P01 ashley

Brenda Hoddinott

P-01 INTERMEDIATE: PEOPLE In this project, you use a grid to draw a soft and gentle frontal portrait of a little girl, with emphasis on correct facial proportions. Hatching is used to shade realistic textures features, hair, and the forms of her face.

Ashley is approximately 5-7 years old. In a younger child, the eyes would appear to be lower on the face and the nose and mouth would be higher, closer to the eyes. As a child matures into an adult, the nose and mouth seem to shift downward on the face.

This project is divided into the following three sections:

DRAWING OUTLINES WITHIN A GRID: A grid helps identify the outlines of various parts of the drawing subject. You use careful observation of spaces and lines within individual grid squares to measure for accurate proportions. Remember to press very lightly with your pencil in this section because all your grid lines and most of your outlines will need to be erased (or lightened) later.

SHADING LIGHT AND MEDIUM VALUES: You need 2H, HB, and 2B pencils to add light and medium values. The dominant light source, which is to the front and right of Ashley’s face, determines where the various light and medium values are located.

ADDING THE FINAL SHADING: In this section you use mostly 2B, 4B, and 6B pencils to add final details and darker values.

You need 2H, HB, 2B, 4B, and 6B pencils, vinyl and kneaded erasers, ruler, pencil sharpener, and good quality drawing paper.

19 PAGES – 17 ILLUSTRATIONS This lesson is recommended for artists from age twelve through adulthood with basic drawing

skills, as well as home schooling, academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (Revised 2006)

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

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

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DRAWING OUTLINES WITHIN A GRID Throughout this section, you use careful observation of spaces and lines within individual grid squares to measure for accurate proportions. A grid is a framework of vertical and horizontal reference lines on an image and/or drawing paper, used by artists to either enlarge or reduce the size of the original image. Proportion is the relationship in size of one component of a drawing to another or others.

Remember to press very lightly with your pencil because all your grid lines and most of your contour lines will need to be erased (or lightened) later. Contour lines are created when the shared edges of spaces and/or objects meet. Contour lines can define complete objects or small sections or details within drawing subjects. The lines in the following illustrations have been darkened in a computer program and appear much darker that they actually are.

1) Draw a rectangle as your drawing space, and then measure and divide your rectangle into 56 equal squares, seven across by eight down. A drawing space (sometimes called a drawing format) refers to the area of a drawing surface within a specific perimeter, outlined by a shape of any size, such as a square, rectangle or circle.

Use a light pencil (2H or HB). You will have 7 squares across and 8 squares down (a total of 56 squares). My drawing format is 7 by 8 inches with 1-inch squares. You may choose to use a larger drawing format for a larger drawing; simply make each of the 56 squares larger. Suggested alternative sizes include 10.5 by 12 inches (with 1.5-inch squares) or 14 by 16 inches (with 2-inch squares).

ILLUSTRATION 01-01

2) Starting from the left, number the vertical squares along the top and bottom of with numbers 1 through 7. Lettering and numbering your grid squares helps you keep track of each square as you draw. For example, the nostrils will be drawn in square F-4.

3) Starting from the top, letter the horizontal squares down both sides with letters A through H.



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4) With your HB pencil, very lightly draw the outline of the head and chin. Until your eye is well trained to draw accurate proportions, using a grid is a huge help. When working with a grid, think of each square as a separate drawing.

Following is the basic procedure for drawing with a grid:

Focus on one square

Pretend this one square is the total drawing.

Look at each line (or lines) and its position within this one square.

Note the shape of the spaces on either side of each line.

Take note of the areas where the various curved lines meet straight lines (such as the sides of the grid squares).

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As you draw, don’t think about what the subject is; rather, focus on the shapes, and spaces that define the actual lines.

Constantly double-check your proportions!



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5) Draw the outline of the face (as indicated by the outline of the hair around the face) and the tiny section of one ear that is showing (Square F-6).

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6) With your 2H or HB pencil, lightly draw the outlines of the eyes, nose and mouth. If you wish, you can add diagonal lines on the facial area of your grid, to help place the features more accurately. Refer to the next illustration. Observe that: the eyes are placed approximately halfway between the bottom of the chin and the top of the head, the eyes have double lines around their edges to indicate upper and lower eyelids, the space between the eyes is slightly wider than the width of an eye, and the nose is the same width as the space between the eyes.

Work on only one feature at a time and draw it as well as you can. Observe the fine details of the nose (such as the placement of the nostrils) and the lips (such as the location of each end of the mouth and the curves of the lines which outline the lips).

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Take your time; patience is a virtue!

This step is the most important towards completing a drawing with which you’ll be happy.

Not even super fantastic shading, can rescue a drawing if the proportions are off!



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7) Before you continue, examine the placement of the outlines of the individual features and correct any areas that you’re not happy with

8) Outline the iris, pupil and highlight in each eye.

