forms and features of a frontal view of a face in many different ways, such as drawing just the light and shadow areas, or outlining with detailed lines and then adding shading.

Take time to experiment with different ways of drawing, until you find the styles with which you are most comfortable.

29) Touch up any areas you’re not happy with. Refer to my final drawing on the next page. If an area is too light, you can make it darker by adding more shading. To make a section lighter, stretch your kneaded eraser until it becomes soft, and then gently pat the shading that is too dark.

Use your vinyl eraser to clean up any smudges or fingerprints on your drawing paper.

30) Put today’s date on the back, sign your name and pat yourself on the back!






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ILLUSTRATION 01-19






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Choose another lesson from the intermediate or advanced levels, grab a new piece of paper and draw some more! Only practice, practice and more practice will help

you improve your drawing skills.

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. These sites are 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: 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.





ON MELISSA Brenda Hoddinott

U-02 ADVANCED: EYE ON MELISSA In this project, you draw an eye, with a focus on correctly rendering the structures of the anatomical forms surrounding the orbital cavity.

You add shading in layers by working from light to dark, while rendering a highly detailed human eye with a combination of three graduated shading techniques - hatching, crosshatching, and squirkling. Eyes are the most expressive facial feature. The shapes and sizes of people’s eyes can help identify their gender, age, and cultural origin. In a portrait, the eyes alone can often identify who the person is. The eye in this project belongs to a beautiful young lady named Melissa, who is the daughter of my friend Crystal Basta.

This lesson is divided into four sections: STRUCTURAL INSIGHTS INTO EYES: In order to understand how to draw an eye

correctly, you need to be aware of its basic construction behind the small section you can see. KEEPING AN EYE ON PROPORTIONS: You sketch the various parts of the eye

proportionately correct.

ADDING LIGHT AND MIDDLE VALUES: Hatching and crosshatching graduations bring out the three-dimensional forms of the skull around the eye. You also lay down light and medium values to enhance the forms of the fleshy sections around the eye.

DARK VALUES AND FINAL DETAILS: You add dark values to provide more contrast to the facial forms, and then add the final details such as eyelashes.

Suggested drawing supplies for this project include: good quality white drawing paper, graphite pencils, kneaded and vinyl erasers, pencil sharpener, and a sandpaper block.

12 PAGES – 15 ILLUSTRATIONS Recommended for artists from age 12 to adult with good drawing skills, and fine art educators in

home school, academic and recreational environments.

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



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STRUCTURAL INSIGHTS INTO EYES Eyes are the most expressive feature. The shapes and sizes of people’s eyes can help identify their gender, age, and cultural origin. Eyes alone can often identify who the person is.

ILLUSTRATION 02-01

Check out lesson P-05 Intermediate: Eyelashes on an Eye! A frontal view of an eye, with a focus on correctly rendering eyelashes, provides a completely different perspective on drawing a highly realistic human eye.

In order to understand how to draw an eye correctly, you need to be aware of its basic construction behind the small section you can see. The iris and pupil take up most of the visible section of an eye, with only a little of the whites showing. The largest section of the eyeball is hiding inside the orbital socket in the frontal section of the skull.






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I use very simple names to identify each part of an eye, and the facial anatomy surrounding it. Refer to the next drawing and find each of the following. 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.

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 02-02

KEEPING AN EYE ON PROPORTIONS In this section, you sketch the various parts of the eye proportionately correct. Suggested drawing supplies for this project include: good quality white drawing paper, graphite pencils, kneaded and vinyl erasers, pencil sharpener, and a sandpaper block.






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1) Use an HB pencil to lightly sketch a circle as the outline of Melissa’s eyeball. Drawing a circle freehand becomes quite simple when you’ve devoted lots of time to practicing this skill. Try rotating your paper and looking at your drawing from different perspectives. This little trick often allows you insight 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.

2) Sketch another circle (the iris) positioned inside and slightly toward the upper right of the eyeball.

ILLUSTRATION 02-03 ILLUSTRATION 02-04

3) Sketch a curved line (the edge of the upper eyelid) through and across the eyeball and iris.

4) Add another curved line to mark the edge of the lower eyelid.







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ILLUSTRATION 02-07

5) Sketch another circular shape inside the iris as the pupil. Take note that a tiny section of the pupil is above the line that marks the edge of the upper eyelid.

Whenever you draw eyes, keep the initial sketch lines very light so they can be erased later. No part of an eye should be drawn with dark bold lines.

ILLUSTRATION 02-08

6) Lightly sketch the edge of the face. The upper (slightly curved) line identifies the form of the upper bone structure surrounding the orbital socket.

7) Use your kneaded eraser to lighten (or erase) the original sketch lines above and below the eye.






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ILLUSTRATION 02-09

8) Lightly sketch a few lines to mark the location of the eyebrow.

9) Add another line around the outer edge of the lower eyelid and the small visible section of the upper eyelid (on the left) to represent the thickness of the flesh of the eyelids.

10) Sketch a small horizontal comma-shape below the inner corner of the eye.

ILLUSTRATION 02-10 11) Add two

small circular shapes as the highlights.

12) Lightly sketch a horizontal oval-shape above the inner corner of the eye. While some of these shapes may currently seem out of place, they will be used to help map the shading, as you will see in the next section.

Before you continue, check over your sketch to make sure nothing is left out.






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ADDING LIGHT AND MIDDLE VALUES In this section you use hatching and crosshatching graduations to bring out the three-dimensional forms of the skull around the eye. You also lay down the light and medium values to enhance the forms of the fleshy sections around the eye, and add shading to the iris.

13) Add shading to the facial areas around the eye, the white of the eye, the upper and lower eyelids, the iris, and the inner corner of the eye. Use 2H and HB pencils and hatching graduations to visually separate the various parts of the eye. Take note of how all the hatching lines are curved to follow the perceived contours of the facial forms. The small shapes above and below the inner corner of the eye (added in the last section) are left white for now, and will remain very light in value. A few tiny lines radiate outward from the perimeter of the pupil onto the iris.

ILLUSTRATION 02-11

You can indicate the color of the iris of an eye, by using different values. Brown eyes are very dark in value, almost as dark as the pupil. Hazel, blue, or green eyes are mostly shaded with middle values. Pale blue, green, or gray eyes are very light in value and contrast sharply to the dark pupil.






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You can make the transition from one value to the next barely noticeable, by drawing the individual lines of your hatching and crosshatching in different lengths. Sometimes a short line, placed inside a space between two other lines, helps make the transition look smoother.

14) Layer some darker sections of shading over the hatching lines with crosshatching. Your goal in this step is to further bring out the three-dimensional forms by using a full range of values from very light to almost black.

Most artists prefer to work from light to dark. By drawing your light values first, you can then layer your medium shading on top of your light shading. This layering creates a nice smooth transition between different values. The darkest values are then built in layers on top of the medium values.

Continue using 2H and HB pencils and pay attention to the sections that have curved crosshatching lines. The values automatically become darker with the addition of the crosshatching. Be careful to leave lots of lighter sections.

ILLUSTRATION 02-12






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For crosshatching, I personally prefer to turn my drawing paper (or sketchbook) around in various directions as I draw, so that I am always using my natural hand motion (mine is from the lower left toward the upper right). You may also wish to try holding your arm in different positions as you draw.

15) Add medium values to further enhance the various forms around the eye. Use HB and 2B pencils and keep the tips freshly sharpened with either a pencil sharpener or sandpaper block. Don’t rush! Take your time and slowly build the values steadily darker where needed. Pay close attention to which sections need to be left lighter. A strong contrast in different values creates the lifelike illusion of a three dimensional reality.

16) Add darker values in the shadow sections of the iris and white of the eye. I’ve used squirkles to shade some darker sections of the iris, such as around the perimeter and under the upper eyelid which is in shadow.

ILLUSTRATION 02-13






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DARK VALUES AND FINAL DETAILS In this section, you add dark values to provide more contrast to the facial forms and then add the final details such as eyelashes.

17) With a 2B pencil add dark shading to the areas that are in shadow, such as the inner and outer corners of the eye.

18) Use freshly sharpened HB and 2B pencils to draw the details of the eyebrows.

19) Add shading to the pupil with 4B and 6B pencils, leaving the highlights white.

ILLUSTRATION 02-14

20) Use an HB pencil to draw only half as many eyelashes as you think there should be. Eyelashes are rendered with thin curved lines of different lengths, are unevenly spaced, and appear thicker closer to the eyelids. They grow from the outer edges of the upper and lower eyelids (not the whites of the eye), and are drawn in groups rather than several single lashes.






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Always draw eyelashes in the direction in which they grow, from the eyelid outward. Begin at the base of the eyelash and press firmly with your pencil. Slowly release the pressure you apply as your curved line extends toward the tip. Gently lift your pencil from the paper when the tip of the line is very thin and light in value.

21) Add some faint thin lines extending onto the whites from the corners of the eye to look like tiny blood vessels.

22) Check over the shading and touch up any sections where the graduations do not flow smoothly into one another. To make areas lighter mold your kneaded eraser to a wedge, and gently and selectively pat the shading lines. To make a section darker, simply add more thin crosshatching lines in between others.

ILLUSTRATION 02-15






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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<



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. These sites are 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: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally.






Brenda Hoddinott

U-03 ADVANCED: FACE AND FIGURES This article explores the process of modifying a photo, choosing different shading techniques for the various textures, and using graduations to fade the lower section of a head and shoulders portrait from the shading into the nothingness of the paper.

This article is divided into the following six sections:

PLANNING THE PROJECT: This section discusses the proposed modifications to my reference photo.

SETTING UP PROPORTIONS AND VALUES: My primary goal is to render a rough sketch of the overall proportions, and establish a small section of the drawing with a full range of values from very light to the darkest dark.

CREATE TEXTURES WITH SHADING: I work on various components of the drawing to establish diverse textures appropriate for each.

COMPLETING THE HAT: I work from the top of the drawing downward to complete each section of the drawing, beginning with the hat.

DRAWING HER HAIR AND EAR: I use a full range of values to render her ear and the hair below the brim of the hat.

CREATING THE FORMS OF THE FACE AND FEATURES: I use 2H, HB, and 2B pencils to add mostly light and middle values to the face, nose, lips, and mouth.

ADDING THE FINAL DETAILS: I use 2H and HB pencils to graduate light values downward and outward from the neck.

You will find no step-by-step directions in this article. Rather, find yourself a comfy seat and read, until you get to the very end that is; at this point, you receive a drawing challenge!

13 PAGES – 33 ILLUSTRATIONS Recommended for artists with advanced drawing skills, as well as home

schooling, academic and recreational fine art educators

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – January, 2007


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

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PLANNING THE PROJECT This section discusses proposed modifications to the reference photo. If you decide to work along with me, but from your own photo, make sure you choose a large one with clear and in focus facial features.

Figure 01: The adorable little Miss Claire

This photo was taken of my beautiful 18-month-old niece, Claire by my sister-in-law, Francine.

I prefer to make modifications to a photo in the planning stages, before I actually start to draw. After playing with the photo for a few minutes, I decide that the composition is more expressive and aesthetically pleasing with her head tilted more toward the left.

Figure 02: Claire’s facial expression is enhanced by simply tilting the photo.

After experimenting with compositional options by placing a viewfinder frame on my photo, I finally decide to go with a portrait format rather than a landscape.

At this point, I like everything about the composition except the angle of the neck and shoulders. I decide to draw the neck and shoulders from the original (not the tilted) photo.

Figure 03: A vertical (also called portrait) format is chosen.

I used Photoshop to copy and paste the neck and shoulders from the first photo Photoshop onto the tilted photo. I added a stronger shadow behind her neck and shoulder to better see the outline. After a few touches with the eraser and rubber stamp tools, I have my final composition. Finally, I auto adjust the colors, and then change the file to grayscale, so as to better see the values.

Figure 04: The reference photo is modified to enhance composition, and then changed to grayscale.






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SETTING UP PROPORTIONS AND VALUES In this part, my primary goal is to render a rough sketch of the overall proportions, and establish a small section of the drawing with a full range of values from very light to the darkest dark. My paper is more of a cream color than white, so I rendered the scans in color rather than grayscale.

First, I do a rough sketch, just so I know how much space the drawing takes up on my paper. My sketch was darkened in Photoshop so you can see the lines, which in fact are very faint.

Figure 05: Claire’s proportions are very lightly sketched with a 2H pencil.

