Incepatori i desene animate si creaturi

Brenda Hoddinott I-01 BEGINNER: CARTOONS & CRITTERS

With a focus on improving your observation skills, this project offers simple illustrated instructions, to guide aspiring artists through the process of sketching the proportions of a cartoon of Fluppy the puppy, and then developing and working with a shading map to add simple shading with hatching lines.

The following two sections guide you step-by-step through this project:

PUTTING PUPPY PROPORTIONS ON PAPER: In this section, your goal is to sketch Fluppy’s head, ears, and facial features on your drawing paper proportionately correct

OUTLINING AND SHADING FLUPPY: In this section, you outline Fluppy with thin neat lines. Keep your pencils sharpened so your lines stay crisp and thin. You then plan and implement a strategy for adding shading to his nose to create the illusion of a three dimensional form, and add a few extra details.

You need basic drawing supplies including good quality white paper, different grades of graphite pencils (such as 2H, HB, 2B, 4B, and 6B), kneaded and vinyl erasers, and a pencil sharpener.

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

10 PAGES – 16 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (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

- 2 -

PUTTING PUPPY PROPORTIONS ON PAPER In this section, your goal is to sketch Fluppy’s head, ears, and facial features on your drawing paper proportionately correct. A sketch is a quickly rendered drawing that illustrates the important elements of your drawing subject with very few details. Sketching refers to the method used for creating a quick, rough representation or outline of a planned drawing subject. A sketch can also be a completed work of art. Proportion is the relationship in size of one component of a drawing to another or others.

ILLUSTRATION 01-01 1. Use an HB pencil to sketch a wide oval as

Fluppy’s head. As you draw, rotate your paper and look at the oval from different perspectives. Leave lots of space on your drawing paper above, below, and on either side of the oval for Fluppy’s ears and muzzle.

Feel free to lightly draw a line of symmetry down the center of your page to help guide you through the process of making both sides of his face the same.

ILLUSTRATION 01-02

Symmetry refers to a balanced arrangement (sometimes called a mirror image) of lines and/or shapes on opposite sides of an often-imaginary centerline.

2. Lightly sketch a large horizontal oval, slightly lower than halfway down the head, as Fluppy’s big nose.

3. Add a short straight vertical line under the nose to mark the division line of both halves of the muzzle. If you are using a line of symmetry, this short line will overlap the symmetry line. Examine the reflection of your drawing in a mirror to help locate problem areas. Remember to keep your lines very light!

mailto:[email protected]�

http://www.finearteducation.com/�

http://www.drawspace.com/�



- 3 -

ILLUSTRATION 01-04

4. Sketch two fuzzy circular shapes below his nose as his muzzle. Each side of the muzzle meets at the center vertical line under the nose.

Also take note of the small triangular shape at the very bottom of his head, between the two muzzle sections. This is his chin on which his mouth will be later added.

ILLUSTRATION 01-05

5. Add two small ovals above his nose as his eyes. The eyes are the same size and the same distance from the line of symmetry. Feel free to measure the distances with a ruler before you draw if you want to be really precise.

6. Sketch a circular shape on his chin (in between the two halves of his muzzle) as his mouth.






- 4 -

7. Sketch several lines to represent the placement of his ears on either side of the top section of his head. These lines are unevenly spaced and of various lengths. Also, observe the different directions in which the lines curve.

ILLUSTRATION 01-06

OUTLINING FLUPPY AND SHADING HIS NOSE In this section, you outline Fluppy with thin neat lines. Keep your pencils sharpened so your lines stay crisp and thin. You then plan and implement a strategy for adding shading to his nose to create the illusion of a three dimensional form.

Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin.






- 5 -

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

9. Using the original sketch lines as guidelines, use a 2B pencil to draw dark fuzzy lines around the perimeter of Fluppy’s head, muzzle, and chin. These raggedy lines curve in many directions, are unevenly spaced, and of various lengths. Keep your pencil sharpener and sandpaper block handy so your lines stay thin and crisp.

10. Outline the dark lines that represent the ears and the tiny hairs between his ears with a 2B pencil.

ILLUSTRATION 01-07






- 6 -

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. The oval and crescent outlines on the nose (in Illustration 01-08) represent a shading map which provides a guideline for adding the different values to the nose as follows:

Number 1: The highlight stays the white of the paper. A highlight is the brightest area of a form where light bounces off its surface and is usually the section closest to the light source.

Number 2: The largest section of the nose will be shaded with light and medium values.

Number 3: The crescent shape will be shaded with a dark value.

ILLUSTRATION 01-08

11. Use an HB pencil to very lightly outline a small horizontal oval in the upper left section of the nose. Don’t apply any pressure to your pencil – just the weight of the pencil itself will provide a very light outline that can be easily erased.

12. Outline a crescent shape toward the lower right.

13. Practice drawing three different values with hatching lines (You need your 2H, HB, and 2B pencils). Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. Use a 2H to draw the light value, an HB for the middle value, and a 2B for the dark value. Take note that each value is lighter on the left. This graduation of values is accomplished by gradually pressing harder on your pencil as you work toward the right.

ILLUSTRATION 01-09 ILLUSTRATION 01-10 ILLUSTRATION 01-11






- 7 -

ILLUSTRATION 01-12

14. With a 2H pencil add shading to the large section of his nose. Observe that my hatching lines are mostly parallel to one another. The final shading on a smooth surface tends to appear smoother if all the hatching lines, including the dark and middle ones, are all angled in the same direction.

ILLUSTRATION 01-13

15. Add middle values around the outer edges of the crescent shape with an HB. Leave a rim of light shading along the lower right edge.

16. With a 2B pencil, add dark values to the center sections of the crescent shape.






- 8 -

ILLUSTRATION 01-14

17. Add medium values to his chin with fuzzy hatching lines. The hatching lines seem to originate from the center of the lower section of the muzzle, and then spread outward in a fan shape.

ILLUSTRATION 01-15

18. Add several curved hatching lines around the perimeter of the upper section of his head and both sides of his snout. Watch carefully the directions in which the lines curve. In essence, they are curving around the perceived forms of his head and snout.






- 9 -

19. Add shading to his ears with curved hatching lines and medium to dark values. To keep the wild and wonderful fuzzy texture of his ears, make the shading lines a little shorter than the initial outlines, and a little darker closer to his head. Also take note that the lines are raggedy looking and of various lengths.

20. Erase any sketch lines, fingerprints, or smudges with your kneaded eraser molded to a point (or a sharp edge of your vinyl eraser), sign your name, and put today’s date on the back of your drawing.

ILLUSTRATION 01-16






- 10 -

BRENDA HODDINOTT - BIO 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. These sites offer downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies (March 4, 2003): Published by 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 (August 2004): Published by Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.





CANINE

Brenda Hoddinott

I-02 BEGINNER: CARTOONS & CRITTERS This project challenges you to draw two dog noses from slightly different perspectives. You may find the lessons in D Beginner: Squirkling extremely helpful as you try your hand at squirkling graduations of textured shading.

This lesson is divided into the following two parts:

FRONTAL VIEW OF A DOG NOSE: You draw a simple frontal view of a dog nose, while being challenged to rely on visual skills rather than text instructions.

ANGULAR VIEW OF A DOG NOSE: People who love dogs simply can’t resist that adorable tilt of their heads as they look at your face and listen attentively. Naturally, when the head is tilted, the nose must also be drawn at an angle.

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

12 PAGES – 28 ILLUSTRATIONS This project is recommended for artists from age 12 to adult, as well as home schooling,

academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (Revised 2006)



- 2 -

FRONTAL VIEW OF A DOG NOSE

This lesson challenges you to rely on your visual skills rather than text instructions. The initial sketch lines throughout Steps 1 to 4 establish proportions. A Sketch is a simple drawing that captures the integral aspects of your subject quickly and efficiently. Proportion is the relationship in size of one component of a drawing to another or others.

STEP 1 STEP 2

The sketch lines and the outlines look dark in many of my illustrations. However, in reality they are so light that I can barely see them. I have made them look darker in a computer program so you can see them. Keep your lines very light by pressing very gently with your pencil (I used an HB). No matter how careful you are, accidents do happen, and you may need to erase sections you aren’t happy with.

STEP 3 STEP 4






- 3 -

In steps 5 to 15 you outline the nose, and add a few sections of fur above and below it.

STEP 5 STEP 6 The faint lines used to indicate the fur above and below the nose are ragged and uneven, and are also various lengths and thicknesses.

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

STEP 7 STEP 8

As you complete each step, compare your drawing to mine to make sure you haven’t missed something. If you’re not happy with some of the lines you draw, simply erase that section, redraw the lines, and keep on going.






- 4 -

STEP 9 STEP 10

STEP 12 A kneaded eraser works well for erasing rough sketch lines.

STEP 11






- 5 -

STEP 13 STEP 14

Draw slowly! Accuracy is more important than speed.

Your speed will automatically improve the

more you practice.

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

STEP 15

Always place a piece of clean paper under your hand as you draw.

Each time you work on a new section, remember to move your paper so it’s always under your hand.

This prevents you from smudging your drawing, and protects the paper from the oils in your skin.

Remember, learning to see as an

artist is the very

foundation of

drawing.






- 6 -

STEP 16

In steps 16 to 18, you add shading to the nose with squirkling.

Squirkling is an easy method of shading, in which randomly drawn curved lines (called squirkles) combine squiggles and scribbles with circles to create textured values. Texture is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of touch and sight help identify the surface texture of drawing subject. 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.

Before you begin shading, use your kneaded eraser to lighten your lines until they are so light that you can barely see them.

STEP 17 Consider using the following pencils:

2H - primary highlight (A highlight is the brightest area of a form where light bounces off its surface and is usually the section closest to the light source)

HB - highlights on the nostrils and the light values surrounding the primary highlight.

2B - darker shading in the shadow sections 4B - darkest values inside the nostrils

Keep in mind that you can achieve a full range of different values with squirkling by using various pencils, and by varying the density of the lines and the pressure used in holding your pencils.






- 7 -

STEP 18

A full range of values gives contrast between the light and the shadow areas. Contrast refers to the comparison of different values when put beside one another, and an invaluable tool for heightening the effects of composition.

A combination of dots and tiny squirkle lines provides the fun texture to all sections of the nose.

To make a section darker simply add more squirkling lines. To lighten a section, pat it very gently and carefully with a kneaded eraser that is molded to a point.

Examine the nose you just drew as part of a drawing of a Jack Russell named Isaac.

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

Continue on to the next section and try your hand at drawing a dog nose from an angle, which is slightly more challenging.






- 8 -

ANGULAR VIEW OF A DOG NOSE

People who love dogs simply can’t resist that adorable tilt of their heads as they look into your eyes and listen attentively. Naturally, when the head is tilted, the nose is also drawn at an angle.

ILLUSTRATION 02-01 1. Lightly sketch the shape of a dog nose at an

angle. Take note of how the nostril on the right is considerably higher than the other. Also, the lines outlining the overall shape of the nose are at an angle rather than horizontal and vertical.

ILLUSTRATION 02-02

2. Redraw the outline of the nose with nice neat lines. Take note of the shape of the lower part of the nose and the v-shape in the center of the very bottom section.

ILLUSTRATION 02-03

To keep your drawing neat, erase the rough sketch lines as you complete each section.

3. Add the outlines of the nostrils.






- 9 -

ILLUSTRATION 02-04

4. Very lightly outline crescent shaped sections under the nostrils. These crescent shapes will be left very light to help make the noses look three dimensional.

ILLUSTRATION 02-05

5. Add two circular shapes as highlights on the main section of the nose. These sections will be lighter than the rest of the nose to help make it look shiny.

ILLUSTRATION 02-06 6. Use HB and 2B

pencils, and graduated squirkling, to shade the various values. The light source is from the upper left.

As you add more shading, remember that the values need to be slightly lighter on the upper left, closer to the light source.






- 10 -

ILLUSTRATION 02-07 7. Add a combination

of dots and tiny squirkles below the nostrils and on the main section of the nose.

8. Use a 2B to add darker shading to the sections in shadow.

9. Fill in the nostrils with a 4B.

ILLUSTRATION 02-08 I prefer to leave the gorgeous texture of squirkles on a dog’s nose, without blending. However, if you’d like to try blending continue on! Blending is the process of rubbing shading lines with a blending tool (such as tissue or paper towel) to evenly distribute the drawing medium over the surface of the paper, thereby achieving a silky smooth graduation of values.

10. Gently blend the lighter sections of shading with a Q-tip or Kleenex.






- 11 -

ILLUSTRATION 02-09

11. Use your kneaded eraser to re-lighten the highlights after blending.

12. Add a few more dots to enhance the texture of the nose.

Check out this drawing of a Jack Russell named Jumpin’ Jack, and observe the nose you just drew as part of a dog portrait.

Add your name and today’s date to the back of your drawing, and go hug your dog!






- 12 -

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.



Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”.

Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites.

Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies: 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.





OF A DOG Brenda Hoddinott I-03 INTERMEDIATE: CARTOONS & CRITTERS

This simple project, features an eye of Shadow the Dalmatian, and is drawn completely freehand. After sketching the outlines, you add different values with help from four different grades of pencils, 2H, HB, 4B, and 6B. Throughout the lesson, I discuss the process of rendering a simplified drawing from a detailed photograph.

