y02 wobby

Brenda Hoddinott

Y-02 ADVANCED: CREATING IN COLOR Drawing an adorable puppy with colored pencils, illustrates how to shade textures and forms with a focus on identifying and rendering the light and shadow areas of diverse colors.

CONTENTS Introduction………………………………………………………………………………………..3

Suggested drawing supplies…………………………………………………………………4 Skills presented……………………………………………………………………………....4 Glossary of art terms used…………………………………………………………………...4

Part One: Planning and Outlining………………………………………………………….……7 Lesson Y-02-1: Setting up your format and grid……………………………………………7 Lesson Y-02-2: Outlining Wobby with help from a grid……………………………………8

Part Two: Adding Wobby’s Fur…………………………………………………...…………....13 Lesson Y-02-3: Mapping dark blue values…………………………………........................13 Lesson Y-02-4: Hatching middle values of blue fur.………………………………………..14 Lesson Y-02-5: Hatching light blue fur……………………………………………………..16 Lesson Y-02-6: Hatching yellow fur………………………………………………………..18

Part Three: Shading Eyes and Nose…………………………………………………………..... .20 Lesson Y-02-7: Drawing compelling dog eyes…………………………………..................20 Lesson Y-02-8: Shading Wobby’s shiny nose………………………………………………23

Part Four: Shading a Rainbow……………………………………………………………..….....24 Lesson Y-02-9: Setting up for stripes……………………………………………………….24 Lesson Y-02-10: Shading rainbow stripes…………………………………………………..26

Part Five: Adding Final Touches………………………………………………………………...27 Lesson Y-02-11: Grounding Wobby with a cast shadow……………………………………27 Lesson Y-02-12: Finishing the drawing of Wobby………………………………………….28

28 PAGES – 24 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, 2004

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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INTRODUCTION Wobby is “painted with colored pencils” using primary and secondary colors. Because his face looked so sad in my preliminary sketch, I chose to use mostly blue for his fur. To keep the drawing bright, I used other primary colors for this puppy, yellow for the insides of his ears and the under pads of his paws, and red (almost pink) for his nose. I chose stripes of both primary and secondary colors for his rainbow ribbon (bow).

SKILLS PRESENTED 1. Adding shading with graduated hatching values 2. Blending colors with burnishing 3. Sketching within a simple grid 4. Planning shading strategies 5. Illustrating various textures 6. Drawing the forms of a cartoon body 7. Identifying and shading light, shadows, and cast shadows

GLOSSARY OF ART TERMS Burnishing: is the application of one layer(s) of color (or white) over another, by applying pressure to your pencil to blend colors together. Burnishing colored pencils can also be done with a tortillon or a firm plastic eraser.

Cast shadow: is a dark area on a surface, adjacent to where the light is blocked by an object.

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.

Contrast: measures the degree of difference between the light and dark values within shading, and creates the illusion of three-dimensions in a drawing.

Curved lines: are created when a straight line curves (or bends). Curved lines can be drawn thick or thin.

Drawing: is the application of art media to a surface so as to produce an image, which visually defines an artist’s choice of drawing subjects from his or her 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.



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Form: is the illusion of the three-dimensional structure of a shape, such as a circle, square or triangle, created in a drawing with shading and/or perspective.

Foreshortening: refers to the visual distortion of a person or object, when viewed at extreme angles. As the angle of viewing becomes more extreme the level of distortion becomes more pronounced.

Geometric perspective (sometimes called linear perspective): is a method of representing drawing subjects so they seem to recede into distant space, and appear smaller the farther they are away. Graduated shading (also known as a graduation or graduated values): is a continuous progression of graduated values from dark to light or from light to dark.

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.

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. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows.

Outline drawings (also called contour or 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.

Overlapping: refers to the position of an object when it visually appears to be in front of another object.

Perspective: is the rendering of a three dimensional object or space within a two dimensional drawing space. Proportion: is the relationship in size of one component of a drawing to another or others.