Then, I sketch the outlines of the various parts of the eye on the right, and the highlight with a 2H pencil.

Figure 06: An eye is neatly outlined.

Shading is added to the eye. Light values are rendered with a 2H pencil; middle values, such as those used for the iris, eyelashes, and upper eyelid crease, are created with an HB and 2B; and the pupil is shaded with a 6B. The eyelashes are rendered by using curved hatching lines of various thicknesses and lengths. Note that they appear thicker closer to the eyelids.

Figures 07 and 08: An assortment of pencils from 2H to 6B, help create a full range of values.






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I plan to use squirkling for the shading of the hat, face, and neck, hatching for her hair, and crosshatching for the tiny section of the dress that is visible.

When drawing young children, I prefer to use mostly light and middle values for their faces and features, with the exception of the focal points, the eyes.

Figure 09: Light values identify the forms of the face around the eye.

CREATE TEXTURES WITH SHADING I’m now ready to plan my shading strategy and get started on the really fun stuff! In this part, I work on various components of the drawing to establish diverse textures appropriate for each.

The hat’s bumpy texture is easily created with loosely rendered squirkle graduations. I begin with the top section and work my way downward.

Figures 10: Light and middle values are added to the hat with 2H and HB pencils.

I continue the shading and outline the embroidered flowers on the front of the hat. The hat’s texture is enhanced by adding numerous C-shapes throughout the fabric (see the close-up in Figure 12 on the next page).

Figure 11: Three flowers are outlined, and darker shading is added to the left with HB and 2B pencils.






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The C-shapes are lighter in value wherever the base shading is light. Conversely, the C-shapes are more plentiful and very dark in the darkest shadow sections.

Figure 12: The wonderful texture of the hat is created with squirkles and tiny C-shapes.

Claire’s second eye is rendered in much the same way as the other.

Figure 13: The shading for the other eye is completed.

I outline a few strands of hair and add a dark shadow on her forehead, under the brim of her hat. The texture of the eyebrows is created with short curved hatching lines. Finely rendered squirkles define the facial forms around the eye.

Figure 14: The visible sections of her face and hair are shaded with a full range of values.

The shadow side of her cheek and nose are shaded with HB and 2B pencils. To keep her face looking soft in the shadow sections, I use mostly light and middle values; dark values are added very sparingly (Refer to Figure 15 on the next page).






6

The forms of her face on the left are enhanced with dark shading.

A thin section of light shading represents the reflected light along the edge of her face.

Figure 15: A foundation of shading has identified several facial forms.

Hatching lines are perfect for capturing the texture of an embroidered satin stitch.

Figure 16: Directional guidelines create a shading map for the flowers.

An HB pencil and hatching help bring out the texture and forms of the flowers.

Figure 17: Hatching lines provide the illusion of a hand stitched design of flowers.






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Crosshatching graduations work beautifully for creating the textures of numerous fabrics.

Figure 18: Crosshatching and 2H and HB pencils provide texture to the shoulder section of Claire’s sundress.

COMPLETING THE HAT With all the shading techniques identified for the diverse textures, I now work from the top downward to complete each section of the drawing, beginning with the hat. Squirkling combines with C-shapes for shading the hat.

The hatching of the embroidered flowers provides a distinctive contrast in textures.

Figure 19: The main section of the hat is complete.

The brim of the hat needs to illustrate the soft folds and bends of the fabric.

The shadow sections are darker than in the photo. My goal is to capture a more natural lighting than that of a flash on a camera.

Figure 20: The darkest shadows on the hat are under the brim on the left.






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Figure 21: An overview of the various values and textures used throughout the drawing.

At first glance, the stitching appears rather large for the hat; however, keep in mind that the hat is on the tiny head of a baby.

Figure 22: The brim of the hat on the left is made up of mostly middle and dark values.

Figure 23: A shading map is sketched for the complex section on the right that has her ear and fine strands of hair overlapping the hat.






9

Figure 24: Dark va lues are used for the shadows of the sections of hair and hat, under the brim on the right.

Figure 25: The center section of the brim is rendered with mostly light values.

The shading of the hat is completed with 2H, HB, 2B, and 4B pencils.

Figure 26: A full range of values, from very light to almost black, create the illusion of a three-dimensional hat.

DRAWING HER HAIR AND EAR In this section, I use a full range of values to render her ear and the hair below the brim of the hat.

Shadows on the center sections of her forehead, are not as wide or dark as the shadows on the sides.

Figure 27: The strands of hair on her forehead are lightly sketched.






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The ear on the right is shaded softly with 2H and HB pencils, so as to not take attention away from the eyes.

Figure 28: Curved lines complete the hair and squirkling brings out the forms of the ear.

CREATING THE FORMS OF THE FACE AND FEATURES In this section, I use 2H, HB, and 2B pencils to add mostly light and middle values to the face, nose, lips, and mouth.

Figure 29: Shading accentuates the three-dimensional forms of the lower sections of the face.

I completely erased the outlines around the lips and teeth before added shading. The two front teeth are very light in value.

Figure 30: A rim of light values around her mouth, especially on the right, accentuates the forms of the mouth and lips.






11

Before I continued on to her dress and upper body, I took several breaks, coming back after each and making tiny adjustments to sections that didn’t look quite right.

For example, I made the lower edge of her cheek on the left smaller, touched up the mouth on the left, and softened the shading of the outer corners of the eyes.

Figure 31: A few touch-ups are added to the face, and shading creates the cast shadows under her chin. Light values create a foundation for shading the forms of her upper body.

ADDING THE FINAL DETAILS In this section, I use 2H and HB pencils to graduate light values downward and outward from the neck. Very little shading is added to her dress and upper body; rather, graduations of light values allow these sections to fade gently into the cream-colored paper.

Figure 32: Gradations of light values gently fade away into the nothingness of the paper.






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Figure 33: I check over my drawing carefully, erase a few smudges, and touch up a few small sections of shading.

CHALLENGE One of the most common problems with beginner portraits is created when the lower section of the portrait comes to an abrupt stop, rather than graduated into the nothingness of the paper. This abrupt stop often creates a visual line that takes attention away from more important aspects of the drawing.

CHALLENGE: Render a head and shoulders portrait from a photograph, using the technique of fading out the edges of the lower sections (introduced in this lesson).






13

BBrreennddaa HHooddddiinnootttt As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints.

My philosophy on teaching ar t is to f ocus pr imari ly on the enjoyment aspects while gently introducing the technical and

academic. Hence, in creat ing a passion f or the subject matter , the quest f or knowledge also becomes enjoyable.

>Brenda Hoddinott<

BIOGRAPHY



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 Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is

available on various websites and in major bookstores internationally.






VIEW OF AN

Brenda Hoddinott

U-04 ADVANCED: FACES & FIGURES In this project you explore the basic shapes of a shoulder, arm, and hand, and then add graduated shading with hatching and crosshatching to illustrate their three dimensional forms.

Skills incorporated into this lesson include: identifying accurate proportions, drawing with contour lines, and adding graduated values with hatching and crosshatching.

This project is divided into two sections:

OUTLINING SHAPES: You visually identify and sketch the exterior shapes and forms of a shoulder, arm, and hand, as defined by bones, fat, and muscles.

DEFINING FORMS WITH SHADING: You identify where the highlights and the light and dark values are located, and use hatching and crosshatching to realistically illustrate the various forms.

Suggested supplies include 2H, HB, 2B, 4B and 6B pencils, vinyl and kneaded erasers, pencil sharpener, sandpaper block, and good quality drawing paper, such as smooth hot-pressed watercolor paper.

9 PAGES - 17 ILLUSTRATIONS This lesson is recommended for artists with advanced drawing skills and considerable

experience with hatching and crosshatching. The curriculum of this lesson is easily implemented into instructional programs for home schooling, academic and recreational

learning environments.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007

Copyright to al l art icles, 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 wri t ten permission of Brenda Hoddinott .

E-mail bhoddinott@hoddinott .com Web si tes http:/ /www.f inearteducat ion.com and ht tp:/ /www.drawspace.com

2

FIGURE 4-02 FIGURE 4-01

OUTLINING SHAPES Every artist who aspires to include people in his or her drawings needs to become proficient in drawing the various components of human anatomy.

Arms come in many shapes and sizes, from the short chubby arms of a tiny infant to the long, well-defined, muscular arms of an athletic adult. This lesson focuses on the arm of an adult male with highly defined anatomical forms.

1) Use a ruler to outline a long thin rectangular drawing space, 2 by 8 inches.

2) Add three horizontal lines to divide the rectangle into four squares, 2 by 2 inches.

3) Lightly sketch the outlines of the individual shapes of the shoulder in the first square. Refer to Figure 4-01. Visually measure the proportions, how large or small some parts are when compared to others.

4) Outline the upper arm in the second square. Refer to Figure 4-02.

5) Add a line to mark the edge of the tiny section of the body on the right.






3


FIGURE 4-05

6) Add the outline of the lower section of the arm. Refer to Figure 4-03. Most of the lower section of the arm falls within the third square.

7) Outline the main section of the hand in the fourth square. Refer to Figure 4-04.

8) Add the thumb and fingers. Refer to Figure 4-05.

9) Sketch an oval-shape to mark the location of the form of the side of the hand.

10) Erase the horizontal grid lines (Refer to Figure 4-06).

11) Lighten all your sketch lines with your kneaded eraser, until they are very faint.






4


FIGURE 4-08

12) Neatly outline the shape of the arm and its various forms in more detail. Refer to Figures 4-06 to 4-10. Use the rough sketch only as a guideline. Very few of the sketch lines will be the same as this outline.

The shapes inside the outlines of the arm mark the locations of the forms of muscles and bones.

As you draw, examine the:

lengths of the lines

various directions in which the lines curve

proportions of the various parts to one another

At this point you can either leave the rough sketch lines visible, or you can carefully erase them.






5

FIGURE 4-11 FIGURE 4-09 FIGURE 4-10

13) Lighten your lines again with your kneaded eraser, as in Figure 4-11.






6

FIGURE 4-12

FIGURE 4-13

Practice drawing shoulders, arms, and hands from real life every chance you can.

If your friends and family begin running away when you approach them with your drawing supplies, you can always draw your own.

Set up your drawing materials in front of a large mirror, and draw your shoulders, arm, and hand from various angles.

DEFINING FORMS WITH SHADING You need to be able to visually identify the exterior shapes and forms of a shoulder, arm, and hand, as defined by bones, fat, and muscles before you can draw them realistically.

14) Use hatching lines and 2H and HB pencils to shade the light and medium values of the shoulder, arm, and hand. Before you begin, examine Figures 4-12 and 4-13, and visually locate the highlights (left the white of the paper), and the light and medium values.

Take note of how progressions of graduated values from dark to light or from light to dark realistically illustrate the various forms.






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FIGURE 4-15

FIGURE 4-14

By emphasizing the more complicated parts of a human body that characterize movement, (such as the elbow and wrist) with detailed, high contrast shading, they become important points of interest.

15) Use crosshatching and 2B and 4B pencils to build up the darker values to further accentuate the forms. Crosshatching lines beautifully illustrate anatomical forms. Refer to Figures 4-14, 4-15, and 4-16.

I’ve added dark lines around the edges of the shoulder, arm, and hand to exaggerate their shapes. Naturally there are no such outlines in real life, so feel free to leave them out.






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16) Take a few minutes to compare your drawing to mine (Figures 4-16 and 4-17), fix any areas that you’re not happy with, and sign your name!

CHALLENGE Becoming familiar with how individual parts of bodies connect to one another helps you draw the human figure more realistically. Drawing from life is the best possible way to develop strong skills in this integral aspect of human anatomy.

Find a willing model to pose for you or set up your drawing materials in front of a mirror and use yourself as a model. First of all, draw the shoulder and upper arm paying special attention to the sections where they seem to join. Next do a drawing of the elbow showing how it connects the upper and lower arm. Finally, sketch a hand and lower arm, with a focus on the wrist, which connects the arm to the hand.

Don’t worry if your drawings look all wrong at first. Just do your best and in time, you will get better! There are only three ways to improve your drawing skills… Practice, practice and more practice!






9

Brenda Hoddinott As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda 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

Biography 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”.



Learn-to-draw books Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally.






Brenda Hoddinott

U-05 ADVANCED: FACES & FIGURES Every artist who aspires to include people in his or her drawings needs to become proficient in drawing the various components of human anatomy. In this project you explore the basic shapes of a leg and foot and then add graduated shading with hatching and crosshatching to illustrate the three dimensional forms.