The key to simplifying a drawing when working from a photograph is to make sure you are very familiar with the visual structure of your subject. Artists often become frustrated and overwhelmed by too much visual information when trying to visually simplify a complex image and subsequently draw it accurately.

“Eye of a Dog” is divided into the following three sections:

THE PARTS OF A DOG’S EYE: To draw a dog’s eye correctly, you first need to find out as much as possible about its various parts.

ESTABLISHING DOG EYE PROPORTIONS: Drawing Shadow’s eye enhances your visual abilities, by exercising your freehand drawing skills. In this section, your goal is to sketch her eye proportionately correct.

BRINGING THE EYE TO LIFE WITH SHADING: Gather your drawing pencils and prepare to add shading to Shadow’s eye. In addition to its basic triangular shape, a realistic dog’s eye drawn from this angle, needs to illustrate its three dimensional forms as defined by a light source, in this case from the right.

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

This project is recommended for fine art educators, and artists from age 12 to adult with limited drawing skills.




- 2 -

ILLUSTRATION 03-01

ILLUSTRATION 03-02

THE PARTS OF A DOG’S EYE Artists often become overwhelmed by too much visual information when trying to simplify a complex image.

The drawing in this project is based on this photograph of the eye of a Dalmatian named Shadow. Observe that the iris, pupil, and two tiny segments of the white of the eye take up most of the visible sections.

In order to draw a dog’s eye correctly, you first need to find out as much as possible about its various parts. Refer to the drawing below, and identify each of the following.

1. Iris: the large circular shape that varies in value from very light to very dark. Tiny muscles in the iris radiate outward from the pupil to help it open and close. In profile, the eyeball is not a perfect sphere; the cornea of the iris bulges slightly outward.

2. White of the Eye: the primary section of the eyeball. The white of the eye is generally rendered with light to medium values.

3. Outer Corner: the outermost section of the eye.

4. Upper Eyelid: a movable fold of skin that opens and closes to protect the eyeball.

5. Highlight: a bright spot(s) or section(s) where light bounces off the shiny surface of the eye.

6. Pupil: the dark circle inside the iris often has the darkest values of the entire drawing. The pupil of an eye is similar to the aperture in the lens of a camera; it opens and closes, as the levels of light become brighter or darker.

7. Inner corner: a small triangular shape in the inside corner of the eye.

8. Lower eyelid: a fold of skin protecting the lower section of the eyeball.






- 3 -

ESTABLISHING DOG EYE PROPORTIONS Drawing Shadow’s eye enhances your visual abilities, by exercising your freehand drawing skills. In this first section, your goal is to sketch her eye proportionately correct. Proportion is the relationship in size of one component of a drawing to another or others.

1) Use slightly curved lines to draw a triangular shape with rounded corners. Examine the next three step-by-step drawings. Curved lines are created when a straight line curves (or bends). Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles.

ILLUSTRATION 03-03 ILLUSTRATION 03-04

ILLUSTRATION 03-05

Use an HB pencil, and keep your lines very light so they can be easily erased.

Pay close attention to the lengths, angles, and curves of the various lines. For example, take note that the lower line is more rounded than the other two and the curved line on the right is shorter than the others.

Constantly double check the proportions of your sketch as you work your way through this project, and modify if needed.






- 4 -

ILLUSTRATION 03-06

2) Add another curved line inside the triangular shape. Take note of the points where the line intersects two sides of the triangular shape. Also, this line is more curved at the top.

ILLUSTRATION 03-07

3) Add two more curved lines to represent the outline of the iris of the eye. Refer to Illustrations 03-07 and 03-08.

ILLUSTRATION 03-08

While these two curved lines outline a segment of a round shape, the upper and lower sections appear to be under the dog’s eyelids.

Turn your drawing around in various directions, and view it from different perspectives, to double check that the iris looks like a round shape.






- 5 -

ILLUSTRATION 03-09

4) Outline a highlight in the upper right section of the iris. The light source is from the right. Light source refers to the direction from which a dominant light originates. The light source tells you where to draw all the light values and shadows.

In the interest of originality, feel free to make your highlight an oval, circle shape, or even a curved teardrop-shape.

ILLUSTRATION 03-10

5) Draw a circular shape inside the iris as the pupil. The pupil is quite small when compared to the iris.

Take note that the highlight appears to overlap the pupil.

Also, because of the angle of the eye, the pupil is drawn closer to the right of the iris than the left.






- 6 -

ILLUSTRATION 03-11

BRINGING THE EYE TO LIFE WITH SHADING Gather your drawing pencils and prepare to add shading to Shadow’s eye. Shading refers to the various shades of gray (values) in a drawing that make drawings look three-dimensional. 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. In addition to its basic triangular shape, a realistic dog’s eye drawn from this angle, needs to illustrate its three dimensional forms as defined by a light source, in this case from the right. 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.

6) Add light values to the visible section of the white of the eye on the right. Use hatching lines and a 2H pencil and try to have your shading lines all going in the same direction.

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

In my drawing the lines are all angled upward to the right.

7) Use a 2H pencil to add light values to the iris. Take note that the highlight and pupil are left white.

ILLUSTRATION 03-12

8) Use an HB pencil to add medium values. Use hatching lines to shade in the inside section of the upper eyelid, the upper right and lower left sections of the iris, and the small visible section of the white of the eye on the left.

The values need to be darker toward the outside edges of the iris to create the illusion that the cornea of the iris bulges slightly outward from the eyeball.






- 7 -

In this lesson you use different grades of pencils, from hard to soft, to help draw the different values. However, you can also create different values by varying the density (placing lines either far apart or close together) of the individual hatching lines and/or the pressure applied to the paper while holding various pencils to draw.

9) Use a 4B pencil to add dark values to sections of the eye. Add darker shading to:

the upper part of the iris, and around the perimeter of the lower half of the iris

the upper and lower sections of the inner edge of the upper eyelid

the parts of the whites of the eyes on both sides of the iris that are in shadow

ILLUSTRATION 03-13

Remember, to make an area darker, you simply add more shading with a soft pencil.

To make an area lighter, use your kneaded eraser, molded to a point, to slowly and gently pat off some of the graphite in that section.






- 8 -

10) Use a 6B pencil to add dark shading to the pupil, and the outer and upper sections of the iris.

11) Add darker shading to the sections of the whites of the eye closest to the upper eyelid. Use your 6B pencil. These dark values illustrate the cast shadows from the upper eyelids,

ILLUSTRATION 03-14

12) With your 6B pencil add darker shading to the upper, lower, and outer sections of the inner section of the upper eyelid.

If you enjoy drawing fur, try your hand at drawing Shadow’s face and neck. You can find this project, T-02 Advanced: Diverse Animals in the advanced section of my website.






- 9 -

13) Use a 6B pencil, to add several narrow wiggly sections of shading that extend from the perimeter of the iris a little ways inward toward the center of the pupil. These lines illustrate the tiny muscles that are visible in the irises of most eyes. These eye muscles are also in human eyes, and involuntarily work to help the pupil open and close as light conditions change.

ILLUSTRATION 03-15

Remember, learning to draw is like learning to play piano. Don’t expect perfection with your first few tries. Plan to practice often, and expect to make lots of mistakes.

Check out M-03 Detailed Dog Eye in the Intermediate: Animals and Fantasy section and challenge yourself with a more detailed version of this dog eye. This lesson focuses on drawing the fur-textured forms around the eye, and uses blending to make the eye look shiny.






- 10 -

BRENDA HODDINOTT - BIOGRAPHY 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< 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”.










FFUURR Brenda Hoddinott

I-04 BEGINNER: CARTOONS & CRITTERS If you happen to like Dalmatians or cows, you’ll love learning how to use hatching lines to draw both the texture and pattern of spotted fur.

This lesson is divided into the following five sections:

INTRODUCTION: To capture spotted fur in a drawing, you define both the pattern and the texture.

OUTLINING SPOTS OF DIFFERENT SHAPES AND SIZES: You outline the shapes of some spots inside a rectangular drawing space.

PLAYING WITH FURRY HATCHING LINES: You experiment with making different values of a fuzzy texture. The hatching lines are unevenly spaced and of many different lengths and thicknesses.

ADDING TEXTURE TO SPOTTED FUR: The base (or background) of the spotted fur is drawn with mostly light values and the spots are rendered with dark values.

CHALLENGE: You are challenged to draw spotted fur with two additional techniques.

Suggested drawing supplies include good quality white paper, 2H, HB, 2B, and 4B pencils, erasers, and a pencil sharpener.

This lesson is recommended for artists and aspiring artists of all skill levels and ages, as

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

6 PAGES – 10 ILLUSTRATIONS Published by Hoddinott Publishing, Halifax, NS, Canada 2003 (Revised 2006)



- 2 -

You can create different values with hatching by: Varying the density (placing lines either far apart or close together) of the

individual hatching lines. Varying the pressure used in holding various pencils. Using different grades of pencils, from hard to soft, to help with the

different values.

INTRODUCTION To capture spotted fur in a drawing, you use dark values for the spots and light values for the areas that are light. 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.

In addition to having a spotted pattern, spotted fur also has a fuzzy texture. Pattern refers to the different values on the surface of your subject as identified by your sense of sight. Texture is the surface detail of an object, as identified by your senses of touch and sight and defined in a drawing with various shading techniques. When you draw a patterned texture, you need to define both the pattern and the texture.

Compare the two different textures on these two identical striped patterns. The texture of the pattern in the first drawing is definitely not fuzzy. However, thanks to the jagged hatching lines of various lengths and values, the second striped pattern looks furry. Hatching, a classical shading technique, is comprised of sets of lines drawn closely together to give the illusion of values. Hatching is a very fast and simple way to create both the texture and the pattern of fur.

Figures 1and 2: Comparing a smooth striped pattern with a fuzzy striped pattern

OUTLINING SPOTS OF DIFFERENT SHAPES AND SIZES In this section you draw the shapes of some spots inside a rectangular drawing space. A 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. You don’t need to have your spots looking the same as mine. Use your imagination and make them any shapes you like. Just keep the shapes fairly simple!






- 3 -

1) Use a ruler to draw a rectangle (a drawing space) in which to draw your spotted fur. Suggested sizes include 3.5 by 6 inches, or 5 by 7 inches.

2) Draw a large spot of any shape in the right half of your drawing space.

3) Draw a large partial spot on the far left.

4) Add two more partial spots - one in the upper left and the other in the lower right corner.

5) Sketch a couple of smaller spots in the lower left section.






- 4 -

PLAYING WITH FURRY HATCHING LINES In this section you experiment with making different values of a fuzzy texture.

6) On some scrap paper, practice drawing some raggedy, uneven hatching lines of various lengths to represent fur.

7) Continue practicing the texture of fur with hatching until you can make four different values. Use a 2H for the lightest value, an HB for the next value, a 2B for the medium value, and a 4B for the darkest value.

ADDING TEXTURE TO SPOTTED FUR The base (or background) of spotted fur is drawn with mostly light values and the spots are dark.

Examine this close-up view of spotted fur and consider the following helpful hints for drawing a realistic fur texture:

Some hatching lines extend beyond the outlines of the shapes of the spots, to create a jagged, natural looking fur texture.

The hatching lines are unevenly spaced and of many different lengths and thicknesses.

The light values of the background are shaded first so the dark spots can easily be added over the lighter shading.

8) Use your kneaded eraser and gently pat the lines outlining the spots, so as to lighten them in preparation for shading.






- 5 -

9) Draw a bunch of hatching lines of different lengths in all the areas without spots. Assuming a light source is shining from the left, graduate the values from light (2H and HB) on the left to medium (2B) on the right. Fur tends to be a little darker the farther away it is from the light. Graduated shading is a continuous progression of values from dark to light or from light to dark. If you have no experience with graduated shading, refer to lesson F-04 Graduated Values in the beginner section before you continue.

Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows.

10) Use medium (2B) and dark (4B) hatching lines to graduate the shading of the spots from medium (on the left) to dark on the right.

CHALLENGE In this lesson you drew the background before the spots. However, you can draw spotted fur by shading either the background or the spots first. You can also draw the background and spots at the same time. For extra practice try each of the following:

Draw a section of spotted fur by shading the dark spots first, and then the light background.

Draw another section of spotted fur by drawing both background and spots at the same time.

Draw an animal or cartoon with spotted fur by using whichever method you prefer.






- 6 -

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.



>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

I-05 BEGINNER: CARTOONS & CRITTERS In this lesson you use simple hatching lines to render the texture and pattern of striped fur. The drawings you complete in this lesson may not be the most exciting works of art on the planet; however, the next time you draw a zebra or other striped animal, you’ll notice how much easier the fur is to draw, and that the animal looks a lot more realistic!

This project is divided into the following two major sections:

PLAYING WITH PATTERN AND TEXTURE: A simple exercise takes you step-by-step through the basic process of hatching a striped pattern with a furry texture. A combination of dark and light values and raggedy hatching lines defines fuzzy stripes.

DRAWING ON YOUR OWN: FURRY STRIPES: You are challenged to enhance your observation skills while drawing an intricate striped furry texture. Simple guidelines, along with numerous step-by-step illustrations, guide you gently through the whole process.


