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(LEONARDO DA VINCI) Brenda Hoddinott

Z-01 ADVANCED: DRAWING ON THE MASTERS This lesson presents a brief background on Leonardo da Vinci, and then challenges artists to recreate his style of contour and hatching lines within a simple

fifteen-step exercise.

The artist ought first to exercise his hand by copying drawings from the hand of a good master.

(Leonardo da Vinci)

The masters of the Renaissance are no longer living, but many of their works survive and can serve as extraordinary teachers of classical styles and techniques. The term Renaissance, derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 14th to the late 16th centuries.

This lesson is divided into the following three sections:

LEONARDO DA VINCI (1452-1519): This section provides a brief background on one of the best known artists of all time, and examines one his drawing styles.

FOLLOWING CONTOURS: Learning to draw is all about learning to see as an artist. In this section, the goal is to duplicate Leonardo’s style of contour drawing with graphite pencil.

HATCHING IN THE STYLE OF LEONARDO: The goal in this section is to add hatching lines to the contour drawing.

Suggested drawing supplies include good quality white drawing paper, 2H and 2B graphite pencils, kneaded and vinyl erasers, and a pencil sharpener.

7 PAGES – 20 ILLUSTRATIONS This lesson is recommended for artists, with beginner-level shading skills, as well as home

schooling, academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, 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 site http://www.finearteducation.com or http://www.drawspace.com

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LEONARDO DA VINCI (1452-1519)

The artist ought first to exercise his hand by copying drawings from the hand of a good master. (Leonardo da Vinci)

Leonardo, one of the best known artists of all time, was born on April 15, 1452, in the small Tuscan town of Vinci; hence his name became Leonardo da Vinci.

Many of my favorite drawings by Leonardo are of the human face, and demonstrate his obsession with contrasting the beauty of youth, with the splendor of old age. His drawing media included pen and ink, brush and ink, red and black chalk, and metal-point. Metal-point, considered the ancestor of the modern day pencil, is a small, sharpened metal rod used for drawing on paper or parchment. Silver was very popular because it eventually tarnished, and took on a beautiful luminous brown tonality.

You can learn from the drawings of others who do better than yourself; and if you are better than they, you can

profit by your contempt for their defects, while the praise of others will incite you to farther merits. (Leonardo da Vinci)

Many of Leonardo’s drawings combine contour lines with hatching. Contour lines are formed when the shared edges of spaces and/or objects meet. Hatching is a series of lines (called a set), drawn either close together or far apart, to give the illusion of values. Values are the different shades (or tones) created in a drawing by various means.

First draw from drawings by good masters done from works of art and from nature, and not from memory. Any

master who should venture to boast that he could remember all the forms and effects of nature would

certainly appear to me to be graced with extreme ignorance, inasmuch as these effects are infinite and our memory is

not extensive enough to retain them. (Leonardo da Vinci)

FOLLOWING CONTOURS Consider with the greatest care the form of the outlines of every object, and the character of their undulations. And

these undulations must be separately studied, as to whether the curves are composed of arched convexities or

angular concavities. (Leonardo da Vinci)

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This contour drawing of horses is rendered primarily with contour lines. A contour drawing is comprised of lines that follow the contours of the edges of various components of a drawing subject. The individual lines in many of Leonardo’s drawings, especially those done with a pen or brush, are wide in some places and thin in others.

The eye, which is called the window of the soul, is the principal means by which the central sense can most completely

and abundantly appreciate the infinite works of nature. (Leonardo da Vinci)

Examine a tiny section of one of Leonardo’s drawings (on the left) of an old man’s face in profile. Find the contour lines that outline his nose and forehead.

Learning to draw is all about learning to see as an artist. In the following exercise, the goal is to duplicate Leonardo’s basic style with graphite pencil (instead of ink). Use the drawing on the left as the major reference, and view mine as merely a copy.

The following eleven steps are well illustrated, so you won’t find any text instructions. Leonardo often did a preliminary sketch with chalk or metal point before he drew the outlines; hence, I very lightly sketched the basic proportions with a 2H pencil before rendering the more detailed outline with a 2B pencil.

ILLUSTRATION 01-01 ILLUSTRATION 01-02 ILLUSTRATION 01-03

TTIIPP Keep your sketch lines very light! My lines are so faint that they are barely visible; however, I used Adobe Photoshop to darken the images so you can see them.






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Let proportion be found not only in numbers and measures, but also in sounds, weights, times, and positions, and what ever force there is. (Leonardo da Vinci)


Learn diligence before speedy execution. (Leonardo da Vinci)






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ILLUSTRATION 01-10 ILLUSTRATION 01-11 Before you continue to the next section, compare your sketch to Leonardo’s and make any adjustments you feel are needed.

I have been impressed with the urgency of

doing. Knowing is not enough; we must apply.

Being willing is not enough; we must do.

(Leonardo da Vinci)

HATCHING IN THE STYLE OF LEONARDO As I examined some of Leonardo’s drawings, I found myself fascinated by his meticulous rendering of straight hatching lines that are all drawn at the same angle, usually around 45 degrees (as in this detail of a man’s profile).

Based on his overall style of drawing and a few little technical idiosyncrasies, Leonardo is believed to have been left-handed. Also, Leonardo’s diagonal hatching lines are drawn from the upper left to lower right, and from the lower right to the upper left. The natural hand movement of most right-handed individuals is from the lower left to the upper right (or from the upper right to the lower left).

The goal in this section is to add hatching lines to the contour drawing you completed from the last section. The following four illustrations will guide you through the process of adding hatching lines.

If you are left-handed, simply keep the drawing right-side-up as you work. If you are right-handed (like me), you can duplicate the authentic drawing style of Leonardo, by simply turning the drawing sideways as you work.






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ILLUSTRATION 01-12 ILLUSTRATION 01-13

ILLUSTRATION 01-14 ILLUSTRATION 01-15






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BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda Hoddinott 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.





Examining SSttyy ll ee ss aanndd TTeecchhnniiqquueess

Brenda Hoddinott

Z-02 ADVANCED: DRAWING ON THE MASTERS This heavily illustrated article serves to define and compare technique and style, and discusses their relevance to drawings rendered between 1480 and 1600, and to students of today who study classical drawings. To enhance comprehension, a brief background of medieval drawing materials, tools, and techniques is provided.

The reverence that contemporary society places on the high renaissance is based on the innovative styles and techniques that were conceived and explored by artists who were true to themselves and not highly influenced or governed by others. Students of drawing during the high renaissance incorporated the techniques of their masters with their own personal styles.

This article is divided into the following sections:

MEDIEVAL DRAWING MATERIALS AND TOOLS: I discuss the medieval materials that would have most likely been used in the rendering of drawings during the fifteenth and sixteenth centuries.

ANALYSIS OF TECHNIQUE AND STYLE: An illustrated discussion compares the styles and techniques of drawings by the masters with my own.

This article is recommended for all artists, as well as home schooling, academic and recreational fine art educators of advanced students.

11 PAGES – 18 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2006


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

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Introduction This article provides a greater understanding of the drawing techniques of the masters of the renaissance, and invites readers to compare masters’ drawings to mine to examine commonalities specific to hatching and crosshatching techniques.

The term renaissance, derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 1300’s to the late 1500’s. Between 1480 and 1527, during the period known as the high renaissance, many of history’s most renowned artists created the greatest masterpieces in the history of art. During this short period in history, visual art developed more than at any other time since the beginning of mankind. Today, this rebirth, also referred to as new birth, continues its growth with a resurgence of the learning and teaching of classical drawing techniques in home schooling, recreational, and academic learning environments.

The masters of the renaissance are no longer living, but many of their works survive and serve as extraordinary teachers of classical styles and techniques. Yet, as we study the drawings of the masters, we must be careful to constantly differentiate the terms style and technique.

In simple terms, style refers to an artist’s individual approach to his/her own art. An artist’s style epitomizes and is an accumulation of her/his inherent preferences, life experiences, artistic philosophy, personal goals, and academic background. When an artist’s personal style is critiqued and/or examined by others, the resulting label may focus more so on a particular historical period or artistic movement than the artist’s true style. In other words, labels should not become more important to an artist than staying true to the style with which he/she feels most comfortable.

Technique, on the other hand, refers to a well-defined procedure, such as hatching or crosshatching, which is used to accomplish a specific activity or task. Quite often, more than one technique is suitable for accomplishing a specific drawing; hence, the artist’s selection of a specific technique is generally based on individual preferences and personal style.

The reverence that contemporary society places on the high renaissance is based on the innovative styles and techniques that were conceived and explored by artists who were true to themselves and not highly influenced or governed by others. Students of drawing during the high renaissance incorporated the techniques of the masters with their own personal styles.

I begin this article by discussing a few medieval drawing materials and tools used during the Renaissance. Following an inquiry into compositional challenges, a heavily illustrated discussion compares the styles of medieval and contemporary drawings rendered with contour lines, hatching and crosshatching, and chiaroscuro.

You’ll need no drawing materials for this lesson; simply sit back in your favorite chair, and enjoy a short trip back in time!






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Medieval Drawing Materials and Tools The more I research the primitive drawing materials and tools of medieval artists, the more I sit in total awe and admiration of their drawings. In this section, I discuss the medieval materials that would have most likely been used in the rendering of drawings during the fifteenth and sixteenth centuries.

Media A few of the media used for drawing and sketching during the latter years of the renaissance included graphite, brown and black inks, and white chalk.

Graphite: is a carbon based medium that first appeared in England around 1560. During the renaissance, graphite was used as a lump or sharpened point set into a metal holder for drawing. Graphite is generally grayer and smoother than black chalk or charcoal, and produces a warm-toned gray line that looks very similar to lead point; hence, the two media were often confused. Even to this day, the term lead pencil is incorrectly used to describe our common day graphite pencils that are actually made of made of graphite and clay, not lead.

Brown inks: that were associated with the masters’ drawings, were made by boiling or soaking wood soot in water to extract the soluble tars. This liquid was then filtered, resulting in a transparent and luminous ink, the exact tone of which depended on the kind of wood used. During the early fifteenth century, the term sepia actually referred to the brown tone of the masters’ drawings, rather than a genuine sepia ink, which was later made from the secretions of cuttlefish.

Black inks: used during the sixteenth century, were made from fine particles of soot, charcoal, charred wood, or burnt lamp oil that were added to water and then mixed with a binding agent, such as gum arabic. Gum arabic is the natural secretion of the acacia tree, and was used to improve the bonding properties of inks and paints, and help hold pigment particles in suspension.

White chalk: refers to a medieval drawing media generally made from either calcite (or calcium carbonate) or soapstone. Calcite was soft and produced a fairly brilliant white, and soapstone was slightly harder and created a bluish white. White chalk was applied to drawings to lighten sections and/or accentuate highlights (a technique called heightening) so as to emphasize form, mass, and volume.

Papers During the fifteenth century, paper became a popular drawing surface; diverse papers were handmade by breaking down or chopping up source materials such as plants, vegetable matter, rags, or sailcloth, into individual cellulose fibers. These fibers were mixed with water to form a soupy pulp, and were then scooped up with a wire screen set into a wooden mold. The pulp was leveled flat with a shake, and once the water had drained through the screen, an even deposit of matted fibers remained on the screen's surface.






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This matted deposit was then turned out onto a heavy woolen cloth or felt. Another felt was placed on top of the thin sheet of pulp, and stacks of pulp sheets and felts were then pressed to extract as much of the moisture left in the pulp as possible. The sheets were then hung to dry. At this stage, the paper was still like blotting paper. To harden the surface of the sheet and prevent ink bleeding into the sheet, the paper was sized, or coated with a hard gelatin layer. Prepared paper is a sheet of paper that has been prepared either with multiple coatings of white lead and ground bone, usually tinted with a pigment, and tempered with glue size.

Pens Many of the old masters’ pen and ink drawings were rendered with a quill pen, an instrument made from the scraped and cut feathers of birds. Quills are very flexible and versatile when used as either writing or drawing tools, and produce free and energetic lines often characterized by sweeping, almost dancing flourishes and great variations in width.

Quills from the pinion feathers of the goose, swan, raven and crow were highly esteemed, producing responsive lines that glided across the textured surface of handmade prepared papers. The goose quill was the most commonly used, and those of the raven or crow were considered to produce the finest and most delicate strokes.

Styluses A stylus (sometimes called metal-point) was a drawing tool made from a relatively soft metal, such as silver, gold, or copper; it was commonly used on a sheet of prepared paper, for either creating beautifully intricate drawings, or for rendering preliminary under-drawings and sketches in preparation for a more refined and detailed drawing. So as to provide artists with the creative freedom to vary the width of their lines as they worked, it was most often cast with a fine point at one end and a blunter point at the opposite end.

A stylus works by leaving a thin deposit of the metal on the surface of the paper, producing a very fine gray line. Silver-point was very popular with renaissance artists because it eventually tarnished, and took on a beautiful luminous brown tonality.

Lead-point, made from lead or a lead alloy, is considered the ancestor of the modern day pencil. Lead-point was the only metal that could leave a mark on unprepared paper; it rendered a very faint line that could easily be erased. On the down side, its points became blunt very quickly.

Analysis of Technique and Style Throughout this section, I compare the styles and techniques of drawings by the masters with my own; the techniques are the same, but the styles are very different. I define and provide examples of contour drawings, the shading styles of hatching and crosshatching, as well as chiaroscuro. Other than variations in personal style, other noteworthy differences between the masters’ drawings and mine are that the masters’ drawings are far superior to mine, and their subjects are specific to medieval times.






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Overall, the masters’ personal drawing styles were loosely rendered, and demonstrated the confidence and precision of many years of experience working from life. In contrast, my drawing style is illustrative and the shading is more tightly rendered; many of my drawings have been created from photographic references.

The roles of drawings in medieval art were as varied as the artists who rendered them. Many drawings, such as studies and sketches, were simply a stage in either the pursuit of knowledge or the creation of another artwork in a different medium. For the most part, drawings that were rendered as studies, revealed very little forethought for composition.

