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A frontal portrait of a teenage girl challenges artists to draw long strands of realistic hair with contour hatching. Crosshatching is used for shading the background, facial forms, features, neck, and jewelry. Supplies include good quality white drawing paper, 2H, HB, 2B, 4B and 6B graphite pencils, kneaded and vinyl erasers, a ruler, and a pencil sharpener.
A frontal portrait of a teenage girl challenges artists to draw long strands of realistic hair with contour hatching. Crosshatching is used for shading the background, facial forms, features, neck, and jewelry. Supplies include good quality white drawing paper, 2H, HB, 2B, 4B and 6B graphite pencils, kneaded and vinyl erasers, a ruler, and a pencil sharpener.
A frontal portrait of a teenage girl challenges artists to draw long strands of realistic hair with contour hatching. Crosshatching is used for shading the background, facial forms, features, neck, and jewelry. Supplies include good quality white drawing paper, 2H, HB, 2B, 4B and 6B graphite pencils, kneaded and vinyl erasers, a ruler, and a pencil sharpener.
A frontal portrait of a teenage girl challenges artists to draw long strands of realistic hair with contour hatching. A grid (optional) helps establish realistic facial proportions and render accurate outlines of the individual strands of hair. Crosshatching is used for shading the background, facial forms, features, neck, and jewelry.
This lesson is divided into the following four parts: CONTOURING CLIOS FACE AND HAIR: You draw the shape of Clios face, and outline the strands of hair. A grid helps identify the proper placement of the outlines. OUTLINING CLIOS FACIAL FEATURES: You follow along with illustrated step- by-step instructions to outline the various components of her facial features. SHADING THE BACKGROUND AND PONY TAIL: The dominant light source is to the front and left. Its placement affects every aspect of the shading in this drawing. SHADING HER HAIR AND FACE: You finish the hair on the top and left, shade in her face and facial features, and add final details. Suggested supplies include good quality white drawing paper, 2H, HB, 2B, 4B and 6B graphite pencils, kneaded and vinyl erasers, a ruler, and a pencil sharpener.
15 PAGES 27 I LLUSTRATI ONS This article is recommended for artists of all ages with good drawing skills. The curriculum is easily implemented into instructional programs for home schooling, academic and recreational learning environments. Published by Hoddinott Publishing, Halifax, NS, Canada, 2002 (Revised 2007)
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 2 Art-speak Contour drawings (also called line drawings): are comprised of lines which follow the contours of the various components of a drawing subject and define the outlines of its forms. 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. Curved lines: are created when a straight line curves (or bends). Drawing: is the application of an art medium to a surface so as to produce a visual image, which visually defines an artists choice of drawing subjects from his or her own unique perspective. 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. Form: as applied to drawing, is the illusion of the three-dimensional structure of a shape, such as a circle becoming a sphere, created in a drawing with shading and/or perspective. Grid: is a framework of vertical and horizontal reference squares 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. Shape: refers to the outward outline of a form. Basic shapes include circles, squares and triangles.
CONTOURING CLIOS FACE AND HAIR In this section you use a grid to outline the shapes of Clios face and strands of hair. A grid is a wonderful drawing tool that has been used by artists for several centuries. It helps identify the proper placement of the various parts of a drawing subject. You examine the spaces and lines within each individual square to measure for accurate proportions. If you prefer to draw freehand without a grid simply ignore all references to the grid and grid squares. TAKE NOTE! Keep your grid and sketch lines very light! My actual drawing is so faint that you can barely see it; just the weight of the pencil itself created all my lines. I have darkened all the images in the first two sections of this lesson in Photoshop, so you can see them.
TI PS FOR WORKI NG WI TH A GRI D: As you draw, dont think about what the subject is. Focus on the shapes, and negative and positive spaces that define the actual lines. Focus on only one square at a time and pretend this one square is the total drawing. Look at the line (or lines) themselves and their positions within the perimeter of this one square. Note the shapes of the spaces on either side of each line. Observe whether the lines are straight, curved or angular and take note of the: directions in which curved lines bend, size of the angle of angle lines length and angle of straight lines in relation to the sides of this particular square.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 3 1) Use a ruler to draw a rectangle as your drawing format. My drawing format is 4 by 7 inches with 1 inch squares. For a bigger drawing, draw larger squares. For example, with 2 inch squares, your final drawing will be 8 by 14 inches. 2) Use a ruler and a 2H or HB pencil to measure, and divide your rectangle into 28 equal squares, four across by seven down. Remember to press lightly with your pencil! 3) Number the vertical squares along the top and bottom with numbers 1 through 4, and letter the horizontal squares down both sides with letters A through G. 4) Add diagonal lines in the lower 24 squares of the grid to help you draw more accurate outlines of the very detailed areas of her hair and face (Refer to Figure 502). 5) Draw the outline of her face and the sections of hair (her bangs) that fall downward onto her forehead. FIGURE 501 FIGURE 502
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 4 FIGURE 503 FIGURE 504 FIGURE 505 6) Outline of the strands of hair on the top and left side of her head, as well as the one long strand on the right. Use the same techniques for drawing within individual grid squares as discussed earlier. 7) Add the outline of her neck (on the left). Remember to press lightly with your pencil; most lines need to be erased when you begin shading. Pressing too hard can also damage the tooth of the paper.