11 PAGES – 18 ILLUSTRATIONS This project is recommended for artists of all levels and ages, as well as home schooling,





- 2 -

PLAYING WITH PATTERN AND TEXTURE To capture the pattern of striped fur in a drawing, you use dark and light values. Pattern refers to the different values on the surface of your subject as identified by your sense of sight. 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.

To define the furry texture, you use raggedy hatching lines. Texture is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of touch and sight help identify the surface texture of drawing subject. Hatching a classical shading technique, is a series of lines (called a set) drawn closely together to give the illusion of values.

When you draw fuzzy stripes, you need to define both the pattern and the texture. In this section, a simple exercise takes you step-by-step through the process of hatching a striped pattern with a furry texture.

ILLUSTRATION 05-01

First of all, examine this drawing of striped fur and take note of the following:

Some hatching lines extend beyond the border of each stripe to create a jagged, natural looking transition of values.

The hatching lines are curved, unevenly spaced, and of many different lengths and thicknesses.

The transition of values between the light and dark stripes is compacted into very short distances.

ILLUSTRATION 05-02

1) Lightly sketch three curved vertical lines

with two horizontal straight lines that cut across them. Press lightly with a 2H pencil. The horizontal lines indicate the stripes and the three curved lines will guide you through the process of curving your hatching lines around an implied three-dimensional form.

By shading the light stripes first, the dark values can easily be added over the lighter shading.






- 3 -

ILLUSTRATION 05-03

2) Use 2H and/or HB pencils to add hatching lines to the first light stripe. The hatching lines follow the curves of the vertical guidelines.

You can create different values with hatching by:

Varying the density (placing lines either far apart or close together) of the individual hatching lines.

Varying the pressure used in holding your pencils.

Using different grades of pencils, from hard to soft, to help with the different values.

ILLUSTRATION 05-04

You need to keep your pencils freshly sharpened at all times when you draw fur. Otherwise the furry texture will not stand out well.

3) Use HB and/or 2B pencils to sketch raggedy hatching lines for the upper section of the dark stripe. Take note of how the transitional section between the dark and light values, is jagged and uneven with curved hatching lines of various lengths.

Don’t forget to follow the vertical guidelines!






- 4 -

ILLUSTRATION 05-05

4) With your 2B pencil, extend the dark hatching lines downward, slightly below the second horizontal line. Remember to keep all your hatching lines curved. Fur drawn with mostly straight lines tends to look very flat and unnatural.

5) Use a freshly sharpened 4B pencil to add a few very dark hatching lines across the horizontal center sections of the dark stripe.

ILLUSTRATION 05-06

Touching up sections of fur that are too dark or too light is super simple! To lighten a section, mold your kneaded eraser to a thin wedge and gently pat a few of the darkest hatching lines. You can add more hatching lines in between some of the others to make a section darker.

6) Use an HB pencil to add hatching to the lower stripe.

Refer to the lessons in F-LEVEL BEGINNER: HATCHING for lots more information on shading with hatching.






- 5 -

DRAWING ON YOUR OWN: FURRY STRIPES In this section you are challenged to enhance your observation skills while drawing a complex striped furry texture. Instead of detailed step-by-step written instructions, you are provided with simple guidelines and tips; however, numerous step-by-step illustrations will guide you gently through the whole process.

If you run into problems, simply refer to the written instructions and tips provided throughout this lesson, especially those in the previous section.

ILLUSTRATION 05-07

Use a ruler to draw a square drawing format. Suggested sizes include 5 by 5 inches, 6 by 6 inches, or 7 by 7 inches.

Mark off four points on the left side of the square to identify five spaces (the stripes).

The points mark where light stripes meet dark ones. Two of the spaces are shorter than the other three; the one from the top side of the square down to the first point, and the one from the last point down to the bottom. The three other spaces are equal.

Draw lines to mark where dark stripes meet light ones as in the next four illustrations.







- 6 -

ILLUSTRATION 05-10

Before you draw the long curved lines (from left to right worked for me), mark off the points on the right side of the square, as shown in illustrations 05-10 and 05-11.

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

ILLUSTRATION 05-11

Some of the lines separating the stripes are in fact compound curves. A compound curve is created when a curved line changes direction (as in the letter "S").






- 7 -

ILLUSTRATION 05-12

Several angular lines, drawn through the stripes, serve as guidelines to help keep you stay on track as you draw hatching lines.

Use your kneaded eraser and gently pat all the lines in your sketch, so as to lighten them in preparation for shading.

ILLUSTRATION 05-13

A tiny section of a white stripe is added to the upper left of the drawing format.

Assume a light source is shining from the left. Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows.

Hence, the overall values of the fur need to look a little darker the farther away they are from the light. In other words, the fur is a little darker toward the right.






- 8 -

ILLUSTRATION 05-14

A dark stripe is added below the light one.

Observe that the shading is dark on the far left, then gets lighter, and finally graduates much darker toward the upper right.

A graduation is a continuous progression of graduated values from dark to light or from light to dark.

ILLUSTRATION 05-15

When you draw striped fur, the transition of values from light to dark is compacted into very short distances.

Remember, fur looks much more realistic when you draw the hatching lines of different lengths.






- 9 -

ILLUSTRATION 05-16

Note the light section of shading in each stripe that extends down from the upper left corner toward the center of the bottom edge of the square format.

If this section of your drawing needs to be made a little lighter, gently pat some dark lines with your kneaded eraser molded to a wedge.

ILLUSTRATION 05-17

The shading graduations used to render realistic fur provide viewers with vital information about the forms of various parts of the understructures of an animal’s body.






- 10 -

ILLUSTRATION 05-18

The drawings you completed in this lesson may not be the most exciting works of art on the planet (grin); however, the next time you draw a zebra or other striped animal, you’ll notice how much easier the fur is to draw, and that the animal looks a lot more realistic!






- 11 -














DRAWING A

Brenda Hoddinott I-06 BEGINNER: CARTOONS & CRITTERS In this project, you first sketch the proportions of a feather, and then use hatching lines to create the texture.

While the diverse fashion statements of birds vary, from understated and elegant to brightly colored and flamboyant, all their clothing is made of feathers! In order to realistically render portraits of birds, you need to understand the basic construction of their feathers.

This lesson is divided into the following three parts:

GETTING ACQUAINTED WITH FEATHERS: You examine a generic feather, and become familiar with the terminology used to identify each part.

SKETCHING FEATHERED PROPORTIONS: Your goal is to sketch the shapes of the various components of a feather in preparation for adding textured shading.

ADDING A FEATHERY TEXTURE: Rendering a feathery texture requires hatched shading similar to drawing fur.

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


17 PAGES – 28 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – Revised 2006



- 2 -

GETTING ACQUAINTED WITH FEATHERS Beyond their beauty, feathers serve most birds in other more practical functions, such as conserving their body heat in cold environments, providing the propelling action and the supporting surface needed for flying, and protecting their skin from minor injuries.

ILLUSTRATION 06-01

Illustration 06-04 fairly represents the overall qualities of the feathers of most adult birds. Examine and identify each part of this generic feather, as defined by the following terms:

1) QUILL: the hollow, wide end of the shaft that is attached to the skin and embedded into the body of the bird.

2) VANE: the flattened structures that extend outward from either side of the shaft. The vane is made up of numerous long thin branches called barbs.

3) SHAFT: the long, hollow, rigid rod down the total length of a feather that is attached to the bird at the quill.

Illustration 06-02 demonstrates a few of the vast range of shapes and sizes of feathers as they appear on a wing.

ILLUSTRATION 06-02

While this drawing is based on a bird’s wing; the basic anatomy can be implemented into any drawing of an entity with wings, from angels, and dragons, to flying pigs!

Since primitive man began drawing on the walls of caves, birds have remained a favorite drawing subject for artists of all ages and abilities. The various forms of the birds in the next three drawings are covered in feathers of various sizes and shapes. In Illustration 06-03, a goose seems totally absorbed with watching her big feet as she walks. The individual feathers are highly visible on the wings and tail of the owl in Illustration 06-04. The magnificent feathers of the elegant swan are designed to help her move gracefully through the water.






- 3 -

ILLUSTRATION 06-03

ILLUSTRATION 06-04

ILLUSTRATION 06-05

SKETCHING FEATHERED PROPORTIONS In this section, your goal is to sketch the shapes of the various components of a feather in preparation for adding textured shading. Pay close attention to the lengths, angles, and curves of the various lines which outline its different parts.

As you draw, don’t press too hard with your pencils. Dark pencil lines are difficult to erase, especially if they leave dents in your paper. When you try to add shading over dents, light scratchy looking lines show through, spoiling the overall appearance of your drawing.






- 4 -

1) Draw a long slightly curved line to mark the location of the shaft of the feather. This line is slightly wider on the right and becomes very thin toward the left. Leave plenty of room on your drawing paper to add the vane above and below the shaft.

ILLUSTRATION 06-05

2) Lightly sketch a teardrop shape (the vane) that extends above and below the shaft. The rounded end of the vane (on the right) cuts through the wider end of the shaft, leaving a section of the quill extending beyond its end. Note that the upper section of the vane is slightly larger than the lower.

ILLUSTRATION 06-07

3) Sketch several straight lines as a guide for drawing the barbs of the feather. Note that the lines are drawn at an angle to the shaft. Feathers come in a broad range of shapes and sizes; so, don’t worry if your proportions are different than mine.

ILLUSTRATION 06-08






- 5 -

ADDING A FEATHERY TEXTURE Rendering a feathery texture requires hatched shading similar to drawing fur. Keep the following in mind as you draw:

ILLUSTRATION 06-09

Draw some lines close together and others farther apart.

Vary the pressure used in holding your pencils. For light lines you press very lightly with your pencil. Press harder with your pencil to make darker lines.

Vary the lengths and thicknesses of the lines. The lines used to draw realistic feathers need to be ragged and uneven.

Keep a pencil sharpener (and sandpaper block if you have one) handy so you can easily keep your pencil points nice and sharp.

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.

Draw slowly. Accuracy is more important than speed. Your speed will automatically improve the more you practice.

4) Gently pat your entire sketch with your kneaded eraser until all your lines become so faint that you can barely see them.

5) Erase the line that marks the position of the shaft. 6) Use an HB pencil to redraw the shaft with a neat outline.

Refer to Illustration 06-10. The shaft becomes wider closer to the tip of the quill, which has a pointed end. Keep your pencil very sharp. Graphite wears down quickly and needs to be sharpened frequently.

ILLUSTRATION 06-10






- 6 -

ILLUSTRATION 06-11 7) Add shading to the shaft with

your HB pencil. Leave a long thin section of the quill white to create the illusion of its cylindrical form.

ILLUSTRATION 06-12

8) Use 2B and 4B pencils to add short dark raggedy lines on either side of the shaft.

The vane is slightly bowed, and these lines will serve to help create this illusion.

ILLUSTRATION 06-13

9) Add a few long, thick, slightly curved, dark lines on either side of the shaft.

These lines mark a few natural separations of the barbs.

The drawing of the feather appears more realistic with slight natural imperfections.






- 7 -

ILLUSTRATION 06-14

10) Add a series of slightly curved hatching lines extending from both sides of the shaft.

Use freshly sharpened 2H and HB pencils.

Continuously keep your pencil points very sharp as you draw.

ILLUSTRATION 06-15

11) Add more hatching lines from the outside edges of the vane inward, leaving a lighter section in the center sections.

By leaving this center section lighter, the vane appears to curve outward rather than appear flat.

12) Erase the rough sketch lines around the vane.

ILLUSTRATION 06-16 13) Add curved tips to the

ends of the barbs. Use a very sharp pencil! Take your time!






- 8 -

ILLUSTRATION 06-16 Try your hand at drawing feathers of different shapes, sizes, and colors.

If you like drawing birds, you can discover lots of feathered friends with minimal effort. Check out your favorite park, the local zoo, an aviary, or a neighbor’s garden. The result will be many hours of drawing enjoyment.


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<











T H E R O D E N T Brenda Hoddinott

I-07 BEGINNER: CARTOONS & CRITTERS In this project, you first sketch Rocky’s proportions within your drawing space and outline his forms. You then use short thin lines to make his forms look furry and three-dimensional. This drawing relies completely on freehand drawing without the help of drawing tools such as a grid.

The following three sections guide you step-by-step through this project:

SKETCHING BASIC PROPORTIONS: Your goal is to sketch the shapes of the various parts of Rocky’s head and body on your drawing paper proportionately correct, in preparation for drawing his outline.

OUTLINING A FACE, HEAD, BODY AND LEGS: In this section you redraw Rocky’s parts with thin neat lines. Keep a pencil sharpener (and sandpaper block if you have one) handy so you can easily keep your pencil points nice and sharp.

ADDING FUR WITH SHADING: In this section you first practice drawing fur, and then bring Rocky to life by adding shading to all aspects of his face, head, ears, body, tail and feet. The most common problem encountered by beginners to drawing fur is ending up with rough and messy looking lines. To prevent this problem, keep your pencil sharpener and sandpaper block handy, and make sure the point of your pencil is always sharp. Also, don’t rush! Take your time and watch closely the numerous directions in which the lines angle or curve.






