w05 robby & rob

Brenda Hoddinott

W-05 ADVANCED: STUDIO SERIES

This heavily illustrated diary explores the process of planning and drawing a double portrait from two photos of the same person, one as a child and the other as an adult. A complex grid serves as a valuable artistic tool, for helping with such challenges as rendering believable proportions and correct perspective.

The most important component of learning to draw is maintaining the enthusiasm. Aspiring artists should feel comfortable in using whatever tools are available to them, such as viewfinder frames and grids, so as to create drawings that make them happy and subsequently motivated to continue onward.

If you are very familiar with setting up and working from a grid, you may wish to consider using two of your own photos of someone special (or two different people), and just follow along with my directions as guidelines. If you decide to work from your own photos, make sure you choose large ones in which the facial features are clear and in focus.

23 PAGES – 39 ILLUSTRATIONS

Recommended for artists with advanced drawing skills, as well as home schooling, academic and recreational fine art educators

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – November, 2005

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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My drawing is done from two different reference photos of my friend Rob, the first as a child and the second as an adult. My goal is to create a drawing that includes both images.

If you are feeling brave, and are very familiar with setting up and working from a grid, you may wish to consider using two of your own photos. Simply follow along with my directions as guidelines for rendering your own project. Using the lines of a sheet of graph paper as guidelines, I draw horizontal and vertical grid lines on a copy of each photo with a fine tip ballpoint pen. I then mark letters (A to J) and numbers (1 to 10) on each photo to identify the vertical and horizontal rows.

Next, I carefully tape the corners of my Arches 140lb. watercolor paper to a large sheet of graph paper. I work out the approximate size of my final drawing based on it being twice the size of my photos. The grid squares on the photos are one-quarter inch, and I draw half-inch squares on the drawing paper. My drawing is quite small, so I will use mostly 0.3mm and 0.5mm mechanical pencils, from 4H to 2B.

Feel free to use whatever size squares you wish depending on if you would like a small or large drawing. However, it is generally accepted that a drawing of a human face should be smaller that life size. I haven’t decided on the final composition yet, so the grid lines are drawn on the entire surface of my paper. The section of the grid that I plan to use for the actual drawing is 19 squares across and 10 squares down. Because the accuracy of the facial proportions and their relative size is crucial to obtaining a good likeness, I have drawn diagonal lines on both the photo and the drawing paper to further help me place the features.

Make sure you draw your grid lines VERY lightly, preferably with an HB mechanical pencil. Only the weight of the pencil itself created my very faint lines. They are so light that they barely showed up on the scan, so I had to adjust the contrast in Photoshop. I decide to draw adult Rob first, on the right side of my drawing format. I number and letter only this side of the drawing for now, using numbers along the top and letters down the side. I add letters (A to J) and numbers (1 to 10) to the drawing paper to correspond with those on the photo, and outline his face, hat and clothing.



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I work on one square at a time, while constantly referring to the photo to make sure that I am working in the correct squares. I draw slowly and check the proportions often.

As I work, I carefully observe the relationships between the lines, shapes, and spaces inside each grid square.

After completing the initial sketch, I took a break, then came back and corrected a few sections with which I wasn’t completely happy.



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I’m now ready to begin the fun stuff – adding values!

Before I start the hat, I erase the vertical and horizontal grid lines. I leave some of the diagonal lines as reference for my crosshatching lines.

With a kneaded eraser, I gently pat this section of the drawing, to remove any tiny eraser crumbs, before I begin the shading.

By the way, this scan is considerably more accurate for the actual values of the grid and the outlines.

The images in this tutorial are fairly self-explanatory, so you’ll find very little text from this point onward. Have a close peek at the actual crosshatching lines in the below illustration.

Before you start shading each section, remember to erase the grid lines.



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The reference photo of adult Rob is incredibly “flat” due to outdoor lighting from above and a flash. I have chosen a light source from the upper right and slightly in front of his face and will attempt to add a little more dimension to his features.

I add the tiny section of hair on the left and the shading under the rim of the hat on his forehead, and finish the hat.

The shading on his forehead is added with 4H to HB pencils. I use HB and 2B for his eyebrows and the hair on the right.

Contour hatching lines work well for both the hair and eyebrows.

Examine the following three illustrations and take note that the overall shading of the eye on the left is slightly darker than the other because it is farther away from the light source. The irises and whites of the eyes are darker under each upper eyelid and on the right. Keep your drawing relatively light at this point. It is simple to darken areas, but somewhat more difficult to lighten areas which are too dark.



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I first use 4H and 2H to add light and medium values to the irises and the whites of his eyes, and the forms of the face around his eyes.

Remember, the overall values on the right are slightly lighter due to the location of the light source.

I then use slightly darker shading (2H, HB, and 2B) to complete the eyes and accentuate the shadow sections of his face around his eyes. For the pupil I use 6B very lightly and sparingly.

The hatching lines of the eyebrows and eyelashes curve in many different directions. Also, darker shading close to the upper eyelid helps make the eyelashes appear thicker.

When you draw eyelashes, keep your pencil point very sharp. Use slightly curved hatching lines of various thicknesses and lengths.



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As I finish the shading of his nose and ears, and the center of his face, I am finally beginning to achieve a likeness, which is always exciting.

I have added some background shading on the right with 2H and HB pencils and have also begun the shading on a small section of his jacket.



