Lips

WITH A LINE OF SYMMETRY
Brenda Hoddinott
H-11 BEGINNER: FOCUS ON PEOPLE

With a focus on improving your observation skills, this project offers simple step-by-step illustrated instructions, to guide aspiring artists through the process of drawing human lips with a line of symmetry. Shading is rendered with contour hatching graduations. To provide your right brain with a little workout, you also have the option of drawing the initial outline upside down. You can stand on your head if you really want to; however, youll probably be more comfortable simply turning your drawing paper upside-down. This lesson is divided into the following sections: SKETCH THE FIRST HALF: You outline a drawing space, and then draw simple shapes and lines on the left of a line of symmetry. For this part of the lesson, you need a ruler and pencils, as well as an eraser so you can fix any lines you arent happy with. ADD A MIRROR IMAGE: Your goal in this section is to draw a mirror image of the design on the left. You should read through all the instructions and examine each drawing in this section before you begin. DRAW CURVED HATCHING LINES TO CREATE FORM: You use various pencils from HB to 6B and contour hatching to add a full range of values to the mouth. Suggested supplies include 2H, HB, 2B, 4B and 6B pencils, a ruler, vinyl and kneaded erasers, a pencil sharpener, a sandpaper block, and good quality drawing paper.
9 PAGES - 24 ILLUSTRATIONS
This lesson is recommended for artists with basic drawing skills, including rendering graduations with contour hatching. The curriculum of this lesson can be easily implemented into instructional programs for home schooling, academic and recreational learning environments.
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007
SKETCH THE FIRST HALF

In this section, you outline a drawing space, and then draw simple shapes and lines on the left of a line of symmetry. You need a ruler and pencils, as well as an eraser so you can fix any lines you arent happy with. Drawing space (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specific perimeter. It can be the shape of the paper or outlined by any shape you draw, such as a square, rectangle, or circle. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Lines are basically comprised of three families, straight, angle, and curved, which can be combined to make line drawings. Symmetry in drawing is a balanced arrangement of lines and shapes, on opposite sides of an often-imaginary centerline. 1. Draw a rectangular drawing space that is approximately twice as wide as it is high.
FIGURE 11-01
For example, you can draw a rectangle 2 by 4 inches or 3 by 6 inches (mine is 1.8 by 4 inches). This particular subject comes in numerous shapes and sizes; hence, your drawing does not need to be exactly the same as mine. 2. Draw a line of symmetry down the center of the rectangle. This line of symmetry serves as a reference to help keep both sides of your drawing symmetrical. Draw the line lightly because you need to erase it later.
FIGURE 11-02
Use your ruler to locate the horizontal midpoint of the rectangle on the upper and lower sides. Mark each with a tiny dot. Connect the dots with a very faint line that divides the rectangle into two equal sections.
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 its always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin.
>TIP<
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 sites http://www.finearteducation.com and http://www.drawspace.com
3
FIGURE 11-03
3.
Sketch the following lines and shapes on the left of the line of symmetry. Refer to Figures 11-03 to 11-06.
FIGURE 11-04
Closely observe the directions in which the lines curve.

FIGURE 11-05
Also examine the sizes and shapes of the spaces in between the various lines.
FIGURE 11-06
Next, you draw a mirror image of your drawing, in the rectangle on the right.
ADD A MIRROR IMAGE

In this section, your goal is to draw a mirror image of the lines inside the left rectangle, in the rectangle on the right. Rendering lines and shading becomes easier when you use your natural hand movements. To discover which are ideal for you, simply draw several sets of slightly curved lines on a piece of scrap paper. As you draw, take note of how you make these lines, how smooth the lines look, and how comfortable you feel while drawing them. Try many different ways of moving your pencil, rotating your paper, or changing the directions of your lines, until you find the motions that are the most natural for you. Figure 11-07 shows four different views of the drawing thus far. Rotate your paper until you find the one(s) that best utilizes your natural hand movements. You may even want to rotate the drawing in a different direction for each line. Refer to your drawing only not mine. However, you should read through this section and examine each drawing (Figures 11-08 to 11-12) before you begin. Then, put this lesson away as you draw, so you arent tempted to refer to my drawing instead of yours.
4
FIGURE 11-07
4.
Draw a mirror image of your drawing in the second rectangle. Constantly refer to your first drawing on the opposite side of your paper. Imagine that you are drawing its reflection in a mirror. Begin the upper line of the mirror image, by placing your pencil on the line of symmetry, where the existing line ends.
FIGURE 11-08
FIGURE 11-09
FIGURE 11-10
FIGURE 11-11
FIGURE 11-12
5.
Carefully erase the line of symmetry, and redraw any sections that were inadvertently erased. Turn your drawing around until it looks like Figure 11-12.
DRAW CURVED HATCHING LINES TO CREATE FORM