As an aside, I suspect that paper was quite precious during these times; hence, artists attempted to fill the entire surface with as many drawings (and notes) as possible so paper wasn’t wasted.

Figure 01: Studies of embryos, Leonardo da Vinci, 1509-14, Black and red chalk, pen and ink wash

Contour drawings The style of the contour lines rendered by the masters, especially those done with a pen or brush, are wide in some places and thin in others; in comparison, the lines in my drawings are done in graphite and are more uniform in width. Yet, the contour drawing techniques are similar in both.

Figure 02: Two contour drawings of a young boy playing, Brenda Hoddinott, 2004, graphite

Cons id e r w i th th e g r ea t e s t c a r e t h e f o rm o f the ou t l i ne s o f

ev e r y ob j e c t , and the cha ra c t e r o f th e i r undu la t i ons . And t h e s e undu la t ion s must b e s epa ra t e l y s tud i ed , a s t o

whe the r th e curv e s a r e c ompos ed o f a r ch ed c onvex i t i e s

o r angu la r c oncav i t i e s . ( Leon a rd o d a Vin c i )






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Figure 03: Contour drawings of horses, Leonardo da Vinci, 1482, Metal point, pen and brown ink, Fitzwilliam Museum, Cambridge

I have be en impr e s sed w i th th e u rg ency o f do ing .

Knowing i s no t enough ; we mus t app l y . Be ing w i l l i ng i s no t enough ; we must do .

( L e o n a r d o d a V i n c i )

Shading wi th hatching Many of the masters’ drawings combine contour lines with hatching.

Figure 04: Example of a combination of contour lines and hatching, Study of a horse, Brenda Hoddinott, 2006, graphite

Even though my personal style has taken on its own characteristics over the past 20 years, my drawings still revel that I have unknowingly been a student of the masters for most of my life. For example, Leonardo da Vinci often did a preliminary sketch with metal-point before adding details, such as contour lines and hatching. My graphite sketch of a horse’s head (Figure 04) demonstrates my technique of lightly rendering proportions before adding details.

To get a better sense of the hatching style of Leonardo, I used graphite to copy a section of one of his drawings (Figures 05 and 06).

Figures 05 and 06: Comparison of the drawing styles and hatching techniques of Detail of Grotesque Profile, Leonardo da Vinci, 1487-90, pen and ink; and Study of diagonal hatching lines, Brenda Hoddinott, 2006, graphite






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This little exercise has proven extremely valuable in that I picked up on a small detail I have not yet come across in my research on Leonardo da Vinci. Based on his overall style of drawing and a few little technical idiosyncrasies, such as his meticulous rendering of diagonal hatching lines at an angle of around 45 degrees, I believe that he was left-handed.

The natural hand movement of most right-handed individuals is from the lower left to the upper right, or from the upper right to the lower left. I’m right-handed; compare my hatching lines (Figures 04) with those of Leonardo (Figure 05). Leonardo’s diagonal hatching lines are drawn from the upper left to lower right, and from the lower right to the upper left. I discovered that by turning my drawing paper sideways as I worked, I could imitate his drawing style fairly well.

Every artist is unique, and as such, brings subtle nuances in style into his/her drawings, even when using the exact same techniques as other artists. The following drawings compare the contour hatching styles of Albrecht Dürer and me.

Figures 07 and 08: Comparison of the contour hatching styles used for the feathers of The Stork, Albrecht Dürer, 1515, pen and ink; and The Owl, Brenda Hoddinott, 2005, graphite.

Yet, no matter how well students of art imitate the masters’ rendering of techniques; their individuality will inadvertently be expressed within their drawings. Otherwise art itself would become boring as artists become mere clones of their teachers.

Even if I was actually privy to the in-person teachings of the masters, my personal style would still no doubt be recognizable to a discerning eye; in other words, I remain aware of the importance of allowing my intrinsic style to come through while expanding my skills with techniques and media. I do this by taking what I like from the skill sets of my teachers and discarding those I don’t like.






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Let p ropo r t i on b e found no t on l y i n numbers and mea su r e s , bu t a l s o i n s ounds , we i gh ts , t imes , and po s i t i on s , and what ev e r f o r ce th e r e i s .

( L e o n a r d o d a V i n c i )

Figures 09 and 10: Comparison of the hatching styles of Grotesque Profile, Leonardo da Vinci, 1487-90, pen and ink; and Profile of Infant, Brenda Hoddinott, 2004, graphite

S hading wi th crosshatching Many drawings by renaissance artists combine contour lines with hatching and crosshatching. The following drawings compare the crosshatching techniques of Albrecht Dürer with mine.

Figures 11 and 12: Comparison of the crosshatching styles of Head of the Twelve Year Old Christ, Albrecht Dürer, 1506, brush and ink; and Detail of Female Eye, Brenda Hoddinott, 2005, graphite






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You can l e a rn f r om the d rawing s o f o th e r s who do be t t e r than you r s e l f ; an d i f you a r e b e t t e r than th ey , y ou can p rof i t by you r con t empt fo r th e i r

d e f e c t s , wh i l e th e p ra i s e o f o th e r s wi l l in c i t e you t o f a r the r mer i t s . ( L e o n a r d o d a V i n c i )

Crosshatching is an ideal technique for shading smooth and shiny textures, as demonstrated in

these highly realistic drawings of objects

made of metal.

Figures 13 and 14: Comparison of the crosshatching styles used for shading metal in Side, Front, and Back View of a Helmet, Albrecht Dürer, 1503, pen and ink; and Replica of Medieval Dagger, Brenda Hoddinott, 2006, graphite

Chiaroscuro In simple terms and specific to drawing, chiaroscuro refers to the technique of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface. Chiaroscuro was first introduced during the Renaissance and the word itself is derived from the Italian words for light (chiaro) and dark (oscuro). Chiaroscuro often employed a process of applying a light value over a dark, such as using white chalk or gouache over colored paper.

During the renaissance, drawing papers were often colored, either because the raw materials used in their manufacture was colored, or because of the addition of pigments during the preparation of the finish. Hence, white highlights often needed to be applied with an independent medium, such as white chalk or gouache, to bring out the highlights.

As demonstrated in the following medieval and contemporary drawings Chiaroscuro was and still is highly effective for creating an illusion of depth and space.






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Figure 15: Grape, Brenda Hoddinott, 2006, graphite

Figure 16: Study of the Christ Child, Albrecht Dürer, 1495, pen and ink

Figure 17: Study of Trees in Winter, Brenda Hoddinott, 2003, charcoal

Figure 18: Green Passion: Christ before Caiaphas, Albrecht Dürer, 1504, Pen on green primed paper.

My research has taught me well. First of all, I’m feeling relieved that many of the drawing techniques utilized by the masters’ are already in my repertoire of skills; hence; I need only expand my current skills, and learn how to make and use period tools and materials in order to bring my work closer to authentic medieval renderings. In addition, I have learned that with each new skill, technique or snippet of information I learn, there is an infinite amount of knowledge still to be learned.

The e y e , wh i ch i s ca l l ed th e w indow of th e sou l , i s t h e p r in c ipa l means by wh i ch the c en t ra l s en se c an mos t c omp l e t e l y and abundant l y app r ec i a t e the

i n f in i t e work s o f na tur e . ( L e o n a r d o d a V i n c i )






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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 ph i l o s ophy on t ea ch ing a r t i s to f o cus p r imar i l y on th e en j oyment a s p e c t s wh i l e g en t ly in t r oduc ing th e t e chn i ca l and academic . Hence , i n c r ea t ing a pa ss i on f o r th e sub j e c t mat t e r , t he que s t f o r knowl edge a l s o

b e comes en j oyab l e . ( B r e n d a H o d d i n o t t )




LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT 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.





EExxaammiinniinngg

IInn MMaasstteerrss’’ PPaaiinnttiinnggss Brenda Hoddinott

Z03 ADVANCED: DRAWING ON THE MASTERS The primary goal of this brief research paper is to investigate Renaissance portrait lighting, and apply any knowledge gained to reference photographs and a quick sketch of a contemporary composition of a model dressed in medieval garb.

This article is divided into the following three parts:

Researching Lighting and Composition: Lighting and composition are so closely linked that it’s almost impossible to talk about one without the other. Examples of Renaissance and early post-Renaissance portraits explore a few of the diverse roles of lighting and composition in the visual communication of ambiance, form, and spatial depth.

Applying Renaissance Composition to Photos: Research has given me numerous ideas that are translated into reference photos of my model.

Capturing Light in a Composition: I render a rough sketch with help from various reference photos to demonstrate my proposed composition.

This lesson is recommended for anyone with an interest in Renaissance art, as well as home schooling, academic and recreational fine art educators of advanced students.




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RReesseeaarrcchhiinngg LLiigghhtt iinngg aanndd CCoommppoossiitt iioonn

Lighting and composition are so closely linked that it’s almost impossible to talk about one without the other. This section of the paper uses examples of Renaissance and early post-Renaissance portraits to explore a few of the diverse roles of lighting and composition in the visual communication of ambiance, form, and spatial depth. A less tangible but significant aspect of composition for portraitists, employs the use of clothing, body language, and facial expression to create an ambiance appropriate to the artist’s emotional vision for his or her work.

Creating the illusion of a three-dimensional space on a two-dimensional surface was a major innovation of the masters of the Renaissance. Artists discovered how to transform shapes into forms by identifying highlights and shadows, and translating them into light and dark values. Hence, lighting became an integral aspect of composition.

Johannes (Jan) Vermeer used various techniques, including perspective, chiaroscuro and overlapping, to create numerous levels of depth in his works.

In Figure 01, a beautifully balanced painting illustrates lustrous natural daylight contrasted with deep rich shadows. A female figure in a blue dress is turned toward what appears to be a window, with her face tilted in the direction of the artist. The artist is seated in an ideal position to paint the highlights and shadows on the young lady’s face and dress.

Figure 01: Jan Vermeer, The Ar t of Pain t ing , 1666, o i l on canvas.

What is probably the most famous of Jan Vermeer’s works is a powerful example of how a similar lighting set-up also works beautifully for a head and shoulders portrait of a young girl.

A broad range of graduated values from very light to black accentuates the various forms of her face and clothing. The lower section of her headpiece overlaps her back, thereby enhancing the illusion of depth. The dark simplicity of the background serves to pull the figure into the foreground, and focus attention on her face.

Figure 02: Jan Vermeer, Gir l wi th a Pear l Ear r ing , 1660 – 1665, Oi l on Canvas.






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Figure 03: Andrea Del Sarto, Portrait of a Young Man, 1517, Oil on canvas.

Figure 04: Rembrandt, An Officer, 1629-1630, Oil on Wood.

Figure 06: Holbein, Hans the Younger, Portrait

of William Warham,

Archbishop of Canterbury, 1527,

Oil on oak.

The white fabric of the man’s sleeve in Figure 03 is depicted in shadow, an effect that draws attention toward the bright upper section of his shirt and onto his face.

Beyond rendering correct facial proportions, being able to portray an accurate perception of light and shadows is integral to achieving a likeness to an individual.

The highly detailed painting of the light and shadows in the facial sections of Figure 04, demonstrates a delicate approach to lighting which seems to soften the facial features of the elderly man. By examining the locations of the highlights and shadows on his face, it becomes apparent that the dominant light source is from the left.

The dark values of the hat and clothing outline the upper and lower facial sections, thereby bringing the focus to the face. The hard shiny metal contrasts sharply with the soft fabric and feather of his hat, creating a paradoxical insight into his persona; his age implies frailty but his stiff posture depicts strength.

The paintings in Figures 05 and 06 have similar lighting and composition.

Figure 05: Bartolomeo Veneto, Portrait of a Gentleman, 1512, Oil on panel






4

The eyes of the model in Figures 07 are looking toward the light; a brilliant philosophical strategy. A portrait without direct eye contact provides a non-intimidating opportunity for the viewer to explore the face in detail.

Figure 07: Albrecht Dürer, Portrait of a Young Man, 1521, Charcoal drawing on paper.

My research has provided numerous insights into the lighting and composition used during the Renaissance. In addition, I have had the opportunity to study fascinating aspects of facial expression, posture, background, and accessories that can be used to create relatively authentic period artworks.

AAppppllyyiinngg RReennaaiissssaannccee CCoommppoossiitt iioonn ttoo PPhhoottooss

My research has given me numerous ideas that I can now translate into reference photos of my model. The following aspects of lighting and composition from Figures 01 to 07, will integrate nicely into sketches, studies, and eventually an oil painting of Lord Algernon:

Figure 01: I used natural daylight from a large window on a slightly overcast day. The light is coming from the left as in Vermeer’s painting.

Figure 02: I improved the illusion of depth by overlapping Lord Algernon’s left arm in front of his body and the sword in front of his right leg. I also plan to use a similar background.

Figure 03: I will darken the values of the sleeves so as to bring more attention to Algernon’s face, as in Sarto’s portrait.

Figure 04: I will attempt to depict the subtle nuances of light and shadows on Lord Algernon’s face, so as to enhance likeness. His hat and clothing will frame the upper and lower sections of his face and neck.

Figure 05: I plan to crop the lower section of the composition slightly and include both hands.

Figure 06: Algernon’s face is tilted toward the artist, but his eyes are looking into the light as in Albrecht Dürer’s drawing.

Figure 07: The flesh tones and warm hues of the clothing in this painting will work beautifully when I begin my oil painting.

I set up my model, who is fully dressed in replicas of medieval garb, in a seated position in front of a brightly lit window. The resulting photos integrate the aforementioned aspects of lighting and composition.

I’m a firm believer that there is no such thing as having too much visual information about a drawing or painting subject. Hence, artists are wise to take numerous photos, and whenever possible work from life for the rendering of fine details.






5

Figure 08: Primary reference photo of Lord Algernon.

Figure 09: Close-up view of Lord Algernon’s face, hat and collar.

Figure 10: Detail of shadows on right hand and ring.

Figure 11: Detail of left hand and ring.

Figure 12: Detail of the doublet’s fabric, button, and trim, as well as the jewelry.