Skills incorporated into this lesson include: identifying accurate proportions, drawing with contour lines, planning shading strategies, adding graduated values with hatching and crosshatching, and applying foreshortening as a component of perspective.


OUTLINING SHAPES: You visually identify the exterior shapes and forms of legs and feet, as defined by bones, fat, and muscles.

DEFINING THE FORMS OF THE LEG AND FOOT WITH SHADING: You identify where the highlights and the light and dark values are located, based on a dominant light source from the right. You use hatching and crosshatching to realistically illustrate the various forms.

Suggested supplies include 2H, HB, 2B, 4B and 6B pencils, vinyl and kneaded erasers, good quality drawing paper such as smooth hot-pressed watercolor paper.

7 PAGES - 12 ILLUSTRATIONS This project is recommended for artists, from age 12 to adult, with advanced drawing

skills, as well as home schooling, academic and recreational fine art educators.

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



- 2 -

OUTLINING SHAPES You need to be able to visually identify the exterior shapes and forms of legs and feet, as defined by bones, fat, and muscles before you can draw them realistically.

Legs come in many shapes and sizes, from the short chubby legs of a tiny infant to the long, well-defined, muscular legs of an athletic adult.

Grab your drawing materials and follow along with me to draw a leg and foot. Thank you to my son, Ben, for allowing me to borrow one of his legs.

1) Lightly sketch the outline of the individual shapes of the leg and foot. Observe the basic shape of the entire subject and look for the shapes of its various parts. Visually measure proportions, how large or small some parts are as compared to others. The various parts of the leg include:

The upper leg is a large elongated oval-shape.

A circle encloses the shape of the knee.

A smaller long oval defines the shape of the lower leg.

The ankle is a very small oval shape.

A triangle marks the shape of the foot. Note that this triangle is lower on the right.

2) Lighten your sketch lines with your kneaded eraser, until they are very faint.






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3) Lightly sketch the outline of the shape of the leg. Use the rough sketch as a guideline.

Take note of the:

lengths of the lines

directions in which the various lines curve

relationships between the lines

proportions of the various parts to one another

At this point you can either leave the rough sketch lines visible, or you can carefully erase them.

When you draw a flower or a tree, if the proportions are off, it really doesn’t matter. Not so with a drawing of a leg and foot. If your proportions are wrong, your drawing just won’t look right no matter how wonderful your shading is.

Drawing from life is the best possible way to develop an understanding of anatomy. It’s important to become familiar with how individual parts of bodies connect to one another.

Once you know how to draw the basic shapes and proportions, you can easily transfer this information into drawing from photos or instructional drawings.






- 4 -

Practice drawing legs and feet from real

life every chance you can. If your friends and family

begin running away when you approach them with your

drawing supplies, you can always draw your own legs

and feet. Take off your shoes and you find two

wonderful foot models. You can even set up your

drawing materials in front of a large mirror, and draw

your legs from various angles.

4) Lighten your lines again with your kneaded eraser and redraw your outline adding more detailed information.

5) Very lightly sketch the shapes inside the outline that identify some of the forms to be defined with shading.

6) Take your time and draw the details of the foot and ankle.

Logic dictates that a human foot is actually longer than it appears in this drawing. However, keep in mind that this foot is being viewed from an extreme frontal perspective.

You use a rule of perspective, called foreshortening to indicate the shape of a foot realistically when viewed from this angle.

Foreshortening is the process in which perspective creates the illusion that a figure is shorter when viewed from an extreme angle. The foreshortened qualities of parts of bodies, such as legs and arms, become more noticeable when viewed from an end.

Don’t worry if your drawings of hands and

feet look all wrong at first. Just do your best and in time,

you will get better! Feet (and hands) are the most

difficult parts of the human body to draw. Yes, even

harder than a face!






- 5 -

DEFINING THE FORMS OF THE LEG AND FOOT WITH SHADING In this drawing, the dominant light source is from the right, so the shading on the left is darker. Before you begin, visually identify where the highlights and the light and dark values are located.

Remember there is no right or wrong way

to draw. I like outlining with detailed lines and then

adding shading, but what’s right for me may not be right

for you. Take time to experiment with different ways of

drawing, until you find the styles you are most

comfortable with.

7) Use hatching lines and 2H and HB pencils to shade the light and medium values of the leg and foot.

Take note of how progressions of graduated values from dark to light or from light to dark realistically illustrate the various forms.






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8) Use crosshatching and 2B and 4B pencils to build up the values to further accentuate the forms of the foot.

9) Use 2B and 4B pencils to build up the crosshatching values to emphasize the forms of the various sections of the leg. Crosshatching lines beautifully illustrate anatomical forms.

By emphasizing the more complicated components, which characterize movement, such as his knee, ankle and foot, they become important points of interest in this drawing.

I use a lot of contrast between light and dark values to help make the forms of the leg and foot stand out.

10) Use parallel horizontal hatching lines to indicate the cast shadow.






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Sign your name, put today’s date on the back, put a smile on your

face, and go find another exciting drawing project!


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. Drawing for Dummies is now available in Dutch, Bulgarian, Spanish, French, and German.






U-06 ADVANCED: FACES & FIGURES A basic knowledge of the physical aging processes allows you to accurately draw people of various ages. The age regression and progression techniques, discussed in this heavily illustrated article, can be invaluable for accurately portraying or modifying the ages of portrait subjects.

This article is divided into the following four major sections:

FROM NEWBORN TO TODDLER: During the first two years of life, a human face changes more drastically than at any other stage of development.

FROM PRESCHOOLER TO ADOLESCENCE: As preschoolers grow toward adolescence, numerous facial changes occur. Simply stated, children have small faces with disproportionately large eyes.

FROM TEEN TO MATURE ADULT: An individual’s mouth, jaw, cheekbones, and chin become well defined by the understructures of the face during the teen years. The facial bone structure is fully developed by age thirty, and changes very little from this time onward.

FROM MATURITY THROUGH OLD AGE: A mature person’s face simply cannot be realistically rendered, with only a naïve bunch of lines to represent wrinkles. The three-dimensional exterior forms that identify the physical aging process need to be accurately rendered specific to each unique individual.

Human faces age in natural and predictable stages; yet, it’s darn near impossible to accurately determine how a specific individual will look at a precise numerical age. For this reason, age regression and progression techniques, are generally considered an art, rather than a science.

This article is designed for artists of all ages, who have an interest in drawing people, and is also recommended for home schooling, academic and recreational fine art educators.

18 PAGES - 47 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada (2006)


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

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INTRODUCTION ILLUSTRATION 06-01 In this article, I discuss and illustrate the transformation of my friend Rob’s face, as it travels through time from infancy to old age. Detailed drawings show the visual facets that generally apply to each key phase of the human aging process.

All drawings are based on the photo in Illustration 06-01. However, you will notice that the faces in the drawings appear to be angled a little more toward the viewer so as to be less in profile.

The physical aging process is unique to each individual, influenced by such factors as gender, genetics, lifestyle, and ethnicity. Consequently, a person’s physical age can look different than his or her numerical age. For example, a thirty-year-old can look twenty-five, and a forty-year-old can look fifty-five. Examine this drawing of the sequential aging process of Rob from birth through old age.

ILLUSTRATION 06-02






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FROM NEWBORN TO TODDLER During the first two years of life, a human face changes more drastically than at any other stage of development. Generally speaking, babies from infant to toddler share the following visual characteristics (to varying degrees): ILLUSTRATION 06-03 ILLUSTRATION 06-04 ILLUSTRATION 06-05

large forehead, ears, and eyes upturned nose chubby cheeks and lower face small underdeveloped chin protruding upper lip tiny neck

NEWBORN The heads of newborns are only about 5 inches long. However, their heads are proportionately huge (more than one-quarter of their height) as compared to their tiny bodies.


An infant’s hair is very fine and silky (unless of course he/she is bald!). The hairline begins far back on the forehead, and soft downy fuzz often extends onto the sides of the forehead.

Quite often, the nose and ears look a little too big for the tiny face.






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ILLUSTRATION 06-08

The upper lip has a tendency to protrude almost to the tip of the nose. The mouth is often open a little, except when he/she is hungry; then it’s open a lot!

The eyes appear to be mostly iris with very little of the whites visible, and are often partially closed due to a sensitivity to bright lights. A newborn’s eyelids are sometimes pronounced, making the eyes look puffy.

ILLUSTRATION 06-09

TOWARD THE SECOND YEAR By the time a child reaches his/her first birthday, the eyes are fully developed, and the irises are surprisingly large.

The face is a little chubbier, especially around the cheeks, neck, and chin. The chin appears a little larger as the lower jaw grows to accommodate a few teeth. Eyelashes and hair (if there is any) become a little longer and thicker.

The nose and ears look proportionately smaller than those of a newborn, because the face has caught up in size. The neck is stronger and longer (refer to the drawing on the next page).






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ILLUSTRATION 06-10 ILLUSTRATION 06-11 A one-year-old child’s head is approximately 6 inches in length and is growing more slowly than the body.

The head is now less than one-quarter of the child’s total height.

TODDLER The body of a toddler continues to grow more quickly than his/her head. Between two and three the length of the head is approximately one-fifth of his/her total height.


A toddler’s cranial mass is approximately two and half times larger than the facial mass. Yet, the overall facial proportions are still similar to those of younger babies (see the close-up on the next page).






- 6 -

ILLUSTRATION 06-14

Between two and three, the hair becomes thicker and the hairline grows forward onto the forehead.

Toddler’s jaws and chins have grown larger to make space for a few small teeth. He/she is beginning to look more like a child than an infant. Yet, the cheeks are still full and rounded, and the chin is proportionately small.

As a child approaches three, the baby fat on the face becomes a little firmer, especially around the mouth. The eyebrows begin to fill in and tend to be a little darker, eyelashes appear longer, and more of the whites of the eyes become visible around the irises.

FROM PRESCHOOLER TO ADOLESCENCE As preschoolers grow toward adolescence, the following changes occur: more of the whites of the eyes is visible; the eyes, nose, and mouth appear lower on the face; individual features grow proportionately larger; the nose becomes longer and is less upturned; and the baby fat on the lower sections of the face becomes more firm.

Most artists agree that special attention to the size and placement of the eyes is the key to accurately depicting the age of a child. Basically, children have small faces with disproportionately large eyes. As a matter of fact, most artists (including me) draw babies’ and children’s eyes a little larger than they actually are, to further accentuate their youth.

ILLUSTRATION 06-15 ILLUSTRATION 06-16 ILLUSTRATION 06-17 ILLUSTRATION 06-18






- 7 -

ILLUSTRATION 06-19

PRESCHOOLER Preschoolers begin to look a lot less like babies and take on more distinctive facial attributes.

The nose has grown a little longer and is less upturned; the jaw is still rounded, but is slightly larger; the chin is more developed and pronounced; the mouth and lips are firmer and more expressive; and the baby fat on the neck and under the chin is less distinct.

Irises of eyes grow very little after the age of three. Hence, even though preschoolers’ faces have grown considerably, their little faces still have disproportionately large irises. As their faces begin to take on the facial proportions of adults, their eyes better fit their faces.


Compare the face of the four-year old (on the left) to that of the seven-year old (on the right), and try and identify the changes that occurred.

SCHOOL AGE By the time a child becomes six, he/she may begin to object to being referred to as a baby.

His or her eyes are almost as large as an adult’s, and the eyebrows are more defined.

Along with the continued growth of the face, comes a longer nose, more pronounced chin, and a larger mouth area.






- 8 -

ILLUSTRATION 06-22

The jaw grows larger, and is showing the first signs of becoming angular. The baby teeth have lots of room in the mouth for now, but it won’t be long before the tooth fairy is employed to collect those that are falling out.

While the neck is a little longer, soft baby fat is still hiding under the chin. Also, the hair is thicker and less fine.

DOUBLE DIGITS Between ten and twelve, a child closely resembles how he/she will look as an adult (illustration 06-23). His/her face continues to grow downward; subsequently, the eyes appear proportionately higher on the face. The nose and chin also grow longer, and the mouth is lower on the face.

ILLUSTRATION 06-23

The eyes of older children still occupy more space on their faces than those of adults. The jaw line is soft, gently curved, and still somewhat pudgy. However, the forms of bones and muscles are beginning to emerge from under the baby fat.

