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Brenda Hoddinott

T-01 ADVANCED: DIVERSE ANIMALS


A lovable Soft Coated Wheaton Terrier is the subject of this project, which features
advanced drawing techniques for accurately rendering both long and short fur, realistic
puppy dog eyes, and a shiny textured nose.
This project is divided into the following seven sections:

Setting Up the Format and Grid


Outlining Roseys Portrait
Shading a Section of Background
Using Hatching Lines to Draw Fuzzy Ears
Drawing Big Beautiful Brown Eyes
Shading the Nosey Of Rosey
Adding Lots of Long Fur to a Face and Chest

Suggested supplies: 2H, HB, 2B, 4B and 6B pencils; vinyl and kneaded erasers; ruler (if you choose
to work with a grid); and smooth hot-pressed watercolor paper (or another good quality paper).
Recommended for artists from age 12 to adult with advanced drawing skills, as well as students of home
schooling, academic and recreational fine art educators

14 PAGES 18 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada 2002 (Revised - July, 2009)

SETTING UP THE FORMAT AND GRID


This drawing is done from a combination of photos and my memory. However, to help you
set up proportions (if you are not yet comfortable drawing freehand), Ive added a grid
format. You use careful observation of spaces and lines within the individual squares to
measure for accurate proportions. Illustrations that show the progression of my drawing
are fairly self-explanatory; hence, you find very little instructional text.
Ive chosen the size 5 by 7 inches with 1 inch squares, but feel free to do a larger drawing
by using 1 inch or 2 inch squares.
1)

2)

3)

Draw a rectangular drawing


format 5 by 7 inches (or 7 by
10 inches, or 10 by 14 inches, if
you want a larger drawing).

Figure 101

Remember to press lightly with your


pencil, because all grid lines and
most sketch lines will need to be
erased. Pressing too hard can also
damage the tooth of the paper.
Divide your rectangle into 35
equal squares, 5 across by 7 down
as in Figure 101.
Use 1 inch squares, if you want your
final drawing to be 5 by 7 inches or
larger squares for a larger drawing.
Mark numbers along the top and
letters down the side.

OUTLINING ROSEYS
PORTRAIT
In this section you draw a detailed outline of Rosey within your drawing space in
preparation for adding shading.
4)

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

You can add a few diagonal lines to the grid to help you place everything more
accurately. As you draw, dont think about what the subject is. Focus on only one
square at a time and pretend this one square is the total drawing.

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

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 brenda@drawspace.com Web site http://www.drawspace.com

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Observe whether the lines are straight, curved or angular. Take note of the directions
in which curved lines bend, and the length and angle of straight lines in relation to the
sides of this particular square. Also, examine the areas where curved lines meet
straight lines before you draw.
Figure 102

Make sure you


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

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

5)

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


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

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 brenda@drawspace.com Web site http://www.drawspace.com

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6)

Draw the fur between her


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

Figure 103

Figure 104

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

As an aside, I prefer to
start my shading in
the upper left hand
corner, and work my
way across and down
the page, so I dont
smudge the completed
sections as I work.

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 brenda@drawspace.com Web site http://www.drawspace.com

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7)

8)

Erase the grid lines in the sections in which you are working and then redraw
the sections of the actual sketch, which were erased.
Use the edge of your vinyl eraser to erase the lines, and very lightly brush away the
eraser crumbs with a soft paintbrush. Then, use your kneaded eraser to gently pat the
paper surface to pick up any remaining eraser crumbs.

Add graduated shading in the upper left corner.

Figure 105

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

You can add all


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

USING HATCHING LINES TO DRAW FUZZY EARS


I have chosen a light source slightly from the left front, so the shading is lighter on the left.
In addition, cast shadows need to be added to her neck on the right, and the right side of
her nose. My choice of light source also affects where I place the values in her eyes and on
her nose.
9)

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

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

Start with your HB pencil and then use your 2B until you are happy with the texture
and values. Examine the various directions of my hatching lines.

The fur is lighter in some places with white paper showing clearly. The hatching lines are
different lengths and values. A few individual wispy and untidy hairs are rendered with thin
lines, to keep the fur looking soft and natural.

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 brenda@drawspace.com Web site http://www.drawspace.com

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Figure 106

10) With your HB


pencil, add the
light shading on
the top of her
head and draw
the fur on the
top half of her
other ear.
Take a moment
and observe how
dark the fur on
her ears looks,
when compared
to the top section
of her fuzzy head
(Figure 107).

Figure 107

As with most Soft


Coated Wheaton
Terriers, Rosey
had dark gray
ears, and her
lower face and
beard were a
combination of
dark gray and
black fur.
The rest of her
fur, from the top
of her head back
to the tip of her
tail was a soft
reddish wheaten
color.
When you draw
dark fur, you use
mostly dark
hatching lines.
On the other
hand, light fur
needs to be
rendered with
lighter values.

11) Continue with the background shading along the top section of your drawing.
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 brenda@drawspace.com Web site http://www.drawspace.com

DRAWING BIG BEAUTIFUL BROWN EYES


In this section, you begin to give personality to Roseys face, by drawing her gorgeous eyes.
12) Draw the fur around the eye on the left.

