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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
2)
3)
Figure 101
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.
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3
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
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)
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without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
4
6)
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
5
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.
Figure 105
Use a 2B pencil
for the darker
areas closer to
the edges, and
a HB for the
lighter values.
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
6
Figure 106
Figure 107
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
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
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
8
Figure 110
Figure 111
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without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
9
23) Add more
fur to her
lower ear
on the left,
to make it
look a little
longer.
Figure 112
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
10
29) Use
squirkling to
add the
shading to
the nose.
Figure 113
Refer to
Figure 113.
Note the
areas that are
lighter than
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
11
Figure 114
Figure 115
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without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
12
Figure 116
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
13
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
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
14
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.
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