Brenda Hoddinott: 9 Pages - 12 Illustrations
Brenda Hoddinott: 9 Pages - 12 Illustrations
Brenda Hoddinott: 9 Pages - 12 Illustrations
9 PAGES 12 ILLUSTRATIONS
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada Revised 2006
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
ILLUSTRATION 04-03
3)
Draw two smaller circles (as the eyes) slightly above the big circle. If you look closely, youll notice that the eye closer to the right edge of the big circle, is sketched smaller that the other. When you imagine the head as a big three dimensional sphere, you realize that the eye on the right appears to be smaller because it is farther away.
4)
Add a mouth, below the large circle. The mouth in my drawing is an oval.
The tiny rim of light at the bottom edge of the sphere is called reflected light. Reflected light is a faint rim of light reflected or bounced back on an object (especially noticeable on a sphere) from the surfaces close to and around the object, such as the surface on which the object is sitting. Contrast can be used to make your drawings more three-dimensional by using extremes in values. Contrast measures the degree of difference between the light and dark values within shading. Your drawings can appear flat if you use too little contrast in values.
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
5)
Add shading to both eyes. When shaded with a full range of values, the eyes look like three dimensional balls (spheres). Use an HB pencil for the light and medium values, and a 4B or 6B for the really dark shadow areas.
ILLUSTRATION 04-05
The curved hatching lines follow the curves of the circular shapes. The shading graduates outward from the highlights (which are white) toward the lower left. The values begin light around the highlight and become dark and then light again close to the lower edge of the sphere (reflected light).
ILLUSTRATION 04-06
6)
Shade in the nose with curved hatching lines. Let your pencils from light (2H or HB) to dark (4B or 6B) do a lot of the work. You only need to decide where to place all your values.
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
ILLUSTRATION 04-07
7)
Add shading to the inside of the mouth. The shading graduates from light (lower left) to dark (upper right). First, lightly shade in the entire oval with an HB pencil. Then use a 4B pencil to add dark shading in the upper right section.
8)
Add the cast shadows of the eyes and nose. Many artists prefer to work from light to dark when drawing cast shadows. By drawing light values first (HB pencil), you can then layer your dark shading (4B pencil) on top of your light shading. This layering creates a nice smooth transition between different values, called graduations.
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
9)
Using various light pencils (such as 2H and HB), and curved hatching lines, add light and medium values to the section of the head surrounding the face. The highlight is left the white of the paper. The values begin light and graduate darker toward the areas farther away from the highlight.
ILLUSTRATION 04-10
10) Using various pencils and curved hatching lines, add medium and dark values. Also refer to the drawing on the next page. The darkest values are in the areas farther away from the highlight. Remember to leave the rim of reflected light lighter than the shadows.
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
The small rim of light along the lower edge (reflected light) is very important for making Baldys head three dimensional.
ILLUSTRATION 04-11
11) Step back from your drawing and have a look at the overall values. Add final touches to the shading, if needed. Refer to the final drawing on the next page. You can make areas darker by drawing more short hatching lines in between the lines you already have. If a section of shading looks too dark, (especially take note of the reflected light area), use the point of your kneaded eraser to lighten it: Pull and stretch your kneaded eraser until it becomes soft. Mold it to a point. Pat the area very slowly and gently with your kneaded eraser. 12) Use your vinyl eraser to clean up any smudges or fingerprints on your drawing paper.
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
Put todays date on the page, sign your name and pat yourself on the back!
ILLUSTRATION 04-12
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
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. Johns, 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 Brendas twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brendas 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 communitys recreational art department, Brenda hired and trained teachers, and designed curriculum for several childrens 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.
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 bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com