My two primary reference photos (Figures 08 and 09) demonstrate the implementation of lighting and compositional techniques from the paintings and drawings previously discussed.

Figures 10 to 15 provide additional visual information about the effects of lighting on more intricate aspects of my subject, such as the hands, sword, clothing, and jewelry.






6

Figure 15:

Detail of the

shoulder of the

doublet and the gathers

in the upper

sleeve.

Figure 13 and 14: Details of the handle and blade of the sword.

CCaappttuurriinngg LLiigghhtt iinn aa CCoommppoossiitt iioonn

Light is not a tangible medium, but it has a huge influence on the viewer’s perception of depth and physical space. Based on my examination of hundreds of drawings and paintings, I have come to the conclusion that an ability to see and translate light into a drawing, is an artist’s most valuable tool for creating the illusion of a three dimensional reality.

Light has always existed; however, the artists of the Renaissance were the pioneers who discovered how the multifaceted qualities of light affected the world around them. Subsequently, they explored methods of communicating their visions to viewers through the languages of drawing and painting. From a technical perspective, this sensitive and poignant drawing by Albrecht Dürer simply demonstrates the addition of white paint to a dark prepared surface to enhance highlights. The highlights serve to identify the light, which is from the upper left.

I attempted to look into the genius of the artist, and found myself questioning his motive for using that specific lighting. I expect to continue examining this drawing from time to time, in search of insights into Dürer’s thought processes when planning the compositional lighting.

Figure 16: Albrecht Dürer, Head of the Twelve Year Old Christ, 1506, brush and ink.






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I render a quick sketch with help from the various reference photos to demonstrate my proposed composition. My primary goal is to use the light source to communicate both sensitivity and strength in the face of Lord Algernon.

I used red chalk on Arches 140 lb. hot pressed, 100% cotton, watercolor paper that had been darkened with a diluted wash of sepia ink, to enhance the planned heightening.

Shading is rendered with diagonal hatching lines. White chalk created the light values on the face, hands, and clothing.

Figure 17: A loosely rendered sketch that demonstrates basic composition and lighting.

My research provided numerous ideas for capturing period composition and lighting in my reference photographs. However, in addition to using these photos, I will also need to work from life to render additional details.

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Chalk: is a drawing medium derived from various natural sources, such as hematite, carbon, and calcite.

Chiaroscuro: refers to the technique (introduced during the Renaissance) of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface.

Heightening: refers to the technique of applying a light pigment, such as white chalk or gouache to sections of a drawing so as to enhance the illusion of form.

Life drawing: refers to the process of drawing from an actual object or living being.

Renaissance: derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 14th to the late 16th centuries.

Rough sketch: refers to a visual notation of an idea that is quickly rendered to illustrate the important elements of a subject with very few details. Sketches can capture lighting, establish values, suggest proportions, and/or arrange the major components of a composition.

Technique: refers to a well-defined procedure, such as chiaroscuro or perspective used to accomplish a specific effect or ambience.

White chalk: refers to either calcite (or calcium carbonate) or soapstone, that is applied to drawings to lighten sections and/or accentuate highlights so as to emphasize form, mass, and volume.






8

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Books: Braham, Allan. Dürer. London, England: Spring Books, 1965

Buck, Stephanie. Masters of German Art: Hans Holbein. Cologne, Germany: Konemann Verlaggsgesellschaft, 1999

Eichler, Anja-Franziska. Masters of German Art: Albrecht Dürer. Germany: Konemann Verlagsgesellschaft, 1999.

Hodge, Jessica. Rembrandt. London: PRC Publishing Ltd., 2001

Mitchell, B. Great Artists: A Treasury of Paintings by the Masters. Toronto: W. H. Smith, Marshall Cavendish Books Limited, 1987

Perard, Victor. Anatomy of Drawing. New York: Victor Perard Publisher, 1934

Teiche, Jessica and Tracy Barr. Da Vinci for Dummies. Indianapolis, Indiana: Wiley Publishing Incorporated, 2005

Zollner, Frank. Leonardo da Vinci: Sketches and Drawings. Taschen, 2005

Websites: www.artmuseums.harvard.edu/sargentatharvard/drawingglossary.html

www.clemusart.com/butkin/html/3804852.html http://www.wga.hu/index1.html

http://arthistory.about.com/cs/arthistory10one/a/high_ren_2.htm

www.portfoliostep.com/390.1TerminologyDefinitions.htm

www.worldimages.com/art_glossary.php

www.georgetown.edu/uis/ia/dw/GLOSSARY0816.html

www-personal.umich.edu/~alandear/glossary/t.html

ecosurvey.gmu.edu/glossary.htm

www.artsconnected.org/artsnetmn/spaces/vocabulary.html




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http://www.clemusart.com/butkin/html/3804852.html�

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http://arthistory.about.com/cs/arthistory10one/a/high_ren_2.htm�

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9

BBrreennddaa HHooddddiinnootttt

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”.



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.






Brenda Hoddinott

Z-04 ADVANCED: DRAWING ON THE MASTERS The more I research the primitive drawing materials of medieval artists, the more I sit in total awe and admiration of their drawings. This pen and ink project focuses on rendering the forms of an infant’s nose with the classical drawing techniques of contour crosshatching and chiaroscuro.

White gouache is applied over a darker value (the cream colored paper) to create the highlights, sepia colored ink produces the middle values, and dark brown ink creates the darkest values.

This lesson is divided into the following three sections:

CHIAROSCURO IN RENAISSANCE DRAWINGS: Chiaroscuro was introduced during the Renaissance, and as demonstrated in two drawings by Leonardo da Vinci, was highly effective for creating an illusion of depth and space.

DRAWING PAPER, PENS, AND MEDIA: I begin by discussing the medieval drawing materials that would have most likely been used in the rendering of this type of drawing during the fifteenth century. I then list the contemporary supplies I used to reproduce the medieval drawing style.

DRAWING WITH CHIAROSCURO: As you follow along with step-by-step instructions, your primary goal is to get a feel for working with pen and ink, while incorporating contour crosshatching techniques.

Suggested drawing supplies include 100% cotton paper, nibs and holders, black and burnt sienna inks, white gouache, paintbrush, and a few deep containers to hold water and mixed ink colors.

This lesson is recommended for artists with strong drawing skills, as well as home

schooling, academic and recreational fine art educators of advanced students.




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CHIAROSCURO IN RENAISSANCE DRAWINGS In simple terms and specific to drawing, Chiaroscuro refers to the technique of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface. The drawing process often employs a method of applying a light value over a dark, such as using white chalk or gouache over colored paper. The word chiaroscuro is derived from the Italian words for light (chiaro) and dark (oscuro).

Chiaroscuro was introduced during the Renaissance, and was highly effective for creating an illusion of depth and space around the principal figures in a composition. Leonardo Da Vinci was renowned for his extraordinary drawing skills with chiaroscuro.

Leonardo’s drawing papers were various colors, depending on the materials used in their preparation. Hence, white highlights had to be applied with an independent medium, such as white gouache. Brown or sepia colored ink produced middle values, and dark brown or black ink created dark values. Examine the following two drawings and see if you can find the sections where white pigment is added.

Figure 04-01: Leonardo, da Vinci, Woman's Head. Pen and ink, and white pigment on paper. 11 by 7.5 inches.

Figure 04-02: Leonardo da Vinci. Lily (detail). Pen and ink, black chalk, and white pigment on paper, 12 by 7 inches,






3

DRAWING PAPER, PENS, AND MEDIA The more I research the primitive drawing materials and tools of medieval artists, the more I sit in total awe and admiration of their drawings. In this section, I begin by discussing the medieval drawing materials that would have most likely been used in the rendering of this type of drawing during the fifteenth century. I then list the contemporary supplies I used to reproduce the medieval drawing style.

Papers During the fifteenth century, paper became a popular drawing surface; diverse papers were handmade by breaking down or chopping up source materials such as plants, vegetable matter, rags, or sailcloth, into individual cellulose fibers. These fibers were mixed with water to form a soupy pulp, and were then scooped up with a wire screen set into a wooden mold. The pulp was leveled flat with a shake, and once the water had drained through the screen, an even deposit of matted fibers remained on the screen's surface.

This matted deposit was then turned out onto a heavy woolen cloth or felt. Another felt was placed on top of the thin sheet of pulp, and stacks of pulp sheets and felts were then pressed to extract as much of the moisture left in the pulp as possible. The sheets were then hung to dry. At this stage, the paper was still like blotting paper. To harden the surface of the sheet and prevent ink bleeding into the sheet, the paper was sized, or coated with a hard gelatin layer.

Pens Most of the old masters’ drawings with pen are rendered with a quill pen, an instrument made from the scraped and cut feathers of birds. Quills from the pinion feathers of the goose, swan, raven and crow were highly esteemed, producing responsive lines that glided across the textured surface of handmade papers. The goose quill was the most commonly used, and those of the raven or crow were considered to produce the finest and most delicate strokes. The quill is very flexible and versatile, resulting in free and lively drawings often characterized by sweeping, almost dancing flourishes and great variations in the width of the pen line. Media

The brown inks we associate today with old masters’ drawings were made by boiling or soaking wood soot in water to extract the soluble tars. This liquid was then filtered, resulting in a transparent and luminous ink, the exact tone of which depended on the kind of wood used. During the early fifteenth century, the term sepia actually referred to the brown tone of the masters’ drawings, rather than a genuine sepia ink composition, which was later made from the secretions of cuttlefish.

Black inks were made from fine particles of soot, charcoal, charred wood, or burnt lamp oil, which were added to water and then mixed with a binding agent, such as gum arabic. Gum arabic is the natural secretion of the acacia tree, and was used to improve the bonding properties of inks and paints, and help hold pigment particles in suspension.

Gouache, an opaque paint, was made by adding white pigment or chalk to a translucent water-based paint, along with a binding agent such as gum arabic. Gouache was added to the lightest sections of drawings (highlights) to emphasize mass and volume.






4

Drawing Supplies used for this Project At some point in the future, I may investigate the process of making authentic drawing papers, pens, and media; however, for this particular drawing, I used the following:

Arches 140 lb. hot pressed, 100% cotton, watercolor paper

Speedball, Number 20, General Purpose nibs and holders

Windsor and Newton, black and burnt sienna inks

Windsor and Newton, permanent white gouache

Number 2, round paintbrush

Three small deep containers to hold mixed ink colors (I used small shot glasses)

Large container of water for cleaning pens and brushes

Before you begin drawing the nose, practice a few different types of lines on a small piece of paper (as in this illustration). Metal nibs do not flow as smoothly across contemporary cotton paper as did the smoothly rounded quills of the masters. Hence, you need to work slowly and press gently with your pen.

Following are a few simple guidelines for drawing with a pen:

Dip the pen deep enough into the ink to fill the reservoir

Carefully wipe the underside of the nib in the side of the container to wipe off extra ink

As you work, wipe the tip frequently with a soft cloth that doesn’t shed fabric fibers

Check the tip each time you reload, in case you have a fabric fiber or hair attached to the tip of the nib (a stray hair can quickly ruin your drawing by forming a big blob instead of a line).

Draw as slowly and precisely as possible; speed comes with lots of practice

Clean nibs, holders, and brushes immediately after use with warm soapy water

A soft toothbrush works best for cleaning dried-on ink from a nib

Figure 04-03: Various styles of hatching and crosshatching lines rendered with pen and ink.






5

STEP 1

STEP 2

I pre-mixed the following three values of ink before I began this project, and then covered each with plastic wrap to keep them from evaporating until I was ready to draw (I tested each on paper to see the actual color):

Light: Begin with a small amount of water and slowly add small drops of burnt sienna ink until the color is similar to this sample. Test the mixture with a small paintbrush after adding each drop of ink.

Medium: Use the burnt sienna ink as it is from the bottle.

Dark: Mix drops of black into a small amount of burnt sienna ink, until you get a dark brown (almost black). Black is very powerful, so you need very little.

Figure 04-04: Three hues of ink - from the left: light, medium, and dark

DRAWING WITH CHIAROSCURO My primary project goal is to get a feel for working with pen and ink, while incorporating the hatching and crosshatching styles.

1) Use the light ink color to outline the shapes of the lower sections of the nose. I find ink to be an incredibly intimidating and tedious medium in that I know I can’t erase mistakes.

2) Add contour crosshatching to build up light values. Remember to leave the three highlight sections of the nose the color of the paper.

My contour lines are somewhat jerky as I very slowly establish proportions with the light ink color.






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STEP 4

STEP 5

STEP 3

3) Use the medium ink color to add medium values. The light source is coming primarily from the upper right.

I’m gaining an increasing admiration for the students’ of the masters of the Renaissance; they no doubt spent many years practicing drawing before their lines flowed as smoothly as their teachers’.

4) Add the darkest values to the shadow sections with the dark ink color.

5) Use white gouache to paint the brightest sections, the highlights.

You may need to mix a tiny bit of water to the gouache to make it fluid enough to go on smoothly.

If you’re not happy with the results of your drawing, do this little project over again.

Sign your name, and add today’s date to the back of your drawing paper.

Try this same technique to draw another object (or small section of an object) from either a photo or life.






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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.



>Brenda Hoddinott<




LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is



WEB RESOURCES FOR THIS ARTICLE www.artmuseums.harvard.edu/sargentatharvard/drawingglossary.html

www.clemusart.com/butkin/html/3804852.html

http://www.wga.hu/index1.html





http://www.artmuseums.harvard.edu/sargentatharvard/drawingglossary.html�

http://www.clemusart.com/butkin/html/3804852.html�

http://www.wga.hu/index1.html�

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Medieval Crosshatching Techniques Brenda Hoddinott

Z-05 ADVANCED: DRAWING ON THE MASTERS This article is modified from a small section of an academic documentation for a drawing I recently entered in an Arts and Science Competition for The Society for Creative Anachronism, Inc. This drawing represents my first attempt at using contemporary counterparts of medieval drawing tools, and while I am very critical of numerous technical problems, I am very happy with all that I have learned. Other excerpts from this research paper are included in Z-02 Advanced: Examining Styles and Techniques.