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

13) Shade in the iris (on the left), leaving a white spot for the primary highlight and
a light area for the secondary highlight.
Figure 108

The shading of the iris is darker


under the upper eyelid and on the
side where the highlight is drawn.

14) With your 6B pencil, shade in


the sections of the pupil that are
really dark.
15) Complete this eye with HB and
2B pencils.
Dont forget the shading in the
white of the eye.
Figure 109

16) Continue
drawing
the fur
between
her eyes
and
around
her other
eye.
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 brenda@drawspace.com Web site http://www.drawspace.com

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Figure 110

17) Draw the fur under and


between her eyes and down
toward her nose (Figure 110).
Observe closely the direction in
which the fur grows in this
section.

18) Add shading to the lower


section of her other ear (on
the right).

19) Complete the shading of the


other eye (Figure 111).
20) Add the fur around this eye
and make her eyelashes a
little darker on both sides.

Figure 111

By the way, Rosey


actually had
eyebrows and fur
over her eyes that
looked like
eyelashes!

21) Add more


shading to
the
background
on both
sides (Figure
112).
22) Shade in the
fur on her
back.
I moved the
outline of her
back (on the
right) up
closer to her
ear. This is
the section of
fur on her
back that
needs to be
shaded.

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 brenda@drawspace.com Web site http://www.drawspace.com

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

Figure 112

24) Finish the


background
shading.
25) Draw the fur
on the left,
and add
more details
to her
moustache.
26) Draw the
small
section of
chest fur on
the left
(under the
chin).
Keep the
values light.

27) Erase the


lower
section of
the nose and
redraw it a
little higher
on the face.
Yet one more change. I decided the nose was too low on the face.

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

SHADING THE NOSEY OF ROSEY


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

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 brenda@drawspace.com Web site http://www.drawspace.com

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

Figure 113

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

30) With your


2B pencil,
add
squirkles
and dots to
represent
the texture
of a dogs
nose.

31) Draw the fur


on the left
section of
her
moustache.

ADDING LOTS OF LONG FUR TO A FACE AND CHEST


Before you begin the step-by-step instructions in this lesson, closely examine a close-up of
the completed drawing of the furry texture of her chest, face, mustache and beard.
Observe the following as you plan your shading strategy and decide which pencils (HB, 2B
or 4B) you should use for each area:
The hatching lines are all curved.

The fur grows in many different directions.


Some sections of fur overlap others.

The shading of the fur on her chest is darker, closer to her face, because of the cast
shadow created by her head.
The tips of the fur on her mane, mustache and beard are quite dark.

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 brenda@drawspace.com Web site http://www.drawspace.com

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Figure 114

32) Add the shading on


the upper right under
her mane (the long fur
growing from the
center section of her
snout, also called a
muzzle).
Refer to Figures 114
and 115.

33) Draw more fur on the


left side of her chest,
watching closely the
direction in which it
grows (Figure 116).
34) Add her beard under
the opening of her
mouth.

Figure 115

Take note of the


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

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 brenda@drawspace.com Web site http://www.drawspace.com

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Figure 116

35) Add the rest of the fur to her


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

Figure 117

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

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 brenda@drawspace.com Web site http://www.drawspace.com

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

37) Correct any areas that youre not happy with and sign your name!
Figure 118

In Loving Memory

ROSEY (Windyflats Rose Dohmit)


December 16, 1998 - December 30, 2000
Died of a genetic illness (PLE) that is very common today in purebred dogs.

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 brenda@drawspace.com Web site http://www.drawspace.com

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BRENDA HODDINOTT
As a self-educated teacher, visual artist, portraitist, forensic
artist (retired), and illustrator, Brenda Hoddinott utilizes
diverse art media including her favorites: graphite and paint.
Brenda is the author of Drawing for Dummies (Wiley
Publishing, Inc., New York, NY) and The Complete Idiots
Guide to Drawing People (Winner of the Alpha-Penguin Book
of the Year Award 2004, Alpha - Pearson Education
Macmillan, Indianapolis, IN). She is currently writing two
books on classical drawing.

My philosophy on teaching art is to focus primarily on the enjoyment


aspects while gently introducing the technical and academic. Hence, in
creating a passion for the subject matter, the quest for knowledge also
becomes enjoyable.
>Brenda Hoddinott<

Born in St. Johns, Newfoundland, Brenda grew up in the small town of Corner Brook. She
developed strong drawing and painting skills through self-directed learning.

During her twenty-five year career as a self-educated civilian forensic artist, various
criminal investigation departments have employed Brendas skills, including the Royal
Canadian Mounted Police. In 1992, Brenda was honored with a commendation from the
Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership
from Forensic Artists International.

In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time
writing books and developing her website (Drawspace.com). This site is respected as a
resource for fine art educators, home schooling programs, and educational facilities
throughout the world.

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 brenda@drawspace.com Web site http://www.drawspace.com

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