- 2 -

SKETCHING BASIC PROPORTIONS This drawing relies completely on freehand drawing without the help of drawing tools such as a grid. Your goal is to sketch Rocky’s head and body on your drawing paper proportionately correct, by drawing the various shapes of his individual parts. Proportion is the relationship in size of one component of a drawing to another or others. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles.

Throughout all the various stages of drawing Rocky, you should constantly double check the proportions of your sketch. Pay close attention to the lengths, angles, and curves of the various lines which outline the different parts of his face, head, body, and legs.

ILLUSTRATION 07-01

1. Press very lightly with an HB pencil and sketch an oval-shape as Rocky’s body. Leave space on the left of your drawing space for his head. Make sure you have plenty of room on the right for his long tail. Keep your lines very light so they can be easily erased.

ILLUSTRATION 07-02

2. Sketch in two lines to form a triangular shape on the lower left of his body to mark the placement of his head.

3. Lightly sketch curved lines on the right to outline the shape of his tail.

ILLUSTRATION 07-03

Note that the tail curves outward and up to the right; the end is higher than the top of his back.






- 3 -

4. Sketch two small U-shapes to mark the placement of his front feet.

5. Add a slightly larger U-shape to identify the location of his back foot.

ILLUSTRATION 07-04

6. Sketch two upside-down U-shapes as his ears. Take note that the ends of the U-shape on the left are connected to a section of the triangular shape. The other is totally inside the large oval.

ILLUSTRATION 07-05






- 4 -

7. Sketch two small circles on his face, one as his nose and the other as an eye.

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

ILLUSTRATION 07-06

OUTLINING A FACE, HEAD, BODY, AND LEGS In this section you redraw Rocky’s parts with thin neat lines. Keep a pencil sharpener and sandpaper block handy so you can keep your pencil points sharp.

As you draw, 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 or 6B), they show up as light lines, spoiling the overall appearance of your drawing.

Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin.

9. Gently pat your entire sketch with your kneaded eraser until all your lines become so faint that you can barely see them.

10. With a very sharp 2B pencil, outline the perimeter of Rocky’s head, body, and nose with thin neat lines. Watch closely the gentle curves of the various lines that make up his shape. Don’t forget to leave an opening in the lower right section of his body to draw his back leg.






- 5 -

ILLUSTRATION 07-07

11. Add a neat thin line around the perimeter of his tail (with a freshly sharpened 2B pencil) so it looks more realistic.

ILLUSTRATION 07-08

12. Outline his back leg, foot, and toes.

ILLUSTRATION 07-09

The various lines curve so as to create the illusion that the leg is closer to the viewer than the body (called overlapping). Also observe how the toes seem to overlap one another.






- 6 -

13. With a freshly sharpened 2B pencil, draw the tiny sections of his front feet and toes that are showing.

14. Add the outline of the ear on the left.

ILLUSTRATION 07-10

15. Draw his other ear and outline his eye with thin neat lines.

16. Refer to the next drawing as you carefully check over your drawing, and then make any changes you feel are important.

ILLUSTRATION 07-11






- 7 -

ADDING FUR WITH SHADING When adding shading to a drawing, most artists prefer to work from light to dark. Shading refers to the various shades of gray (values) in a drawing that make drawings look three-dimensional. 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. By drawing your lightest sections first, you can then layer your medium and dark shading on top of your light shading. This layering creates a nice smooth transition between different values. You can make the transition from one value to the next barely noticeable, by drawing the individual lines of your hatching in different lengths. Sometimes a short line, placed inside a space between two other lines, helps make the transition look smoother.

The most common problem encountered by beginners to drawing fur is ending up with rough and messy looking lines. To prevent this problem, keep your pencil sharpener and sandpaper block handy, and make sure the point of your pencil is always sharp. Also, don’t rush! Take your time and watch closely the various directions in which the lines angle or curve.

In this section, you first practice drawing fur, and then bring Rocky to life by adding shading to his face, head, ears, body, tail and feet. The light source in this drawing is from the upper left, which means that the shading is slightly darker on the right and lower right sections of his body.

17. Before you begin shading Rocky, examine the next close-up of a drawing of fur, and take note of all the different lines. The lines vary between thick, thin, long, short, light, and dark.

18. Use your HB pencil and practice drawing lots of different types of short lines using a combination of the following techniques:

Vary the density of the lines you draw. Density refers to whether the individual lines are close together or far apart.

Vary the pressure used in holding your pencils. For light lines you press very lightly with your pencil. Press harder with your pencil to make darker lines.

Vary the lengths and thicknesses of the lines. The lines used to draw realistic fur need to be ragged and uneven.

ILLUSTRATION 07-12






- 8 -

19. Add light shading to Rocky’s face, head, and body. Refer to the next two drawings, use an HB pencil, and read through the following helpful tips before you begin:

Keep your pencil point very sharp as you draw.

Watch closely the different directions in which the lines curve. Basically the lines seem to follow the contours of the outlines of his body. Observe that the direction of the shading lines on his left ear is different than on his face and head.

Draw some lines close together and others farther apart.

Press very lightly with your pencil for light lines and apply more pressure to achieve darker lines.

Vary the lengths and thicknesses of the lines.

ILLUSTRATION 07-13






- 9 -

ILLUSTRATION 07-14

ILLUSTRATION 07-15

20. Use your 2B pencil to add several darker lines around the edges of his cheeks, ears, face, head, feet, and body. Refer to illustrations 07-15 and 07-16. Keep your pencil point very sharp. The graphite is softer in a 2B pencil than an HB and wears down very quickly. Hence, it needs to be sharpened frequently.

Use the same techniques you used to shade in the light values, for drawing the individual lines of medium and dark shading.






- 10 -

ILLUSTRATION 07-16

21. Use an HB pencil to fill in the inside section of his ear on the right. Take note of the tiny rim of white paper showing on the edge of his ear.

22. Outline a tiny circle in the upper right section of the eye and nose as highlights. The highlights are left white and help make the eyes and nose look shiny.

23. Use your 4B or 6B pencil to shade in the eye and nose (leave the highlights white).







- 11 -

24. Add shading to his tail, leaving a lighter section down the center to help make the tail look rounded.

ILLUSTRATION 07-19

25. Use your HB

pencil to add a shadow under Rocky’s body so he doesn’t look like he’s floating (or flying)!

The shadow is completely made up of horizontal lines which are all drawn in the same direction and are parallel to one another.

26. Add final touches to your drawing if needed.

27. Sign your name and put today’s date on the back of your drawing!

28. Give yourself a huge big hug!

ILLUSTRATION 07-20






- 12 -














TURTLE Brenda Hoddinott

I-08 BEGINNER: CARTOONS & CRITTERS With a focus on improving your observation skills, you first sketch Tuttle’s proportions within a simple grid, then outline him with nice neat lines and finally add shading. The following three sections guide you step-by-step through this project:

SKETCHING BASIC PROPORTIONS: The drawing of Tuttle is based on a common species of box turtle. In this section, your goal is to sketch the various parts of Tuttle on your drawing paper proportionately correct. You divide a rectangular drawing format into six squares to create a simple grid to help you draw everything in its proper place.

OUTLINING SHAPES AND SPACES: This section of the lesson is designed to enhance your observation skills, and subsequently refine your abilities to translate what you see into a drawing. I offer very few written instructions; rather, you rely primarily on your observation skills. You begin by erasing the grid lines, and then use a freshly sharpened 2B pencil to replace the initial rough sketch with dark, thin outlines. Your goal is to focus on drawing neat accurate lines that provide more detailed information about the various components of Tuttle.

HATCHING VARIOUS VALUES: In this section, you add shading to Tuttle with hatching graduations. A full range of values from light to dark gives contrast between the light and the shadow areas. Light affects the placement and value of every section of shading in a drawing. The light source in this drawing is from the right. Therefore, the overall values need to be lighter on the right than on the left.







- 2 -

SKETCHING BASIC PROPORTIONS In this section, your goal is to sketch the various parts of Tuttle on your drawing paper proportionately correct. A sketch is a quickly rendered drawing that illustrates the important elements of your drawing subject with very few details. Sketching refers to the method used for creating a quick, rough representation or outline of a planned drawing subject. A sketch can also be a completed work of art. Proportion is the relationship in size of one component of a drawing to another or others. You divide a rectangular drawing space into six squares to create a simple grid to help you draw everything in its proper place. 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. A grid is a precise arrangement of a specific number of squares, of exact sizes, proportionately drawn on both a photo and drawing surface. Grids help artists with numerous challenges, such as rendering precise proportions and correct perspective. If the proportions of your subject are off, no amount of beautiful shading or fancy pencil marks can save your drawing.

ILLUSTRATION 08-01

1) Draw a rectangle as your drawing format. Your rectangle needs to be proportionate to mine, such as 4 by 6, 6 by 9, or 8 by 12 inches. Use a 2H or HB pencil.

2) Divide the rectangle into six same-size squares. Measure and divide the height in half and the width into thirds.

Several species of animals, including some types of turtles, are in danger of becoming extinct. Too many box turtles are currently being taken from their natural habitats, and sold into the pet trade. Subsequently, consumers who buy these turtles are inadvertently contributing to the demise of the wild population. No matter how much humans love their pet turtles, the fact remains that these animals are often deprived of freedom, the company of other turtles, a healthy natural environment, familiar foods, and most importantly of all, an opportunity to breed.

BE CAREFUL! Don’t press too hard with your pencils! Lightly drawn lines are easier to erase! No matter how careful you are, when drawing with a grid, accidents do happen! If you draw in the wrong squares, simply erase that section, redraw the grid lines, and keep on going!






- 3 -

3) Draw a curved line to mark the position, size, and shape of the upper section of Tuttle’s shell. A curved line is created when a straight line curves (or bends).

ILLUSTRATION 08-02

Begin in the lower left grid square and curve the line upward and toward the upper center square.

Continue this line across the upper center square, extend its end slightly downward, and then into the upper right square.

4) Add short lines that curve outward to each end of the shell.

ILLUSTRATION 08-03

Did you know that a box turtle

can pull its head, legs, and

tail inside its shell, thereby

enclosing itself in a “box”?






- 4 -

ILLUSTRATION 08-04

5) Add another curved line on the right to mark the location of the opening of the shell.

Take note that this line extends into four different grid squares.

ILLUSTRATION 08-05

6) Complete the outline of the shell. Begin on the lower left side of the shell, and gently curve the line downward and toward the right. Then, curve the line upward to join the other side of the shell outline.

Box turtles are not recommended as house pets. Sadly,

many die within a year of their captivity. Without a proper diet and natural habitat, they are highly susceptible to illnesses that are often fatal.






- 5 -

ILLUSTRATION 08-06

7) Sketch the outline of the edge of the lower section of Tuttle’s shell.

Watch closely the location and size of this line in relation to the grid lines and the outline of the upper shell.

ILLUSTRATION 08-07 8) Sketch a

circular shape to mark Tuttle’s head.

9) Add an upside down U-shape as a front leg.

10) Sketch a horizontal oval below his leg to mark the location of his foot.

Did you know that a box turtle’s cuisine, when living in a natural habitat, includes such delicacies as spiders, flies, worms, crickets, grasshoppers, slugs, and snails? Yummy!






- 6 -

ILLUSTRATION 08-08

11) Sketch an oval to mark the position of Tuttle’s other leg.

12) Connect this leg to the edge of the upper shell with a curved line. Refer to the next drawing, marked Illustration 08-09.

ILLUSTRATION 08-09

13) Draw the inside edge of his lower shell. This edge actually consists of two lines, a short one to the left of his leg, and a longer one in between his legs.

Did you know that the lower shell (called the plastron) of a box turtle is hinged, so he/she can close it against the inside of the upper shell (referred to as the carapace) and hide away inside?






- 7 -

ILLUSTRATION 08-10

14) Sketch ovals as his other two visible feet. His fourth foot appears to be hidden behind his body.

15) Complete the rough sketch by adding his eye and mouth. Refer to Illustration 08-11.

ILLUSTRATION 08-11






- 8 -

OUTLINING SHAPES AND SPACES This section of the lesson is designed to enhance your observation skills, and subsequently refine your abilities to translate what you see into a drawing. I offer very few written instructions; rather, you rely primarily on your observation skills.

You begin by erasing the grid lines, and then use a freshly sharpened 2B pencil to replace the initial rough sketch with dark, thin outlines. Your goal is to focus on drawing neat accurate lines that provide more detailed information about the various components of Tuttle.

16) Check over the proportions of your sketch and adjust any areas you aren’t completely happy with.

17) Use your vinyl eraser to erase the grid lines.

ILLUSTRATION 08-12

18) Pat the entire sketch with your kneaded eraser.

The initial sketch lines need to become so light that you can barely see them.

Keep your pencil sharpener and sandpaper block handy and constantly sharpen the point of your pencil as you work, so your outline stays neat.

19) Carefully observe each of the following nine drawings in sequence and redraw each section of Tuttle with thin neat lines. Watch closely the curves and sizes of each line in relation to the other lines and the spaces. Remember; don’t press too hard with your pencils. These areas become impossible to touch up, and also leave dents in your paper, spoiling the overall appearance of your drawing.






