drawspace-t01.pdf

Brenda Hoddinott

T-01 ADVANCED: DIVERSE ANIMALS

A lovable Soft Coated Wheaton Terrier is the subject of this project, which features advanced drawing techniques for accurately rendering both long and short fur, realistic “puppy dog” eyes, and a shiny textured nose.

This project is divided into the following seven sections:

Setting Up the Format and Grid Outlining Rosey’s Portrait Shading a Section of Background Using Hatching Lines to Draw Fuzzy Ears Drawing Big Beautiful Brown Eyes Shading the “Nosey” Of Rosey Adding Lots of Long Fur to a Face and Chest

Suggested supplies: 2H, HB, 2B, 4B and 6B pencils; vinyl and kneaded erasers; ruler (if you choose to work with a grid); and smooth hot-pressed watercolor paper (or another good quality paper).

Recommended for artists from age 12 to adult with advanced drawing skills, as well as students of home schooling, academic and recreational fine art educators

14 PAGES – 18 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada – 2002 (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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SETTING UP THE FORMAT AND GRID This drawing is done from a combination of photos and my memory. However, to help you set up proportions (if you are not yet comfortable drawing freehand), I’ve added a grid format. You use careful observation of spaces and lines within the individual squares to measure for accurate proportions. Illustrations that show the progression of my drawing are fairly self-explanatory; hence, you find very little instructional text.

I’ve chosen the size 5 by 7 inches with 1 inch squares, but feel free to do a larger drawing by using 1½ inch or 2 inch squares.

1) Draw a rectangular drawing format 5 by 7 inches (or 7½ by 10½ inches, or 10 by 14 inches, if you want a larger drawing).

Remember to press lightly with your pencil, because all grid lines and most sketch lines will need to be erased. Pressing too hard can also damage the tooth of the paper.

2) Divide your rectangle into 35 equal squares, 5 across by 7 down as in Figure 101.

Use 1 inch squares, if you want your final drawing to be 5 by 7 inches or larger squares for a larger drawing.

3) Mark numbers along the top and letters down the side.

OUTLINING ROSEY’S PORTRAIT In this section you draw a detailed outline of Rosey within your drawing space in preparation for adding shading.

4) Draw the basic outline of the head, ears, and shoulders very lightly with your HB pencil as in Figure 102.

You can add a few diagonal lines to the grid to help you place everything more accurately. As you draw, don’t think about what the subject is. Focus on only one square at a time and pretend this one square is the total drawing.

Examine the shapes, and negative and positive spaces that define the actual lines and their positions within the perimeter of this one square.

Figure 101

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Observe whether the lines are straight, curved or angular. Take note of the directions in which curved lines bend, and the length and angle of straight lines in relation to the sides of this particular square. Also, examine the areas where curved lines meet straight lines before you draw.

Make sure you draw your lines VERY lightly, preferably with your HB mechanical pencil.

My scanner software has darkened this sketch, so that you are able to see my lines (as in Figure 102), but on the actual drawing, the lines are so light that you can barely see them.

Take your time and check your proportions often.

5) Draw the eyes, mustache and nose (Figure 103).

For my final drawing, I chose to not include the bottom lip and teeth. So, no need to draw them! I’m writing this text after the drawing is complete, so you may find a couple of other minor changes on upcoming pages.

Figure 102




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6) Draw the fur between her eyes (called her “fall” or “mane”), and also the wisps of fur above her nose (Figure 104).

SHADING A SECTION OF BACKGROUND Crosshatching is an ideal method of shading backgrounds. The values graduate into one another and seem to recede into distant space.

As an aside, I prefer to start my shading in the upper left hand corner, and work my way across and down the page, so I don’t smudge the completed sections as I work.

Figure 103

Figure 104




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7) Erase the grid lines in the sections in which you are working and then redraw the sections of the actual sketch, which were erased.

Use the edge of your vinyl eraser to erase the lines, and very lightly brush away the eraser crumbs with a soft paintbrush. Then, use your kneaded eraser to gently pat the paper surface to pick up any remaining eraser crumbs.

8) Add graduated shading in the upper left corner.

Use a 2B pencil for the darker areas closer to the edges, and a HB for the lighter values.

You can add all the background shading now, or add sections as you draw each section of fur (as I did).

USING HATCHING LINES TO DRAW FUZZY EARS

I have chosen a light source slightly from the left front, so the shading is lighter on the left.

In addition, cast shadows need to be added to her neck on the right, and the right side of her nose. My choice of light source also affects where I place the values in her eyes and on her nose.

9) Using short hatching lines to represent fuzzy shading on the ear.

Refer to Figure 106. Remember to erase your grid lines with either your vinyl or kneaded eraser before you begin each section of shading.