To make sure a drawing of an older child still looks like a child, you need to exaggerate the following:

The brow ridge is very softly rounded.

A section of the eyes is below the halfway point of the total height of the head.

The nose is smaller than an adult’s, and often curves gently.

The chin and jaw are rounded, and not yet fully developed.






- 9 -


Compare the face of a ten-year old child (on the left) to that of a twelve-year old.

ADOLESCENCE A preteen’s facial forms are much more clearly defined, and his/her eyes more closely resemble those of adults.

However, many of the structures of the bones and muscles are still hiding under a thin layer of baby fat.

ILLUSTRATION 06-26

The jaw and chin will continue to develop for a few more years. A few thin hairs (peach fuzz) may show up on the upper lip and chin of male children.

FROM TEEN TO MATURE ADULT During the teen years, the understructures of the face, especially the mouth, jaw, cheekbones, and chin become more clearly defined.

As a young man matures, his neck becomes thicker and more muscular.






- 10 -

ILLUSTRATION 06-27 ILLUSTRATION 06-28 ILLUSTRATION 06-29

The bone structure of the face is fully developed by age thirty, and changes very little from this time onward.

Young women’s facial forms tend to be rounder and softer than men’s, due to the presence of a little more fatty tissue. The curve under the brow ridge of a young man’s face, is more angular than that of a female, creating the illusion that his eyes are smaller and more deeply set.

ILLUSTRATION 06-30 EARLY TEENS A young teenager’s nose tip is still rounded, like a younger child, but the baby fat is almost gone. The independent forms of the facial muscles, cheekbones, and jawbone become increasingly noticeable. The eyes are less rounded, and take on the more elongated proportions of an adult.

ILLUSTRATION 06-31






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ILLUSTRATION 06-32 YOUNG ADULT During the late teens, a young man’s facial muscles become firmer and create more independent facial forms. Cranial and facial bone structures become more distinct especially the brow ridge. The tip and bridge of the nose are firm and well defined. The overall facial proportions, and ratio of facial mass to cranial mass, become that of an adult.

Even though some men never grow much facial hair, many men in their twenties are already getting tired of shaving.

ILLUSTRATION 06-33

During this stage of development, young men’s Adam’s apples are fully developed and their necks appear a little heavier.

In addition, the brow ridge is more angular; the bridge of the nose is fully developed; the mouth appears lower on the face and becomes wider; and the chin and jaw become more prominent.

The cheekbones of a young adult female tend to be more defined than her jawbone, which is generally smaller than that of a male.

As men and women approach thirty, their weight can contribute significantly to their visual age. A heavy person tends to have more fatty tissue on the cheeks and under the jaw. Extremely thin people, exhibit more age lines and wrinkles.






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ILLUSTRATION 06-34

MATURE ADULT The mouth, jaw, cheekbones, and chin, as defined by the facial understructures, are fully developed by age thirty.

A man’s neck generally becomes thicker and more muscular as he approaches maturity. Women’s facial forms have a little more fatty tissue, and consequently tend to be rounder and softer.

ILLUSTRATION 06-35

The curve under the brow ridge of a man’s face is more angular than that of a female. Hence, a male’s eyes generally appear smaller and more deeply set.

With the onset of maturity, the following signs of aging begin:

Delicate lines appear on the forehead, and around the eyes and mouth.

The forms of the face begin to show the first signs of moving downward.

Skin begins to lose its elasticity and becomes slightly thinner.

Bulges begin to appear under the lower eyelids.

However, the eyebrows, lips, and chin stay much the same for another decade or so.






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FROM MATURITY THROUGH OLD AGE First of all, what causes the visual characteristics of physical aging? The answers may be inevitable, but not surprising. Constant facial movements such as chewing, talking, smiling, and frowning naturally advance the aging process. The skin becomes progressively thinner and loses elasticity. The facial muscles become gradually more flaccid. Also, the consequences of stress, unhealthy life styles, and psychological turmoil can accelerate the aging process. And, if that’s not enough, the aging process is even further accelerated by gravity.

A mature person’s face simply cannot be realistically rendered, with only a naïve bunch of lines to represent wrinkles. A wrinkle is formed when the skin begins to lose its elasticity, becomes thinner, and loses fat. While these biological changes are taking place, gravity plays a role in the aging process by pulling the skin, tissue, and muscles downward. Consequently, the three-dimensional exterior forms that identify the physical aging process need to be accurately rendered specific to each unique individual.

As time takes its toll, the jawbone becomes less noticeable, as the skin at the sides of the mouth, chin, and jaw, droops down toward the neck. The understructures of the forehead, brow ridge, and cheekbones create increasingly distinctive independent forms. Hair becomes thinner, and for some individuals (more men than women), significant hair loss creates baldness. Additional hair begins growing in such areas as the eyebrows, nose, and ears. Females may discover new hair growth on their upper lips and chins.

The bone tissue of the upper jaw decreases, creating the illusion of a more prominent lower jaw; the neck is soft with wrinkles on the sides, and the bulge at the back of the neck becomes more noticeable. The forms of the cheeks stretch and sag downward, and the lips become thinner. The nose and ears change shape, and appear to grow larger, and the understructures of the nose are more pronounced, and the nose tip appears longer.

The skin above and around the eyes droops downward, and the eyes become deeper set within the eye sockets; subsequently, the bones around the eye cavities are more pronounced. Crow’s feet form deep wrinkles around the eyes, and the bulges and pouches under the eyes are more obvious. ILLUSTRATION 06-36 ILLUSTRATION 06-37 ILLUSTRATION 06-38 Rendering drawings of older individuals requires patience, careful examination of the subject, and an understanding of the anatomical processes of aging.

TOWARD MIDDLE AGE The aging process seems to accelerate after fifty (refer to the drawings on the following page). Wrinkles around the eyes (crow’s feet) and the corners of the mouth, and on the forehead become more pronounced.






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ILLUSTRATION 06-39

ILLUSTRATION 06-40

The facial bone structures become more obvious, especially around the eye sockets. The flesh around and under the jaw area becomes softer and begins to sag. Hair often becomes a little thinner overall, possibly even receding slightly at the temples. Gray hairs may appear.

ILLUSTRATION 06-41






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ILLUSTRATION 06-42

SENIOR As men and women move into their retirement years, the transformation of various facial forms continues.

ILLUSTRATION 06-43

A slight fleshy bulge may appear at the back of the neck, along with a few additional wrinkles. The hairlines of men (and some women) recede at the front, top, and/or temples and the hair may be graying and thinning.

ILLUSTRATION 06-44

The curve under the brow ridge between the eyes is deeper and the under structure of the nose is more clearly defined.






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ILLUSTRATION 06-45 ELDER Even though the body (and often the mind), are weakening, reaching old age is in many ways, still considered a blessing. A lifetime of good and bad times, accomplishments and unfulfilled dreams, the friends and family who remain, and very precious memories of loved ones lost, etch their own artworks into the faces of our elders.

Many older individuals have soft, silky white hair, and as their hairlines continue to recede, men (and some women) appear to exhibit a lot more face. The hair on their heads becomes thinner and finer, and eyebrow, nasal, and ear hairs become increasingly noticeable or even out-and-out unruly.

A lot of fat has disappeared, and the understructures of the face and skull become very noticeable. Subsequently, the cheeks often appear hollowed or sunken.

Women, and some men, develop pronounced vertical wrinkles around their mouths.

ILLUSTRATION 06-46

Deeper folds, pouches, and wrinkles appear throughout the facial and neck areas, especially around the eyes. The eyes often seem lighter in color and less bright.

The overall posture may change drastically as the shoulders become more rounded (refer to the drawing on the next page); hence, the head seems to tilt back on the neck, especially when seated.






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ILLUSTRATION 06-47

Remember, even though human faces change throughout their lives in natural and predictable stages, it’s darn near impossible to accurately

determine how an individual will look at a specific numerical age. For this reason, age regression and progression techniques, are generally

considered an art, rather than a science.






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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<



Fine Art Education http://www.finearteducation.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.

ART PUBLICATIONS 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.





Brenda Hoddinott

U07 ADVANCED: FACES & FIGURES In this lesson, you draw the three-dimensional forms of a clothed, female figure, by first outlining with detailed lines, and then adding shading with crosshatching. Meet Claudette, an incredibly creative artist in both visual and literary arts! She kindly agreed to model for the photo on which this drawing is based.

Find your drawing supplies and draw along with me as I take you step-by-step through the following three sections:

• SKETCHING PROPORTIONS: This project doesn’t come with an actual model (sorry), so you will set up proportions by examining my sketches and drawings.

• REFINING THE SKETCH: You refine your rough sketch by adding more details, such as the outlines of some of the forms of the body, facial features, hair, hands, and feet.

• ADDING SHADING: The most important phase of drawing is seeing. When you can identify the values in your subject, you have a working plan to follow as you do your shading. Two light sources identify the light and shadow areas on the figures forms.

Suggested supplies include 2H, HB, 2B, 4B and 6B pencils, vinyl and kneaded erasers, a pencil sharpener, a sandpaper block, and good quality drawing paper.

14 PAGES - 40 ILLUSTRATIONS This lesson is recommended for artists with good drawing skills, especially graduated hatching and crosshatching techniques. The curriculum is easily implemented into instructional programs for home schooling, academic and

recreational learning environments.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2002 (Revised 2007)

Copyright to al l art ic les, 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 wri t ten permission of Brenda Hoddinott .


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Remember… There is no right or wrong way to draw. I prefer to outline with detailed lines before adding shading; but what’s right for me may not be right for you. You can draw a figure in oodles of different ways, such as: using mostly shading to define the various forms; using only lines (contour drawing); or focusing on only one specific area of interest on the figure rather than drawing the entire body. Take time to experiment with different techniques and styles of drawing, until you find those with which you are most comfortable.

Figure 7-01

SKETCHING PROPORTIONS This project doesn’t come with an actual model (sorry), so you will be working from my sketches and drawings. My drawing is quite small (only 8” high). If I had the drawing to do over, I would render it much larger. Larger formats allow room for more anatomically correct details.

I added a grid to help guide you through the important phase of setting up proportions. Of course, you also have the option of drawing freehand without a grid; simply ignore all instructional references to a grid.

By the way, when you work from an actual model, using a grid simply isn’t an option. If models see you about to draw lines all over them with a thick black marker, they may run for the hills!

1) Very lightly draw a simple grid of six squares, two across by three down. The size of each square determines the size of your drawing. Consider the following: • 3 inch squares – 6 by 9 inch drawing • 4 inch squares – 8 by 12 inch drawing • 5 inch squares – 10 by 15 inch drawing

2) Draw a light sketch of the figure using the grid squares as guidelines. Refer to Figures 7-01 to 7-06. Use an HB pencil, and keep your sketch lines light, so you can erase them later.

I consider this to be the most important step. When you draw a flower or a tree, if the proportions are off, it really doesn’t matter. Not so with a figure; if your proportions are wrong, your drawing just won’t look right no matter how wonderful your shading is.

As you work your way through this section, take note that her:

• Left shoulder is lower than her right. • Head is tilted downwards and a little

to the left. • Hands and the lower section of her

right leg and foot are drawn slightly larger, disproportionate to the rest of her body, because they are closer.






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Remember… You will be able to draw the three-dimensional forms of a human body more accurately, when you have carefully observed and done drawings of real-life people, from several different perspectives.

Remember… Draw people, either clothed or unclothed, every chance you can find. When you can draw people well, you can draw anything!

Figure 7-02

Figure 7-03

Figure 7-04






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Remember… Don’t press too hard with your pencils. Not only do these areas become impossible to touch up, but they also leave dents in your paper. When you try to draw over dents in the paper with a soft pencil (such as a 2B), they show up as light lines, spoiling the overall appearance of your drawing.

Figure 7-05

Figure 7-06

3) Erase your grid lines. Some areas may need to be sketched back in, if they are accidentally erased.

4) Use your kneaded eraser to pat your entire sketch until the lines are very faint.

REFINING THE SKETCH In this section, you refine your rough sketch by adding more details, such as the outlines of some of the forms of the body, facial features, hair, hands, and feet.

5) Follow along with Figures 7-07 to 7-24 to outline the entire figure. Use a freshly sharpened HB pencil. Again, keep your lines very faint. You can either erase your sketch lines as you work, or wait until the outline is complete and then erase them.