8) Add the strands of hair originating from the pony tail. 9) Draw the outline of the fabric holding her pony tail in place.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 5 10) Draw the outlines of the strands of hair on the right. Refer to Figure 506 and the close-up view in figure 507. The grid is a great help in getting these sections accurate. FIGURE 506 FIGURE 507
Before you continue to the next section, closely examine the placement of the outlines of the individual sections of hair, and adjust any areas youre not completely happy with.
OUTLINING CLIOS FACIAL FEATURES In this section, you follow along with illustrated step-by-step instructions to outline the various components of her facial features. Until your eye is well trained to draw proportions correctly, a grid is a huge help in assisting with the accurate placement of features. Take your time. As you work, constantly check that your overall proportions are as close as possible to mine.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 6 FIGURE 509 FIGURE 508 Art-speak Parts of an Eye Highlight: a bright spot where light bounces off the surface of an object. Iris: the colored circular shape around the pupil. Pupil: the dark circular shape within the iris that adjusts its size under different lighting conditions. White of the eye (also called the eyeball): the largest spherical section of the eye that is light in value.
FIGURE 510 Before you begin drawing the eyes, nose, and mouth, examine Figure 508 and take note that the: Eyes are approximately halfway between the chin and the top of the head. Space between the eyes is the same as the width of an eye. Nose is the same width as the space between the eyes. In a child, the nose and mouth would appear higher on the face, closer to the eyes. However, as a child matures into an adult, the nose and mouth appear to shift downward on the face. 11) Very lightly outline her eyes and eyebrows. Refer to figure 509. Because her head is tilted slightly, one eye is drawn higher than the other. Dont forget to draw a curved line above each eye, as the upper eyelid creases.
12) Add the details to the inner corner of each eye.
13) Lightly outline the outer edges of her upper and lower eyelids. Refer to Figure 511. These lines mark the base of the eyelashes, where her eyelashes actually grow outward from the eyelids.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 7 FIGURE 511 FIGURE 514 FIGURE 513 FIGURE 512 14) Draw the iris, pupil and highlight in each eye. Refer to Figures 512 and 513. Take your time! To get a strong likeness to Clio, you need to draw the various parts of the eyes very accurately.
15) Very lightly draw the outlines of her nose and mouth. Refer to Figure 514. Take note of the lines which indicate the opening of her mouth.
Compare your final outline drawing to mine (Figure 515), and make changes to anything with which you arent completely happy. Use the diagonal lines on the facial area, to help you check the placement of the features.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 8 FIGURE 515 Art-speak Contrast: measures the degree of difference between light and dark values within shading. Crosshatching: is a shading technique, in which one set of lines crosses over (overlaps) another set. Graduated shading: is a continuous progression of graduated values from dark to light or from light to dark. Hatching: is a series of lines (called a set) drawn closely together to give the illusion of values. Light source: The direction from which a dominant light originates. Overlapping: refers to the position of an object when it visually appears to be in front of another object. Shading: refers to the various shades of gray (values) in a drawing that make drawings look three-dimensional. Shadows: are the areas on or beside an object that receive little or no light. Texture: is the surface detail of an object, as defined with various shading techniques. Values: are the different shades of gray created when you draw by varying the density of the shading lines, and the pressure used in holding various pencils.