Start with your HB pencil and then use your 2B until you are happy with the texture and values. Examine the various directions of my hatching lines. The fur is lighter in some places with white paper showing clearly. The hatching lines are different lengths and values. A few individual wispy and untidy hairs are rendered with thin lines, to keep the fur looking soft and natural.

Figure 105




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10) With your HB pencil, add the light shading on the top of her head and draw the fur on the top half of her other ear.

Take a moment and observe how dark the fur on her ears looks, when compared to the top section of her fuzzy head (Figure 107).

As with most Soft Coated Wheaton Terriers, Rosey had dark gray ears, and her lower face and beard were a combination of dark gray and black fur.

The rest of her fur, from the top of her head back to the tip of her tail was a soft reddish wheaten color.

When you draw dark fur, you use mostly dark hatching lines. On the other hand, light fur needs to be rendered with lighter values.

11) Continue with the background shading along the top section of your drawing.

Figure 106

Figure 107




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DRAWING BIG BEAUTIFUL BROWN EYES In this section, you begin to give personality to Rosey’s face, by drawing her gorgeous eyes.

12) Draw the fur around the eye on the left.

Use a 2B pencil to add dark areas around the eyes.

13) Shade in the iris (on the left), leaving a white spot for the primary highlight and a light area for the secondary highlight.

The shading of the iris is darker under the upper eyelid and on the side where the highlight is drawn.

14) With your 6B pencil, shade in the sections of the pupil that are really dark.

15) Complete this eye with HB and 2B pencils.

Don’t forget the shading in the “white” of the eye.

16) Continue drawing the fur between her eyes and around her other eye.

Figure 108

Figure 109




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17) Draw the fur under and between her eyes and down toward her nose (Figure 110).

Observe closely the direction in which the fur grows in this section.

18) Add shading to the lower section of her other ear (on the right).

19) Complete the shading of the other eye (Figure 111).

20) Add the fur around this eye and make her “eyelashes” a little darker on both sides.

By the way, Rosey actually had eyebrows and fur over her eyes that looked like eyelashes!

21) Add more shading to the background on both sides (Figure 112).

22) Shade in the fur on her back.

I moved the outline of her back (on the right) up closer to her ear. This is the section of fur on her back that needs to be shaded.

Figure 111

Figure 110




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23) Add more fur to her lower ear on the left, to make it look a little longer.

24) Finish the background shading.

25) Draw the fur on the left, and add more details to her moustache.

26) Draw the small section of chest fur on the left (under the chin).

Keep the values light.

27) Erase the lower section of the nose and redraw it a little higher on the face.

Yet one more change. I decided the nose was too low on the face.

28) If you drew the mouth, erase it now (Figure 112).

SHADING THE “NOSEY” OF ROSEY The rest of this drawing is done with HB, 2B and 4B pencils. Use your own discretion as to which pencil you use for each area. Observe closely the direction in which the fur grows in each section.

Figure 112




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29) Use squirkling to add the shading to the nose.

Refer to Figure 113. Note the areas that are lighter than others.

30) With your 2B pencil, add squirkles and dots to represent the texture of a dog’s nose.

31) Draw the fur on the left section of her moustache.

ADDING LOTS OF LONG FUR TO A FACE AND CHEST Before you begin the step-by-step instructions in this lesson, closely examine a close-up of the completed drawing of the furry texture of her chest, face, mustache and beard.

Observe the following as you plan your shading strategy and decide which pencils (HB, 2B or 4B) you should use for each area:

The hatching lines are all curved.

The fur grows in many different directions.

Some sections of fur overlap others.

The shading of the fur on her chest is darker, closer to her face, because of the cast shadow created by her head.

The tips of the fur on her mane, mustache and beard are quite dark.

Figure 113




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32) Add the shading on the upper right under her mane (the long fur growing from the center section of her snout, also called a muzzle).

Refer to Figures 114 and 115.

33) Draw more fur on the left side of her chest, watching closely the direction in which it grows (Figure 116).

34) Add her beard under the opening of her mouth.

Take note of the dark shading used to define the opening of her mouth and on the ends of her beard.

Figure 114

Figure 115




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35) Add the rest of the fur to her chest (Figure 117). Note how dark the fur is in the shadow area on her neck and chest, under her face.

36) Refer to the final drawing (Figure 118) and finish drawing the fur on the right side of her face and beard.

Figure 116

Figure 117




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Use your kneaded eraser molded to a narrow wedge, to pull a few lighter areas of beard fur from the dark shading.

37) Correct any areas that you’re not happy with and sign your name!

In Loving Memory

ROSEY (Windyflats Rose Dohmit) December 16, 1998 - December 30, 2000

Died of a genetic illness (PLE) that is very common today in purebred dogs.

Figure 118




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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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