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Remember… I use just the weight of the pencil itself to draw my lines. The outlines on my actual drawing are so light that they are barely visible. Consequently, a regular scanned image simply would not show up well enough for you to see the details. Hence, all my outline drawings have been made darker in a photo imaging program so you can see them clearly.

Figure 7-07 Figure 7-08 Figure 7-09


Figure 7-13

Take note that my detailed outlines are not drawn directly over the initial sketch lines. Rather, by constantly examining the photo as I worked, I continuously made adjustments.






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Figure 7-17 Figure 7-18

Hands and feet are the most difficult parts of the human body to draw. Yes, even harder than a face! However, to draw a figure without hands or feet is to miss out on some challenging fun.

Don’t worry if your drawings of hands and feet look all wrong at first. Just do your best and in time, you will get better!

Figure 7-19






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Figure 7-22 Take note of some of the adjustments I made, such as making her left foot a little longer to make more room for her toes.

Also, examine the various very lightly sketched circular shapes on her shoulders, arms and legs. These shapes identify the locations of a few anatomical forms that will need to be accentuated with shading.

Figure 7-23

6) Check over your drawing and erase the original sketch lines. However, make sure you leave the circular shapes.

Refer to Figure 7-24 on the next page.






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Many artists prefer to work from light to dark. By drawing your light values first, you can then layer your medium shading on top of your light shading. This layering creates a nice smooth transition between different values. The darkest values are then built in layers on top of the medium values.

Your various pencils from light to dark can do a lot of the work in drawing values. You only need to decide where to place all your values.

The most important phase of drawing is seeing. When you can identify the values in your subject, you have a working plan to follow as you do your shading.

7) Gently pat your drawing with a kneaded eraser (again) to lighten your outlines. Before you get into the really fun stuff (the shading), you have one last chance to make any drastic changes.

First, take a nice long break, then come back and have a fresh look at your drawing. Make final adjustments to any sections of your line drawing that you aren’t completely happy with.

ADDING SHADING You need to plan your shading strategies before you begin shading.

Examine the completed drawing in Figure 7-25. The shading is rendered according to two light sources. The dominant light source is from the upper left, so the overall shading is darker on the right. A secondary light source from the upper right is focused mostly on her face.

Figure 7-25 The light sources identify the light and shadow areas on the figure’s forms.

Figure 7-24

For example, the white of the paper is used to represent the lightest values, and the darkest shading can be found in the shadow areas. A full range of middle values, fall somewhere in between these two extremes.






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8) Add light and middle values to her face, body, arms, legs, hands, and feet. Add the light shading around the highlight sections first. The highlights should remain the white of your drawing paper. Draw the hatching lines lightly and far apart at first. Then gradually add more lines (closer together and darker), until you achieve the intended values.

Remember to keep a sheet of clean paper under your drawing hand so you don’t smudge your drawing.

9) Use hatching lines of various lengths and values to draw her hair. You need a full range of values from very light (the shiny sections) to almost black (the darkest shadow sections).

10) Add medium and dark shading to her face, body, and clothing with crosshatching. Examine Figures 7-28 to 7-40 closely.

Concentrate on only one illustration at a time. The shading has been broken down into manageable chunks.

You’ll find that a few of your crosshatching lines will occasionally wander into other sections. When this happens, simply erase the stray lines.

Figure 7-26

Figure 7-27






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Visually locate the highlights first, and remember to keep these sections light.

The darkest areas are usually pretty easy to identify; you’ll find them mostly in cast shadows.

Medium values are usually in between the lightest and darkest values.

Transitions between values need to flow gently and smoothly into one another.

Figure 7-29

Figure 7-28

Figure 7-30

Figure 7-31






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Step back from your drawing from time to time and have a look at the overall values.

You may need to make some areas lighter by patting them gently with your kneaded eraser.

You can darken sections by adding a few more hatching and crosshatching lines in between others.



Figure 7-36






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Don’t forget; the primary light source is from the left, so the overall shading needs to be darker on the right. Darken or lighten values as needed.

For example, you may need to adjust the overall contrast by making the darkest shadow sections a little darker, and the highlights brighter (especially if graphite has accidentally smudged into some of the highlights).

11) Use horizontal, parallel hatching lines to draw the cast shadows below the figure. Refer to Figure 7-39.

12) Make final adjustments to areas you aren’t happy with. Refer to Figure 7-40. Step back from your drawing and compare it to mine. Have a look at the overall values.

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

Figure 7-37

Figure 7-39

Figure 7-38






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I have made this illustration of the final drawing larger than my actual drawing, so you can better see the details.

CHALLENGE Do a detailed drawing of a hand and foot – feel free to use yourself as the model.

Then, either choose a high quality photograph of a figure, or find a model (yourself maybe?), and render a highly detailed drawing.

Make sure you include the entire figure – don’t leave out the fingers or toes just because you find them to be a challenge.

Figure 7-40






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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

Biography




Learn-to-draw books

Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally.






Brenda Hoddinott

U-08 ADVANCED: FACES & FIGURES The three-quarter view of Manisha’s face in this drawing is much more fascinating that either a frontal or a profile view.

Three types of graduations lend themselves perfectly to the three dominant textures. Each individual section of her gorgeous curly hair is drawn with a hatching graduation in which curved hatching lines follow its contours. Crosshatching graduations are ideal for shading the smooth skin tones of her face. Squirkling graduations enhance the fuzzy texture of her jacket.

This project is divided into five sections:

SKETCHING PROPORTIONS: Sketching the accurate proportions of Manisha from this angle is quite challenging, but integral to achieving a likeness

REFINING THE FACIAL FEATURES: You use your visual skills to refine your sketch. This isn’t the final outline, only the second of three stages.

RENDERING A MORE DETAILED OUTLINE: You refine your outline and make adjustments and corrections to anything you aren’t completely happy with.

DEFINING FORMS WITH LIGHT VALUES: You lay down a base of light values with hatching to identify the various forms of her face, strands of wavy hair, and fleece jacket.

MEDIUM AND DARK VALUES: A strong contrast in values enhances the forms within this portrait.

Suggested supplies include 2H, HB, 2B, 4B and 6B pencils, vinyl and kneaded erasers, pencil sharpener, sandpaper block, and good quality drawing paper, such as smooth hot-pressed watercolor paper.

14 PAGES - 40 ILLUSTRATIONS This lesson is recommended for artists with advanced drawing skills, especially the shading techniques of

squirkling, hatching and crosshatching. The curriculum of this lesson is easily implemented into instructional programs for home schooling, academic and recreational learning environments.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007



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FIGURE 8-01

FIGURE 8-02

FIGURE 8-03

FIGURE 8-01

SKETCHING PROPORTIONS Sketching the accurate proportions of Manisha from this angle is quite challenging, but integral to achieving a likeness. I chose this perspective because it best shows the three-dimensional forms of a human face.

The key to accurately sketching a face from this angle is to carefully observe the angles of all the shapes and how they relate to one another.

For example, the line that indicates her forehead is vertical, while the one between her cheekbone and chin is at an angle. The lines indicating her features (Figure 8-02) are parallel to one another but at a slight angle, not horizontal.

Before I start my sketch, I set up a drawing format 5 inches wide by 4.5 inches high; my drawing is very tiny. You may prefer to set up a larger drawing space such as 7.5 by 6.75 inches or 10 by 9 inches.

1) Lightly sketch Manisha’s face, hair and clothing (Figure 8-01).

2) Add three diagonal lines to represent the approximate locations of her facial features.

3) Sketch her eyes and nose in their correct positions.

4) Outline her mouth and eyebrows. Refer to Figures 8-04 and 8-05.






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FIGURE 8-06

REFINING THE FACIAL FEATURES In this section, you use your visual skills to refine your sketch. This isn’t the final outline, only the second of three stages; hence, you still need to keep your lines very faint.

5) Lighten your rough sketch lines with your kneaded eraser.

6) Outline the sketch with neater lines that follow the contours of the various shapes of her face, hair, and clothing (as in my sketch). Refer to Figures 8-06 to 8-15.

Press lightly with an HB pencil. Examine the lengths of the new lines and the various directions in which they curve. Pay close attention to intricate details and continually adjust your drawing as necessary.

Do not draw the new lines directly over the old rough sketch lines. Use the rough sketch only as a guideline.






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FIGURE 8-09


FIGURE 8-10

FIGURE 8-12

FIGURE 8-11






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FIGURE 8-16

FIGURE 8-15


7) Erase any guidelines you don’t want in the final drawing. I’ve erased most of the old sketch lines including the ones that indicated the hair. Now I have a neat outline to touch up before I begin shading.

8) Lighten your sketch lines again with your kneaded eraser.

RENDERING A MORE DETAILED OUTLINE This section provides you with an opportunity to refine your drawing and make adjustments and corrections to anything you aren’t completely happy with.

9) Render the final outlines with very thin, neat lines as in Figures 8-16 to 8-22. If you have a 0.3 mechanical pencil with a 2H lead, this is an ideal opportunity to use it. Otherwise, use a 2H pencil and sharpen the point often.






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FIGURE 8-17

FIGURE 8-18

FIGURE 8-19

Many of the outlines in this section are scanned much darker than they actually are, so you can see them more clearly.

The thicknesses of the eyelids are identified in preparation for shading.

Wiggly lines are used for the final outline of her fleece jacket.






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FIGURE 8-21

FIGURE 8-20

FIGURE 8-22

Beginning with Figure 8-21, the values in the scanned images are much closer to those in my actual drawing.

DEFINING FORMS WITH LIGHT VALUES In this section, you lay down a base of light values with hatching to identify the various forms of her face, facial features, strands of wavy hair, and fleece jacket.






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FIGURE 8-24

FIGURE 8-23

FIGURE 8-25

10) Add light values to her hair, face, and clothing. Use 2H and HB pencils and refer to Figures 8-23 to 8-26.

If your lines seem dark, pat them with your kneaded eraser before adding shading.

Diagonal hatching lines work well to bring out her facial forms.

Curved hatching lines enhance the forms of the hair.






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FIGURE 8-26

FIGURE 8-27

FIGURE 8-28

Simple diagonal hatching lines identify the shadow sections of her jacket.

MEDIUM AND DARK VALUES A strong contrast in values enhances the forms within this portrait.

11) Add medium and dark values to her hair, face, and clothing. Refer to Figures 8-27 to 8-40. Use various pencils from HB to 4B.






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FIGURE 8-31

Many sections of a human face, such as the width and length of Manisha’s forehead, require a full range of values to graduate smoothly over a long distance. I used 2H, HB, and 2B pencils for this section of crosshatching.

Freshly sharpened HB, 2B, and 4B pencils, and curved hatching lines, helped render Manisha’s lifelike eyebrows. Watch closely the directions in which the lines curve.






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FIGURE 8-32

FIGURE 8-33

FIGURE 8-34

FIGURE 8-35

Graduated values are compacted into short distances in the section of her face around her eyes and along the side of her face on the left.

My drawing is only 5 inches wide; hence, a few illustrations are larger than the original drawing. Therefore, the crosshatching lines appear larger than they are.






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FIGURE 8-35

FIGURE 8-35

FIGURE 8-35

Never draw lines between the individual teeth, or else they end up looking like a checkerboard!

Drawing teeth properly, sometimes presents a challenge to even very accomplished artists. Don’t be concerned if your drawings of teeth don’t turn out well at first. With practice you do get better.

The secret to drawing teeth well, is to hardly draw them at all! Simply allow the shading of the lips, and the upper and lower gums, to define them.

Teeth farther back in the jaw need to be shaded darker because they are in shadow.






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FIGURE 8-22

FIGURE 8-35 Graduations of squirkles provide a bumpy texture and an illusion of depth to the various folds in the fabric.

The darkest graduations are in the shadows and the shading becomes gradually lighter toward the light areas.

In Figure 8- you can see the actual size of the completed drawing; quite small really when you consider the amount of detail that is included.

Congratulations! You have just completed one of the most difficult portraits imaginable. From here, the sky’s the limit! Wrap your arms around yourself and give yourself a great big hug!

CHALLENGE Find three still life objects: one with a hairy texture (such as a stuffed toy); something with a smooth texture (such as a vase), and the third with a fuzzy or bumpy texture (such as an avocado). Arrange them on a flat surface and draw them in detail. Use hatching for the hairy object, crosshatching for the smooth object, and squirkling for the bumpy object.






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becomes enjoyable. Brenda Hoddinott

Biography 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”.



Learn-to-draw books Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally.






