HODDINOTT FINE ART PUBLISHERSs3.amazonaws.com/drawspace/pdf/y02.pdf · Y-02 ADVANCED: CREATING IN...

Brenda Hoddinott

Y-02 ADVANCED: CREATING IN COLOR In this fun project, you use colored pencils to draw an adorable puppy. You focus on identifying and rendering the light and shadow areas of various textures, forms, and colors.

This lesson includes the following eight sections: Introduction Suggested Supplies Planning and Outlining Adding Wobby’s Fur Shading Eyes and Nose Shading a Rainbow Adding Final Touches Challenge

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

15 PAGES – 18 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada – 2004 (Revised - July, 2009)

Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail [email protected] Web site http://www.drawspace.com

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Burnishing is the application of a layer(s) of color (or white) over another by applying pressure to a pencil to blend colors together. Burnishing colored pencils can also be done with a tortillon or a firm plastic eraser. Cast shadow is a dark area on a surface, adjacent to where the light is blocked by an object. Contour drawings (also called line drawings) are comprised of lines which follow the contours of the various components of a drawing subject and define the outlines of its forms. Contrast measures the degree of difference between the light and dark values within shading, and creates the illusion of three-dimensions in a drawing. Foreshortening refers to the visual distortion of a person or object, when viewed at extreme angles. As the angle of viewing becomes more extreme the level of distortion becomes more pronounced. Graduated shading (also known as a graduation or graduated values) is a continuous progression of graduated values from dark to light or from light to dark. Grid is a framework of vertical and horizontal reference squares on an image and/or drawing paper, used by artists to either enlarge or reduce the size of the original image. Hatching is a series of lines drawn closely together to give the illusion of values. Light source is the direction from which a dominant light originates. Overlapping refers to the position of an object when it visually appears to be in front of another object. Perspective is the rendering of a three dimensional object or space within a two-dimensional drawing space. Shadows are the areas on an object that receive little or no light. 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 subjects.

INTRODUCTION Wobby is “painted” with primary and secondary colored pencils. Because his face looked so sad in my preliminary sketch, I chose to use mostly blue for his fur.

To keep the drawing bright, I used other primary colors for this puppy, yellow for the insides of his ears and the under pads of his paws, and red (almost pink) for his nose. I chose stripes of both primary and secondary colors for his rainbow ribbon (bow).

SUGGESTED SUPPLIES Heavy drawing paper or mat board, preferably a light color.

Sandpaper block or fine sandpaper to keep your pencils sharp.

Ruler (if you decide to use a grid).

HB graphite pencil.

Vinyl eraser.

24 colored pencils similar to the following:

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1 2 3 4 5 6 7 8 9 10 11 12

13 14 15 16 17 18 1 9 20 21 22 23 24

1 Orange 13 White 2 Light orange 14 Light gray 3 Yellow 15 Dark gray 4 Dark ochre 16 Dark brown 5 Dark green 17 Medium brown 6 Light green 18 Rust 7 Light sky blue 19 Pink 8 Medium blue 20 Light purple 9 Sapphire blue 21 Light red

10 Dark blue 22 Mauve 11 Dark violet 23 Dark red 12 Black 24 Medium red

PLANNING AND OUTLINING In this section you plan your drawing and outline Wobby within your drawing space.

My drawing surface is lightly textured acid-free mat board. Draw freehand if you wish – however, if you prefer using a grid, I added one. My drawing is 4 by 5 inches (4 squares across by 5 squares down), which is quite tiny. You can do a larger drawing by simply using larger squares.

1) Draw your grid lines VERY lightly, preferably with an HB pencil.

Don’t press too hard with your pencil or your lines won’t erase later. Add numbers along the top and letters down the side (Figure 201).

FIGURE 201

FIGURE 202




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2) Sketch the basic outlines of the head, ears, body, and tail very lightly with your HB pencil (Figures 203 to 205).

Begin with an outline of Wobby’s head and ears.

Don’t forget the tuffs of fur on the top of his head!

Outline the various parts of his eyes. Check out the close-up in Figure 204.

Add his nose, chubby cheeks, tail, and ears.

Outline his bow and the rose (optional). Refer to the close-up view in Figure 205.

To keep the drawing a little simpler, feel free to leave out the rose.

Add his body, legs, and paws (one of his back paws seems to be hidden behind his belly, but don’t worry, you add it later).

When you’ve finished drawing the outlines, take a moment to carefully check that everything is in the correct place.

FIGURE 203

FIGURE 204




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3) Erase the grid lines and redraw any sections that were accidentally erased.