This article is divided into the following three sections:

INTRODUCTION: Even though the masters’ drawings are far superior to mine, and their subjects are specific to medieval times, the fundamental techniques of crosshatching and chiaroscuro are the same.

PLANNING AN ORIGINAL MEDIEVAL DRAWING: I introduce my drawing subject, discuss anticipated challenges, and provide a description of media and tools.

GOALS, POTENTIAL OBSTACLES AND MEDIA: My primary project goal is to get a feel for working with pen and ink, while incorporating the hatching and crosshatching styles of Leonardo da Vinci and Albrecht Dürer.

ILLUSTRATED DISCUSSION OF PROCESS: Readers are invited to either follow along with a visual presentation of my drawing process, or render their own version of my subject by incorporating their own drawing styles.

Suggested drawing supplies include 100% cotton paper, nibs and holders, black and burnt sienna inks, white gouache, paintbrush, and containers to hold water and ink.

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




2

IInnttrroodduuccttiioonn The Society for Creative Anachronism (commonly called the SCA), an international organization, with over 30,000 members residing in countries around the world, is dedicated to researching and re-creating the arts and skills of pre-17th-century Europe.

As a member, I dress in clothing of the Middle Ages and Renaissance, and attend events throughout Eastern Canada and the Northern United States, that feature arts exhibits, classes, workshops, dancing, feasts, and more. I am currently on a quest for a specific period identity. Graphite is my favorite drawing medium; hence, I have decided that my persona’s lifespan will include the late 1500’s when graphite made its appearance as a drawing medium. My goal is to explore the diverse drawing and painting techniques of the renaissance, and pursue a dream to become a student of the masters. Renaissance, derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 14th to the late 16th centuries.

In this article, I discuss the process of rendering a study of an infant’s head by utilizing contemporary counterparts of medieval drawing materials and tools, and my own personal drawing style. Technique refers to a well-defined procedure, such as hatching or crosshatching, used to accomplish a specific effect or ambience. Style refers to an artist’s individual approach to making art, and is an accumulation of her/his inherent preferences, life experiences, artistic philosophy, personal goals, and academic background. Throughout the actual execution of the drawing I provide a heavily illustrated journal documenting my successes and frustrations working with the unfamiliar medium of pen and ink.

Drawing media and materials used for rendering this type of drawing during the renaissance included quill pens, styluses, inks, and white gouache. A quill pen is a very flexible and versatile writing or drawing instrument made from the scraped and cut feathers of birds. Stylus (sometimes called metal-point) refers to a drawing tool that was made from a relatively soft metal, such as lead, silver, gold, or copper, and cast with a fine point at one end and a blunter point at the opposite end.

I use easily accessible modern-day drawing materials for my drawing, including

Arches 140 lb. hot pressed, 100% cotton, watercolor paper

Speedball, Number 20, General Purpose nibs and holders

Windsor and Newton, black and burnt sienna inks

White gouache

Small script-liner brush

Even though the masters’ drawings are far superior to mine, and their subjects are specific to medieval times, the fundamental techniques of crosshatching and chiaroscuro are the same. For example, their crosshatching techniques are very similar to those I have used for most of my life. Crosshatching is a shading technique in which one set of lines crosses over (overlaps) another set creating a dense grid-like pattern. Chiaroscuro refers to the technique of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface. Chiaroscuro was first introduced during the Renaissance.






3

PPllaannnniinngg aann oorriiggiinnaall mmeeddiieevvaall ddrraawwiinngg The primary goal of this pen and ink project is to create a study of an infant that looks like a renaissance rendering. I introduce the subject of my drawing, discuss anticipated challenges, and provide a description of media and tools.

My reference is a photo of my grandson Kaiden, taken by my daughter, Heidi. The overall composition seems fine for a study, but I will add the top of his head that is cropped in the photo. I love the tilt of his head and will accentuate this a little more in the composition. The body will be faded below the neck by using a graduation of values from dark to light.

The primary light source, from the upper right, will be accentuated to allow for a greater contrast in values and a stronger sense of three-dimensional reality. White gouache applied over the cream colored paper, will accentuate the highlights, sepia colored ink will produce the light and middle values, and dark brown ink will work for the darkest values.

The compositional pathway begins with the eye on the right, moves toward the eye on the left, travels downward along the edge of his face to the nose and mouth, and then counterclockwise around the perimeter of the head, back to the eye on the left and then across to the eye on the right; in other words I will attempt to prevent my viewer’s eye from leaving the drawing.

My primary focal points will be the eyes; their shading will be rendered in more detail than the rest of the face and hair, and the pupils will be the only part of the drawing shaded with full strength black ink. The nose and mouth will be secondary points of interest.

Figure 1: Photograph of Kaiden, taken by my daughter, Heidi.

The eye , which i s ca lled the window of the soul, i s the principal means by which the central sense can most completely and abundantly appreciate the

infinite works of nature. ( Leon a rd o d a Vin c i )

GGooaallss,, ppootteennttiiaall oobbssttaacclleess aanndd mmeeddiiaa My primary project goal is to get a feel for working with pen and ink, while incorporating the hatching and crosshatching styles of Leonardo da Vinci and Albrecht Dürer. While the initial concept seems daunting, research has served cathartic in that I find that I already have many of the basic technical skills need to execute this project.

My major concern is whether or not I can acquire enough skills with the media and tools to make the final result believable. I find ink to be an incredibly intimidating and tedious medium in that I know I can’t erase mistakes. Almost 40 years have passed since I last used these types of pens; believe it or not they were commonly used for learning formal writing skills.






4

I set up my supplies and practice a few different types of lines on a small piece of paper. Needless to say, this drawing tool is nothing like my favorite pencils.

According to my research, metal nibs do not flow as smoothly across cotton paper as did the smoothly rounded quills of the masters. As expected, the nib makes a gentle scratching sound as it moves across the surface of the paper.

I’m gaining an increasing admiration for the masters of the Renaissance; students no doubt spent many years practicing drawing before their lines flowed as smoothly as their masters’.

Figure 2: Various styles of hatching and crosshatching lines rendered with pen and ink.

Trial and error helped me put together the following guidelines for working with pen and ink:

I made sure that I dipped the pen deep enough into the ink to fill the reservoir (if I dipped only the tip of the nib, I ended up having to re-dip the nib after each line I drew – very annoying).

I found it helpful to wipe the underside of the nib on the side of the container to wipe off extra ink.

As I worked, I frequently wiped the tip of the nib with a soft cloth or piece of paper towel before re-dipping it in the ink. I also checked the tip each time I reloaded; nothing is more frustrating than having a fabric fiber or hair attached to the tip of the nib (a stray hair can quickly ruin your drawing by forming a big blob instead of a line).

Nibs, holders, and brushes need to be cleaned immediately after use with warm soapy water (otherwise the ink has to be scraped off). However, when I neglected to wash up right away, a soft toothbrush (not your own of course) was fantastic for cleaning dried-on ink from the nibs.

I pre-mixed the following three values of ink, and then covered each with plastic wrap to keep them from evaporating until I was ready to draw:

Light: Drops of burnt sienna ink are added to water. I test the mixture with a small brush after adding each drop of ink, until the color is what I want.

Medium: Burnt sienna ink, full strength

Dark: Drops of black are added to burnt sienna, until I get a dark brown (almost black).

Figure 3: Three hues of ink - light, medium, and dark






5

IIlllluussttrraatteedd DDiissccuussssiioonn ooff PPrroocceessss I begin the drawing by setting out my materials and very lightly sketching the shapes of his head and features with graphite (my lines are so faint, they didn’t show up in the scan); the masters often used metal point for this process. Sketching accurate proportions is integral to achieving a likeness to my subject. No matter how well my shading turns out, if the proportions are off the drawing will not be successful.

Let proportion be found not only in numbers and measures, but also in

sounds, weights, t imes , and posit ions, and what ever force there i s . ( Leon a rd o d a

Vin c i )

I modify the sketch for increased accuracy, with pen and diluted sepia ink. My contour lines are jerky as the metal nib scratches its way across the paper’s surface.

I then erase the graphite. Assuming a master used lead-point (which was erasable), erasing a preliminary sketch is an authentic part of medieval drawing.

Figure 4: Contour drawing of Kaiden’s head and facial features establishes the proportions.

I use a light value to mark the locations of basic facial forms. To identify a section of high contrast shading, I add dark and middle values to a section of the background, along the side of the head.

My next step is to lay down a full value scale within one section of the drawing, so as to give myself a reference for adding shading. I chose the eye on the right because it has the darkest darks (in the pupil), and will also have the brightest highlight.

Figure 5: A guideline for a full range of values is established.






6

Further research will eventually (hopefully) allow me insights into the actual drawing processes used by the masters of the renaissance. For this project, I’ll rely on one of my favorite methods of drawing, in which the values are added in three stages from light to dark. The three highlight sections of the nose are left the color of the paper for now.

Figures 6, 7, and 8: Light, middle, and dark values create the illusion of form for the nose.

Figure 9: An overview of initial drawing stages.

Figure 10: Close-up view of the eye on the right

Figures 11 to 24 demonstrate the completion of the shading of the drawing.






7

Figure 11: Close-up view of middle values added to an ear, and crosshatching added to a section of the background

Figure 12: Overview of the entire head and face with middle values added

Figure 13: Detail of curved crosshatching lines on the cheek

Figure 14: Detail of eye on the left






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Figure 15: A paintbrush is used to add middle values to the shadow sections of the hair

Figure 16: Dark values on the shadow side of the face, and middle values on a section of background (on the left) are added with a brush

Figure 17: Overview of head and face with darker values and more details

Figure 18: Dark values are added to the shadow section of the neck






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Figure 19: Chiaroscuro creates bright sections of hair that contrast successfully against the dark values of the background.

Figures 20: White gouache is added to the cream-colored paper with a tiny brush, to enhance the highlight on the cheek

Figure 21: Crosshatching is an ideal technique for shading human skin.

Figure 22: Hatching works well for shading hair






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Figure 23: Final shading on the forehead shows a full range of values

Figure 24: Final drawing of the head of an infant






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Despite numerous frustrations, this project has been a lot of fun, and my research has taught me well. I’m even inspired to find, or maybe learn how to make and use, period tools and materials in order to bring my work closer to authentic medieval renderings.

On another note, I’m feeling relieved that many of the drawing techniques utilized by the masters’ are already in my repertoire of skills. I’m also motivated to focus on maintaining my own individual style. In other words, I need to remain true to my intrinsic style while expanding my skills with techniques and media.

As I continue to study the drawings of the masters, I must be careful to constantly separate style and technique. As a student of drawing during the high renaissance, I will incorporate the skills and techniques of the masters with my own personal style, which will continuously evolve as my skills improve. In closing, I have learned that with each new skill, technique or snippet of information I learn, there is an infinite amount of knowledge still to be learned.

CChhaalllleennggee Try you hand at drawing another infant! If you decide to work from a photograph, make sure the facial features are in sharp focus. Also, keep in mind that you can modify the composition, as I did in this project, by tilting his head a little more than in the photo.

May I suggest that you use drawing media, materials and techniques that are the same as, or very similar to the following:

MEDIA MATERIALS TECHNIQUES

Black ink Small script-liner brush Hatching

Sepia ink General Purpose nibs and holders Crosshatching

White gouache Arches 140 lb. hot pressed, 100% cotton, watercolor paper Chiaroscuro

BBiibblliiooggrraapphhyy Eichler, Anja-Franziska. Masters of German Art: Albrecht Dürer. Germany: Konemann Verlagsgesellschaft, 1999.









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BBrreennddaa HHooddddiinnootttt 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.



>Brenda Hoddinott<











HHaattcchhiinngg wwiitthh

Z06 ADVANCED: DRAWING ON THE MASTERS Explorations into chalks used during the Renaissance, are applied to the rendering of a figurative sketch. Simple step-by-step illustrations take you through the process of using hatching graduations to add shading.

This project is divided into the following two sections:

RESEARCH AND PLANNING: Creating the illusion of a three-dimensional space on a two-dimensional surface was a major innovation of the masters of the Renaissance. Artists discovered how to transform shapes into forms by identifying highlights and shadows, and translating them into light and dark values.

USING HATCHING TO SKETCH A FIGURE: You render a rough sketch of a man dressed in medieval garb, by using chalk and graduations of hatching lines; in the final step, you add highlights with white gouache.

I have used the following supplies for rendering this project: Sepia, sanguine and white chalk pencils (you may prefer conté); Arches 140 lb., hot-pressed, 100% cotton watercolor paper block; and white gouache (an opaque craft or acrylic paint will also work).

7 PAGES – 12 ILLUSTRATIONS This lesson is recommended for anyone with an interest in Renaissance art, as well as home schooling,

academic and recreational fine art educators of advanced students. Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007

Copyright to al l ar t icles, images, text , projects , lessons and exercises within this drawing class belong to Brenda Hoddinott and may no t be reproduced or used for any commercial purposes whatsoever wi thout the wri t ten permission of Brenda Hoddinott.

E-mail bhoddinott@hoddinott .com Web si tes ht tp: //www.finearteducation .com and ht tp://www.drawspace.com

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Figure 01: Leonardo da Vinci, Head of a Soldier in the Battle of Anghiari, Red chalk on paper.

RReesseeaarrcchh aanndd PPllaannnniinngg Creating the illusion of a three-dimensional space on a two-dimensional surface was a major innovation of the masters of the Renaissance. Artists discovered how to transform shapes into forms by identifying highlights and shadows, and translating them into light and dark values.

Rough sketches in medieval times were simply a stage in either the pursuit of knowledge or the creation of another artwork in a different medium. The process of rendering a sketch with hatching during the 16th century started with a contour sketch and the application of light values. The shadows and darker tones were then superimposed onto the sketch, and the light values and highlights were brought out with chalk and/or paint to complete the illusion of a three-dimensional space.