IIsshhaa By Cindy Wider

U09 Advanced: Faces and Figures In this lesson, you draw a portrait of a

three-year-old child to give you a better idea of the facial proportions of a child as

compared to those of an adult.

This lesson is divided into the following seven steps: Step One: Mark in the initial guidelines Step Two: Continue the basic construction of the face and hair Step Three: Create the final outline drawing Step Three: transfer your drawing Step Four: How to draw hair Step Five: Add the hair to your portrait of Isha Step Six: Begin shading the features, starting with the eyes Step Seven: Continue shading the face Step Eight: Begin shading the jumper

Recommended for traditional and digital artists with advanced drawing skills, as well as students of home schooling, academic, and recreational fine art educators

21 PAGES – 17 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada – 2011

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Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Cindy Wider and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Cindy Wider.

Introduction Please refer to the photograph of Isha as your main reference source (see Fig. 1) and the completed drawing as a guide and an example of what you are aiming to achieve in each step (see Fig. 2.)

Fig. 1. Photograph of Isha (use this photograph as a guide to measure from)

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Please note the following drawing examples are not drawn to scale you will need to measure the lines and shapes from the photograph (see Fig. 1) using your ruler. Consider printing the single page onto high-resolution photo-quality paper

Fig. 2. Drawing of Isha

Step One: Mark in the initial guidelines First of all place a sheet of clear acetate or a plastic sleeve over the photograph of Isha (see Fig. 1) and tape it in three places across the top only. This is so that you can lift the sheet up and down to see the photograph more clearly if needed. You will be drawing on this clear sheet first so that you can discover and measure the guidelines and basic shapes you see demonstrated here (see Fig. 3.)

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Use your ruler and permanent marker to rule the following guidelines and construction drawing onto the clear sheet over the top of the photograph. (Notice how in a small child, the eye-line is further down from the top of the head than on an adult face.) Even though the head is tilted, the eye-line remains at a right angle to the central axis. Draw all the guide lines on first then draw the basic construction shapes by copying this image below (see Fig. 3.)

Fig. 3. Initial guide lines and construction drawing

Tip! In Lesson P10: Getting Under Your Skin, Brenda Hoddinott shows the placement of the facial muscles and their individual functions. This knowledge can help you to understand the shapes of tone that you see in the human face.

The central axis. The eye line

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Step Two: Continue the basic construction of the face and hair

1. Still drawing on the acetate sheet placed over the photograph, continue to place the lines for the hair, face and shoulders that you see drawn here (see Fig. 4.) Note that these are mostly just angles and not the final curves you see in the photograph. It is easier and also saves time to draw lines rather than curves as your initial guidelines. Once you are happy with the length, placement and angles of these lines, it is a simple step to draw the curves on top afterwards. That way you capture the major changes in the curves much more effectively.

2. Draw the basic outline for the eyes (look for three major angles on the top and bottom lids that form the opening of the eye; these are important angles that capture the unique eye and are often slightly different on both sides).

3. Once you have completed the angles for the hair and face, it is time to begin draw ing this same image onto your paper. Use your HB pencil and draw on plain bond paper for this stage (you will be transferring your image to quality paper later.) Use your ruler to draw the initial central axis and guide lines. Measure as many places as you like, with your ruler or pencil to help you gain valuable accuracy.

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Fig. 4. Example of the initial guidelines for face, hair and shoulders

Step Three: Create the final outline drawing 1. Create the final outline drawing over the top of the guidelines and construction

shapes you have just drawn. Use the guidelines as a starting point and adjust these according to what you see in the photograph (see Fig. 1) to finalise your outline drawing (see Fig. 5.) You will notice that with the hair (see Fig. 5) the outline of the major areas of tone have been drawn in. Draw both the very light areas and the very dark as well. You can use the drawing (see Fig. 5) as an exact guide if you choose, or be guided by the photograph instead.

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Fig. 5. Outline drawing of Isha

Step Three: transfer your drawing 1. Once you have completed your final outline drawing, transfer the image to

quality drawing paper ready for shading.

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Tip! You can create your own re-usable graphite transfer sheet by rubbing an entire piece of A4 size paper with a 4B pencil. (Do not use ready-made transfer paper as this does not erase well.) Place this sheet face-down onto your clean new drawing paper with your outline drawing taped to the top. You do not need to rub the back of your image in this case. Use your HB pencil to transfer the image and press softly, checking your image as you go. Your new image should show through easily.

Step Four: How to draw hair We will just take a small break from our portrait to begin learning how to draw hair. This is just one way of drawing hair. In this two-stage section of the exercise you have the option to have a little practice at drawing hair before continuing on with your portrait of Isha.

Fig. 6a. Stage one Fig. 6b. Stage two

Stage One: Draw the outline of the hair (see Fig. 6a.)

1. Use a sharp HB pencil to draw the outline of the hair but press softly (the image above is darker around the outlines of each clump of hair than it should be so that you can see the shapes more obviously.)

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2. It is easy to lose your place when drawing hair. You can use your finger to rest on the drawing page that you are copying from to help you to remember where you are up to.

3. Lightly shade the shadow areas using hatching strokes in the direction of the hair (see Figs 8a, 8b and 8c.) Remember that the hair always comes from the roots of the scalp. Separate the major sections of the hair by shading in some places and leaving the highlights exposed as the white of your page in other areas.

4. Use your click eraser which can be cut to a chisel point; to remove darker sections of graphite and to produce finer lines than can be achieved with the putty eraser (see Fig. 7.)

Fig. 7. A click eraser

Stage Two: Second layer of shading (see Fig. 6b.)

1. Use a sharp 2B pencil with medium pressure. Do not indent your page.

2. Imagine the large sections of hair as cylinder or cone-like shapes. Give each clump of hair a three-dimensional appearance by making the sections darker around the edges of each clump; tapering off lighter towards the ends of the hair (see Fig. 6b.)

3. Continue to leave the highlights exposed as the white of your page and refine these with your putty or click eraser as you go.

4. Use a sharp 4B pencil to deepen the dark areas even more using a series of curved or straight hatching strokes and apply medium pressure. Don’t indent your page or make the surface too glossy. Continue to build up the darker areas.

5. To finish, add more single strands of hair with HB, 2B and 4B pencils in the appropriate areas. Then erase areas of graphite to refine the highlights.

6. Place a few loose strands around the outside and over the top of the hair as a finishing touch.

The tip has been cut into a chisel point using a craft knife. You can also just cut a thin slither of your plastic eraser with a pair of scissors if you don’t have a click eraser or craft knife.

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Step Five: Add the hair to your portrait of Isha There are many places to begin shading a portrait. Some artists begin with the eyes, others with the whole face itself or even the hair. In this case we will begin at the top of the portrait and gradually travel down the face, starting with the hair first (see Fig. 9.) Notice here that the outline drawing has been erased right back so that the outlines are barely visible. You can also do the same at this stage so long as you can still see your drawing. Although the scanned image hasn’t captured the outlines, in reality they are just visible.

1. Begin the hair by adding hatching strokes to the top section using a combination of HB, 2B and 4B pencils according to how dark the areas need to be. Make sure that you are aware of what a hatching stroke should look like (see Fig. 8a.) A traditional hatching stroke is thick and blunt-ended at the base then gently tapers towards a thin more pointed tip that eventually disappears. This thicker-based stroke is naturally achieved because when the pencil is first placed on the page it forms an edge or beginning of the line. The tapering section of the line is a result of quickly whisking or flicking the pencil across the page surface whilst reducing pressure at the same time. Hatching is best done quickly.

2. Draw your hatching lines so that you have tapered ends on either side of the highlighted areas (See Fig. 9) by first of all drawing a series of hatching lines at different lengths to one another with different starting positions (see Fig. 8b.) then draw the second set of hatching lines in the opposite direction in different lengths and starting positions (see Fig. 8c.) this will give the hair a more natural and gentle appearance.

Fig. 8a. Fig. 8b. Fig. 8c.

Hatching lines have thin ends with thick and blunt-ended bases

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Fig. 9. Begin shading the hair using the hatching technique

Hatching lines are drawn in here as described in step 5. Use variety with the placement of your hatching lines and make sure that they end in a thin taper on either side of the highlighted areas.

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Step Six: Begin shading the features, starting with the eyes Refer to the photograph provided rather than this drawing as the eyes were later adjusted as you can see in the final drawing (see Figs. 2. and 16.) You can also work in the eyebrow area in this step (see Figs. 1 and 10.)

1. To create realistic eyebrows, go easy on drawing the individual hairs and concentrate more on shading the major tones.

2. Use a combination of smooth shading and the occasional hatching strokes for the tiny hairs.

3. Don’t draw everything you see, eyebrows shouldn’t dominate the face, so try to keep them subtle. Less is best in this area.

4. Notice that the darkest level six areas are reserved for around the eyes. This is to emphasise this area and draw the attention of the viewer.

Fig. 10. Begin shading the eyes and eyebrows by referring to the photograph (Fig.1.)

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Step Seven: Continue shading the face As we gradually make our way down the face, we are almost completing each section as we travel. Later we will go back and add some finishing touches to refine the shapes, but other than that you should consider each area practically finished. Make sure you don’t rest your arm across your work. As you work in the contours of the skin look very carefully at the shapes of the shadows you see in the drawing and photograph (see Fig. 11 and Fig. 1) it will help to also read the recommended texts on human anatomy for artists to understand the underlying muscles and skeletal structure of the face.

1. Shade the skin on Isha’s face very carefully with your HB pencil at first, then gently soften your shading by using your paper stump or cotton bud in soft circular motions. Be very gentle with the pressure on your pencil and stump as graphite can appear severe in the delicate face of a child. Be very specific where you are blending making sure you maintain the correct shapes at all times and don’t overwork the paper.

Tip! The shape and level of tone that you shade in the areas on the face are just as important as the shape of the outline itself. Every single area of the portrait is important and should be treated as so, right up until the last pencil stroke is laid down.

2. It is recommended that you also take a look at lesson Q06 page six to understand more about the five areas of highlight and shadow. Be careful to leave the full light level one areas as the blank page. It is always best to keep your page blank rather than having to go back and erase, however, sometimes there is no avoiding it and you do need to erase. Use your putty eraser in the areas around her cheeks, chin and smile-lines (see Fig. 12.)

3. Continue to travel down the face leaving the lips until after you have shaded around that area.

4. Shade the lips taking very careful notice of the area between the two lips (see Fig. 13.) Draw any major shapes (within the gap between the lips) into their correct position first then add the fine details later. Speak to yourself about the angles you see there.

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Tip If you are seated in the same position throughout your drawing, you can use areas in the room as visual landmarks to help you consider the direction you need to draw a line or curve towards. Refer to things such as; “This line is curving upwards towards the kitchen, this one is curving slightly to the side towards the mirror, now it is curving back upwards, only a little bit.”

Fig. 11. Begin shading around the eyes and nose

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Fig. 12. Continue shading around the lips, chin and cheek areas

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Fig. 13. Take careful notice of the shape of the area between the lips

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Step Eight: Begin shading the jumper Before you complete the face, make sure you are happy with the features. You can see that the eyes and various parts of the portrait of Isha were refined afterwards (see Fig. 16.) Once you have completed the face, it is time to begin shading the jumper. With the original outline drawing still softly in place you can shade the jumper in two layers. Use the photograph as your main reference and the drawing as a guide for ideas. This is just an example for you to refer to;

1. The first layer is gently shaded with a HB pencil. The smooth shading technique is used simply to position the various tones (see Fig. 14 and also refer to Fig. 1.) There are little dips and rises in this knitted fabric jumper (or sweater.) The dips have been shaded to a level 3 and the rises are a level 2 or occasionally left as the white of the page (a level 1 area.) Notice the different areas that have been shaded like this (see Fig. 14.) This is an interpretation and not an exact photocopy likeness to the photograph.

2. Once you have decided upon the main areas of light and dark, you can then lay in the final level 4, 5 and 6 tones while also carefully designing the pattern of the stiches and weave of the jumper as you go (see Figs. 15 and 1.) Some small curved hatching lines were used in this area.

Fig. 14. The first layer of shading on the jumper

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Fig. 15. The final layer of shading on the jumper

These tiny little curves that indicate stitching can only be drawn on one at a time. There is no shortcut to some things with drawing. Great patience is needed. The results are very rewarding.

Small curved hatching lines were made here after the area was lightly shaded.

