S07 INTERMEDIATE: CARTOONS IN COLOR - … · S07 INTERMEDIATE: CARTOONS IN COLOR . ... OUTLINING A...

Brenda Hoddinott

S07 INTERMEDIATE: CARTOONS IN COLOR Colored pencils are a great medium for drawing everything and anything. They beautifully portray soft delicate drawings such as portraits and flowers, and also work very well for subjects needing a bolder, more colorful approach such as cartoons.

The adorable cartoon character in this project challenges you to create the illusion of form by graduating values with colors.

This project is divided into the following four sections:

PUTTING CHUCK INSIDE YOUR DRAWING SPACE: You establish the basic proportions of a chick, based on your personal preferences, and outline the overall shapes with curved lines.

OUTLINING A FUN FACE: You outline the shapes of Chuck’s face and features. Feel free to exercise your creative license and make changes to Chuck’s face so as to invent your very own cartoon character.

SHADING CHUCK’S HEAD AND FACE: You add shading to Chuck’s head and facial features with brightly colored graduations.

SHADING CHUCK’S BODY AND ADDING FINAL DETAILS: You add shading to Chuck’s head, body, legs, and feet. Finally, you have the option of outlining your cartoon with a freshly sharpened pencil or a fine-tip black marker.

You need white drawing paper, kneaded and vinyl erasers, a ruler, and seven colored pencils as close as possible to the illustrations in the first section of this lesson.

11 PAGES - 22 ILLUSTRATIONS This lesson is recommended for artists with good drawing skills. The curriculum is easily implemented

into instructional programs for home schooling, academic and recreational learning environments.

Published by Hoddinott Publishers, 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 wri t ten permission of Brenda Hoddinott .

E-mail bhoddinott@hoddinott .com Web si tes http:/ /www.f inearteducat ion.com and ht tp:/ /www.drawspace.com

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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. Form: as applied to drawing, is the illusion of the three-dimensional structure of a shape. Drawing space: 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.

PUTTING CHUCK INSIDE YOUR DRAWING SPACE In this section, you establish the basic proportions of a chick, based on your personal preferences, and outline the overall shapes with curved lines. You need good quality white drawing paper, kneaded and vinyl erasers, a ruler, and seven colored pencils as close as possible to the following:

YELLOW LIGHT ORANGE ORANGE-BROWN ORANGE LIGHT BLUE DARK BLUE BLACK

As you draw, keep your lines very light. My drawings are actually much lighter than they appear in this lesson – so light in fact that they are barely visible. I darkened my drawings in an imaging program so you are able to see them!

The size you choose for a drawing space will determine how your cartoon character looks. You can draw him the same as in my drawing (the chick in the middle) or you can draw him shorter and chunkier (as on the left), or even taller and thinner (as on the right)!

1) Use any pencil to lightly draw a square or rectangle as your drawing space. Mine is 3.5 by 4.5 inches. With a shorter drawing space your cartoon character will be shorter than mine; with a longer one you’ll end up with a taller character.

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FIGURE 401 2) Use a ruler to divide your drawing

space in half, both horizontally and vertically, as in Figure 401. Use a light orange colored pencil and press very lightly because you will need to erase these two lines later.

3) Draw a wide egg shape, with the narrower section at the bottom (Figure 402). This will be the chick’s head.

FIGURE 402

Take note that the narrower section of the head (egg-shape) is in the lower half of the drawing space.

FIGURE 403

4) Draw Chuck’s body. At first glance the body appears to be an oval. However with closer inspection, you see that it’s actually a U-shape, with the tops of the U touching the lower edge of the head.

5) Draw small wings on each side of the body.






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FIGURE 405

FIGURE 404

6) Draw Chuck’s skinny little legs and add his huge feet. His legs are a little bowed. And no wonder; if people’s heads were larger than their bodies, their legs would also be bowed!

However, Chuck’s oversized feet compensate for his tiny legs; each foot is almost as large as his whole body.

OUTLINING A FUN FACE In this section you outline the shapes of Chuck’s face and features. Feel free to exercise your creative license and make changes to Chuck’s face so as to invent your very own cartoon character. Maybe you’d prefer to draw “Chuckette”!

To keep things simple, I use the names and descriptors of a human eye to identify the various parts of cartoon eyes. Locate each of the following in Figure 405:

1. Upper eyelid: (orange) a movable fold of skin that opens and closes to protect the eyeball.

2. Highlight: (the tiny white circle) is the brightest area where light bounces off the surface.

3. Pupil: (black) is the darkest circular shape within the iris.

4. Iris: (bright blue) is the colored circular section of the eyeball around the pupil.

5. White of the eye: (light blue) visible section of the eyeball.

7) Draw Chuck’s big chubby cheeks and chin. Refer to Figure 406. Make sure you keep your pencil freshly sharpened as you draw each section of the face. At first glance the shape of the lower section of his face is similar to that of a heart. Use an orange-brown colored pencil.






