HODDINOTT FINE ART PUBLISHERSs3.amazonaws.com/drawspace/pdf/q03.pdf · 13) Shape your kneaded...
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Brenda Hoddinott Q-03 INTERMEDIATE: PLACES & THINGS In this lesson, I show you how to draw the edge of a tiny section of hemmed denim fabric that is gently folding. Drawing believable fabrics is integral to accurately rendering a drawing of a clothed person. The folds and bends of clothing can reveal the forms of the unseen figure underneath. Denim has survived several decades of fashion designers and seems to be here to stay. Its most endearing quality is that it takes on a distinctive personality as it fades, especially on the hems of jeans. In this exercise, I show you how blending creates softly textured denim fabric. This lesson is divided into three parts: SKETCHING SHAPES: The first step is to outline the various shapes to identify the edge of the fabric and the sections that will be in shadow. SKETCHING STITCHES AND ADDING SHADING: You add light values to the fabric, and add dark shadows to identify the sizes and locations of the stitches. You then complete the stitches, and add additional shading to the denim fabric. Finally, you add darker values to enhance the texture and forms. BLENDING SHADING: If you would like a softer-looking fabric, you have the option of adding a little blending. Suggested supplies include good quality white drawing paper, various grades of graphite pencils, kneaded and vinyl erasers, a pencil sharpener, and blending tools (optional) to add final touches. 6 PAGES – 12 ILLUSTRATIONS This article is recommended for artists of all ages with good drawing skills. The curriculum is easily implemented into instructional programs for home schooling, academic and recreational learning environments. Published by Hoddinott Publishing, Halifax, NS, Canada, 2004 (Revised 2007)
Transcript of HODDINOTT FINE ART PUBLISHERSs3.amazonaws.com/drawspace/pdf/q03.pdf · 13) Shape your kneaded...
Brenda Hoddinott
Q-03 INTERMEDIATE: PLACES & THINGS In this lesson, I show you how to draw the edge of a tiny section of hemmed denim fabric that is gently folding. Drawing believable fabrics is integral to accurately rendering a drawing of a clothed person. The folds and bends of clothing can reveal the forms of the unseen figure underneath.
Denim has survived several decades of fashion designers and seems to be here to stay. Its most endearing quality is that it takes on a distinctive personality as it fades, especially on the hems of jeans. In this exercise, I show you how blending creates softly textured denim fabric.
This lesson is divided into three parts:
SKETCHING SHAPES: The first step is to outline the various shapes to identify the edge of the fabric and the sections that will be in shadow.
SKETCHING STITCHES AND ADDING SHADING: You add light values to the fabric, and add dark shadows to identify the sizes and locations of the stitches. You then complete the stitches, and add additional shading to the denim fabric. Finally, you add darker values to enhance the texture and forms.
BLENDING SHADING: If you would like a softer-looking fabric, you have the option of adding a little blending.
Suggested supplies include good quality white drawing paper, various grades of graphite pencils, kneaded and vinyl erasers, a pencil sharpener, and blending tools (optional) to add final touches.
6 PAGES – 12 ILLUSTRATIONS This article is recommended for artists of all ages with good drawing skills. The curriculum is easily
implemented into instructional programs for home schooling, academic and recreational learning environments.
Published by Hoddinott Publishing, Halifax, NS, Canada, 2004 (Revised 2007)
Copyright to al l art icles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail [email protected] Web sites http://www.f inearteducation.com and http://www.drawspace.com
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Figure 301
Figure 302 Figure 303
SKETCHING SHAPES The first step is to outline the various shapes to identify the edge of the fabric and the sections that will be in shadow.
Remember to place a piece of scrap paper under your hand as you draw, to protect your drawing from the oils of your skin.
1) Draw a rectangular shape as your drawing format. Mine is approximately 4 by 3 inches. If you'd like a larger drawing, try 6 by 4.5 inches.
2) Draw a slightly wavy line to indicate the edge of the fabric. This line begins about one third of the way across the bottom of your drawing space. It ends slightly above the lower-right corner.