Toward the end of the fifteenth century, Leonardo da Vinci became the first artist to acknowledge the potential of red chalk for rendering both rough sketches and detailed drawings.

His dramatic drawing of the profile of a shouting soldier demonstrates the incredible hatching details that can be produced by red chalk. This drawing is only 9 by 7.5 inches!

Chalk became widely used during the sixteenth century, when artists collectively acknowledged its ability to render delicate details and smoothly graduated values in very small and intricate drawings and sketches. Small lumps of chalk were mined from the earth, placed in metal holders, and the drawing end was shaved to a point.

Red Chalk, also known as sanguine chalk, comes from the red ochre variety of hematite, and was commonly used during the Renaissance for rendering sketches. The pigments of the red ochre variety of hematite are derived from its iron oxide content. The proportions of hematite to clay, determines the hues of the chalk, which include brownish orange (sanguine) and reddish brown (sepia). Different hues of red chalk were used independently or together, and often combined with white chalk and/or white gouache to enhance the technique of chiaroscuro.

White chalk generally referred to either calcite (or calcium carbonate) or soapstone. Calcite was soft and produced a fairly brilliant white, and soapstone was slightly harder and created a bluish white. White chalk was often added to drawings to lighten sections and/or accentuate highlights.

White gouache is an opaque water-based paint with a matte finish that makes it an ideal medium for heightening, by covering other media. When added over dark values and/or a dark colored paper as highlights, sketches become more vibrant and three-dimensional.

The chalks I used for this project were in pencil format rather than chunks in a metal holder. Nonetheless, I experienced incredible difficulty in rendering fine details in a tiny space, as in the masters’ works. The facial section of my sketch is only 2 inches wide. I used Arches 140 lb., hot pressed, 100% cotton watercolor paper.






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Figures 02 and 03: A comparison between the

reference photo and my rough sketch.

Figure 04: The details of Lord Algernon’s face, hair, collar, and hat are captured in a close-up photo.

The contour drawing and shading are rendered with light and dark red chalks. Shading is rendered with diagonal hatching lines. White chalk created the light values on the face and served to blend the values into smooth graduations. In the final step, white gouache is added to the brightest highlight sections of the face. (The white chalk I initially used in these sections didn’t show up well enough, so I resorted to using white paint.)

My reference photo demonstrates a lighting technique derived from research into Renaissance paintings and drawings.

I used the same lighting technique for my rough sketch.

Meet Lord Algernon, known in mundane world as John Percy! John kindly served as a model for my sketch and was extraordinarily patient. He barely moved a muscle for over five minutes, while I moved about and took tons of photographs from different perspectives.

I duplicated Renaissance lighting by having my model sit in the natural daylight shining indoors from a large window, on a slightly overcast day. The light is coming from the left. Algernon’s face is tilted toward the artist, but his eyes are looking into the light.

UUssiinngg HHaattcchhiinngg ttoo SSkkeettcchh aa FFiigguurree In this section, I discuss and illustrate the process of rendering a quick sketch in chalk and gouache, by using graduations of hatching lines to add shading.

I begin by setting out my materials and preparing my paper. I prepared the paper with a diluted wash of sepia ink to darken its surface, so as to enhance the planned heightening of the facial section, and give the sketch a more authentic look.






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Figures 05 and 06: Full and close-up views of the initial outlines of the sketch.

If possible, use a sheet of paper attached to a watercolor block instead of a single sheet of paper. Watercolor paper that is not part of a watercolor block, or has not been pre-stretched, will probably curl up around the edges as it dries, making the sketching process very challenging. If you are not used to preparing or working with wet watercolor paper, you may be better off simply using dry watercolor paper as is, or another type of drawing paper. In other words, feel free to skip over the first two steps of this lesson.

1. Mix a few drops of sepia ink with water in a small glass or bottle.

2. Use a large soft brush to brush the mixture over the entire surface of the paper. My goal is to create the illusion of old paper so as to make my sketch appear authentic to the sixteenth century. Allow the paper to dry for 3 to 4 hours before you start sketching.

3. Use the sharp edge of a sanguine chalk to outline the shapes of his head, hat and body. Take note of the three angular lines on his face; his face is at a slight angle, so his facial features will also be at the same angle.

As you draw, constantly compare the proportions of your sketch with the reference photo and my sketch. Sketching accurate proportions is integral to achieving a likeness to any subject. You can use a sharp knife or a sandpaper block to keep your chalk freshly sharpened as you work.

The compositional pathway begins with the head, and then travels counterclockwise toward the hand holding the sword. The eye is then naturally pulled toward the other hand, up the sleeve, and back to the face.






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Figures 07 and

08: Close-up

and full view of sketch

with light and

medium values added

with hatching.

Figure 09: Graduations of values added to the background with sepia chalk.

4. Refine the outlines to better show the various curved lines that make up the shapes of the figure.

5. Use hatching to add light and middle values. Different values are created by varying both the density of the diagonal hatching lines, and the amount of pressure applied to the chalk.

6. Use a sepia-colored chalk to add a range of values to the background. Take note that all the diagonal lines are relatively parallel. Also, the values graduate to slightly lighter around his head.






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Figure 10: Dark values are added to the hat and a small section of the background.

Figure 11: Detail of face after adding a full range of values with chalk, and then

painting the highlights with white gouache.

7. Add more shading to the face, hat, and a small section of the background. The darker values added to a section of the background, along the right side of his head, create more contrast.

The face is the focal point of the composition; hence, this section is sketched in greater detail than others.

Middle and dark values define the shadow sections. White chalk brings out the light values in the face and hair.

After closely examining the way the light hits his face, I add white gouache to sections of the face and hair with a tiny brush, to bring out additional highlights, and enhance the illusion of forms.

8. Use loosely rendered hatching lines to bring out the forms of his clothing, hands, and sword. Refer to Figure 12 on the next page.

Excluding the scanning time, my sketch was completed in a little over an hour. I suspect this is a little longer than the masters would need for a similar sketch.






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Figure 12: Completed

sketch of Lord

Algernon.

While it would be fun to keep going with the shading, I’ll quickly lose the loosely rendered feel; hence, this sketch is done!

CChhaall lleennggee Render a similar sketch of a Renaissance subject. Use your local library or the Internet to research artists who used chalk to render this style of drawing during the fifteenth and sixteenth centuries. When you find an artist and a drawing you like, draw a copy of it using the same media, process and techniques demonstrated in this project.

To provide you with a launching point for research, the drawing style demonstrated in this sketch, is reminiscent of that of Leonardo Da Vinci and Hans Holbein.






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Glossary Chalk: is a drawing medium derived from various natural sources, including hematite, carbon, and calcite.

Chiaroscuro: refers to the technique of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface. Chiaroscuro was first introduced during the Renaissance.

Gouache: is a water-based paint that had been rendered opaque by the addition of white pigment or chalk, and bound together with a binding agent such as gum arabic.

Heightening: refers to the technique of applying a light pigment, such as white chalk or gouache to sections of a drawing so as to enhance the illusion of form.

Life drawing: refers to the process of drawing from an actual object or living being, rather than a photo or sketch.

Renaissance: derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 14th to the late 16th centuries.

Rough sketch: refers to a visual notation of an idea that is quickly rendered to illustrate the important elements of a subject with very few details. Sketches can capture a pose or gesture, establish values, suggest proportions, and/or arrange the major components of a composition.

White chalk: refers to either calcite (or calcium carbonate) or soapstone, applied to drawings to lighten sections and/or accentuate highlights (a technique called heightening) so as to emphasize form, mass, and volume.

Bibliography Braham, Allan. Dürer. London, England: Spring Books, 1965

Buck, Stephanie. Masters of German Art: Hans Holbein. Cologne, Germany: Konemann Verlaggsgesellschaft, 1999

Eichler, Anja-Franziska. Masters of German Art: Albrecht Dürer. Germany: Konemann Verlagsgesellschaft, 1999.

Hodge, Jessica. Rembrandt. London: PRC Publishing Ltd., 2001


Perard, Victor. Anatomy of Drawing. New York: Victor Perard Publisher, 1934








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BBrreennddaa HHooddddiinnootttt 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.



>Brenda Hoddinott<











(LEONARDO DA VINCI) Brenda Hoddinott

Z-01 ADVANCED: DRAWING ON THE MASTERS This sketch of Mona Lisa offers a fun opportunity to

practice the hatching techniques of Leonardo da Vinci. The primary goal of this project is to enhance your

ability to identify and render a full range of values, as well as high and low contrast shading.

This lesson is divided into the following six sections:

SKETCHING PROPORTIONS: You sketch the proportions of Mona Lisa.

DRAWING AROUND THE CONTOURS: You transform your rough sketch into a more detailed contour drawing.

HATCHING SKY AND MOUNTAINS: You add shading to the upper section of the background with diagonal and horizontal hatching lines.

THE FACE AND HAIR OF MONA LISA: The hair is rendered with diagonal hatching lines to establish values rather than texture. Many illustrations in this section are much larger than my drawing (for example, the face in my actual drawing is less than an inch wide).

ONWARD TO THE BACKGROUND AND CLOTHING: Several illustrations guide you gently through the process of adding values to the background, clothing, and foreground. In other words, you’ll work in much the same way I did when sketching from an illustration of the painting.

FINAL TOUCH-UPS AND EXTRA DETAILS: The value study with hatching is complete. At this point, your goal is accomplished; however this section shows you how to add a little more information to your sketch.

Suggested supplies include 2H, HB, 2B, and 4B pencils, vinyl and kneaded erasers, a pencil sharpener, a sandpaper block, and good quality drawing paper.

17 PAGES – 42 ILLUSTRATIONS This lesson is recommended for artists with good drawing skills, especially graduated hatching techniques. The

curriculum is easily implemented into instructional programs for home schooling, academic and recreational learning environments.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2007



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Consider with the greatest care the form of the outlines of every object, and the character of their undulations. And

these undulations must be separately studied, as to whether the curves are composed of arched convexities or angular

concavities. (Leonardo da Vinci)

SKETCHING PROPORTIONS In this section you sketch the proportions of Mona Lisa. Proportion is the relationship in size of one component of a drawing to another or others.

Mona Lisa by Leonardo da Vinci is probably the most famous painting of all time. This project allows you to go back in time and create a study for this famous painting. Of course, the painting serves as the guide for this sketch, whereas Leonardo would have rendered his study from the actual model. Many of Leonardo’s studies combined contour lines with hatching. Contour lines are formed when the shared edges of spaces and/or objects meet. Hatching is a series of lines (called a set), drawn either close together or far apart, to give the illusion of values. Values are the different shades (or tones) created in a drawing by various means.

Figure 701 Figure 702 My first task was to use Photoshop to change the colored photo of the painting into a grayscale image. The values are much easier to see.

It would have been fun to sketch from the actual painting – wishful thinking of course! Then again, the photo provides enough information for the very simple sketch I have in mind.

Figure 703 Keep your sketch lines very light; if you put dents in your paper from pressing too hard on your pencil, the shading will look awful. I used a 2H pencil.

Figure 703 shows my sketch before I darkened it in Photoshop. My lines are so light that you can barely see them – actually, I wouldn’t be surprised if you couldn’t see them at all! So, as you look at my sketches, remember my lines are quite a bit lighter than in these illustrations.






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Let proportion be found not only in numbers and measures,

but also in sounds, weights, times, and positions, and what ever force there is.

(Leonardo da Vinci)

1) Sketch the outlines of the basic shapes. Follow along with Figures 704 to 707. Your goal is to render accurate proportions.

Figure 704 Figure 705 Figure 706

Figure 707

Constantly check your proportions as you sketch.

For example, did you notice that the length of her right hand is the same as the length of her face?

DRAWING AROUND THE CONTOURS In this section, you transform your rough sketch into a neatly rendered contour drawing. A contour drawing is comprised of lines that follow the contours of the edges of various components of a drawing subject.






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You can learn from the drawings of others who do better than yourself; and if

you are better than they, you can profit by your contempt for their defects, while the

praise of others will incite you to farther merits.

(Leonardo da Vinci)

Keep your lines very light; your may want to change

something later!

Remember, my lines are quite a bit lighter than

they appear in these illustrations.

Figure 708 Figure 709

2) Use your rough sketch as a guideline to refine your drawing. Use a freshly sharpened HB pencil, and refer to Figures 708 to 715.

Figure 710

Take note that my detailed outlines are not drawn directly over the initial sketch lines.

Rather, by constantly examining the photo as I worked, I continuously made adjustments.






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The eye, which is called the window of the soul, is the

principal means by which the central sense can most completely

and abundantly appreciate the infinite works of nature.

(Leonardo da Vinci)

Figure 711

3) Check over your drawing carefully and adjust any sections you aren’t happy with.

Figure 714

Figure 712

Figure 713

Feel free to erase your initial sketch lines (as in Figure 714); use a kneaded eraser molded to a wedge or point.






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Figure 716

Figure 715

4) Draw a border around Mona, and lightly sketch outlines of mountains in the upper half of the background. Leave lots of space around Mona, especially at the top and bottom.

Refer to the illustrations of the painting in Figure 701 and 702, as well as my sketch in Figure 715.

HATCHING SKY AND MOUNTAINS In this section you add shading to the upper section of the background with diagonal and horizontal hatching lines.

5) Add shading to the sky and mountains in the background. Figures 716 and 717 are fairly self-explanatory. I used HB and 2B pencils.

Remember; you can turn your paper around as you draw.

Watch closely for graduations of values, where additional hatching lines have been added to darken sections.






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The artist ought first to exercise his hand by copying

drawings from the hand of a good

master. (Leonardo da Vinci)

Learn diligence before speedy

execution. (Leonardo da Vinci)

Figure 718

Figure 719

Figure 717

THE FACE AND HAIR OF MONA LISA Remember, the primary goal of this project is to enhance your ability to identify and render a full range of values. Hence, the hair is rendered with diagonal hatching lines to establish values rather than texture. Many illustrations in this section are much larger than my drawing (for example, the face in my actual drawing is less than an inch wide).

6) Use an HB pencil and diagonal hatching lines to add light values to her face. Continuously check and adjust your proportions as you work.