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The photo I am working from was taken during a ski trip and I really like his facial expression. You may have noticed a little beard stubble on his lower face, which I have chosen to include because it implies a casual mood.

To make the mouth look more realistic, I erase the outlines around the lips and teeth, before adding shading. A smiling mouth is always a challenge. Teeth are very difficult to draw and it is very important to keep the initial shading very light.

Take note that his lips are shaded without a distinctive outline.

The teeth are not left white, but rather shaded very lightly with 4H and 2H pencils.



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Shading is added to the neck, sweater, jacket, and the lower section of his face.

After establishing basic values on the darker side of his jacket, I now touch up a few sections of his face by darkening a few of the shadow areas.

This young man has a gentle nature and I have decided to keep the contrast of darks and lights on his face minimal to accentuate this.

Take a few minutes and check over your drawing and make any adjustments needed.

There are several methods of checking your drawing for problems.

My favorites are turning the drawing upside down or holding it in front of a mirror for a fresh perspective.



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Finally I have the basic drawing of his face completed.

I add light shading to his jacket on the left. I plan to made value adjustments when the other half of the drawing is finished. Later, I will also need to touch up other sections, but for now I am interested in starting the other half of this drawing.



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Before you start the second portrait of the child, examine the drawing of the adult closely and make any changes you feel are important.

If you are among those brave souls who are working from your own photos, sketch a to-scale outline drawing of the second person on a piece of tracing paper before you work on the actual drawing. By placing the outline over the drawing you can choose the best placement and even change the size if you are not happy with it. It’s now time to draw the little angel. I establish my grid, and number it from 1 to 9 along the top and letter it from A to J down the left side. I add diagonal lines to assist me with more accurate placements of the facial features.

I draw a to-scale sketch of the outline of the little angel on a piece of tracing paper, and then lay it over the left side of my drawing paper. When I have confirmed where I want the second face to be, I very lightly mark the corresponding grid squares on both the photo and the drawing paper.



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Once I remove the tracing paper, I know where to draw the child.

I then take my time and very lightly outline his various parts, including the wings.

Draw the outline very lightly! My scanner software has darkened this sketch, so that you are able to see my lines. My next goal is to add the light and medium values.

I’ll then compare the values to the adult Rob and then add darker sections of shading.

I add light and medium values to the hair and background, taking care to leave the halo the white of the paper.



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I indicate the halo by shading only the negative space around its oval shape.

His hair needs to be fair, soft and wispy; hence, I use freshly sharpened 2H and HB pencils and keep my hatching lines light.

I add more crosshatching to the background, finish the hair, and add shading to his eye on the left and the section of the face around the eye.

More light and medium values are added to the face and his second eye.

I add a subtle image into the shadows. If you find my image disturbing, just leave it out or draw something else.



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I finish the background and his ear, and begin working on his face, neck, and clothing.

I draw rose leaves on the wings instead of feathers. The symbolism of a rose seems perfect for this drawing.



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I finish the face, neck, and background. I also draw a small rosebud in the background. If you prefer, you can add something of special meaning to you.

Generally the shading on the face of a child is much softer, lighter in value, and has less contrast than of an adult.

Take your time drawing the lips and the shading around the mouth. Check your proportions carefully as you work.

As you can see in the next illustration, I have finished drawing the other wing and the clothing.



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I now add darker shading and final touches. Examine the next four detailed illustrations of the facial sections of the angel. My changes and additions include the following:

Add darker shading to the nose and lips.

Use a 6B to add darker shading to the pupils of the eyes.

Accentuate the muscles between the eyebrows with HB.

Exaggerate the facial expression by moving the inside upper edge of the eyebrows upward.

Move the corners of the mouth downward slightly.

Add more stress to the chin area by tightening the muscles with more detailed shading.

Lighten the iris of the eye on the side opposite the highlight, with a kneaded eraser molded to a point.

Add more crosshatching to the lighter sections of his face and features with 2H and 4H.



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Before I add darker values, and do a few final touchups, I check the drawing for any problem areas, and make any changes that I feel are important.

If you are drawing this little angel, take a few minutes to compare your drawing of the facial section to mine and fix any areas that you are not completely happy with.

Sometimes, turning the drawing upside down or holding it in front of a mirror, provides a new perspective.



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I use HB to darken the background in a few places.

I add darker values and more details to the shirt, neck, wings, rose, and the hair on the shadow side.

Take your time with these sections of shading.

Refer to the illustration on the left, and the three illustrations on the next two pages.



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I have darkened several areas of shading on the young man’s face and clothing including the:

Hat, hair and eyebrows (2B).

Pupils of the eyes (6B) and the upper eyelashes (HB).

Teeth closest to the outside corners of his mouth (2H).

Corners of his mouth (2B).

Lower lip and just under his lower lip on the left (HB).

Small section of his sweater under his ear on the right (HB).

Shoulder areas of his jacket and the lower area of the collar on the right (HB).

I have also lightened his front teeth and the whites of his eyes, added more detail to the creases under the eye on the right, lightened the irises of his eyes opposite the highlight, and softened the edge of his jaw on the right, by lightening the line of shadow. Refer to the next two illustrations:



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Have a last look at your entire drawing.

Turn it upside down or hold it in front of a mirror to check for problem areas. Make changes to anything you are not happy with.

Then, sign your name, add today’s date to the back of the drawing, and pat yourself on the back!



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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 2792, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 2794, 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 2798, 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 (2003): 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 (2004): 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.