In this section, you use various pencils and contour hatching graduations to add a full range of values to the mouth. Hatching is a series of lines drawn closely together to give the illusion of values. Contour hatching is a shading technique in which curved hatching lines follow the outlines, contours, and/or forms of the drawing subject, so as to accentuate the illusion of threedimensional reality. In reality, lips do not have dark lines around them. Hence, mouths dont look very realistic when rendered with dark outlines. This being said, my drawing bends that rule slightly; I have outlined the lips with faint lines to provide you with boundaries for the hatching lines. If your outlines look too dark, lighten the lines with your kneaded eraser, before add shading. The following five strategies may prove very helpful for improving your contour hatching: USE DIFFERENT PENCILS TO DO SOME OF THE WORK: Your pencils play a major role in the smooth progression of your graduations. Graduated shading is a continuous progression of graduated values from dark to light or from light to dark. Beginners can generally make do nicely with only three or four different graphite pencils. The pencils I use most frequently are a 2H, HB, 2B, 4B, and 6B. The 2H is the lightest (hardest) and the 6B is the darkest (softest). 2H works well for light values, HB and 2B are great for middle values, and 4B and 6B are very good for darker values. VARY THE DENSITY OF THE HATCHING LINES: Draw the curved hatching lines far apart and few in number for light values. For darker values, you draw more lines closer together; subsequently less of the white paper is still showing between the lines. DRAW THE INDIVIDUAL HATCHING LINES DIFFERENT LENGTHS: The transition from one value to the next is barely noticeable when the lines vary in length. Try adding a few more short hatching lines in between others if the transition between your values isnt as smooth as you like. VARY THE PRESSURE USED IN HOLDING YOUR PENCILS: Press lightly for the really light values and a little harder for darker values. USE YOUR NATURAL HAND MOVEMENT: A critical aspect of achieving smooth graduations with contour hatching is utilizing your natural hand movements. 6. Add curved hatching lines to the upper and lower lips. Use an HB pencil and press gently. Refer to Figures 11-13 and 11-14. These lines curve in various directions to enhance the forms of lips, and serve as guidelines for shading. I have chosen a light source from the upper left. Hence, the shading on the left will be slightly lighter than the right. Light source is the direction from which a dominant light originates.
FIGURE 11-13
6
FIGURE 11-14
>TIP<
To gain a better understanding of the process of contour hatching, refer to lessons F08 Basic Contour Hatching and F09 Graduations with Contour Hatching. You can find both in F-Level Beginner: Hatching.
FIGURE 11-15
7.
Add a full range of values to the lips with contour hatching graduations. Refer to Figures 11-15 to 1122, as well as the five strategies for successful contour hatching graduations on the previous page.
FIGURE 11-16
Graduations are the primary ingredient in realistic shading. Keep the transitions between the different values flowing into one another as smoothly as possible. Remember to leave the highlight sections (mostly on the left sides of the lips) the white of the paper. Highlight refers to the brightest area of a form where light bounces off its surface and is usually the section closest to the light source (from the upper left in this drawing). The shading begins very light around the edges of the highlights and becomes gradually darker farther away from the light.
FIGURE 11-17
7 Continue adding shading that becomes progressively darker farther away from the light. These values need to be dark because very little light reaches the shadow areas on a form.
FIGURE 11-19 FIGURE 11-18
The darkest shading of all is on the left, close to the opening of the mouth, which is mostly in shadow. A strong contrast in values enhances the forms of the lips. Contrast is the comparison of different values when put beside one another, and is an invaluable tool for heightening the effects of form and composition.
FIGURE 11-20
>TIP<
You can easily touch up sections you arent happy with. To make lines lighter, pat them with a kneaded eraser molded to a wedge. You can make sections darker by adding more curved hatching lines in between others.
FIGURE 11-21
The curved hatching lines in the darkest shadow sections are barely noticeable because they are really close together with hardly any of the white paper showing through. Figure 11- 22 (on the next page) has been enlarged to twice the size of my original drawing, so you can more clearly see the hatching lines.
8 Give yourself a big hug, sign your name, and write todays date on the back of your drawing!
FIGURE 11-22
CHALLENGE
Draw another mouth using the shading skills presented in this lesson, but without adding outlines around the lips. You can draw your own lips by looking in a mirror, or you can dig out a photo of a friend or family member in which the lips are in sharp focus. Figure 11-23 is a tiny illustration of the mouth in this lesson with outlines around the lips. Figure 11-24 demonstrates drawings of a diverse selection of human mouths without outlines.
FIGURE 11-24 FIGURE 11-23
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. Johns, 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.

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WITH A LINE OF SYMMETRY

H-11 BEGINNER: FOCUS ON PEOPLE

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

SKETCH THE FIRST HALF

Closely observe the directions in which the lines curve.

ADD A MIRROR IMAGE

DRAW CURVED HATCHING LINES TO CREATE FORM

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