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Figure 720

Figure 721

Figure 722

7) Use a 2H pencil to add softer shading lines in between some other hatching lines. The dominant light source is from the left; hence, the overall shading on the left is darker.

Light source is the direction from which a dominant light originates. A light source identifies the light and shadow areas of a drawing subject, so artists know where to add different values.

8) Sharpen a 2H pencil to add medium shading to the forms around her eyes, nose, and mouth.

9) Add medium values to her eyes and lips.

10) Add dark values to the pupils of her eyes with a 4B pencil. Refer to Figures 721 and 722. The pupil of an eye is the darkest circular shape, within the iris, that adjusts its size under different lighting conditions.

11) Use an HB to add darker values to various sections of her face, especially those in shadow.






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Figure 723

Figure 724

12) Add a layer of light values to her hair. Take your time, and use an HB pencil.

13) Use graduated hatching to add shading to her neck and chest. A 2H works well for the lighter values and an HB is great for the darker shadow sections. The values are darker directly under her chin. However, leave a tiny section of light shading on the right which serves to identify what appears to be a slight double chin.

14) Add medium and dark values to her hair and veil with an HB and 2B.






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Figure 726

Figure 725

ONWARD TO THE BACKGROUND AND CLOTHING In this section, several illustrations guide you gently through the process of adding values to the background, clothing, and foreground. In other words, you’ll work in much the same way I did when sketching from an illustration of the painting.

If you have a good quality illustration of this painting, by all means use it as your primary reference. I’m simply guessing the details in many places, because the reference I’m working from is very poor.

15) Use a full range of values to add shading to the background, clothing, and foreground.

I chose Mona Lisa for this project because of the numerous subtle changes in values, especially middle values, which tend to be the most difficult to achieve.

Refer to Figures 725 to 731. Use your vision to determine where to add values and small details, such as the folds of her clothing.

I have been impressed with the urgency of doing. Knowing is not enough; we

must apply. Being willing is not enough; we must do.

(Leonardo da Vinci)






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Figure 727

Figure 728

First draw from drawings by good masters done from works of

art and from nature, and not from memory. Any master who should

venture to boast that he could remember all the forms and effects of nature would certainly appear to me to be graced with extreme

ignorance, inasmuch as these effects are infinite and our

memory is not extensive enough to retain them.

(Leonardo da Vinci)

Figure 729

Take note that the hatching lines extend outside the border around the drawing.

The drawing can be cropped later or a matte can be added over the drawing to hide these raggedy looking lines (Figure 729). In extending your lines beyond the borders, the hatching is looser.






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Figure 732

FINAL TOUCH-UPS AND EXTRA DETAILS The value study with hatching is complete. At this point, your goal is accomplished and you may want to consider your sketch finished. I, on the other hand, simply can’t resist adding a little more information to my sketch.

If you feel so inclined, follow along with me and add a few final touch-ups and extra details. You’ll find no step-by-step instructions in this section; however, I will describe the steps that took me to the final stage depicted in the final drawing in Figure 742.

First, I go over the entire upper background section with a 2H pencil until no more white was showing through. In Leonardo’s painting, Mona’s face has the lightest values; hence, all other sections of the painting have somewhat darker overall values.

Do not press hard on your pencil, or you’ll destroy the tooth of the paper and you won’t be able to add more details.






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Figure 734

Figure 733

Figure 735

I use an HB to bring out a few darker values in the background to imply the scenery.

At this point you can clearly see how well her face stands out from the background.

Compare the shading on her face before (Figure 734) and after (Figure 735) I added a few final touches.

The changes included:

Lightening a few dark hatching lines with my kneaded eraser.

Making her irises smaller by partially erasing and redrawing.

Making the eyelid on the left slightly larger.

Using a 2H pencil to add more hatching lines in between others to soften the shading.

Using an HB to go over the shadow sections to fill in any remaining white areas.






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Figure 738

Figure 739

A few scraggly lines curved lines, added to the hair with a freshly sharpened 2B pencil, gives the illusion of curly hair. I used a 2H pencil to draw a few curls extending onto her upper body.

Darker values are added to the shadow sections of the clothing.

I then went over the clothing lightly with an HB pencil to tone down the white sections still showing through. I also added a very light value to the hands with a 2H.






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Figure 740

Figure 741

Mona’s face is the primary focal point in this sketch; the hands are secondary focal points.

Focal point is a term used to identify the most important element(s) in a drawing.

Primary focal point is the most important center of interest (or focus) in a drawing.

A secondary focal point(s) is a center of interest in a drawing composition that is significant but not as important as the primary focal point.

Hence, I will use values to accentuate the face more so than the hands.

First of all the hands are rendered in less detail than the face; even the fingernails are not added to keep the hands simple. To further play down the hands, I used my 2H pencil to go over the hands to cover all traces of the white paper. Refer to Figures 740 to 742.

To further accentuate the face, I used a kneaded eraser to pull out a few highlights, especially on the forehead, cheekbones and nose. A highlight identifies the brightest area of a form where light bounces off its surface; usually the section closest to the light source. The lower section of the face has no strong highlights; therefore the viewer’s eyes will focus mostly on her eyes.

Finally, I took a 4B pencil and brought out a few of the deeper shadows on the figure to provide a more powerful contrast in values. Contrast is the comparison of different values when put beside one another, and is an invaluable tool for heightening the effects of composition.

Her head stands out well because of the high contrast between the darkness of her hair, and the highlights and very light values on her face. High contrast is created by drawing the darkest values, close to the highlights and lightest values.






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Figure 742

Low contrast has a limited range of values. The background becomes very subtle, because the values range between light to medium; no highlights or dark values. Conversely, the clothing is also low contrast. The values range mostly between medium and dark.

This drawing was not meant to be highly detailed. As mentioned earlier, my reference photo was very poor; in addition, the painting itself is quite old and apparently very dark in places. Hence, I put in whatever details I could make out and improvised on the rest. As the old art adage goes “When in doubt, leave it out”.

CHALLENGE Find a photo of a Renaissance drawing or painting that you like and admire. Do another sketch using the techniques demonstrated in this project.






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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<




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.





STUDY OF

In Profile (Leonardo da Vinci) Brenda Hoddinott

Z-08 ADVANCED: DRAWING ON THE MASTERS In this lesson, you attempt to recreate Leonardo’s drawing styles and techniques, as well as create the illusion that the drawing is several hundred years old. To add to the challenge, you work in graphite instead of using a pen and brush with ink as Leonardo did.

This lesson is divided into the following five sections:

THE CREATOR AND THE CREATION: This project is based on a section of a drawing by Leonardo, of two older men, one facing right and the other left.

SKETCHING PROPORTIONS: You follow along with a series of step-by-step illustrations to render a rough sketch of the profile of an old man.

FOLLOWING CONTOURS: You use your sketch as a guide to draw the contours of the man’s profile as closely as possible to Leonardo’s. You don’t draw directly over your sketch lines; rather you adjust the new contour lines for accuracy as you work.

SHADING IN THE STYLE OF LEONARDO: Your goal is to duplicate Leonardo’s basic style and technique with graphite pencil (instead of pen and ink).

AGING THE DRAWING: The goal in this section is to make the drawing look older by attempting to duplicate the deterioration caused by acid in the paper, the sections rendered with a brush and diluted ink, and the random blobs of ink.

Suggested drawing supplies include good quality white drawing paper, various grades of pencils, kneaded and vinyl erasers, and a pencil sharpener.

13 PAGES – 36 ILLUSTRATIONS This lesson is recommended for artists, with advanced drawing skills, as well as home schooling,

academic and recreational fine art educators.


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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As an Aside

Historians have highly praised Leonardo’s groundbreaking explorations as an engineer, inventor, anatomist, and architect. During his lifetime, he maintained illustrated notebooks on his remarkable studies, designs, and inventions. Back then, many were probably considered the ravings of a madman or at the very least, nonsense created by a vivid imagination. In fact, Leonardo was a visionary far ahead of his time. Many aspects of modern technology, taken for granted today, were first illustrated in Leonardo’s fifteenth century notebooks. For example, his designs included machines that traveled under the oceans (submarines) and flew in the sky (airplanes). However, an early piloted submarine-like boat, called the Turtle, wasn’t built and launched until the eighteenth century (David Bushnell, a student at Yale). The first powered and piloted airplanes weren’t actually built and piloted until 1903 (Karl Jatho and the Wright Brothers).

THE CREATOR AND THE CREATION Leonardo (April 15, 1452 - May 2, 1519) was born in Anchiano, Vinci, not far from Florence, Italy; hence his name became Leonardo da Vinci. Many students of art mistakenly refer to Leonardo Da Vinci as Da Vinci, which in essence is the same as calling you by the name of the place where you were born, rather than your actual name.

Leonardo is best known and widely celebrated as a genius and pioneer within various disciplines of visual art including drawing, painting, and sculpting. To say that Leonardo was fascinated by human faces would be an understatement; he was especially obsessed with contrasting the beauty of youth, with both the splendor and grotesqueness of old age.

This project is based on a drawing by Leonardo, of two older men, one facing right and the other left (Figure 801). Examine the close up of the man looking right in Figure 802.

Figure 801: Study of Two Grotesque Profiles Confronted 1485-90; pen and ink on paper; Royal Collection in the United Kingdom; Acquisition accredited to Charles II, for the Royal Collection in 1690.

Figure 802: Close up view of one profile in Study of Two Grotesque Profiles Confronted.

This project focuses on rendering a copy of a drawing by Leonardo Da Vinci. Thankfully, copyright laws do not apply to Renaissance drawings. Hence, these drawings serve as teachers of the many extraordinary drawing techniques of this time in history. Your goal is to duplicate Leonardo’s basic style and technique with graphite pencil (instead of pen and ink).




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Art Speak Contour lines are formed when the shared edges of spaces and/or objects meet.

Hatching is a series of lines (called a set), drawn either close together or far apart, to give the illusion of values.

Values are the different shades (or tones) created in a drawing by various means.

Metal-point, considered the ancestor of the modern day pencil, is a small, sharpened metal rod used for drawing on paper or parchment. Silver was very popular because it eventually tarnished, and took on a beautiful luminous brown tonality.

Contour drawings are comprised of lines that follow the contours of the edges of various components of a drawing subject.

Figure 803

The artist ought first to exercise his hand by copying drawings from the hand of a good master. (Leonardo da Vinci)

SKETCHING PROPORTIONS Learning to draw is all about learning to see as an artist. In this section, you follow along with a series of step-by-step illustrations to render a proportionately accurate sketch of the profile of an old man.

The eye, which is called the window of the soul, is the principal means by which the central sense can most completely and abundantly appreciate the infinite works of nature. (Leonardo da Vinci)

Leonardo did the preliminary sketch for this drawing with metal point before he drew the outlines with pen and ink (Under close scrutiny, thin faint lines are visible). The darker lines drawn with pen are wide in some places and thin in others (Figure 803).

Consider with the greatest care the form of the outlines of every object,

and the character of their undulations. And these undulations

must be separately studied, as to whether the curves are composed of

arched convexities or angular concavities. (Leonardo da Vinci)

1) Sketch the basic proportions with a 2H graphite pencil. The step-by-step illustrations in Figures 804 to 812 are fairly self explanatory; hence, I’ve added very little text once you get past the preliminary proportions.




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Figure 807

Figure 806

In Figure 805 the back of the skull and neck are added. If you begin to feel confused, please check back with Figure 803.

Figure 808

In Figure 808 the nose and upper section of the mouth are sketched in place.

Figure 804 is the man’s forehead and brow. Leave lots of space on your paper below and to the left of this section.

Figure 806 shows a triangular shape added as the collar of the man’s shirt.

In Figure 807 a curved line marks the front of the neck including the location of the Adam’s apple.

First draw from drawings by good masters done from works of art and

from nature, and not from memory. Any master who should venture to boast that

he could remember all the forms and effects of nature would certainly appear

to me to be graced with extreme ignorance, inasmuch as these effects are infinite and our memory is not extensive enough to retain them. (Leonardo da Vinci)




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In Figures 809 to 812, the lower section of

the face, the eyes, and

more of his shirt are added.

Compare your sketch to Figure 812 and

change anything you aren’t happy with.

Use a kneaded eraser to lighten your sketch before moving on to

the next section.




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Figure 816

Figure 819

Figure 817


Figure 818

Figure 815

FOLLOWING CONTOURS In this section, you use your sketch as a guide to draw the contours of the man’s profile as closely as possible to Leonardo’s drawing. In other words, you don’t draw directly over your sketch lines; rather you need to adjust the new contour lines for accuracy by referring back to Leonardo’s drawing in Figure 803.

2) Use a freshly sharpened 2B pencil to neatly outline the old man’s head and face. Begin with his forehead and work downward to the bow of his shirt (Figures 813 to 821).

Take note that part of the eyebrow is shaded with a solid dark value.

The small bumps along his gums are the remnants of teeth.




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Figure 820

Figure 819

Figure 821

I have been impressed with the urgency of doing. Knowing is not enough; we must apply. Being willing is not enough; we

must do. (Leonardo da Vinci)

SHADING IN THE STYLE OF LEONARDO Leonardo’s shading is mostly made up of quickly rendered straight hatching lines that are all drawn at the same angle, usually around 45 degrees.

Leonardo is believed to have been left-handed. His diagonal hatching lines are drawn from the upper left to lower right, and from the lower right to the upper left.

If you are left-handed, simply keep the drawing right-side-up as you work. If you are right-handed (like me), you can duplicate the authentic drawing style of Leonardo, by simply turning the drawing sideways as you work.

3) Add shading to your contour drawing by following along with Figures 822 to 831.




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Figure 823

Figure 824

Figure 825

Figure 822

Figure 826

The detail view of Leonardo’s drawing (Figure 822) and Figures 823 to 827 will guide you through the process of adding hatching lines to the facial sections. Figures 828 to 831 take you through shading the remainder of the profile.

Also take note that some of the contour lines have been drawn a little wider in places.