- 9 -

ILLUSTRATION 08-13

ILLUSTRATION 08-14






- 10 -

ILLUSTRATION 08-15

ILLUSTRATION 08-16






- 11 -

ILLUSTRATION 08-17

ILLUSTRATION 08-18






- 12 -

ILLUSTRATION 08-19

ILLUSTRATION 08-20






- 13 -

ILLUSTRATION 08-21

HATCHING VARIOUS VALUES In this section, you add shading to Tuttle with hatching. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. 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. A full range of values from light to dark gives contrast between the light and the shadow areas. Contrast refers to the comparison of different values when put beside one another, and an invaluable tool for heightening the effects of composition. Light affects the placement and value of every section of shading in a drawing. Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows. The light source in this drawing is from the right. Therefore, the overall values need to be lighter on the right than on the left. Keep the following in mind:

Draw some hatching lines close together and others farther apart. Press lightly with your pencil for light lines and apply more pressure to achieve darker lines. Keep a pencil sharpener (and sandpaper block if you have one) handy so you can easily keep

your pencil points nice and sharp. Always place a piece of clean paper under your hand as you draw to protect your drawing

from accidental smudges. Watch closely the directions in which the hatching lines are angled.






- 14 -

20) Outline the various parts of Tuttle’s eye, including the highlight, iris, and pupil. Refer to Illustration 08-22. Highlight refers to the brightest area of a form where light bounces off its surface and is usually the section closest to the light source. Iris of an eye is the colored circular section of the eyeball surrounding the pupil. Pupil of an eye is the darkest circular shape within the iris.

21) Add shading to his eye (as explained in the following instructions and illustrated in the next set of drawings). Fill in the pupil with a 6B pencil (Illustration 08-23). Remember to leave the highlight white! Use HB and 2B pencils to add shading to the iris (Illustration 08-24). Take note that the values are darker around the edges, on the right, and under the eyelid. Add some eyelashes on the left (Illustration 08-25). Turtles don’t really have eyelashes, so you can leave them out if you want your turtle to look more realistic. Use an HB to shade in the whites of the eyes on either side of the iris (Illustrations 08-26 and 08-27).



ILLUSTRATION 08-26






- 15 -

BE CAREFUL! Try not to touch your drawing paper with your fingers or hands where you plan to add shading. The powder component in graphite works like the fingerprinting powder used by criminal investigative sections of police departments. Your skin may transfer oil to the paper, which sometimes becomes visible after you add shading, spoiling the overall look of your drawing; hence, another reason to keep a piece of scrap paper under your hand while you draw. 22) Use your HB pencil and hatching lines to add light values to the various parts of

Tuttle. The overall shading is darker on the left than on the right, and to keep things simpler, the hatching lines are mostly straight rather than curved. Rely on your observation skills to differentiate between the very light and slightly darker sections of light shading.

ILLUSTRATION 08-28

Did you know that some box turtles can grow to be more than six inches long (but most are smaller)?






- 16 -

Did you know that a box turtle can kill a human? Many box turtles love to eat poisonous wild mushrooms. While these mushrooms do no harm to the turtle, people who inadvertently eat the turtle meat can subsequently become very ill, and very often succumb to the poison and die. 23) Use a 2B and 4B pencils to add medium and dark values to the shadow areas in the

sections of the drawing that are farther away from or blocked from the light source. 24) Add horizontal hatching lines under and to the left of Tuttle as the cast shadow.

A cast shadow is a dark section on a surface that receives little or no light. The values of a cast shadow are darkest right next to the object and become gradually lighter farther away.

ILLUSTRATION 08-29

Did you know that a few Box Turtles are alleged to have lived for more than a hundred years? However, this theory is challenged in that box turtles older than fifty are rarely found in the wild. It is more likely that a box turtle’s life span is between thirty-five and fifty years.






- 17 -

25) Use a 4B pencil to add dark shading to the sections of the cast shadow that are close to the turtle.

26) Examine your drawing both close up and from a distance, and touch up any sections of shading you aren’t happy with. To make a section of shading darker, simply add more hatching lines in between the existing lines.

Use your kneaded eraser to gently pat any sections of shading that you feel are too dark.

ILLUSTRATION 08-30

If you like turtles and care about their future existence, you should respect their need to continue living within their natural habitats in the wild. However, as long as you protect their environments, there’s nothing wrong with hunting for turtles armed with a sketchbook or a camera.






- 18 -














Brenda Hoddinott

I-09 BEGINNER: CARTOONS & CRITTERS From the children’s story book the Three Little Pigs, to television and movie stars such as Porky Pig, Babe, and Miss Piggy, pigs have been captivating the hearts and minds of artists for centuries.

This project relies completely on freehand drawing without the help of drawing tools such as a grid. You first draw a simple line drawing, and then add shading with hatching to make Kevin’s face and body look three-dimensional, and his spotted fur look furry.

Simple, illustrated step-by-step instructions are divided into the following four sections:

SKETCHING PIGLET PROPORTIONS: Your goal is to sketch Kevin’s head and body on your drawing paper proportionately correct.

OUTLINING KEVIN’S FACE, HEAD, BODY AND LEGS: You redraw Kevin with thin neat lines. Your sketch lines were simply to establish proportions; you now draw the actual outline of Kevin.

PRACTICING SHADING GRADUATIONS: You fine-tune your shading skills by drawing three different fur-textured graduations, with the overall values of light, medium, and dark.

ADDING SPOTTED SHADING: You use hatching to add shading to Kevin’s face, head, ears, body, legs and feet.

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



Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, 2004 (Revised 2007)



- 2 -

ILLUSTRATION 02

ILLUSTRATION 03

Proportion is the relationship in size of one component of a drawing to another or others. Drawing space (sometimes called a drawing format or a drawing plane): 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.

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, created in a drawing with shading and/or perspective.

SKETCHING PIGLET PROPORTIONS This project relies completely on freehand drawing without the help of drawing tools such as a grid. In this section, your goal is to sketch Kevin’s head and body on your drawing paper proportionately correct.

1. Draw an oval-shape close to the center of your drawing space. Use an HB pencil, and keep your lines very light so they can be easily erased. This oval-shape represents the body of the pig. Take note that the end on the left is lower than the one on the right.

ILLUSTRATION 01

Leave space on the upper left of your drawing space for his head. Make sure you have plenty of room below to add his legs and feet. On the right, you need to leave some room for his tail.

2. Sketch a circular shape through the upper left of the oval-shape (his body) to mark the placement of Kevin’s head. Take note of how the outline of the head cuts through the outline of the body.

3. Lightly sketch two upside-down U-shapes to mark the locations of his ears. Note that the ear on the right is higher than the other.






- 3 -

As you sketch, constantly double check the proportions. Pay close attention to the lengths, angles, and curves of the various lines that outline the different parts of his face, head, body, and legs.

Before you continue to the next section, compare your drawing to mine and fix any areas you’re not happy with.

ILLUSTRATION 04

4. Sketch two small circles to mark the placement of his eyes. Note that the eye on the right is higher than the eye on the left.

ILLUSTRATION 05

5. Sketch a horizontal oval-shape as Kevin’s snout (or you may prefer to call it a nose).

6. Lightly sketch his curly tail. If you look closely you can see that the tail looks like a hand-written lower-case “e”.

ILLUSTRATION 06

7. Lightly sketch the locations of his four legs. Note that the two legs closer to the viewer (you), appear to be larger and longer than the two legs farther away.






- 4 -

You can clean your kneaded eraser by stretching and reshaping (also known as kneading) it several times until it comes clean.

OUTLINING KEVIN’S FACE, HEAD, BODY, AND LEGS In this section you redraw Kevin with thin neat lines. Your sketch lines were simply to establish proportions; you now draw the actual outline of Kevin. Keep a pencil sharpener (and sandpaper block) handy so you can keep your pencil points nice and sharp.

ILLUSTRATION 07 8. Use your kneaded eraser to pat all

your rough sketch lines until you can barely see them.

9. With your HB pencil, neatly draw the contour of his back and rump. Contour drawing (also called a line drawing) is comprised of lines which follow the contours of various sections of a drawing subject and define the outlines of its forms.

ILLUSTRATION 08 10. Add a double line to the tail outline so

it looks more realistic. 11. Outline Kevin’s chest and belly.

ILLUSTRATION 09

12. Add two slightly curved lines to represent the edges of the tops of the two legs that are closer to the viewer.






- 5 -

Always place a piece of clean paper under your hand as you draw to prevent you from smudging your drawing, and protect the paper from oils in your skin. Each time you work on a new section, move your paper so it’s always under your hand.

13. Outline the two legs and feet that are closer to the viewer. Examine how the lines curve in various directions. Constantly compare the shapes of each section of the legs and feet to my drawing.

14. Add the other two legs and feet.

ILLUSTRATION 10 ILLUSTRATION 11

15. Use your HB pencil to outline his cheeks and chin.

16. Outline his head and ears.

17. Add two curved lines under his snout, to represent his smile.

ILLUSTRATION 12 ILLUSTRATION 13 ILLUSTRATION 14






- 6 -

ILLUSTRATION 15

18. Add curved lines to separate the outer and inner sections of his ears.

ILLUSTRATION 16

19. Outline the snout with an HB pencil.

20. Add two more curved lines above the upper section of his snout.

21. Draw two tiny circles as his nostrils with small triangular shapes on the outer edge of each.

ILLUSTRATION 17 22. Outline his eyes.

23. Add a tiny circle in the upper right of each eye as the highlight.

ILLUSTRATION 18

24. Erase any rough sketch lines that are still visible.

25. Check over your drawing and change any sections you aren’t totally happy with.






- 7 -

If you have very little hatching experience, or if your hatching skills have become a little rusty, you can hone your skills with the lessons in Section F, Beginner Level: Hatching.

PRACTICING SHADING GRADUATIONS In this section, you fine-tune your shading skills by drawing three different fur-textured graduations, with the overall values of light, medium, and dark.

Shading refers to the various shades of gray (values) in a drawing that make drawings look three-dimensional. Graduated shading (also called graduations or graduated values) is a continuous progression of graduated values from dark to light or from light to dark. 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.

Remember, different values are created by:

Varying the density of the lines you draw. Density refers to whether the individual hatching lines are close together or far apart.

Varying the pressure used in holding your pencils. For light lines you press very lightly with your pencil. Press harder with your pencil to make darker lines.

Using different grades of pencils from 2H to 6B.

The hatching lines used to draw fur are ragged and uneven with lines of various lengths and thicknesses. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values.

ILLUSTRATION 19

26. Use hatching to draw three furry graduations. Use a 2H pencil to make a horizontal light gradation that is darker on the left and gradually gets lighter toward the right.

Draw the texture of fur in a medium graduation (use an HB) that begins dark on the left and becomes lighter toward the right.

Graduate the texture of dark fur by using a 4B on the far left and ending with lighter values on the right, rendered with a 2B.






- 8 -

ILLUSTRATION 20

ILLUSTRATION 21

ILLUSTRATION 22

The light source in this drawing is from the upper right, which means that the shading is darker on the left and lower left sections of the pig’s body.

Light source is the direction from which a dominant light originates.

The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows.

Watch very closely the different directions in which the hatching lines curve. Take your time. The directions, in which the hatching lines curve, are important, because they help give the illusion of depth to the various forms.

ADDING SPOTTED SHADING In this section, you use hatching to add shading to Kevin’s face, head, ears, body, legs and feet.

27. Use your 2B pencil and hatching lines to add fur-textured spots to Kevin’s back, front leg, and around one eye. Refer to Illustrations 20, 21, and 22.






- 9 -

ILLUSTRATION 23 28. Add light and medium values

to Kevin’s snout, feet (you may want to call them hoofs), and the inside sections of his ears. If you look closely you may notice that some sections of shading are a little darker than others.

Add your light values first, and 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.

Experiment with your 2H and HB pencils to see which you prefer for shading the various sections.

ILLUSTRATION 24

29. Use your HB pencil to add medium values to the inside corners of Kevin’s eyes.

30. Fill in the darkest sections (the irises and pupils) of Kevin’s eyes with your 6B pencil. Remember to leave the highlights white.

31. Complete all aspects of the shading of Kevin. Refer to Illustrations 25, 26, and 27 on the following page.

Use your 2H to add texture to the lightest sections of fur.

An HB is great for the medium shading such as under his chin.

Try a 2B for the dark shadow sections such as the inner sections of his ears, the fur under and on the left of his snout, the left of his chest, the upper section of his leg on the far left, his belly, and the darker shading of his snout and hoofs.

Use your 4B and 2B to darken the inner sections of his various spots.






- 10 -

To make the transition from one value to the next look smooth, make the individual hatching lines different lengths. A short line, placed inside a space between two other lines, can also help.

Shape your kneaded eraser into a point and erase any smudges on the highlights, such as those in his eyes, and the sections of his snout, tail, and hoofs (feet) that are closer to the light. With all highlights brightened to the white of the paper, your drawing will look brighter and more three-dimensional.

ILLUSTRATION 25

ILLUSTRATION 26

ILLUSTRATION 27






- 11 -

ILLUSTRATION 29

32. Use your HB pencil to add a shadow under Kevin’s body so he doesn’t look like he’s floating (or flying)!

ILLUSTRATION 28

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

CHALLENGE Put on your thinking cap and invent and draw Kevin’s brother or sister, using the skills taught in this lesson.