Use the edge of your vinyl eraser to erase the lines, and then very lightly brush away the eraser crumbs with a clean soft paintbrush.

Finally, use your kneaded eraser to gently pat the paper’s surface; it will pick up any remaining eraser crumbs.

4) Use your kneaded eraser to lighten all your pencil lines until you can barely see them.

FIGURE 205

FIGURE 206




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ADDING WOBBY’S FUR In this section, you add colors to the fur. Use a sandpaper block or fine sandpaper to keep your pencil points very sharp.

If your goal is to create realistic-looking fur, make sure that each hatching line is drawn in the direction in which the fur appears to “grow”.

5) Use pencil 10 (dark blue) to create the darkest values.

Use short, slightly curved, hatching lines to define the three-dimensional shapes of various parts of Wobby’s body.

The light source is from the left front, so the shading is lighter on the left.

Don’t miss the dark shadowed sections of his belly and neck; under his brows and bow; and on the side of his nose.

The darkest shading is in the areas that are farthest away from the light source.

The hatching lines are short, but of slightly different lengths.

The light color of my drawing surface shows through in the light areas.

FIGURE 207




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Dark shading, in such places as the flaps under the ears and the creases of the stitching, creates the illusion of depth.

6) Select two middle values of blue.

Some of your colors may be different than mine. Therefore test your 9 (sapphire blue) and 8 (medium blue) pencils (or two similar colors) and determine which is lighter and which is darker.

7) Add medium values to Wobby’s fur.

Work from the darkest colors toward the lightest to create a strong contrast in values.

With the darker of pencils 8 and 9, add medium values that graduate toward the light sections.

Use the lighter of the two blue pencils to add more fur to the sections of Wobby that are closer to the light source.

FIGURE 208




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8) Add the lightest values in sections that are closest to and in direct exposure of the light source.

Use your 13 (white) and 7 (light sky blue) pencils to add the light values to the fur.

Pencil 7 (light sky blue) works well to graduate medium values towards the lightest sections.

Hatching a few lines with a white pencil can make some of the light areas even lighter.

9) Draw the yellow fur on his paws and the insides of his ears. You need the following pencils for drawing yellow fur: 2 (yellow), 4 (dark ochre), 13 (white), 16 (dark brown), 17 (medium brown), and 18 (rust).

FIGURE 209




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Begin shading the darkest yellow sections with pencils 16 and 17. Use VERY few dark shading lines. The fur needs to look yellow – not yucky brown! Also, add the middle values very sparingly with pencils 4 and 18.

Use lots of 3 (yellow) to shade the light values.

In the lightest areas, leave some sections of your drawing surface showing between your hatching lines.

Use your 13 (white) to add some very light areas to the lightest sections of the yellow fur.

The yellow fur is lighter on the left side of the drawing and is very dark in the shadow areas such as his back foot and under the upper section of the flap of his right ear.

SHADING EYES AND NOSE Wobby’s personality is illustrated by your handling of the shading of his eyes and nose. Remember, you have a certified artistic license to use your creativity and make any changes you wish, including the colors of his eyes and (or) nose. Use a sandpaper block or fine sandpaper to keep your pencil points sharp. But, remember - don’t press too hard with your pencils unless you are burnishing!

FIGURE 209




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10) Select the following colors for shading Wobby’s eyes:

Irises: 5 (dark green), 3 (yellow), 16 (dark brown), and 18 (rust).

Pupils: 12 (black).

Lower eyelid: 14 (light gray) and 15 (dark gray).

Highlights: 13 (white).

11) Note the following in Figure 210:

The iris is darker at the top and on the side where the large highlight is.

The lower eyelid is a dark gray.

A large highlight is on the upper left and a small one is on the lower right.

The lightest value of the iris is around the smaller highlight (on the lower right).

12) Add shading to Wobby’s eyes.

Refer to Figures 210 and 211.

First of all, fill in the two large and two small highlights with your white pencil.

The larger highlights are a little below the tops of the irises because the upper sections are in the shadows of the brows.

With your 16 and 12 pencils, outline the circular perimeter of the irises. Shade in the upper section of the iris with your 16 pencil. Add shading to the lower sections of the irises with an 18 for the sections on the left, and a 5 for the sections on the right.

Use your 3 pencil to burnish (blend) these two colors and 17 together so the iris seems shiny. Outline the lower edge of the rim of each eye with your 12 pencil. Use a 15 to shade in the rim of the eye.

Burnish the center of the rim (or eyelid) with 14 to make it look shiny.