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Fig. 16. Completed portrait drawing of Isha by Cindy Wider

Notice in this final image that there are several subtle changes made to the pupils, irises, eye lids, and to the lips. More shading was added and the shadow shapes were defined. This refining process happens after looking at the image for several days and seeking out any areas that need to be adjusted to achieve a closer likes to the model.

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Portrait of Isha; Student Example: This drawing was completed by Ann Kristin Eriksson a previous course participant. Her delicate use of the smooth shading technique in Isha’s face combined with confident, expressive hatching strokes used for the hair is a great example of what can be achieved during this week of the course. Ann has applied the theory of light and shade as well as accessing her comparison skills of sizes, angles and light and dark in order to create this realistic portrait.

Portrait of Isha by Ann Kristin Eriksson

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Cindy Wider Cindy Wider is an empathetic art educator with a wealth of knowledge to share with you. Specializing in teaching absolute beginners learn to draw and paint, she is naturally gifted to encourage. Cindy has successfully helped many people from all walks of life learn to draw and paint who previously believed they were not able to. Cindy is the recipient of numerous prestigious awards including government sponsorships and scholarships. She has been commissioned by major businesses such as the Microsoft Corporation and is represented in many collections around the world. Cindy resides in Noosa Queensland Australia with her husband and two young daughters.

EDUCATION Graduate Diploma, Fundamentals of Art Art Instruction Schools, Inc. USA, 2009, Studied under the advisement of Pauline Jonach and Ron Revitt Certification TAFE College, SA Train Small Groups, 1999

TEACHING EXPERIENCE Co-Founder and Instructor Drawpj.com, 2009 to present (Responsible for training instructors to teach the forty-two week curriculum that I designed for beginning art students in online or classroom environments.) Trainer Pomona and District Community House, 2009 (Provided training in painting techniques for staff in anticipation of Seniors’ Week 2009.) Art Instructor and Curriculum Designer Drawspace.com – Nova Scotia, Canada, 2008 to present (I teach my own course curriculum in virtual art classrooms for the largest and fastest growing recreational art tuition website in the world.) Tutor Fairway Studios – Goondiwindi, Queensland, Australia, 2007 Tutor Illustration House – South Bank, Brisbane, Australia, 2007, (Tutored Weekend Workshop in Composition and Acrylic Painting) Founder and Tutor StuartCindy Art – Noosa, Queensland, Australia, 2003 to 2007 Instructor of Creativity and Illustration TAFE College – Port Lincoln, South Australia

Brenda Hoddinott

U-10 ADVANCED: FACES & FIGURES

Your goal in this heavily illustrated project is to gain an understanding of how various aspects of contrast and key can enhance composition. The process includes bringing an artwork from its original concept, through compositional planning, photography, sketching accurate proportions, shading a thumbnail sketch, and rendering a contour drawing, to its finale as a profile portrait in graphite of a young man.

This lesson is divided into the following four sections:

PLANNING COMPOSITION: You plan the composition of a portrait by rendering a preliminary sketch (called a thumbnail).

PLANNING SHADING: You add shading to the thumbnail to provide you with a guide for balancing key and contrast in the final drawing.

DRAWING A DETAILED OUTLINE: The detailed contour drawing outlines accurate proportions, and cements intricate details of the overall pose. You can either completely redraw Joel on a sheet of good quality drawing paper or transfer the important aspects of your thumbnail onto good paper.

ADDING SHADING: Shading always makes the greatest contribution to any drawing. This section is heavily illustrated; hence, very little instructional text is needed! However, as you work through the various shading techniques, I explain the use of key and contrast to enhance composition.

Suggested drawing supplies include sketch paper, a sheet of good quality white drawing paper, various grades of pencils, kneaded and vinyl erasers, and a pencil sharpener.

14 PAGES – 43 ILLUSTRATIONS This lesson is recommended for artists, with advanced drawing skills, as well as home schooling,

academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, 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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Art Speak Composition: refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space. A strong composition brings the eyes of the viewer to what you consider to be the most important elements in your drawing. Focal point: is the most important center of interest (or focus) in a drawing. In a portrait it may be the eyes, the entire head, or a whole section of the body that is especially fascinating. A drawing can have more than one center of interest, known as secondary focal points. Rule of thirds: is a simplified variation of an ancient Greek compositional formula known as The Golden Mean. A rectangle is divided into thirds both horizontally and vertically. The points where these lines intersect are ideal locations for focal points.

PLANNING COMPOSITION In this section, you plan the composition of a portrait by rendering a preliminary contour sketch (called a thumbnail).

A thumbnail sketch allows you to work through potential problems before you begin the final drawing. Generally speaking, thumbnails are sketched on inexpensive paper. Some artists prefer to transfer the outlines of the thumbnail to the new sheet of paper and others prefer to simply redraw the subject all over again. The final drawing is usually rendered a good quality paper, such as Arches Hot Presses Watercolor Paper. Being more than a little technically challenged when it comes to cameras, I often employ the skills of a professional photographer to help capture my artistic vision.

My long time friend, Bruce Poole has taken many of the photos I use as references for drawings and paintings. To make his job a little easier, I usually render a rough sketch of the model’s pose and the lighting setup I need prior to the photo shoot.

From the many photos taken, I chose the one closest to my original vision and then render a more detailed thumbnail sketch.

Figure 1001: Reference photo used for the drawing of Joel Allan in this project; Photography: Bruce Poole.

Composing drawings of people relies on your personal preferences, and an understanding of a few fundamental compositional guidelines. A key aspect of composition is finding ways to emphasize focal points. Your choice of a primary focal point is usually the characteristic that initially attracted you this particular subject. Secondary focal points can be used to help direct the viewer’s eye toward the primary focal point. Once you decide on focal points, you need to find ways to make them stand out within your drawing space. At this stage, I am already thinking about the final drawing. Modifications to the photo (Figure 1001) will include adding more details and replacing some of the black with middle values. The primary focal point will be the face. The head and clothing will serve as secondary focal points. While I rely primarily on my instincts for planning composition, I often take the Rule of Thirds into consideration. This simple formula identifies four ideal locations for focal points.




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Figure 1002

Figure 1003

Figure 1004

Figure 1005

Setting up a drawing format for a Rule of Thirds is quite easy (refer to Figure 1002). First, you draw a horizontal or vertical rectangular. Then you divide it into three equal sections both vertically and horizontally (nine sections in total). Each of the four points where the lines intersect (I’ve drawn circles around them) offers a great place for a focal point. The best two are on the upper and lower right. In most of the Western world, we are taught to read from left to right. This is why the eye usually enters a drawing from the lower left. By placing a focal point on the right, the viewer is naturally brought into a drawing and toward the focal point. I plan my compositional goals with the help of a simplified version of the rule of thirds.

1) Use a ruler to draw a rectangle and divide it into nine equal sections. Refer to Figure 1003. I use a sheet of ordinary computer paper. I instinctively keep my lines very faint, but really it doesn’t matter. Thumbnail sketches are kept simple and usually done very quickly.

My sketch is 6 inches high by 8 inches wide; the same size as I want the final drawing. I plan to transfer an outline of my sketch to a new sheet of paper for my final drawing.

2) Sketch his head in the upper right. The upper right point is ideal for the center of his head. To bring attention to his face, the head is the largest section of the sketch.

3) Refine the sketch and plan a visual flow.

Visual flow refers to the perceived order in which a viewer sees an image. Keep in mind that a viewer’s eye usually enters a drawing composition from the lower left. I sketch his features and the locations of his clothing and hand.

My compositional goal is to find ways to keep the viewer engaged within my drawing for as long as possible. Figure 1006 identifies seven elements that can help with the visual flow.




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Figure 1006

Figure 1007

Art Speak Contrast: is the comparison of different values when put beside one another, and is invaluable for heightening the effects of composition. High contrast shading: includes a full range of values between very light to almost black. Low contrast shading: has a limited range of values. Key: refers to the overall amounts of light and dark values in a drawing. High key: can refer to an entire drawing or a specific section(s) of a drawing that is light. The shading is mostly light values rather than dark. Even shadows are shaded with medium values rather than darks. A drawing of a white horse in a snowstorm is a fun example of high key. Low key: refers to drawings or sections of drawings that are shaded with mostly dark values. Think of a drawing of a black horse at night. Low key drawings can have high contrast sections when the darkest values are beside the lightest. Imagine a big bright full moon added to the scene with the black horse.

The various parts of the figure provide me with an opportunity to keep the viewer’s eye engaged within a circular flow. I hope to accomplish this by using a strong contrast in values around this circular shape. Additional aspects of shading will also help accentuate the flow and bring more attention to the face. My proposed visual flow is as follows:

1. The view’s eye enters the drawing space.

2. The angle of the edge of the hand draws the viewer toward the face.

3. The outline of the nose, the curved shape of the eyebrow, and the edge of the hairline bring attention around the face.

4. The shape of the ear draws the eye downward.

5. The edge of the collar of his shirt brings the eye toward the left.

6. The other side of his collar catches the viewer’s attention and brings attention up toward the hand.

7. The details of the hand bring the focus back toward the face.

4) Double check the proportions and make any changes you wish.

PLANNING SHADING In this section you add shading to the thumbnail to provide you with a guide for balancing values before you begin the final drawing.

I use extremely dark and very light values beside one another to make his face stand out.

5) Use HB, 2B and 4B pencils to finish the thumbnail sketch. Refer Figures 1008 to 1011.




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Figure 1009

Figure 1010

Figure 1011

Figure 1008 High contrast shading exaggerates the facial area and the directional flow plan.

Low contrast helps to underplay less important areas such as his hand, clothing, and the background.

With high contrast and high key shading, his face stands out strongly as the focal point.

The dark shading of the background, serves as a sharp contrast to his brightly lit facial profile.

DRAWING A DETAILED OUTLINE In this section, you render a detailed contour drawing to identify the overall pose, compositional details, and accurate proportions. You can either completely redraw Joel or transfer the important aspects of your thumbnail onto a sheet of good quality drawing paper.

To redraw Joel, refer to the photo in Figure 1001. You can also use your thumbnail as a guide; you may even want to tape it onto your drawing surface or drafting desk.




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Figure 1012

Figure 1013 Figure 1014

Figure 1015

Figure 1016

To transfer the basic proportions of a thumbnail sketch to a new sheet of paper, follow along with these five simple steps:

1. Use graphite powder or the side of a 6B pencil to completely fill in the reverse side of the thumbnail sketch paper.

2. Tape the thumbnail in place on your new paper. Use very tiny pieces of tape, so the good paper isn’t damaged when the thumbnail is removed.

3. Use a stylus or ballpoint pen to go over important lines. Press very gently with the pen; you don’t want to dent the good paper! The graphite on the reverse side of the thumbnail, works as carbon paper.

4. Gently remove the tape and lift the thumbnail from the good paper. You are left with a very faint outline (as in Figure 1012).

5. Use a kneaded eraser to erase any graphite that has accidentally fallen onto the good paper.

6) Outline the face, ear, neck, hand, hair, and clothing with a freshly sharpened 2H pencil in preparation for shading.

Refer to close-ups of various features in Figures 1012 to 1023.

Take your time. Don’t draw final outlines directly over the transferred lines.

Rather, refer to Figure 1001 and my drawings to draw your outlines more accurately.




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Figure 1021

Figure 1017 Figure 1018 Figure 1019

Figure 1020

Figure 1022

Remember, if you begin to feel frustrated with a section, refer to the detail drawings of the various features.

Figure 1023 on the next page shows the complete outline of the drawing.




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Figure 1023

Figure 1024

Check over your drawing and change anything you don’t like. Use an eraser to clean any messy parts before continuing on to the next section.

ADDING SHADING Finally, the fun begins! Shading always makes the greatest contribution to any drawing. This section is heavily illustrated; hence, very little instructional text is needed! However, I do explain the use of key and contrast in relevant sections.

7) Use a full range of values and 2H, HB, 2B, and 4B pencils (6B for the pupil of the eye) to add shading to the portrait of Joel. The lightest values are added to the face. The goal is to identify the highlights and leave them white. The light values then graduate from the highlights toward the sections that are in shadow.

To help make the edge of the face, stand out against the dark background, the shading is mostly light values (high key).




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Figure 1026

Figure 1025

Figure 1027

Figure 1028

The primary light source is from the left. A diffused secondary light source from the right, serves to separate the back of the hair and clothing from the background.

High contrast shading is used to make the eyes the strongest facial feature.