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Figure 827

Figure 828

Figure 829

Figure 830

Rather than trying to duplicate each individual hatching line, attempt to get a feel for the process. The tiny hook-shapes on the ends of some of Leonardo’s lines lead me to suspect that he worked very quickly.

The hair is thin and indicated with a few simple lines.




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Figure 831

Figure 832

Figure 833

AGING THE DRAWING At this point, the sketch looks like a contemporary copy of a Renaissance drawing (which of course it is). The original is several hundred years old and rendered in ink with a pen and brush.

The goal in this section is to make the drawing look older by attempting to duplicate the following:

• Deterioration caused by acid in the paper.

• Sections rendered with a brush and diluted ink.

• Random blobs of ink.

4) Add a few messy sections to indicate deterioration of the paper.

Refer to figures 832 and 833.

Try rubbing a little graphite onto a piece of paper towel, and rub it lightly onto the paper surface.

You can also use the side of the point of an HB pencil to lightly add shading, and then blend it with a piece of paper towel.




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Figure 834

Figure 835

5) Add a solid middle value to sections that were rendered with a brush and diluted ink. Simply draw over the hatching lines in sections that appear to have been rendered with an ink wash.

Use the side of the point of a pencil to render a solid value without lines.

Refer to Figures 834 (my sketch) and 835 (Leonardo’s sketch).

6) Use a 4B pencil to make some shading and lines darker, to look like blobs of ink. Refer to Figure 836 on the next page. Then, examine your drawing closely and make changes if needed.

CHALLENGE Find a drawing (in a book or on the Internet) by your favorite Renaissance artist, and render a sketch incorporating the artist’s drawing style and techniques.




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Figure 836




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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<










STUDY OF

(Leonardo da Vinci) Brenda Hoddinott

Z-09 ADVANCED: DRAWING ON THE MASTERS Your goal in this project is to duplicate drawing styles and techniques of the Renaissance. Drawings by Leonardo Da Vinci serve as extraordinary teachers of the many drawing techniques developed during the Renaissance. The subject is based on a drawing of a girl’s head by Leonardo da Vinci, and you work in graphite instead of silverpoint.

This project is divided into the following three sections:

SKETCHING PROPORTIONS: You begin as Leonardo did, with a lightly rendered proportional sketch of the head, hair, and upper body of a girl. You follow along with a series of step-by-step illustrations.

OUTLINING FACIAL FEATURES AND OTHER DETAILED SECTIONS: You use a freshly sharpened HB pencil to neatly outline intricate details, such as her facial features, in preparation for shading.

ADDING SHADING WITH HATCHING: Leonardo is considered a master of hatching. His shading is mostly made up of straight lines that are drawn at an angle of around 45 degrees. If you are left-handed, you keep your drawing right-side-up as you work. If you are right-handed (like me), you can turn the drawing sideways as you work.


11 PAGES – 25 ILLUSTRATIONS This lesson is recommended for artists, with advanced drawing skills, as well as students of home




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Figure 902

Figure 903

Figure 901: Study for the Head of a Girl, 1483, Leonardo da Vinci, Silverpoint on prepared paper.

SKETCHING PROPORTIONS Your goal in this project is to duplicate Leonardo’s basic drawing style and techniques with graphite pencil (instead of silverpoint).

Drawings by Leonardo Da Vinci serve as extraordinary teachers of the many drawing techniques developed during the Renaissance. Leonardo often did preliminary sketches before he finalized the outlines and shading of his drawings. Under close scrutiny, the thin faint lines are still visible on many of his drawings (Figure 901).

To make the process of drawing a little easier, I changed the illustration of Leonardo’s drawing to grayscale (Figure 902).

In this section, you begin as Leonardo did, with a lightly rendered proportional sketch of the head, hair, and upper body of a girl. You follow along with a series of step-by-step illustrations to render a proportionately accurate sketch.

1) Sketch the basic proportions with a 2H graphite pencil. The step-by-step illustrations in Figures 904 to 907 are fairly self explanatory; hence, you find very few text instructions.

As you can see in Figure 903, my initial sketch is too light to use as a reference. Hence, I darkened the various stages of sketching in Photoshop, so you can see them clearly (Figures 904 to 907).




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Figure 904 Figure 905 Figure 906

Figure 907

OUTLINING FACIAL FEATURES AND OTHER DETAILED SECTIONS In this section, you use a freshly sharpened HB pencil to neatly outline intricate details, such as her facial features, in preparation for shading.

2) Draw the facial features with neat thin lines and add more details to the hair and upper body. Follow along with Figures 908 to 910.

As you sketch, continuously compare your sketch (especially the outline of the face and the facial features) to mine, and constantly change things you aren’t happy with.




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Figure 910

ADDING SHADING WITH HATCHING Leonardo is considered a master of hatching. His shading is mostly made up of straight lines that are drawn at an angle of around 45 degrees.


If you are left-handed, keep your drawing right-side-up as you work. If you are right-handed (like me), turn the drawing sideways as you work.




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Figure 911

Figure 912

Figure 913

Figure 914

Figure 915

3) Use hatching to add shading to your contour drawing. Refer to Figures 911 to 925.

Rather than trying to duplicate each individual hatching line, attempt to get a feel for the overall process.

The widths of the hatching lines vary from very thin to thick.




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Figure 917

Figure 918

Figure 916

Figure 919

2H and HB pencils are used for most hatching lines.

When I need a thin line, I simply sharpen my pencil.

Thicker lines are added when the point of the pencil is slightly worn down.

A 2B is added in sections needing bold, dark shading and outlines.




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Figure 920

Figure 921

Figure 922

A few darker hatching lines are added to the shadow sections of the nose and mouth.

Additional thin lines are drawn in between others to darken values and smooth out graduations.




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Figure 923

Continue comparing your drawing to mine as you add final touches. You can make a section of shading lighter by shaping a kneaded eraser to a wedge and gently patting hatching lines. To make a section darker, simply add a few thin hatching lines in between others.




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Figure 924




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Figure 925





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STUDY OF A

(Leonardo da Vinci) Brenda Hoddinott

Z-10 ADVANCED: DRAWING ON THE MASTERS The focus of this project is to draw contour lines that vary in weight. The subject is based on a drawing of a flower by Leonardo da Vinci, and you work with graphite instead of pen and ink over metal point.

This project is divided into the following four sections:

PLAYING WITH LINE WEIGHTS: The weight of a line can be especially helpful when you want to create the illusion that something is either close or far away. As an extra perk, creating an outline with lines of various weights makes the drawing much more attention-grabbing.

SKETCHING PROPORTIONS: You begin as Leonardo did, with a lightly rendered proportional sketch of the outlines of the flower. Simple step-by-step illustrations take you through the sketching process.

OUTLINING WITH LINES OF DIFFERENT WEIGHTS: You use lines of various weights to outline the flower.

ADDING SHADING WITH HATCHING LINES OF VARIOUS WEIGHTS: You finish by adding shading to your drawing with hatching lines of different weights.


9 PAGES – 26 ILLUSTRATIONS This lesson is recommended for artists, with advanced drawing skills, as well as students of home


Published by Hoddinott Publishing for Drawspace.com, Halifax, NS, Canada - 2008


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Figure 1001: Light lines created by drawing with only the weight of an HB pencil (no pressure).

Figure 1002: Dark lines rendered by pressing firmly with an HB pencil.

Figure 1004: By pressing firmly with an HB pencil, heavy lines are created.

Figure 1003: Light lines drawn with only the weight of a 4B pencil.

Figure 1005: Various light and heavy lines can be created by simply using different grades of pencils.

PLAYING WITH LINE WEIGHTS The weight of a line can be especially helpful when you want to create the illusion that something is either close or far away. As an extra perk, creating an outline with lines of various weights makes the drawing much more attention-grabbing.

I use the term weight to describe the value and width of lines. For example, a dark thick line is considered heavy, and can create the illusion that sections of a drawing are close to the viewer. In contrast, a light thin line seems to make sections of a drawing recede into distant space.

The amount of pressure used on a pencil when drawing a line, affects its weight. For instance, if you press lightly, the line is light in weight. On the other hand, if you apply a heavy pressure to the same pencil, the line becomes heavier in weight.

Figure 1001 demonstrates light lines created by applying only the weight of an HB pencil to the surface of the paper. (Hopefully, you can see it!)

Much darker lines are created by pressing firmly with an HB pencil to increase the weight as you draw (Figure 1002).

In Figures 1003 and 1004, I show you similar light and heavy lines created with a 4B pencil. As you can see, both lines are darker because the graphite is darker.

Hence, you can also use different grades of pencils to adjust the weights of lines. Obviously, a 2H pencil can create a lighter weight line than a 6B. On the other side of the coin, a 6B can make a much heavier lines than a 2H.

Figures 1005 shows lines made with a variety of different grades of pencils by applying a similar pressure.

Use a variety of grades of pencils to practice drawing lines with different weights.




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Figure 1007

Figure 1008

Figure 1006

Figure 1009

SKETCHING PROPORTIONS In this section, you begin as Leonardo did, with a lightly rendered proportional sketch of the outlines of the flower.

Simple step-by-step illustrations take you through the sketching process.

Under very close scrutiny, a few thin faint lines from a preliminary sketch, are still visible on Leonardo Da Vinci’s drawing (Figure 1006).

To make the process of drawing a little easier, I changed the illustration of Leonardo’s drawing to grayscale (Figure 1007).

The step-by-step illustrations in Figures 1008 to 1011 are fairly self explanatory; hence, you find very few text instructions.

1) Sketch the basic proportions with a 2H graphite pencil. My actual sketches are much too faint to use as a reference. Hence, I darkened the various stages of sketching in Photoshop, so you can see them clearly.

The artist ought first to exercise his hand by copying drawings from the hand of a good master.

(Leonardo da Vinci)




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Figure 1013

Figure 1012

OUTLINING WITH LINES OF DIFFERENT WEIGHTS In this section, you use lines of various weights to outline the flower.

A single line can be made up of different weights; in other words you vary the weight of the line as you draw. Use whatever pencils and techniques you prefer (I use mostly HB and 2B) to achieve a relatively accurate outline. Refer to the previous section “Playing with Line Weights.”

2) Use a kneaded eraser to lighten your sketch lines.

3) Follow along with Figures 1012 to 1021 to render an outline of a flower. Begin with the largest petal on the left.

When I need a thin line, I simply sharpen my pencil. Thicker lines are added when the point of the pencil is slightly worn down. A 2B is added in sections needing bolder, darker accents.

The eye, which is called the window of the soul, is the principal means by which the central sense can

most completely and abundantly appreciate the infinite works of nature.

(Leonardo da Vinci)




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Figure 1019

Figure 1017

Figure 1016

Figure 1018




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Figure 1020

Figure 1021

Figure 1022

You have the option of erasing your original sketch lines as you go.

However, initial sketch lines usually make a drawing more fascinating, in that the viewer has insights into your drawing process.

Figure 1020 shows the final drawing with sketch lines and Figure 1021 shows the drawing without sketch lines.

ADDING SHADING WITH HATCHING LINES OF VARIOUS WEIGHTS Leonardo is considered a master of hatching. His shading is made up of straight lines drawn at an angle of around 45 degrees.


If you are left-handed, keep your drawing right-side-up as you work. If you are right-handed (like me), turn the drawing sideways as you work.

4) Use hatching to add shading to your contour drawing. Refer to Figures 1022 to 1026.




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Figure 1023

Figure 1024

Figure 1025

Consider with the greatest care the

form of the outlines of every object, and

the character of their undulations.

And these undulations must

be separately studied, as to

whether the curves are composed of

arched convexities or angular

concavities. (Leonardo da Vinci)




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Figure 1026

CHALLENGE Find another flower drawing (in a book or on the Internet) by Leonardo da Vinci, a simple living flower, or a photo of a flower.

Render a sketch incorporating the Leonardo’s drawing styles and techniques and using the same process used in this project. Remember to vary the weights of the lines in both the outlines and the hatching.




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Brenda Hoddinott

Z11 ADVANCED: DRAWING ON THE MASTERS In this project, your primary goal is to study and emulate the crosshatching style of Michelangelo.

The reference photo, of an adorable toddler named Madison, was taken with a flash; hence, I also show

you how to modify the light source so her face doesn’t look flat.

This project is divided into five sections:

SKETCHING PROPORTIONS: You use very gentle pressure on a 2H pencil to very lightly outline Madison.

OUTLINING MADISON: You use your initial sketch as a guide to neatly outline Madison in preparation for shading.

ADDING VERY LIGHT VALUES: This step is optional. If your crosshatching skills are strong, you can continue on to the next.

OUTLINING THE HAIR AND COLLAR: You outline the hair and collar of the blouse in preparation for adding medium and dark values.

ADDING SHADING AND FINAL DETAILS: Now the fun part! You add crosshatching to the face and collar and a few more hatching lines to the hair.

You need several grades of pencils, good quality drawing paper, and erasers. If you plan to use regular wood pencils instead of mechanical, you also need a pencil sharpener and a sandpaper block.

This lesson is recommended for artists with experience in shading with crosshatching graduations, as well as students of home schooling, academic and recreational fine art educators.

12 PAGES – 29 ILLUSTRATIONS



2

Figure 1101

Figure 1102

INTRODUCTION My goal throughout the process of drawing Madison is to study and hopefully emulate the crosshatching style of Michelangelo.

Figure 1101, Study of Fabric for a Seated Figure, was rendered by Michelangelo with chalk and ink. My fascination is with the meticulous crosshatching lines and the diamond-shaped spaces in between the lines.

My subject is an adorable toddler named Madison. The digital file I received of the reference photo (Figure 1102) is much too small to render a highly detailed drawing.

Hence, since creating a strong likeness to Madison is improbable; my goal is to simply create a drawing with crosshatching in the style of Michelangelo.

SKETCHING PROPORTIONS In this section you use very gentle pressure on a 2H pencil to very lightly outline Madison.