3) Lightly sketch a shading map of the pattern on the edge of the hem. Figures 302 and 303 show the various shapes of different sizes that create a map for shading the hem. These little mapping shapes are almost parallel to the edge of the fabric and follow the same curve. Keep your mapping lines very light because you will need to erase them later.
A shading map (also called a value map) is a plan (or blueprint) for adding shading to a drawing. The locations and sizes of the shapes of various values are identified and lightly outlined. Values are the different shades of gray created in a drawing by various means.
Before you begin shading in the next section, use your kneaded eraser to lighten your mapping lines until you can barely see them.
Copyright to al l art icles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail [email protected] Web sites http://www.f inearteducation.com and http://www.drawspace.com
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Figure 306
Figure 304
Figure 305
SKETCHING STITCHES AND ADDING SHADING In this section you add light values to the fabric, and add dark shadows to identify the sizes and locations of the stitches. You then complete the stitches, and add additional shading to the denim fabric. Finally, you add darker values to enhance the texture and forms.
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 is to keep the transitions between the different values flowing smoothly into one another.
4) Add graduated shading with hatching. Use a 2H pencil. Hatching lines add depth and texture to the denim fabric. The lightest values are located slightly to the right of the center, where the fabric is curved.
5) Use an HB pencil to shade all the little shapes in the hem a little darker.
6) Shade in the shadow under the lower edge of the denim with 2B and 4B pencils and crosshatching. Observe that the shadow becomes gradually darker closer to the edge of the fabric.
7) Outline a bunch of tiny, long oval-shapes to represent the stitches along the lower set of shapes. My lines are so faint that they are barely visible.
8) Add a dark line under and in between each stitch with your HB pencil to make them look three dimensional. Figure 306 is a close-up of a few stitches in the center section.
Copyright to al l art icles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail [email protected] Web sites http://www.f inearteducation.com and http://www.drawspace.com
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Figure 309
Figure 307
Figure 308
Figure 310
9) Use your kneaded eraser to pull out a very light section along the top edge of each stitch. Refer to Figures 307 and 308.
10) Add darker shading to the sections of the hem between the stitches and the edge of the fabric (Figure 309).
11) Use hatching lines and 2B and 4B pencils to shade the rest of the denim. Refer to Figure 310.
The values graduate from dark on the left, to light in the middle, and then dark again on the right.
Make the values a little darker inside each of the little shapes.
Use a 4B pencil to add the darkest shading on the left section of denim.
The denim fabric looks realistic with the addition of darker shading and stitching details.
BLENDING SHADING If you would like a softer-looking fabric, you have the option of adding a little blending. You need blending tools, as well as a kneaded eraser to add final touches.
Copyright to al l art icles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail [email protected] Web sites http://www.f inearteducation.com and http://www.drawspace.com
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Figure 311
Figure 312
12) Blend the values slowly and carefully from light to dark. You may prefer not to blend the darkest shading under the edge of the fabric.
Be careful not to over-blend, especially dark shading. When blending removes a lot of the graphite, the values may become too light. If this happens, you can darken the values again by adding more graphite.
13) Shape your kneaded eraser into a thin edge, and use it to draw lighter lines in the light shading. You may need to reshape the eraser several times as you draw with it. Don't add too many light lines or you'll ruin your drawing.
When your kneaded eraser gets dirty, you can simply pull and stretch it (often called kneading) until it comes clean. Then you can reshape it and continue using it.
CHALLENGE PART 1 Find an article of clothing or a swatch of fabric. Arrange the fabric in front of you with a dominant light source (such as a bright window or lamp) on one side. Outline a shading map of the pattern. Use whichever pencils you prefer to add shading to the fabric. Pay close attention to the different values. Observe how the light source makes some areas of the fabric look darker than others.
PART 2 With an understanding of the forms of a person's body under clothing, drawing fabrics becomes easier. Borrow your friends and family and practice drawing their clothing (or draw from your own reflection in a mirror).
Copyright to al l art icles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail [email protected] Web sites http://www.f inearteducation.com and http://www.drawspace.com
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Brenda Hoddinott As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints.
My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable.
Brenda Hoddinott
Biography
Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”.
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
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.
