LIGHT BEYOND THE - Drawspacefiles.drawspace.com/resources/880.pdf · LIGHT BEYOND THE . Brenda...

LIGHT BEYOND THE

Brenda Hoddinott

V-01 ADVANCED: NATURE & STILL LIFE Using both geometric and atmospheric perspectives, you create a three-dimensional space within a forest. Emphasis is also placed on several techniques for rendering textured values.

The rendering of textures, and geometric and aerial perspectives, focus on the following:

Texture is defined with various tools and shading techniques which illustrate the surface details of the trees and ground foliage.

Geometric perspective is applied to create the illusion that the closer trees are larger than those farther away. Also, the bases of each tree seem to recede into the distance by drawing each, from foreground to background, progressively higher within the drawing space.

Atmospheric (sometimes called aerial) perspective is utilized by illustrating the components of the atmosphere, such as tiny particles of dust, pollen, or droplets of moisture. The trees in the foreground are more detailed and have brighter highlights and darker shadows than the ones farther away. Trees which are far away appear lighter in value and less detailed because of the presence of more atmospheric components between them and the viewer.

Suggested drawing supplies include 2H, HB, 2B, 4B and 6B pencils (but a complete set from 6H to 8B would be advantageous), vinyl and kneaded erasers, and 90 lb. cold pressed (heavily textured) watercolor paper.

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

14 PAGES – 25 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2002 (Revised 2006)

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

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

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PLANNING THE COMPOSITION Fourteen trees create the illusion of depth in this drawing. Assume that all the trees in this drawing are, in reality, approximately the same size. However, in viewing them within the rules of geometric perspective, they will be drawn various sizes.

Compare the following two illustrations to gain further insights into the process of creating this drawing. To help identify which trees are closer to you, each one is numbered, thereby establishing a guide for shading.

ILLUSTRATION 01-01 Tree number 1 is closest to the viewer and number 14 is the farthest away.

Each tree is drawn progressively darker from the distant ground toward the foreground, until you get to number 1, which is the darkest of all

Conversely, the higher numbered trees have more light values.

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ILLUSTRATION 01-02

The trees with low numbers are more detailed and have brighter highlights and darker shadows.

The light source in this drawing is from behind and to the right.

The shadow side of each tree is shaded slightly darker on the left.

PLANTING THE TREES WITHIN A DRAWING FORMAT In the first few steps of this project, before you begin shading, you draw the outlines of all fourteen trees. Remember to draw the base of each tree a little higher as the numbers get higher. Also, the trees should become progressively smaller, as the numbers become higher.

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1. Outline a drawing format that is proportionately the same as mine. My drawing is 4 by 6.5 inches. Other options include 6 by 9.75 inches or 8 by 13 inches.

2. Draw the outlines of the three trees closest to the viewer. Tree 1, the largest tree, is the focal point of this drawing. Observe its location to the right of the center of your drawing space. Its base is close to the bottom of the drawing space.

Tree 2, the second largest tree, is sketched close to the left edge of the drawing space, and is smaller than the first tree. Its base is slightly higher than tree 1.

Tree 3, the third largest tree, is located on the right side of the drawing space. The base is a little higher than tree 2.

ILLUSTRATION 01-03

3. Outline trees 4, 5, and 6. Trees that are in front of others sometimes overlap trees behind them, providing an obvious clue that one is in front of the other. Note how tree 4 appears to be in front of tree 6. Also, trees appear smaller the farther they are away from you. Conversely, the closer they are to you, the larger they look.

Tree 4 is not as wide as 1, 2 or 3, and has a base higher within the drawing format.

Tree 5 is sketched slightly to the left of 3.

Tree 6 is slightly behind 4, so you only need to indicate its right side and base.






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ILLUSTRATION 01-04

4. Sketch trees 7, 8, and 9. Tree 7 is very slightly to the left of 1. Tree 8 is to the left of Tree 7 (with a space in between them). Tree 9 has a higher base than 8, and has only one vertical line to create the illusion that it’s behind 7.

ILLUSTRATION 1-05






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ILLUSTRATION 01-06

5. Add trees 10 and 13 to the left of 7, 8, and 9. Keep in mind that the trees are drawn progressively higher in the drawing space as each number gets higher, and each is a little smaller as the numbers get higher.

6. Draw the outlines of trees 11 and 14 (to the right of 1).

ILLUSTRATION 01-07

7. Draw tree 12 on the far left of your drawing space (refer to the illustration on the next page).

8. Compare your drawing to mine and make any changes you want. Check the bases of all fourteen trees, beginning with tree number 1 (the largest tree), and working your way back to number 14 (the smallest tree). Make sure each base is drawn slightly higher than the last.






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ILLUSTRATION 01-08

CREATING DIVERSE TEXTURES This section offers suggestions for rendering the various textures in this project.

ILLUSTRATION 01-09 The tooth of heavily textured watercolor paper can help create many of the textures of the trees and foliage! Hold your pencil sideways and use a gentle circular motion as you add the shading.

Don’t press too hard with your pencil! The gorgeous texture of this paper can be easily flattened. Please be careful!

ILLUSTRATION 01-10

Remember to leave more white paper showing through, on the lighter sides of the trees.






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If you have a full set of pencils, use them to their full advantage, to draw many different values without damaging the tooth of the paper. Refer to the following chart to help you choose pencils for each value in this drawing:

ILLUSTRATION 01-11 6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B

ILLUSTRATION 01-12

Squirkling is a fun way to render various textures, including trees, plants, and ground foliage.

Leave lots of the white of your paper showing through for the lighter values by making your squirkle lines lighter and farther apart. In the darker values, the lines are darker and closer together.

ILLUSTRATION 01-13 Take note of the wide range of values used for drawing the texture of the ground foliages.

ADDING DEPTH AND TEXTURE TO A FOREST In this section you add the shading that creates the illusion of numerous textures within a perceived three-dimensional space

9. Shade in the sections behind the smaller trees, graduating from white at the top to darker values towards the bottom. Note that the shading only goes down as far as the base of the background trees.






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10. Shade in trees 11, 12, 13, and 14.

ILLUSTRATION 01-14

ILLUSTRATION 01-15

11. Shade in trees 6, 7, 8, 9 and 10. Refer to the illustrations 01-15 to 01-18 (on the next page).

Note that each tree is darker on the left, Keep in mind that the lower the numbers become, the darker the shading needs to be.

12. Use a combination of hatching and squirkles to draw the texture of the distant ground foliage. Also, add a little darker shading to the bases of the trees.






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ILLUSTRATION 01-16

ILLUSTRATION 01-17 ILLUSTRATION 01-18






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13. Finish the shading of all the trees except the big one in the very front. Use whatever pencils work best for you, and refer to illustrations 01-19 to 01-21, as you add the following:

More textured shading at the base of the trees (to look like ground plants).

More contrast to the trunks of the trees.

A few small branches (growing downward) in the upper sections of some of the trees in both the background and foreground.

ILLUSTRATION 01-19






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ILLUSTRATION 01-20

ILLUSTRATION 01-21

14. Use various pencils and a full range of values

to finish the largest tree. Refer to the following four illustrations.

15. Add darker values with very dark pencils to the shadow side.

16. Add more high contrast, textured shading to look like ground plants in the foreground.

ILLUSTRATION 01-22






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ILLUSTRATION 01-23






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ILLUSTRATION 01-24

17. Check over your drawing and make any adjustments needed. Then sign your name and go hug a tree!

ILLUSTRATION 01-25






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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”.

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 (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.





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