1. Follow along with Figures 1103 to 1108 and sketch the proportions of Madison’s head, face, ears, and facial features.

Shading (noun) refers to the various values in a drawing that make images appear three-dimensional; (verb) the process of adding values to a drawing so as to create the illusion of texture, form and/or three-dimensional space. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. Crosshatching, a classical shading technique, is comprised of sets of lines drawn closely together, in which one set of lines crosses over (overlaps) another set.




3

Figure 1103

Figure 1104

Figure 1105

Figure 1106

Figure 1107

My outline is very light; so light in fact that the lines are barely visible (Figure 1103).

Hence, all the drawings in this section have been darkened in Photoshop so you can see them clearly.

Sketch a few slightly curved lines to indicate the directions in which her hair curls (Figure 1108).

I’m certainly not Michelangelo; hence, up to this point, I have used my own habitual techniques to establish proportions.

Before you continue on to the next section, check over your drawing carefully and change anything with which you are not happy.




4

Figure 1110

Figure 1108

Figure 1111

Figure 1112

Figure 1109 OUTLINING MADISON Your goal in this section is to use your initial sketch as a guide to neatly outline Madison in preparation for shading.

Remember, your initial sketch lines merely serve to establish accurate proportions. These new, more detailed lines are almost never in the exact same places. Compare Figure 1108 to the completed outline in Figure 1109.

2. Press gently with a freshly sharpened 2H pencil to lightly outline Madison with thin neat lines.

Her face, ears, eyes, nose, and mouth are neatly outlined (Figures 1110 to 1113).




5

Figure 1113

Figure 1114

ADDING VERY LIGHT VALUES This step is optional. If your crosshatching skills are strong, you can continue on to the next.

My reference photo was taken with a flash; hence, I’m dealing with a frontal light source. I plan to modify the shading to represent a light source from both the upper right and from the front, so her face doesn’t look as flat.

In this section, you use a 2H pencil to add light lines to help guide you through the crosshatching.

3. Follow along with Figures 1114 to 1119 to add very light values to Madison’s face and neck.

Values are the different shades of gray created when you draw by varying both the density of the shading lines, and the pressure used in holding various pencils. Light source is the direction from which a dominant light originates. A light source identifies the light and shadow areas of a drawing subject. Graduation (also called graduated shading or graduated values) is a continuous progression of values, from dark to light or light to dark. Cast shadow is a dark section on an adjacent surface of an object that receives little or no light. The values of a cast shadow are darkest next to the object and become gradually lighter farther away.




6

Figure 1115

Figure 1116

Figure 1117

In theory, planning a shading map should not be necessary. However, in this case, I’m completely changing the light source; hence, I have no visual reference to guide me through the crosshatching. These guidelines help keep me on track, so I know where to add light and dark values (in the next section).

Keep in mind that my drawing is much lighter than these illustrations. Figure 1115 shows the actual values of the guidelines I added in this section.

The pupils of the eyes are shaded lightly. The highlights serve to identify and remind me of the new light source.

As I build on the shading with slightly darker (but still faint) graduations, the light source becomes better defined.




7

Figure 1119

Figure 1118

OUTLINING THE HAIR AND COLLAR With the hair (Figure 1118) and collar of the blouse (Figure 1119) outlined, the drawing is ready for medium and dark values.

If your drawing is a little too dark, pat it gently with a kneaded eraser before you continue to the next section.

Highlight identifies the brightest area of a form where light bounces off its surface; usually the section closest to the light source. Forms are three-dimensional structures of shapes. In art, shading and perspective are used to transform a shape into a three-dimensional structure, such as a circle becoming a sphere or a square becoming a cube. Reflected light is a faint light reflected or bounced back on an object from surrounding surfaces.




8

Figure 1121

Figure 1120

Figure 1122

Figure 1123

ADDING SHADING AND FINAL DETAILS Now the fun part! You add crosshatching to the face and collar and a few more hatching lines to the hair.

4. Use 2H and HB mechanical pencils to add medium values with crosshatching.

Refer to Figures 1120 to 1123.

Many of the crosshatching lines are drawn directly over the faint ones I added in the last section.




9

Figure 1124

Figure 1125

Figure 1126

5. Finish her hair, face, and collar.


Add a few extra hatching lines to the hair, mostly on the left, which is farther away from the light source.

Use the side of the point of a 2H pencil to lightly fill in some of the white spaces in the shadow sections. This little technique imitates the tones Michelangelo added to the shadow sections of his drawings with brush and diluted ink.

Contrast measures the degree of difference between the light and dark values within shading.




10

Figure 1127

Figure 1128

Add more contrast to her face by darkening some sections of crosshatching with an HB pencil and lightening others with a kneaded eraser.

As you did with the hair, use the side of the point of a 2H pencil to very lightly fill in some of the white spaces in the shadow sections.




11

Figure 1129

Remember, the less shading you add to teeth, the more natural the mouth will look. Madison’s teeth are mostly in shadow, so a little shading with a 2H pencil is all they need. Add a few tiny sections of medium shading above and below her teeth with an HB. No matter how tempting it may be, outlining teeth with lines is a huge faux pas!

Use the molded point of a kneaded eraser to lighten the highlights in her eyes and on her lower lip. Darken the pupils of her eyes with a 2B or 4B.

Sign your name, then write today’s date on the back of your drawing, and finally give yourself a big hug!




12


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<










SKETCH OF A

(Based on a drawing by Michelangelo)

Brenda Hoddinott

Z-12 ADVANCED: DRAWING ON THE MASTERS Your goal in this project is to duplicate the drawing styles and techniques of Michelangelo.

This project is divided into the following three sections:

INTRODUCTION: This project is based on a well known drawing by Michelangelo; Study for the Head of a Youth.

SKETCHING PROPORTIONS: You follow along with illustrations to render a proportionately accurate sketch.

OUTLINING THE HEAD: You use either a 2B or 4B pencil to outline the drawing in preparation for shading.

SHADING WITH HATCHING LINES: You use diagonal hatching lines to add shading to your drawing.

Suggested drawing supplies include good quality white drawing paper, various grades of pencils, kneaded and vinyl erasers, sandpaper block, and a pencil sharpener.

This lesson is recommended for artists with experience in shading with various techniques, as well as students of home schooling, academic, and recreational fine art educators.




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Figure 1202

Figure 1204

Figure 1203

Figure 1201 INTRODUCTION Your goal in this project is to duplicate the sketching style and techniques of Michelangelo’s drawing: Study for the Head of a Youth.

Time has deteriorated the drawing to the point that the details are difficult to see. To make the process of drawing a little easier, I changed the illustration of to grayscale (Figure 1201). I also choose to change the angle of the head; I was looking for a more melancholy facial expression.

I used a 2H pencil to create the underdrawing. To better duplicate Michelangelo’s style, I use only a 4B pencil for both the outline and shading.

SKETCHING PROPORTIONS In this section, you follow along with illustrations to render a proportionately accurate sketch.

As you can see in Figure 1202, my initial sketch is too light for you to use as a reference. Hence, I darkened the various stages of sketching in Photoshop, so you can see them more clearly.

1) Sketch the basic proportions of the youth’s head with a 2H graphite pencil.

Figures 1203 to 1205 are self explanatory.




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Figure 1206

Figure 1205

Figure 1207

Figure 1208

OUTLINING THE HEAD You use either a 2B or 4B pencil to outline your sketch in preparation for shading.

2) Draw the hat, head, and facial features with neat lines.

Follow along with Figures 1206 to 1210.

You can now see how light my sketch lines actually are! Take note that the outlines vary in thickness and value. As you draw, continuously compare your sketch to mine, and change things with which you aren’t happy.




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Figure 1211

You can erase your rough sketch lines if you wish.

SHADING WITH HATCHING LINES In this section, you use diagonal hatching lines to add shading to your drawing.

Take note that some of the hatching lines are very slightly curved.

3) Use hatching to add shading to your contour drawing with a 2B or 4B pencil.


Rather than trying to duplicate each individual hatching line, attempt to get a feel for the overall process.

The widths of the hatching lines vary from thin to thick. When I need a thinner line, I use my sandpaper block. Thicker lines are added when the point of the pencil is slightly worn down.




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Figure 1212


Additional thin lines are drawn in between others to darken values and smooth out graduations.




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Figure 1215





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STUDY OF A

(using the drawing techniques of Leonardo da Vinci)

Brenda Hoddinott

Z13 ADVANCED: DRAWING ON THE MASTERS In this project, you first sketch and outline a rosebud with contour lines that vary in weight, and then add shading with hatching. This drawing (and the flower in Lesson Z10) is based on a sketch by Leonardo da Vinci. The curriculum is divided into the following four sections: Review of drawing lines of different weights (Based on Lesson Z10) Sketching proportions: You begin as Leonardo did, with a lightly rendered proportional

sketch of the outlines of a rosebud. Outlining with lines of different weights: You use various types of lines and different

grades of pencils to create a contour drawing. Adding shading with hatching lines of various weights: Your goal is to duplicate

Leonardo’s hatching technique, which is comprised of straight lines drawn at an angle of around 45 degrees.


This project is recommended for artists with good drawing skills, as well as students of home schooling, academic, and recreational fine-art educators.


Published by Drawspace.com, Halifax, NS, Canada – November, 2010


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Figure 1301: Light lines created by drawing with only the weight of an HB pencil (no pressure).

Figure 1302: Dark lines rendered by pressing firmly with an HB pencil.

Figure 1304: By pressing firmly with an HB pencil, heavy lines are created.

Figure 1303: Light lines drawn with only the weight of a 4B pencil.

Figure 1305: Various light and heavy lines can be created by simply using different grades of pencils.

REVIEW OF DRAWING LINES OF DIFFERENT WEIGHTS The weight of a line can be especially helpful when you want to create the illusion that something is either close or far away. As an extra perk, creating an outline with lines of various weights makes the drawing much more attention-grabbing. I use the term weight to describe the value and width of lines. For example, a dark thick line is considered heavy, and can create the illusion that sections of a drawing are close to the viewer. In contrast, a light thin line seems to make sections of a drawing recede into distant space. The amount of pressure used on a pencil when drawing a line, affects its weight. For instance, if you press lightly, the line is light in weight. On the other hand, if you apply a heavy pressure to the same pencil, the line becomes heavier in weight. Figure 1301 demonstrates light lines created by applying only the weight of an HB pencil to the surface of the paper. (Hopefully, you can see my lines!) Much darker lines are created by pressing firmly with an HB pencil to increase the weight as you draw (Figure 1302). In Figures 1303 and 1304, I show you similar light and heavy lines created with a 4B pencil. As you can see, both lines are darker because the graphite is darker. Hence, you can also use different grades of pencils to adjust the weights of lines. Obviously, a 2H pencil can create a lighter weight line than a 6B. On the other side of the coin, a 6B can make much heavier lines than a 2H. Figures 1305 shows lines made with a variety of different grades of pencils by applying a similar pressure.

Use a variety of grades of pencils to practice drawing lines with different weights.




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Figure 1307 Figure 1306 Figure 1309 Figure 1308

Figure 1311

SKETCHING PROPORTIONS In this section, you begin as Leonardo did, with a lightly rendered proportional sketch of the outlines of the rosebud.

1. Use feathered lines and an HB pencil to sketch a circular shape that is tilted to the left (Figure 1306).

2. Add a smaller circular shape below that overlaps the first (Figure 1307).

3. Sketch a curved line on the upper right of the large shape (Figure 1308).

4. Add another slightly curved line that cuts through the large shape (Figure 1309).

5. Sketch a large petal on the left (Figure 1310).

6. Add three leaves growing from the lower section of the large circular shape (Figure 1311).

7. Sketch the stem below the rosebud.

8. Lighten your sketch lines with a kneaded eraser.

Figure 1310




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Figure 1313 Figure 1312 Figure 1315 Figure 1314

Figure 1316

Figure 1317

OUTLINING WITH LINES OF DIFFERENT WEIGHTS In this section, you use lines of various weights to outline the rosebud.

9. Refer to Figures 1312 to 1318 to neatly outline the rosebud with lines that vary in value and thickness. Use HB, 2B, and 4B pencils. When you need a thin line, simply sharpen your pencil. Thicker lines are added when the point of the pencil is slightly worn down. Use a 2B or 4B in sections needing bolder, darker accents.

Figure 1318




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Figure 1321

ADDING SHADING WITH HATCHING LINES OF VARIOUS WEIGHTS Leonardo is considered a master of hatching. Much of his shading is made up of straight lines drawn at an angle of around 45 degrees.

10. Use a 2H (or HB) pencil to add light values with hatching. Refer to Figure 1319. If you are right handed, you may prefer to turn your drawing sideways as you work.

11. Add medium values with an HB (or 2B) pencil by adding more hatching lines in between others.

Refer to figure 1320. Take note that some hatching lines are thick and others are thin.

12. Use a 2B or 4B pencil to add dark hatching lines to create dark values. Touch up any sections that are too light or too dark.

CHALLENGE Find a simple living rosebud, or a photo of a rosebud. Render a sketch incorporating Leonardo’s drawing styles and techniques and using the same process used in this project. Remember to vary the weights of the lines in both the outlines and the hatching.

Figure 1320

Figure 1319




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BRENDA HODDINOTT Self-educated author, art educator, award-winning artist, and forensic artist (retired)

“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.”

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 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 2002, Brenda retired as a forensic artist to devote more time to creating art, building her business, and writing books. In the style of illustrative realism, she paints in oils and acrylics on canvas and linen, and creates drawings in graphite, technical pen, colored pencil, chalk pastel, charcoal, and conté. Currently, Brenda is a curriculum designer and owner of Drawspace.com; a highly respected fine-art resource for art educators, home schooling programs, and educational facilities throughout the world. She is also the manager and owner of Drawspace Publishing (a Canadian publishing company for art-related books). In addition, she is the author and illustrator of Drawing for Dummies, The Complete Idiot's Guide to Drawing People Illustrated, Drawspace Guide to Getting Started with Drawing, and Drawspace Illustrated Dictionary of Drawing Words and Terms. She is currently writing and illustrating her fifth book.