You have a certified artistic license to use your creativity and make any changes you wish. For example, you can add spots in different places and make them various sizes, from very tiny to large.

Try your hand at drawing other spotted critters, in the advanced section of Drawspace. You can draw an adorable giraffe named Dandy, a Dalmatian named Shadow, or an adorable young owl, named Hooter.






- 12 -


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<











Brenda Hoddinott

I-10 BEGINNER: CARTOONS & CRITTERS

In this project, you set up the facial proportions of a Jack Russell Terrier named Jumpin Jack, add blended shading to his eyes and nose, and add texture to his fuzzy face with hatching. Curriculum is designed to help improve your skills at drawing curved hatching lines.

This project is divided into the following five sections:

PROPER PUPPY PROPORTIONS: Setting up accurate proportions is the foundation of drawing. In this section, you divide a square drawing format into four smaller squares to create a simple grid to help you draw everything in its correct place.

TRANSFORMING HATCHING LINES INTO FUR: The hatching lines used to draw fur on Jumpin Jack are ragged and uneven, and are also various lengths and thicknesses. Some hatching lines are dark and others are light. You achieve different values by using various pencils, and by varying the density of the lines and the pressure used in holding your pencils.

OUTLINING THE EYES AND NOSE: With the rough sketch complete, and everything in its correct place, you now outline a few more important details, such as the eyes and nose.

ADDING SHADING TO THE EYES AND NOSE: Remember, light affects the placement and value of every section of shading. Keep in mind that a full range of values gives contrast between the light and the shadow areas.

COMPLETING THE FINAL DETAILS: In this section you add darker shading to some sections of Jumpin Jack’s fur to bring out its delightful fuzzy texture and better define the light source.


21 PAGES – 36 ILLUSTRATIONS This project is recommended for artists from age 12 to adult with basic shading skills, as well as

home schooling, academic and recreational fine art educators.




- 2 -

PROPER PUPPY PROPORTIONS Setting up accurate proportions is the foundation of drawing. Proportion is the relationship in size of one component of a drawing to another or others. If the proportions of your subject are off, no amount of beautiful shading or fancy pencil marks can save your drawing.

In this drawing, you divide a square drawing format into four smaller squares to create a simple grid to help you draw everything in its correct place. A grid is a precise arrangement of a specific number of squares, of exact sizes, proportionately drawn on both a photo and drawing surface. Grids help artists with numerous challenges, such as rendering precise proportions and correct perspective.

1. First of all draw a square any size you wish 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 7 by 7 inches, but you can choose any size such as 9 by 9 or 6 by 6 inches.

2. Use a ruler to measure each side of your square and then divide the square into four equal smaller squares. Don’t press too hard with your pencils! No matter how careful you are, when drawing with a grid, accidents do happen! If you draw some lines in the wrong squares, simply erase that section, redraw the grid lines, and keep on going! Lightly drawn lines are easier to erase!

ILLUSTRATION 10-01

3. Lightly sketch a circle as Jumpin Jack’s head. Use a 2H or HB pencil to lightly sketch all the components of Jumpin Jack’s head and face.

Take note that most of the circle is in the upper two squares, and that it is slightly closer to the right than the left. Make sure you leave plenty of room on your drawing paper for his snout, ears, and neck. Remember to keep your initial proportional lines very light. Most of them will need to be erased before you finish.






- 3 -

ILLUSTRATION 10-02

4. Add a smaller circle below and to the right of the other circle to indicate the position of his snout. Most of the smaller circle is located in the lower right square. Take note of where this second circle cuts into the first. Pay attention to the sizes of the two sections that extend into the upper right and the lower left squares.

ILLUSTRATION 10-03

5. Draw two triangular shapes to mark the locations of his ears. Observe that the ear on the left is lower than the other. The ear on the right is located completely within the upper right square.






- 4 -

ILLUSTRATION 10-04

6. Sketch two circles to mark the locations of his eyes. Notice that the eye on the right is higher than the one on the left.

ILLUSTRATION 10-05

7. Sketch another circle inside the smaller circle (his snout) to identify the location of his nose. As you draw, constantly compare your drawing to mine and double check your proportions. Pay close attention to the lengths, angles, and curves of the various lines which outline the different parts of his head, face, and ears.






- 5 -

ILLUSTRATION 10-06

8. Use curved lines to lightly sketch the location of the side of his face (on the left) and the outlines of his neck and shoulders. The rough sketch is now complete. Double check the proportions of each section of your sketch by visually measuring the shapes of the positive and negative spaces.

9. Very lightly sketch parallel angular guidelines to identify the angle of the tops of the ears, the tops and bottoms of the eyes and nose, and the nostrils, and mouth. Remember; don’t press too hard with your pencils. Not only do these areas become impossible to erase or touch up, but they also leave dents in your paper. All the lines you draw in this section will need to be made fuzzy in the next section.

In the next illustration the lines look dark. However, in fact they are so light that I can barely see them. I have made them look darker in a computer program so you can see them.

10. Use a freshly sharpened HB pencil to very lightly outline the shapes of his eyes, upper face, and ears. Draw your outlines slowly and carefully! Pay close attention to the grid lines to make sure you draw the various curved lines in their proper places and the correct lengths and contours.

11. Draw the shapes of his nose and add two small curved lines to indicate the nostrils. Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin.






- 6 -

ILLUSTRATION 10-07

12. Mark the location of his mouth with a curved line.

13. Refine the lines that outline the perimeters of the left side of his face and both sides of his neck.

14. Check over the shapes and sizes of the various parts of Jumpin Jack in relation to the lines of the square and grid, and fix anything you’re not totally happy with.

15. Before you begin adding shading lines as Jumpin Jack’s fur (in the next section), use your kneaded eraser to lighten your sketch lines until they are so light that you can barely see them.

TRANSFORMING HATCHING LINES INTO FUR The hatching lines used to draw fur on Jumpin Jack are ragged and uneven, and are also various lengths and thicknesses. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. Values are the different shades of gray created by using various pencils, and by varying the density of the lines and the pressure used in holding your pencils.

As you render each section of fur, watch very closely the different directions in which the lines curve. Take your time. The directions in which the hatching lines curve are important because they help give the illusion of depth to the various forms. 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. Also note that some hatching lines are dark and others are light.






- 7 -

16. Use your HB pencil to draw a bunch of fuzzy lines to indicate the texture of the fur around the perimeter of his head. Texture is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of touch and sight help identify the surface texture of subjects.

ILLUSTRATION 10-08

17. Add curved hatching lines of various lengths and thicknesses to create the texture of fur on the upper sections of Jumpin Jack’s head.

ILLUSTRATION 10-09






- 8 -

18. Use your HB pencil to outline the perimeters of Jumpin Jack’s fuzzy ears.

ILLUSTRATION 10-10

19. Add the texture of fur to his ears. Take note of the darker shading along the insides of some of the edges of the ears, which helps give the illusion of depth to their forms.

ILLUSTRATION 10-11






- 9 -

20. Use long curved hatching lines to add a section of longer fur between his eyes. Watch closely the different directions in which the lines curve. Be careful that the hatching lines are not similar in shape or size or the fur may not appear realistic.

21. Sketch the fur on the left side of his face below his ear.

22. Add the fur around the perimeter of his snout, in the corner sections of his mouth, and on the lower section of his chin.

ILLUSTRATION 10-12






- 10 -

23. Add more fur to his snout on each side of his nose and above and below his mouth. Take your time and pay close attention to the different directions in which the lines curve.

24. Draw the hatching lines on his neck and shoulders that indicate the various directions in which this fur curves.

25. Check over your drawing carefully and make sure you are happy with the curved lines which define the furry textures.

ILLUSTRATION 10-13






- 11 -

OUTLINING THE EYES AND NOSE With your rough sketch complete, and everything in its correct place, it’s now time to add a few more important details, such as the eyes and nose. Before you begin drawing the eyes, take a moment to refresh your memory on the names of the various parts.

ILLUSTRATION 10-14

1. Highlight: is the brightest area where light bounces off the surface of the eye.

2. Pupil: of an eye is the darkest circular shape within the iris.

3. Iris: is the colored circular section of the eyeball surrounding the pupil.

4. White of the eye: (the visible section of the eyeball) is light, but not really white.

5. Eyelid: (sometimes referred to as the rim of the eye) is a fold of skin that opens and closes to protect the eyeball.

26. With your kneaded eraser, lighten the original sketch lines in and around the eyes.

27. Redraw the almond shapes of the eyes with nice neat lines.

ILLUSTRATION 10-15






- 12 -

ILLUSTRATION 10-16

28. Add another circular outline outside the perimeter of each eye as the eyelids (or rims).

ILLUSTRATION 10-17

29. Draw a slightly curved line in the inside corner of each eye to complete the large circular shape known as the iris.

ILLUSTRATION 10-18

30. Add a tiny circle in the upper left section of each iris as the highlight.

ILLUSTRATION 10-19

31. Sketch yet another circle inside each iris as the pupils. Take note that the lines outlining the pupils cut into the edges of the outlines of the highlights.






- 13 -

ILLUSTRATION 10-20

32. Redraw the outline of the nose with nice neat lines. Take note of the shape of the lower part of the nose and the v-shape in the center of the very bottom section.

ILLUSTRATION 10-21

33. Add the outlines of the nostrils.

ILLUSTRATION 10-22

34. Very lightly outline crescent shaped sections under the nostrils. These crescent shapes will be left very light to help make the noses look three dimensional.

ILLUSTRATION 10-23

35. Add two circular shapes as highlights on the main section of the nose. These sections will be lighter than the rest of the nose to help make it look shiny.






- 14 -

ILLUSTRATION 10-24

At this point, your Jack Russell’s face is completely outlined with lightly shaded fur. The hatching lines used to draw the fur are very ragged and uneven with lines of various lengths and thicknesses.

As you can tell by the locations of the highlights in his eyes, the light source in this drawing is from the upper left.

Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows.

As you add more shading to this drawing, remember that the values need to be lighter on the left than on the right.

ADDING SHADING TO THE EYES AND NOSE Remember, light affects the placement and value of every section of shading. Keep in mind that a full range of values gives contrast between the light and the shadow areas. Contrast refers to the comparison of different values when put beside one another, and an invaluable tool for heightening the effects of composition. ILLUSTRATION 10-25

36. Use an HB pencil to add shading to each iris. Note that the shading is darker in the upper left and graduates to become lighter in the lower right.






- 15 -

ILLUSTRATION 10-26

37. Add shading to the rims of the eyes with an HB pencil. Take note of the tiny sliver of light shading along the center section of each eyelid.

ILLUSTRATION 10-27

38. Shade in the whites of the eyes very lightly with an HB pencil. The whites of dogs’ eyes are generally not very noticeable, and in this case are mostly in shadow.

ILLUSTRATION 10-28

39. With a 2B pencil, add darker shading to the upper sections of the irises and around the outside edges of the rims.

40. Use a Q-tip to gently blend the sections of shading in the iris, the whites of the eyes, and the rims.

ILLUSTRATION 10-29

41. Use a 6B pencil to shade in the pupils of the eyes.






- 16 -

42. Blend the outer edges of the rims gently toward the outside of the eyes.

ILLUSTRATION 10-30

43. Mold your kneaded eraser to a point and gently pat a tiny section of the eye in the lower right to make it a little lighter.

ILLUSTRATION 10-31

44. Use an HB pencil and graduated shading with squirkles, to create the various values and the texture of the nose. Squirkling is a method of shading incorporating randomly drawn curved lines to create textured values. I chose this name based on the method of morphing squiggles with circles to create shading.

ILLUSTRATION 10-32

45. Add a combination of dots and tiny squirkle lines to the highlights below the nostrils and on the main section of the nose.

46. Use a 2B pencil to add darker shading to the sections in shadow.

47. Fill in the nostril sections with a 4B pencil.






- 17 -

ILLUSTRATION 10-33 This next step is totally optional. I personally prefer to leave the wonderful texture of the squirkles as they are on a dog’s nose, without blending. However, this is a personal choice.

ILLUSTRATION 10-34

48. Gently blend the lighter sections of shading on the nose.

49. If you blend the shading on the nose, use your kneaded eraser to re-lighten the highlights after blending.

COMPLETING THE FINAL DETAILS In this section you add darker shading to some sections of Jumpin Jack’s fur to bring out its delightful fuzzy texture and better define the light source. Keep in mind that the light source is from the upper left, so the shading will be a little darker on the lower right. The process of shading his face offers opportunities for you to use your creative license to make subtle changes, such as adding a couple of dark spots rather than having him appear to be all one color.






- 18 -

50. Add more details to his face and darken the fur in the shadow sections around his eyes, mouth, and nose. Use a freshly sharpened HB pencil for the middle values, such as the fur on the left of his face and over his eyes. Try a 2B pencil for the darker sections, such as the fur on the right side of his face, his lip, the shadow sections directly under and to the right of his nose, and the fur around his mouth.

The fur above his nose becomes progressively darker as it grows closer to his nose. The shading between the nose and mouth is quite dark because this area is in shadow.