SHADING THE BACKGROUND AND PONY TAIL The location of the light source affects every aspect of drawing by showing you where to draw all the light values and shadows. The dominant light source is to the front and left in this drawing. Combine the following three different methods to render an infinite range of graduated values with either hatching (hair) or crosshatching (background, face, and pony tail fabric): Use different grades of pencils. By letting your pencils do some of the work, you have more control over the values you wish to achieve. Vary the density of the shading lines, by drawing some far apart and others closer together. Vary the pressure used in holding your pencils. Press gently for the really light values and a little harder for somewhat darker values.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 9 FIGURE 516 FIGURE 517 16) Lightly outline her necklace. 17) Use crosshatching to add shading to the background. Remember to erase your grid lines with either your vinyl or kneaded eraser before you begin each section of shading. Use HB and 2H pencils. Begin with the darker values and make your shading gradually lighter as you get closer to the bottom. 18) Use hatching lines to add shading to the hair in her ponytail. The hatching lines all follow the outlines you drew for the sections of hair, and are different lengths and values. The hair is lighter in some places with white paper showing, to indicate a shine on the hair.
19) Use a kneaded eraser, molded to a point, to make the wispy hairs extending into the background lighter, so they stand out against the dark shading. The wispy and untidy hairs keep the hair looking soft and natural.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 10 FIGURE 518 FIGURE 519 20) Shade in the pony tail fabric with crosshatching. Note the sections that have light and middle values, or are simply left white. Be careful not to add too much dark shading to the side closer to the light source. SHADING HER HAIR AND FACE In this section, you finish the hair on the top and left, as well as add shading to the face and facial features. 21) Continue shading her hair, from the pony tail down to the top of her forehead, with hatching graduations. 22) Use crosshatching, to draw the cast shadows on her forehead, which are created when sections of her hair block the light. The cast shadows help make the strands of hair look like they are lifted away from her forehead, rather than pasted to her skin. 23) Draw the hair on the left side of the drawing. Many strands are lighter on this side, which is closer to the light source. However, dark values are added to the shadow sections next to the outline of her lower face and neck. Shading hair with highly contrasting, hatching graduations, creates a more realistic portrait, by giving a persons hairstyle both depth and texture.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 11 FIGURE 520 FIGURE 521 24) Use crosshatching to add light and medium values to the nose and the forms which define the structure of her face. Use a 2H pencil. The goal is to simply accentuate the forms of her facial structures. Note that the overall shading is slightly darker on the right. 25) Shade in the neck. Use 2H and HB pencils. Pay special attention to the dark shadow area under her jaw and chin, as well as the cast shadow of the necklace. 26) Take your time and add final shading to her bangs and forehead. You need 2H, HB, and 2B pencils. Refer to Figure 521. Note the directions in which the hatching lines curve. Also, the overall values are darker on the right.
27) Add a few wispy hairs extending from her bangs onto her face. Refer to figures 521 and 522. 28) Add more detailed shading to the face around her eyes. Refer to Figure 522.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 12 FIGURE 522 FIGURE 523 29) Draw her eyebrows, watching closely the directions in which the hatching lines curve. 30) Shade in each eye, including the iris, pupil, upper eyelid, whites, and corners. Add darker shading for the shadow sections of the irises, under the upper eyelids. The iris is also darker on the side where the highlight is left white. Use a 4B or 6B pencil to shade in the pupils. The edge of the upper eyelid is in shadow; hence, it needs to be quite dark (I used a 2B). Shade the shadow sections of the whites of the eyes, under the upper eyelids. 31) With your HB pencil, draw only 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, 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.
32) Add a little darker shading around the bridge of the nose. Note the areas that are left white.
33) Add a little darker shading to the right side of the nose and the nostrils. 34) Shade in the lips, the opening of her mouth, and the tiny sections of teeth that are visible. A full range of values are used for this detailed area; some areas are almost black and other areas are white. The teeth are not left white; rather they are shaded with light and middle values. Note the creases on the lips rendered with curved lines.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 13 FIGURE 524 FIGURE 525 FIGURE 526 35) Draw the details of her necklace. Observe closely how the cast shadows gives depth to this area.
36) Add shading to the hair on the other side of the head, and the tiny sections of the background showing through. Darker hatching lines are added to a few sections of hair in the shadow areas with a freshly sharpened 2B pencil. Dont forget those soft wispy lines that extend outside each strand and give that natural look to the hair.
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 14 FIGURE 527 Have one final look at your drawing and touch up any areas you are not happy with. If an area is too light, add some 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 todays date on the page, sign your name and pat yourself on the back!
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!
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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 15 Brenda Hoddinott As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, cont 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. J ohns, 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 Brendas twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brendas 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 communitys recreational art department, Brenda hired and trained teachers, and designed curriculum for several childrens art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites. Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world. Learn-to-draw books Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiots 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.