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FIGURE 409

FIGURE 408

FIGURE 406

FIGURE 407

8) Draw two big oval shapes to represent Chuck’s eyes. Examine Figure 407 and take note of the tiny angle shapes on the outside edge of each eye. These little marks indicate where the eyelids will be separated from the eyes with a curved line.

9) Add a curved line across each eye as the lower edge of the eyelid (Figure 408).

10) Draw partial circles under the eyelids as his irises. The top section of each iris appears to be hidden underneath the eyelid.

11) Draw Chuck’s beak (Figure 409).

Observe that the upper section of his beak is bigger than the lower part.






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FIGURE 410

FIGURE 412

12) Draw two tiny circles in the upper right section of each iris as the highlights. Refer to Figure 410. The highlights will stay the white of your paper. You need to draw them however, so you remember not to accidentally color them in.

13) Add circles inside each iris as the pupils of the eyes. The pupils are closer to the eyelid than the lower sections of the irises.

14) Add the tiny little section of his upper legs directly below his body. Refer to Figure 411.

FIGURE 411

15) Erase the grid lines with a vinyl eraser, and lighten all the rough sketch lines with your kneaded eraser until you can barely see them.

16) With a freshly sharpened orange pencil, outline the face and body with nice crisp lines in preparation for adding shading. Before you continue, check over your drawing and change anything you’re not happy with.






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FIGURE 414

FIGURE 413

Shading: refers to the various values that make drawings look three-dimensional. Graduated shading (often referred to as Graduations): is a continuous progression of graduated values from dark to light or from light to dark. Values: are the different shades of gray or color created in a drawing by various means.

SHADING CHUCK’S HEAD AND FACE In this section, you add shading to Chuck with brightly colored graduations.

Test the colors of your pencils on a piece of scrap paper to make sure they are what you want. Keep your pencil sharpener handy; you need very sharp pencils to add shading to the smaller sections.

17) Shade the upper section of Chuck’s head with light orange. Refer to Figure 413.

Note that some sections are a little darker than others. You create these different values by varying the pressure used in holding the pencil. For light sections you press very lightly with your pencil. Press harder with your pencil to make darker values.

18) Add light values to the lower part of Chuck’s face with yellow.

19) Use your bright orange pencil to add dark values to some parts of the upper section of the head. Refer to Figure 414.

20) Press harder with yellow to add darker sections to the lower section of his face.

21) Press lightly with your bright orange pencil to add shading to his eyelids and beak. Refer to Figure 415.

22) Use your light blue pencil to color in his irises.






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FIGURE 415

FIGURE 417

FIGURE 416

FIGURE 418

FIGURE 419

23) Press harder with your bright orange pencil to add a few sections of dark orange to Chuck’s eyelids and beak. Refer to Figure 416.

24) Add very light shading to the outer edges of the whites of the eyes with a light blue pencil. Refer to Figure 417.

25) Outline the irises with your dark blue pencil.

26) Add dark shading to the upper sections and the sides of the irises with your dark blue pencil. Take note of the sections of the irises that are left light blue, and be careful not to accidentally darken them.

27) Outline the lower edge of each eyelid with a freshly sharpened black colored pencil.

Refer to Figures 418 and 419.

28) Color in the pupils of the eyes with your black pencil. Make sure you remember to leave the highlights white!






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FIGURE 420

FIGURE 421

SHADING CHUCK’S BODY AND ADDING FINAL DETAILS The difficult shading was on Chuck’s head! Shading the body, legs, and feet is easy in comparison!

29) Shade in the light yellow sections of the body and wings by pressing lightly with a yellow pencil.

30) Add the darker yellow values by pressing a little harder with the yellow pencil.

31) Shade in the light orange sections of the legs and feet with your light orange pencil.

32) Add the darker orange values with a bright orange pencil.

The next steps are completely optional; if you wish, you can consider your drawing complete at this point.

You need a very steady hand to outline a cartoon. Take some time and practice drawing solid curved lines and shapes on scrap paper before you attempt to outline your cartoon.

Outlining with a sharpened black colored pencil is much easier than using a marker. If you use a marker, test it on some scrap paper before you begin and make sure that it doesn’t smudge, or your drawing may be ruined! You can even color in the pupil with the marker if you wish.

33) Use a very sharp black colored pencil or a fine tip permanent black marker to outline all the parts of the head, eyes, and beak. Take your time and draw your outlines VERY slowly and carefully!






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FIGURE 422

34) Complete the outlines of Chuck’s entire body, wings, legs, and feet. Remember; draw your outlines slowly and carefully. Add three curved lines as his hair, and your cartoon is finished!

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

CHALLENGE The problem now is that Chuck needs some company! Use the basic process used in this lesson to draw another completely different chick.

Use a completely different set of colored pencils – you can even draw him mostly blue and purple (cool colors) and call him Chilly Charlie.

Or, “she” (adds an old fashioned meaning to the word “chick”) can be pink and pretty with big green eyes, lovely long eyelashes, and a fancy hat.

Put on your thinking cap and have fun creating a friend for Chuck.






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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.





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