9) Add the outline of her sweater.

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SHADING LIGHT AND MEDIUM VALUES You need 2H, HB, and 2B pencils to add the light and medium values. 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. Density refers to whether the individual lines are close together or far apart.

The dominant light source, which is to the front and right of Ashley’s face, determines where the various light and medium values are located. Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing and subsequently tells you where to draw all the light values and shadows.

Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. To give you a sense of how hatching lines create the texture of Ashley’s hair, examine the next close-up section of her completed hair, and take note of the following:

A combination of light and dark values gives form to the hair. Some hatching lines are light and others are dark. For light lines you press very lightly with your pencil. Press harder with your pencil to make darker lines.

The hatching lines follow the contours of the outlines of the hair.

The lines used to draw realistic hair need to be ragged and uneven.

The lengths and thicknesses of the hatching lines are varied.

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The highlight sections are very light (even white in some places) which indicates form and a shiny texture. Highlights are the lightest sections of a drawing subject that define where light bounces off the surface.

The outside edges of the hair show a few untidy hairs to keep it looking natural.

Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin.



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10) Use your kneaded eraser to gently pat your lines until you can barely see them.

11) Erase your grid lines with either your vinyl or kneaded eraser. You can either erase all your grid lines at once, or only the grid lines that need to be erased before you begin each section of shading.

12) Use a freshly sharpened HB pencil and curved hatching lines to draw the section of hair in the following illustration.

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13) Add light and medium values to the bangs of her hair. If you have very little hatching experience, or if your hatching skills have become a little rusty, refer to the lessons in F-Level Beginner: Hatching.

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14) Add shading to the hair on the other side of the head. Don’t forget to add those soft wispy lines, which extend outside the perimeter of the hair, and create a realistic and natural texture.

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15) Lightly draw the visible sections of her eyebrows.

16) With your 2H and/or HB pencil, very lightly add shading to the face around the eyes and the ear.

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17) Shade in the iris, upper and lower eyelids, whites of the eyes, and corners of the eyes. Note that the shading of the iris is darker under the upper eyelid and on the side where the highlight is drawn.

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18) Use your 2B pencil, to shade in the pupil. Don’t press too hard with your pencil; you’ll make the shading darker in the next section.

19) With your HB pencil, draw half as many eyelashes as you think there should be. Note that the upper and lower eyelashes grow in many different directions, are different lengths and thicknesses in some places, are curved, appear thicker closer to the eyelids, and grow from the edges of the upper and lower lids and not the whites of the eye

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20) With your 2H and HB pencils, add light shading to the nose, mouth, neck, and the forms of the face.

21) Add a few wispy hairs extending onto her face.

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ADDING THE FINAL SHADING You use 2B, 4B, and 6B pencils to add final details and darker values. Note the areas that have light and middle values, or are left white. Be careful to not add too much dark shading.

22) With a freshly sharpened 2B or 4B pencil, carefully add a little darker shading to the sections of the hair in shadow areas.

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23) With your 6B pencil, add darker shading to the pupils of the eyes.

24) Add darker shading with a 4B pencil, to the shadow sections of the irises, under the upper eyelids.

25) With your 2B pencil, add a little darker shading around the bridge of the nose and the shadow sections of the whites of the eyes, under the upper eyelids. Study the hatching lines of different lengths and values, and observe how the shading gives depth around the eyes. Note the areas that are left white.



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26) With your 2B pencil, add the darker shading to her lips, in the shadow areas of the nose, and on the lower section of her face. Note the many different values used to complete this detailed area of shading. Some areas are almost black and other areas are completely white. Note the creases on the lips. Leave a lighter area on her face surrounding the perimeter of the mouth.

27) With your 4B pencil add darker values to the sections under her hair, the nostrils, and along the inner edges of the opening of her mouth.

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28) Slightly darken the shading on her neck and sweater.

29) Touch up any areas you are not happy with. Have another look at your drawing and compare it to mine (refer to my final drawing on the next page).

If an area is too light, you can make it darker by adding more shading with hatching lines.

If you wish to make a section lighter, pull and stretch your kneaded eraser until it becomes soft, and then gently pat the shading that is too dark.

Use your vinyl eraser to clean up any smudges or fingerprints on your drawing paper.

Put today’s date on the back, sign your name and pat yourself on the back!

You draw the three-dimensional forms of a face more accurately, when you have

carefully observed and done drawings from the faces of actual models, such as yourself and your

family and friends. Remember there is no right or wrong way to

draw. As an artist, you can draw the forms and features of a frontal view of a face in many

different ways, such as drawing just the light and shadow areas, or outlining with detailed lines and

then adding shading. Take time to experiment with different ways of drawing, until you find the

styles with which you are most comfortable. There are only three ways to improve your

drawing skills… practice, practice and more practice!

So grab another piece of paper, choose another lesson, and draw some more!



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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. These sites are 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: 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.