Mostly medium values, with a few dark details, give character to the face and accentuate its various forms.

Slightly darker values emphasize the corners of the mouth, the nostril, the pupil of the eye, and the upper eyelid crease.




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Figure 1029

Figure 1033

Figure 1030

Figure 1031

Figure 1032

Light shading is added to the hand to emphasize form and then medium values are added.

The hand is less detailed and has very few highlights or dark values so as to not detract from the face.

Hatching is used to begin shading the dark values of the background next to the facial profile.

A dark background beside a light facial profile is an example of high contrast shading.

Crosshatching lines are used to make the shading darker closer to his face. The extreme high contrast between the facial profile and the background make this section of the drawing very powerful.

The background shading is completed with crosshatching graduations of medium and dark values.




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Figure 1034

Figure 1036

Figure 1035

An overall low key, low contrast background accentuates the bright facial profile. The darkest background shading continues to be next to the face.

Mostly medium and dark hatching graduations (low key shading) are used to shade in his hair.

The only sections of hair that are light are in the front and around the edges of his head.

Some sections of curls in the front are made very prominent with high contrast shading.




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Figure 1039

Figure 1037

Figure 1038

Figure 1036

Figure 1040

Figure 1041

Squirkles and low key, low contrast values are used to add textured shading to his vest.

Low contrast shading also works well to complete his shirt.

The shading on the upper section of the sleeve is darker that the front of the shirt.




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Figure 1043

Figure 1042 Examine the overall shading and adjust the values as needed.

For example, you may want to use a kneaded eraser to make the lightest shading a little lighter. A 2B pencil works well to darken sections slightly.

Figure 1043 shows the final drawing with the cropping I can use for framing.




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becomes enjoyable. >Brenda Hoddinott<










FABRIC OF A

Brenda Hoddinott

U11 ADVANCED: FACES & FIGURES Drawing believable fabrics is integral to accurately

rendering a clothed figure. In this project, you draw the folds, creases, puckers, and wrinkles of

the fabric of a sleeve so it appears to drape naturally over the forms of an arm.

This project is divided into the following four sections:

INTRODUCTION: The folds, creases, puckers, and wrinkles of sleeves reveal the unseen forms of arms.

OUTLINING FABRIC ON AN ARM: You begin with a rough sketch of an arm and slowly build up to a contour drawing.

MAPPING VALUES: You plan the shading by outlining the shapes of the various light and dark values.

SHADING WITH HATCHING AND CROSSHATCHING GRADUATIONS: You add light values with hatching and a 2H pencil, and medium and dark values with crosshatching and HB and 2B pencils.

Supplies include 2H, HB, and 2B pencils, erasers, and good quality drawing paper.

8 PAGES – 15 ILLUSTRATIONS This lesson is recommended for artists with strong drawing skills, as well as advanced students of home

schooling, academic and recreational fine art educators.

Published by Hoddinott Publishing for Drawspace.com, Halifax, NS, Canada - 2008


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Figure 1101

Figure 1102

INTRODUCTION Fashions may come and go, but the basic forms of human figures remain constant. Drawing believable fabrics is integral to accurately rendering a clothed figure. The folds, creases, puckers, and wrinkles of sleeves reveal the unseen forms of arms.

To draw smooth fabrics (Refer to Figure 1101), you need to keep the following in mind:

Highlights reflect off surfaces close to the light source.

The transition of values from light to dark is compacted into short distances.

Dark shadows and pronounced highlights are often very close together.

OUTLINING FABRIC ON AN ARM In this section you begin with a rough sketch of an arm and slowly build up to a contour drawing.

1) Very lightly sketch the outline an arm bent at the elbow.

A 2H pencil works well. Refer to figure 1102.

Drawing a faint outline of a figure helps you drape the clothing over the forms more accurately.

2) Use curved lines to indicate the locations of the ribcage, breast, and waist.




3

Figure 1104

Figure 1103 3) Sketch the outlines of the folds of the fabric.

Refer to Figure 1103.

Observe how the bent form of the arm bunches up the fabric in some places. Note how the fabric at the opening to the sleeve falls downward from the wrist.

4) Use a freshly sharpened HB pencil to draw the outline neatly.

Refer to figure 1104. Don’t press too hard with your pencil or you’ll dent the paper.

5) Erase as many of the original sketch lines as possible.

6) Refine your outline of the clothing, paying close attention to the forms, folds, and creases.

Refer to Figure 1105. Pay close attention to the way fabric clings to, or falls away from, the various forms of the arm.




4


Figure 1107

Figure 1108

MAPPING VALUES In this section, you plan the shading by outlining the shapes of the various light and dark values.

The finished drawing in Figure 1106 will help guide you.

7) Very lightly outline the shapes of the various values.

Refer to Figures 1107 to 1109.




5


8) Pat your entire outline drawing until all the lines are very faint.

Check over your drawing carefully and change anything with which you are not totally happy. Refer to Figure 1110 for guidance.

SHADING WITH HATCHING AND CROSSHATCHING GRADUATIONS In this section, you add light values with hatching and a 2H pencil, and medium and dark values with crosshatching and HB and 2B pencils.

9) Add light shading with hatching graduations, to indicate the forms of the fabric, and the arm underneath (Figure 1111).




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Figure 1111

Figure 1112

Figure 1113

10) Graduate the light shading toward the shadow sections with medium values.

Refer to Figure 1112 and 1113. Cross over your hatching lines with a second set to end up with crosshatching.

11) Add dark shading to accentuate the darkest shadow sections of the fabric.

Refer to figures 1114 and 1115.




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Figure 1114

Figure 1115

12) Very carefully blend a few sections of shading by patting them gently with a paper towel or facial tissue wrapped around the tip of a finger.

Do not over blend or you will destroy the lines that give texture to the fabric.

13) Check over your drawing and adjust any shading you are not happy with.

You can lighten a section by patting it gently with the tip of a kneaded eraser that has been molded to a point. Simply add more crosshatching lines to make a section darker.

CHALLENGE Borrow your friends and family and practice drawing their clothing (or draw from your own reflection in a mirror).

With an understanding of the forms of a person’s body, under the clothing, drawing fabrics becomes easier.




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becomes enjoyable. >Brenda Hoddinott<










Brenda Hoddinott

U12 ADVANCED: FACES & FIGURES The overall impact of a portrait of a smiling subject is only as strong as its weakest part. Drawing teeth poorly is often the cause of a ruined portrait, even when everything else is rendered perfectly. For example, drawing bold lines around each tooth is a huge no-no!

In this lesson, I show you how to draw a smile with natural looking teeth by using gentle shading to indicate their forms.


OUTLINING A SMILE: You lightly sketch the outlines of the lips and teeth of a smiling young man. The goal is to prepare a sketch to serve as a guideline for shading the various forms.

ADDING SHADING TO A SMILE: Too little shading and the front teeth can look like a big white rectangular blob; too much shading and the teeth look dark, dingy, and stained. Take your time when you add shading to teeth. Accuracy and attention to details is more important than speed.

You need several grades of pencils, good quality drawing paper, and erasers. If you plan to use regular wood pencils instead of mechanical, you also need a pencil sharpener and a sandpaper block.

This lesson is recommended for artists with good drawing skills, as well as students of home schooling, academic and recreational fine art educators.

8 PAGES – 19 ILLUSTRATIONS

Published by Hoddinott Publishing for Drawspace.com, Halifax, NS, Canada - 2008


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Figure 1201

Figure 1202

Figure 1203

GLOSSARY OF ART TERMS

Form as applied to drawing, is the illusion of a three-dimensional structure, 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. A dominant light source can tell you where and how to draw all the light values and shadows.

Shading refers to the various shades of gray (values) in a drawing that make drawings look three-dimensional.

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

OUTLINING A SMILE In this section, you lightly sketch the outlines of the lips and teeth of a smiling young man. The goal is to prepare a sketch to serve as a guideline for shading the various forms.

1. Use a 2H pencil to sketch the mouth and the lower section of the nose.

Refer to Figures 1201 to 1212. The outlines need to be very light, so light that you can barely see them. Do not apply any pressure to your pencil as you draw; hold the pencil loosely and allow only the weight of the pencil to make the lines.

I used a 2H mechanical pencil. In reality, my sketches are much lighter than they appear here. I have darkened them in Photoshop so you can see them clearly.

The forms of the upper lip are outlined with three separate oval shapes and the lower lip with two (Figure 1203). When someone smiles, these forms are stretched, sometimes to the point as to be unnoticeable. However, you still need to be aware of all five forms when you add shading to lips.




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Figure 1205

Figure 1204

Figure 1207

Figure 1206

The lower section of the nose is included in this project to provide an understanding of the forms around a smiling mouth, especially those in between the lower section of the nose and the upper lip.

Keep in mind that most of these outlines have to be erased before you add shading, so draw them so lightly that you can barely see them.

The two upper front teeth are generally the largest.

The teeth on either side of the front ones become gradually smaller the farther they recede into the mouth. Each tooth usually overlaps the one behind it.

As an aside, always examine your subject carefully to see which teeth overlap others, even slightly.

Very lightly outline each tooth, paying close attention to their proportions and individual shapes. Generally speaking, you begin with the one closest to you.

You see very little of the gums in this smile.




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Figure 1208

Figure 1209

Figure 1210

Figure 1211

Subtle nuances help make a person’s smile unique to that individual, thereby contributing to a more accurate likeness.

Watch for spaces between some teeth, and unusual shaped teeth, such as ones which may have chips out of them, or are somewhat crooked.

Most adults have 14 or 16 upper teeth; however, you rarely see more than 10 or 12, even when the person is smiling broadly.

When drawing diverse people, you need to be able to draw a variety of different mouths.

Mouths are constantly in motion, doing such things as talking, chewing, and contributing to facial expressions.

Yet, when it comes to drawing portraits, a smile continues to be the most challenging part of a face to render accurately.

Before you add shading to your drawing of a smile, use whichever eraser works best to make sure that the outlines of the teeth are barely visible.

Use a kneaded eraser to gently pat the outlines of the lips and nose until they are also faint.

Don’t forget to add the lines that mark his smile and the line in the lower left that marks the edge of his face.




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Figure 1212

GLOSSARY OF ART TERMS

Contrast measures the degree of difference between the light and dark values within shading, and creates the illusion of three-dimensions in a drawing.

Crosshatching is a technique for rendering an infinite range of values within shading, in which one set of lines crosses over (overlaps) another set.

Graduated shading is a continuous progression of graduated values from dark to light or from light to dark.

Hatching is a series of lines (called a set) drawn closely together to give the illusion of values.

Highlight is a bright spot that defines where light bounces off the surface of an object.

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

Shadow is the area on an object that receives little or no light.

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

At this point, the lines between each tooth should be very faint.

Compare your drawing to mine, to check that your proportions are accurate, before you begin adding shading.

ADDING SHADING TO A SMILE Take your time when you add shading to teeth. Accuracy and attention to details is more important than speed.

Too little shading and the front teeth look like a big white rectangular blob; too much shading and the teeth look dark, dingy, and stained.

The light source is from the front and a little toward the upper right.

2. Follow along with Figures 1213 to 1219 to complete your drawing.

Add the darkest shading to the teeth in the back of the mouth.

Dark shading makes the back teeth recede into the mouth, giving the illusion of depth to the inside of the mouth.

Add shading to the visible gum tissue between each tooth. The darkest sections are in shadow, next to the inner outlines of the lips.




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Figure 1213

Figure 1215

Figure 1214

Figure 1216

Figure 1217

Remember, the less shading you add to teeth, the more natural the mouth will look. No matter how tempting it may be, outlining teeth with lines is a huge faux pas!

Use your lightest pencil and very little pressure to shade in the forms of the teeth.

Remember the old cliché “less is more” when shading teeth. However, natural teeth are almost never pure white.

Teeth are three dimensional. Some popular chewing gum pieces look a lot like the forms of teeth.

Use diagonal hatching lines to add light shading to the facial forms, nose, and lips.




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Figure 1219

Figure 1218

Shade in the areas of the lips that are not part of the ovals, a little darker. This darker shading makes the oval forms stand out more clearly.

Smooth out the shading of the lips with graduated crosshatching.

Add darker shading to the nose, face, and lips with mostly crosshatching. Take note of the sections of shading that create the illusion of vertical creases in the lower lip.

Sign your name, then write today’s date on the back of your drawing, and finally give yourself a big hug!




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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<