ILLUSTRATION 10-35






- 19 -

51. Add more shading to the fur in the shadow sections of his face, under his ears and around his eyes. Pay close attention to the direction from which the light is coming (the upper left). The lightest sections are shaded with a 2H pencil, and I used 2B and 4B for the areas in shadow. However, be careful not to make his fur too dark because it is actually white.

Keep in mind that the edges of the fur on the outer edges are ragged-looking, with hatching lines of various lengths and thicknesses, to give a more realistic appearance.

ILLUSTRATION 10-36

52. Add more shading to the lower section of his face, neck, and shoulders. Take note of the dark shading under his chin which is in the shadow of his head. Also observe that the overall shading becomes progressively darker toward the lower right.

53. Beginning at the top of his ears, compare your drawing to mine and check over the shading of the various sections of his ears, eyes, face, nose, mouth and neck. To make a section darker simply add more hatching lines. To lighten a section, pat it very gently and carefully with a kneaded eraser that is molded to a wedge shape.






- 20 -

ILLUSTRATION 10-36

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






- 21 -














Brenda Hoddinott I-11 BEGINNER: CARTOONS & CRITTERS

This heavily illustrated lesson is ideal for beginners who feel ready to take on more intricate and time-consuming projects.

In the first four sections, squirkles are used to draw the form, texture, and striped pattern of a realistic fish with combination of hatching and squirkling shading only – no outlining. The fifth section, offers an optional challenge to integrate more details into the completed drawing.

The five sections of this lesson are as follows:

INTRODUCTION: The process of drawing the fish is discussed and illustrated. DRAWING A FISH EYE WITHOUT OUTLINES: Only shading, rather than a

combination of lines and shading, is used to draw the eye of the fish.

SQUIRKLING A FISH HEAD: The fish’s head is rendered with squirkles. Each step is well illustrated, with full views and close-ups of the more complex sections.

USING SHADING TO DRAW SHAPE AND PATTERN: The body and fins of the fish are rendered utilizing a combination of various beginner-level drawing techniques.

MOVING BEYOND BASIC BEGINNER SKILLS: Artists are challenged to add a broader range of medium values between the lightest lights and the darkest darks, and to further accentuate the forms, textures, and patterns.

You need 2H (very good for light values), HB (great for middle values), and 2B (works well for dark values) mechanical pencils, good quality drawing paper, and erasers. If you plan to use regular pencils instead of mechanical, you also need a pencil sharpener and a sandpaper block.

This lesson is recommended for both beginners who want to enhance their basic skills, and for those who feel ready to take on more intricate and time-consuming projects, as well as home

schooling, academic and recreational fine art educators of beginner and intermediate students.

15 PAGES – 31 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – February, 2006



2

INTRODUCTION This lesson is ideal for beginners wanting to enhance their basic skills, and for those who feel ready to take on more intricate and time-consuming projects.

ILLUSTRATIONS 11-01 and 11-02

In the first four sections of this project, squirkles are used to draw the form, texture, and striped pattern of a realistic fish with shading only – no outlining (refer to illustration 11-01). The

OPTION 1: BEGINNER

fins are rendered with a combination of hatching and squirkling.

Form is created in a drawing by adding shading to transform a shape into three-dimensional structures, such as a circle becoming a sphere.

Texture refers to the surface detail of an object in a drawing. The properties of a texture are identified with vision, a sense of touch, and a general knowledge of the subject.

Pattern refers to the different values (or colors) of the drawing subject, represented in a drawing, by lines or shading. Sight alone identifies patterns.

The fifth and final section, offers an OPTION 2: INTERMEDIATE

optional challenge to incorporate additional details and a broader range of middle values to the completed drawing (refer to illustration 11-02).

In reality, fish have no lines defining their forms. Rather, contrasting values identify the edges of its parts, the forms of its anatomy, the patterns on the body, and the textures of the scales and fins. Hence, to draw a fish realistically, artists need to be able to draw without outlines.

The primary method of shading used in this project is called squirkling, in which randomly drawn, overlapping curved lines create textured values.






3

Hatching is used for the tail and fins. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values.

By varying the density (drawing the lines either far apart or close together) of the lines in either squirkling or hatching, you can achieve many different values. Light values tend to have noticeable lines with lots of white space showing. In darker values, the lines are drawn more closely together, filling in most of the paper with the shading.

2H pencils are very good for light values, HB is great for middle values, and 2B works well for dark values. I personally prefer mechanical pencils when shading with squirkles. If you are using regular pencils, make sure you sharpen the point of the pencil with a sharpener and/or sandpaper block after each section of shading is added.

ILLUSTRATION 11-03 To keep things simple, I identify the parts of the fish’s eye with the following familiar names:

The highlight is the brightest area where light bounces off the surface of the eye. The pupil is the dark circular shape within the iris. The iris is the large colored circular section of the eyeball.

Before you begin drawing the eye, take a moment to become familiar with the process of adding its shading. To give you an idea of your goals in each step, the method of adding values from light to dark is demonstrated in the following three sequential drawings.


1. Light values 2. Medium values 3. Dark values (2H pencil) (HB pencil) (2B pencil)

The light values identify the shape (or mass) of the eye. Medium values are created by layering more squirkles over some light values, especially around the edges. Very little white paper is visible in the darkest values of the pupil.

The light source is from above and slightly to the right. Light source refers to the direction from which a dominant light originates. A light source identifies the light and shadow areas of a drawing subject, so artists know where to add different values.






4

DRAWING A FISH EYE WITHOUT OUTLINES In this section, you use only shading, rather than a combination of lines and shading, to draw the eye of the fish.

1. Establish a place on your drawing paper to draw the eye, and then mark the spot with a dot. Leave lots of room on your paper for the huge body and tail. The eye is surprisingly tiny when compared to the entire body. To get an idea, of how small the eye is, compare the drawing below with only the eye (on the left), to the finished drawing (on the right).


ILLUSTRATION 11-09

2. Use squirkling and a 2H pencil to draw the circular shape of the iris. The squirkling lines cut across themselves in many places, creating lots of different tiny shapes inside the shape of the iris. Press gently on your pencil. Only the weight of the pencil itself makes the very faint values. Remember to not add any squirkles to the highlight.

ILLUSTRATION 11-10

3. Use a HB pencil to add medium values to sections that need to be darker. Observe how the center section of the iris appears lighter in value than around the edges, so as to help create the illusion of depth.

The more pressure you apply with your pencil, the darker the values become, especially important for shading around the edges of the iris.






5

ILLUSTRATION 11-11

4. Use squirkling and a 2B pencil to add very dark shading to the pupil in the center section of the iris. Don’t forget to leave the highlight the white of the paper. Also, take note that no white paper is still visible inside the pupil.

SQUIRKLING A FISH HEAD In this section, you focus on the sections of the fish’s head surrounding the eye. Each step is well illustrated, with full views and close-ups of the more complex details. ILLUSTRATION 11-12 5. Use squirkling graduations and a 2H pencil to

render the light values. A graduation (also called graduated shading or graduated values) is a continuous progression of values, from dark to light or light to dark.

The goal of graduated shading is to keep the transitions between the different values flowing smoothly into one another, as in this illustration.

In this case, you need to make at least three different light values (as illustrated below) that graduate into one another.

ILLUSTRATION 11-13

Different values with a 2H pencil are rendered by varying the density (drawing the lines either far apart or close together), and by pressing a little harder to create the darker values.






6

ILLUSTRATION 11-14

6. Use a HB pencil to add medium values to sections of the head that need to be darker. Again, you need to graduate a range of different medium values, as in the illustration below. Very little white paper is showing in the darker sections.

ILLUSTRATION 11-15

ILLUSTRATION 11-16

As you complete each section, continuously go back over your drawing and adjust the values. To make a section lighter, pat the squirkles gently with a kneaded eraser that is molded to a point. To make a section darker, simply add more squirkles and press a little harder on the pencil.






7

ILLUSTRATION 11-17

7. Add dark values where indicated with a 2B pencil. Examine my drawing closely. Many more lines make up dark squirkling values, and the lines are much closer together. No white paper is visible in the darkest of the dark values.

ILLUSTRATION 11-18

No visible lines actually outline the

stripes of the fish. Rather,

contrasting values define the edges of

the striped pattern.

As you work, focus on the broad range of values that exists in between the darks and lights.

Very light and very dark values are fairly easy to achieve. The real challenge is graduating the medium values into the lights and darks.






8

ILLUSTRATION 11-19 8. Add more medium values with a freshly sharpened HB

pencil. The easiest method is to add additional tiny squirkle lines in between others. Also, take note of the subtle stripes of his neck. And, yes, I know that fish really don’t have necks! Don’t forget to add the dark stripe to the section where the head meets the body.

USING SHADING TO DRAW SHAPE AND PATTERN In this section, the body and fins of the Tiger Fish are rendered utilizing a combination of several beginner-level drawing techniques.

9. Use a 2B pencil to add large dark stripes to the body of the fish. Observe how the upper and lower edges of the stripes identify the overall shape of the fish’s body.

ILLUSTRATION 11-20 Also, the values are lighter in the upper sections that are closer to the light source.






9

ILLUSTRATION 11-21

ILLUSTRATION 11-22

10. Use a 2H pencil to add a graduation of light values to the light stripes. These light stripes complete the overall shape of the fish’s body.

You can keep adjusting the shape of the body as you work, by erasing sections that are too big, and adding more squirkles to make some sections larger.

The values along the lower part of the body are darker because they are farther away from the light source.

11. Use a 2H pencil to draw the shape and mass of the tail and fins. Refer to the two drawings on the next page.






10

ILLUSTRATION 11-23

ILLUSTRATION 11-24






11

12. Add darker values to the tail and fins with an HB pencil and hatching lines. Pay special attention to the directions in which the hatching lines are drawn.

ILLUSTRATION 11-25

ILLUSTRATION 11-26

Your drawing is finished, unless of course you are up to the challenge of adding additional details.

The next section provides you with an opportunity to test drive a sampling of intermediate level skills.

You will need to invest additional time and push the limits of your patience.






12

MOVING BEYOND BASIC BEGINNER SKILLS The focus of this section is to challenge artists to move beyond beginner lessons toward intermediate projects. The goal is to graduate a broader range of medium values between the lightest lights and the darkest darks, and accentuate the forms, textures, and patterns, by examining illustrations 11-27 to 11-31. As discussed earlier, rendering a broad range of medium values can be very challenging, especially when texture and pattern are also thrown into the pot.

Before you begin, examine the completed drawing below, and take note of how each of the following goals has been implemented into my drawing:

Darken some of the light values that are closer to the medium values. Simply add more squirkles with a very sharp 2H pencil.

Soften the edges of the striped pattern by adding a very short raggedy-looking graduation of values, where the light and dark values meet.

Expand on the illusion of the fish’s three-dimensional head and body by adding more values in the shadow sections.

Bring out the texture of the fish’s scales by adding tiny crescent shapes throughout the light and medium values.

Add more details to the tail and fins with additional hatching lines.

Use your kneaded eraser molded to a point, to erase tiny highlights through the light and medium values.

ILLUSTRATION 11-27






13

ILLUSTRATION 11-28

13. Refer to the following four close-up illustrations, and the list of goals on the previous page, to add additional details to your drawing. Use 2H, HB, and 2B mechanical or freshly sharpened regular pencils. If you are using a regular pencil, keep your sandpaper block handy, and sharpen the point of your pencil every couple of minutes.

Remember, to make a section lighter, you pat the squirkles gently with a kneaded eraser that is molded to a point. Simply add more squirkles and/or press a little harder on the pencil, to make a section darker.

If you find yourself getting frustrated, simply take on another couple of projects from the beginner lessons, until you feel more confident. Then you can come back and finish this project.

ILLUSTRATION 11-29






14

ILLUSTRATION 11-30

ILLUSTRATION 11-31

Refer to the final drawing on page 12 and make changes to any sections you’re not happy with.

If you are pleased with the results of your drawing of a Siamese Tiger fish, take the plunge, and try a couple of intermediate lessons!

The more technical skills you acquire, the better your drawings become. You also feel more confident to use your creativity to make changes and adjustments to your drawings.






15




>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”.



LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies (2003): Wiley Publishing, Inc., New, York, NY, this 336 page book

is available on various websites and in major bookstores internationally.

The Complete Idiot’s Guide to Drawing People (2004): Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.





THE SHEEPISH SHEEP

Brenda Hoddinott

I-12 BEGINNER: CARTOONS & CRITTERS This fun project takes you step by step through the process of setting up proportional guidelines, outlining a cartoon of a sheep with all three families of lines, shading her wool with squirkles, and using hatching to shade her face, ears, and legs.

This project is divided into the following three sections:

SETTING UP PROPER PROPORTIONS: You lightly sketch all parts of this fun cartoon of a sheep proportionately correct.

TRANSFORMING A SKETCH INTO A DRAWING: You make the various shapes of Dolly’s head, body, and legs look more realistic, by redrawing them with nice neat lines.

SHADING DOLLY WITH SQUIRKLES AND HATCHING: You use squirkles to create the texture of wool on her head and body. Hatching is ideal for creating the three dimensional forms of her face, ears, tail, and legs, and hoofs.