Shade in the pupil with your 12 pencil.

FIGURE 210

FIGURE 211




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Compare your drawing of Wobby’s eyes to mine and make sure you’ve forgotten nothing. Touch up any areas you are not happy with.

Time to add shading to his nose! The technique of burnishing your shading also works well to help create its shiny texture.

13) Sharpen the following colored pencils for his nose:

12 (black): the darkest values on the inside of the nostrils, and for the darkest shadow section of the fur on the lower right.

15 (dark gray): the outline of the left perimeter of the nose and the shading of the shadow sections of his nose on the right.

23 (dark red): the dark values on his nose.

21 (light red): the medium values.

19 (pink): the light values.

14) Add shading to Wobby’s nose.

Refer to Figure 212.

Fill in the four highlights on the nose with your white pencil. Two circular highlights (a big and a small) are located on the top of the nose, and two small oval highlights are on the lower sections of the nose

Take note of the reflected light sections on the left and bottom section of the nose and remember to leave them very light. Also remember to leave the highlights white.

Add shading to the dark section of fur (the shadow created by the nose) in the lower right.

Burnish the entire nose except for the highlights. Use 13 to burnish the light values, 19 to burnish the middle values, and 23 for the darker sections.

FIGURE 212




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SHADING A RAINBOW Graduations are the primary ingredient in realistic shading. Some individual stripes of the ribbon have more than one value of a specific color, requiring a graduation from one value to the next. The goal is to keep the transition between the different values flowing smoothly into one another.

For each color you use a light, a medium, and a dark value. The first number in the list below represents the pencil I used for the darkest value, the second number the medium, and the third the lightest value:

Purple: 11, 22, and 20

Blue: 10, 8. and 7

Green: 12, 5, and 6

Yellow: 16, 4, and 3

Orange: 16, 1, and 2

Red: 16, 23, and 24

15) Very lightly draw lines on the ribbon to identify the location of each stripe.

As a ribbon curves in different directions some sections are closer to the viewer than others.

Foreshortening creates the illusion that some stripes appear to be wide and others are narrow.

16) Shade the rainbow ribbon.

Refer to Figures 213 to 215. Use three different values of each color.

You may need to apply a lot of pressure with your pencil to make the dark values. If the light colors are not quite light enough, you can burnish them with white.

Each color in the bow is lighter on the left side of the drawing, closer to the light source. Take note that there are very few light values used for the sections of the ribbon on the right and under his chin.

FIGURE 213




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17) Add shading to the rose (if you have included it in your drawing).

Keep in mind that the rose is optional. You can draw it as is, leave it out, change the color, or replace it with something else such as a nametag or dog biscuit. Use your imagination!

ADDING FINAL TOUCHES In this section, you add Wobby’s other back paw, and some shading with horizontal hatching lines to create a cast shadow.

With a tiny section of a fourth paw showing under Wobby’s belly, he seems to be sitting more firmly on the ground.

Cast shadows give the illusion of weight by making it appear that the subject of your drawing is sitting on a surface.

18) First outline and then shade in a tiny section of his right back paw (Figure 216).

Use the same colors as used for his other four paws.

FIGURE 215 FIGURE 214

FIGURE 216




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19) Add shading to the cast shadow using lots of different colors.

First, lightly draw a few parallel horizontal lines as guides.

The shading of the cast shadow is darker closer to him and becomes gradually lighter as it moves outward.

Take a few minutes to check over your drawing, from the top of his fluffy blue head down to the yellow bottoms of his paws. Touch up any areas that you are not completely happy with.

If you wish you can outline various sections of your drawing with freshly sharpened, dark colored pencils.

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

There are only three ways to improve your drawing skills - practice, practice and more practice!

CHALLENGE Grab more paper, and draw some more!

Use your imagination and colored pencils to draw another cartoon animal.

Maybe you could draw a cartoon of an animal you know well – such as your pet or one belonging to someone you know.

FIGURE 217

FIGURE 218




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BRENDA HODDINOTT As a self-educated teacher, visual artist, portraitist, forensic artist (retired), and illustrator, Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint.

Brenda is the author of Drawing for Dummies (Wiley Publishing, Inc., New York, NY) and 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). She is currently writing two books on classical drawing.

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 drawing and painting skills through self-directed learning.

During her twenty-five year career as a self-educated civilian forensic artist, various criminal investigation departments have employed Brenda’s skills, including the Royal Canadian Mounted Police. 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”.

In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time writing books and developing her website (Drawspace.com). This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.



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