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

11 PAGES – 26 ILLUSTRATIONS

This lesson is recommended for artists from age 10 to adult with strong skills in hatching and squirkling graduations, as well as students of home schooling, academic and recreational fine art educators.


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

- 2 -

FIGURE 1201

FIGURE 1202

ART SPEAK Drawing: is the application of an art medium to a surface so as to produce a visual image that visually defines an artist’s choice of drawing subjects from his or her own unique perspective. Curved lines: are created when a straight line curves (or bends). Proportion: is the relationship in size of one component of a drawing to another or others. Shading: refers to the various shades of gray in a drawing that create the illusion that the subjects are three-dimensional. Shape: refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Sketch: is a quick, representation or outline of a planned drawing subject. A sketch can also be a completed work of art. Squirkles ©: is a method of shading incorporating randomly drawn curved lines to create textured values and graduated value scales. I chose this name based on the method of morphing squiggles with circles to create shading.

SETTING UP PROPER PROPORTIONS This fun cartoon of a sheep is outlined with all three families of lines and shaded with squirkles and hatching. Keep your initial proportional lines very light. Most of them need to be erased before you finish. As an aside, the lines in my actual drawing are much lighter than they appear here. I’ve darkened them in a computer imaging program so you can see them well.

1. Draw a large rectangle as Dolly’s body. Make sure you leave plenty of room on your drawing paper for her head, legs, and rear end.

2. Draw a triangle to mark the location of Dolly’s head. Notice that it’s tipped slightly to the right. It also cuts into the rectangle.

3. Draw a curved line sitting on top of the triangle, and curved lines inside the triangle. These lines indicate the shape of her head and face.

Remember; don’t press too hard with your pencils. Not only do these areas become impossible to erase or touch up, but they

also leave dents in your paper.




- 3 -

FIGURE 1203

FIGURE 1204

ART SPEAK Contour drawing: is a drawing comprised of lines that follow the contours of the edges of various components of a drawing subject. 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.

FIGURE 1205

4. Draw an oval shape (on the left) to mark the location of an ear.

5. Sketch her second ear with a curved line for the lower section and a straight line for the upper section.

6. Draw a curved line as her nose.

7. Draw slanted ovals as her eyes.

8. Draw a curved line to indicate her rear end.

9. Sketch straight lines at a slight angle to represent her legs (Figure 1205).

The straight line on the far right is the only line that doesn’t intersect the lower side of the large rectangle.

Her legs are sketched as straight lines for now, but in the next section you erase these lines and add curved lines that follow the contours of the forms of her legs.




- 4 -

FIGURE 1206

FIGURE 1207

FIGURE 1208

10. Connect the leg on the far right to her body) with another straight line.

11. Sketch horizontal lines at the bottoms of her legs to mark the places where the hoofs will begin. Compare your drawing to mine and double check your proportions. Fix anything you’re not happy with.

The rough sketch is now complete, and all major sections of Dolly are in place proportionately correct.

TRANSFORMING A SKETCH INTO A DRAWING In this section you make the various shapes of Dolly’s head, body, and legs look more realistic, by redrawing them with nice neat lines.

12. Use your kneaded eraser to lighten all your sketch lines until they are so faint that you can barely see them.

13. Use a freshly sharpened HB or 2B pencil, and neat, thin lines to outline the shape of Dolly’s face.

14. Outline both ears. Pay close attention to the directions in which the lines curve.

15. Draw the shapes of the inside sections of her ears.

16. Draw her nose. Don’t forget to add a tiny c-shaped line on each end of her nose to represent her nostrils.




- 5 -

FIGURE 1209

FIGURE 1210

FIGURE 1212

FIGURE 1213

FIGURE 1211

17. Draw the outlines of her eyes (Figure 1209).

18. Outline her two front legs with neat, thin lines (Figure 1210).

19. Draw the hoofs on the ends of the legs.

20. Outline her tail as a small u-shape (Figure 1211).

21. Add the rear leg that is closer to the viewer (Figure 1211).

22. Draw the section of her other leg that is showing (Figure 1212).

23. Add hoofs on the ends of both legs (Figure 1213).

24. Outline her body following the contours shown in Figure 1214.




- 6 -

ART SPEAK Contrast: measures the degree of difference between the light and dark values within shading. Graduated shading (also known as a graduation or graduated values): is a continuous progression of values from dark to light or from light to dark. Texture: is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of touch and sight help identify the surface texture of drawing subject. 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.

FIGURE 1214

FIGURE 1215

25. Check over your outline drawing and make any changes needed (Refer to Figure 1214).

26. Pat your drawing with a kneaded eraser until the outlines are very faint (Figure 1215).

SHADING DOLLY WITH SQUIRKLES AND HATCHING In this section you use squirkles to create the texture of wool on her head and body. Hatching is ideal for creating the three dimensional forms of her face, ears, tail, and legs, and hoofs.

Both hatching and squirkling work best when rendered with a combination of the three following techniques:

Use various pencils: 2H and HB work well for light values, HB and 2B are great for middle values, and 4B and 6B are good for dark values.

Vary the density of the lines: Light values have lots of white space showing. In darker values, the lines are drawn more closely together, filling in most of the paper.

Vary the pressure used in holding your pencils: Press lightly with your pencil for light values and a little harder for darker values.




- 7 -

FIGURE 1216

FIGURE 1217

ART SPEAK Light source: is the direction from which a dominant light originates. The placement of this light source shows you where to draw all the values and shadows.

TIP

If you have little or no experience with squirkling,

refer to lessons D01 Squirkling Values and D02 Graduating Squirkles in the beginner

section of Drawspace.com.

27. Use graduations of squirkling to add shading to the top of Dolly’s head and body. Refer to Figures 1216 and 1217. The light source is from the upper left; hence, the shading is darker on the right and lower right.

The squirkles under her face, along the perimeter of her body, and in the lower right sections need to be darker so as to present the illusion of three dimensions.




- 8 -

FIGURE 1219

FIGURE 1218

FIGURE 1220

TIP

Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, move your paper so it’s always under your hand. This protects the drawing from being smudged and from the oils in your skin.

28. Use your 6B pencil to shade in her eyes (but leave tiny white circles for the highlights).

29. Add shading to her face, ears, and tail with hatching graduations. Refer to Figures 1218 to 1220. The shading is lighter on the right with lots of white paper showing through (2H and HB pencils). However, the shading on the left is considerably darker (HB and 2B pencils).

30. Add shading to Dolly’s legs with 2H, HB and 2B pencils. Refer to Figures 1221 and 1222. The shading on the upper sections of the legs is very dark because they are in the shadow of her body.




- 9 -

FIGURE 1221

FIGURE 1222

FIGURE 1223

FIGURE 1225

FIGURE 1224

31. Add shading to the hoofs with 2B and 4B pencils. Refer to Figures 1223 and 1224. Take note that the shading is lighter on the left. Don’t forget to leave white sections so the hoofs look three dimensional.

32. Draw a shadow under Dolly. Refer to Figure 1225. The shadow underneath, makes Dolly look like she is standing firmly on the ground and not floating.




- 10 -

FIGURE 1226

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

CHALLENGE Draw another sheep using this lesson as a reference. This time draw everything in reverse. In other words, draw the sheep as if it was facing in the other direction. Use your imagination and change anything you want. For example, you may choose to draw Dilbert the Dashing instead of Dolly, or even a baby sheep or a scary, evil looking one; or you can even turn your sheep drawing into a portrait of a poodle.




- 11 -


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











Brenda Hoddinott

I13 BEGINNER: CARTOONS & CRITTERS The primary goal of this project is to strengthen your skills with drawing curved lines. You first outline the various contours of a cartoon snake within the squares of a grid, add shading (optional), and then outline Cuddles with a fine-tip black marker.

This project is divided into the following three sections:

CREATING A CONTOUR DRAWING: You draw Cuddles by drawing various lines and shapes within the squares of a grid.

ADDING SHADING: You can add shading to Cuddles using any technique you prefer.

OUTLINING IN MARKER: You outline Cuddles with a thin, neat line using a fine tip marker.

Suggested drawing supplies include good quality drawing paper, HB, 2B and 4B pencils, erasers, a pencil sharpener, sandpaper block or fine sandpaper, tracing paper, and a fine tip black marker.

11 PAGES – 27 ILLUSTRATIONS This lesson is recommended for artists from age 10 to adult with basic drawing skills, as

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

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


- 2 -

ART SPEAK Drawing is the application of an art medium to a surface so as to produce a visual image that visually defines an artist’s choice of drawing subjects from his or her own unique perspective. Curved lines are created when a straight line curves (or bends). Proportion is the relationship in size of one component of a drawing to another or others. Shading refers to the various shades of gray in a drawing that create the illusion that subjects are three-dimensional. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Contour drawing is a drawing comprised of lines that follow the contours of the edges of various components of a drawing subject. Form as applied to drawing, is the illusion of the three-dimensional structure of a shape, such as a circle, square or triangle, created in a drawing with shading and/or perspective. Light source is the direction from which a dominant light originates. The placement of this light source shows you where to draw all the values and shadows.

FIGURE 1301

CCRREEAATTIINNGG AA CCOONNTTOOUURR DDRRAAWWIINNGG In this section, your goal is to draw Cuddles on your drawing paper proportionately correct, by drawing various lines and shapes within the squares of a grid. Needless to say, I had a little fun naming this snake; most people definitely do NOT think of snakes as cuddly. However, snakes do have lots of curved lines; hence my choice of subject.

1) Draw a rectangle and divide it into 36 squares, 9 across by 4 down.

To maintain the same proportions as in my drawing, suggested sizes include 9 by 4 inches with 1 inch squares, or 18 by 8 inches with 2 inch squares. Use an HB pencil - but don’t press too hard! Lightly drawn lines are easier to erase!




- 3 -

FIGURE 1302

FIGURE 1303 FIGURE 1304

2) Add sequential letters along the top and bottom of your rectangle, and numbers down both sides.

Letters and numbers help you identify each square.

For example, the first square in the upper left is called A1; the square directly below A1 is called B1.

3) Begin in the upper right and outline Cuddles’ many curves.

Follow along with Figures 3 to 22. Each step is well illustrated; so you only need to draw what you see. Pay close attention to the locations and curves of the various lines, in relation to the sides of each grid square.

Remember; don’t press too hard with your pencil! No matter how careful you are when drawing with a grid, accidents can happen! If you draw some lines in the wrong squares, simply erase that section, redraw the grid lines, and keep on going!

Take your time! Pay special attention to the places where lines extend into adjourning grid squares. These short extensions mark where you begin drawing in that adjacent square.




- 4 -


FIGURE 1307

FIGURE 1308

FIGURE 1309

Cuddles has two sections that I consider challenging to draw; one is his head and the other is the tip of his tail. You have the head finished, so it’s fairly easy going now until you get to the end of his tail.




- 5 -

FIGURE 1301


FIGURE 1312

Turn your paper as you draw the longer curved lines. As you complete each section, check out your other curved lines. If some lines don’t flow smoothly or look quite right, erase and redraw them.

Observe that the section of his body on the right (where his head is) is quite thick; his body progressively becomes thinner closer to the end of his tail.

Again, watch the grid lines very closely and use them as guidelines for drawing Cuddles’ body accurately.




- 6 -

FIGURE 1315





- 7 -

FIGURE 1316

FIGURE 1317 FIGURE 1318 FIGURE 1319

FIGURE 1320

4) Check over your drawing carefully and change any curved lines with which you are not happy.

Refer to Figure 1321.




- 8 -

FIGURE 1321

FIGURE 1301

FIGURE 1322

You can lighten or erase your grid lines if you wish; use the sharp edge of a vinyl eraser. Needless to say, if you erase the grid lines, you may need to redraw some sections.

AADDDDIINNGG SSHHAADDIINNGG In this optional section, you can add shading to Cuddles using any technique you prefer.

I used a simple shading technique with lines. Whatever technique you use, don’t press too hard with your pencils, or you may leave dents in your paper, spoiling the overall appearance of your drawing. Also, when you do the final outline in marker, the lines may not flow smoothly if you have dents in the paper.




- 9 -

FIGURE 1323

FIGURE 1324

FIGURE 1325

5) Add shading to Cuddles using any technique you like.

You can follow along with Figures 1323 to 1326, or just come up with something on your own.

This is a cartoon – hence anything goes!

You may even choose to add darker outlines – providing even more practice drawing curved lines.




- 10 -

FIGURE 1326

FIGURE 1327

OOUUTTLLIINNIINNGG IINN MMAARRKKEERR In this section, you outline Cuddles with a thin, neat line using a fine tip marker.

TTIIPP!! Before you begin, place tracing paper over your drawing and practice doing outlines with your marker before you add them to your drawing. Turn your papers around as you work to take advantage of your natural hand movement. Don’t tease the lines along with short dashes. Take the plunge and use gently swooping curved lines.

6) Outline Cuddles with a fine-tip black marker.

Keep in mind that you can’t erase marker lines. Hence, take your time.

Congratulations, you’re finished! Pat yourself on the back, sign your name and put today’s date on the back of your drawing.




- 11 -


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











Incepatori i desene animate si creaturi

Design

Transcript of Incepatori i desene animate si creaturi