Shading: refers to the various values that make drawings look three-dimensional.

Shadows: are the areas on an object that receive little or no light.

Shape: refers to the outward outline of a form. Basic shapes include circles, squares and triangles.

Sketching: is the rendering of a quick, rough representation or outline of a planned drawing subject. A sketch can also be a completed work of art.

Texture: is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of touch and sight help identify the surface texture of drawing subject.

Values: are the different shades of color created when you draw by varying both the density of the shading lines, and the pressure used in holding your pencils.



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SUGGESTED DRAWING SUPPLIES 1. Heavy drawing paper or mat board, preferably a light color 2. Sandpaper block or fine sandpaper for keeping your pencils sharp 3. Ruler 4. HB graphite pencil 5. Vinyl eraser 6. 24 colored pencils similar to the following:

ILLUSTRATION 2-01

1 2 3 4 5 6 7 8 9 10 11 12

13 14 15 16 17 18 1 9 20 21 22 23 24

1 ORANGE

13 WHITE

2

LIGHT ORANGE

14 LIGHT GRAY

3

YELLOW

15 DARK GRAY

4 DARK OCHRE

16 DARK BROWN

5 DARK GREEN

17 MEDIUM BROWN

6 LIGHT GREEN

18 RUST

7 LIGHT SKY BLUE

19 PINK

8 MEDIUM BLUE

20 LIGHT PURPLE

9 SAPPHIRE BLUE

21 LIGHT RED

10 DARK BLUE

22 MAUVE

11 DARK VIOLET

23 DARK RED

12 BLACK

24 MEDIUM RED



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PART ONE: PLANNING AND OUTLINING In this section you plan your drawing and outline Wobby within your drawing space.

LESSON Y-02-1: SETTING UP YOUR FORMAT AND GRID I’ve chosen a lightly textured acid-free mat board as my drawing surface. Wobby is drawn in a grid format to help you set up proportions. I’ve chosen 4 squares across by 5 squares down. My drawing is 4” x 5”, which is quite tiny, but you can do a larger drawing by using larger squares.

ILLUSTRATION 2-02

1. Draw your grid lines VERY lightly, preferably with your HB mechanical pencil.

2. Add numbers along the top and letters down the side as illustrated.



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LESSON Y-02-2: OUTLINING WOBBY WITH HELP FROM A GRID Don’t press too hard with your pencil or your lines won’t erase later.

ILLUSTRATION 2-03

3. Start by roughly sketching the basic outline of the head, ears, body, and tail VERY lightly with your HB pencil.

Use Illustration 2-03 as a basic guideline for placing the overall shape within the grid format. The next four illustrations show close up views of the fine details within each section.



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ILLUSTRATION 2-04

4. Lightly draw the outline of Wobby’s head and ears as in Illustration 2-04.

5. Add the tuffs of fur on the top of his head.

6. Draw the outlines of his eyes, in which you will draw the individual parts.

Note the distinctive overall shapes as being almost triangular.

7. Draw all the parts of his eyes inside the outlines. Take a moment and become familiar with the names of the parts of an eye:

Iris: the large colored circular shape.

Highlight: a bright spot that defines where light bounces off the eye.

Pupil: the dark circle inside the iris.



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ILLUSTRATION 2-05

8. Add Wobby’s nose, his chubby cheeks, the bottoms of his ears and his tail.

ILLUSTRATION 2-06

9. Draw the outline of his bow and the rose (see Illustration 2-06). To keep the drawing a little simpler, feel free to leave out the rose.



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ILLUSTRATION 2-07

10. Finish drawing the details of his body, legs and tail.

11. Draw his paws. One of his back paws seems to be hidden behind his belly, but don’t worry, you add it later!

12. When you’ve finished drawing these detailed sections, take a moment to check carefully that everything is in the correct place.

Refer back to Illustration 2-03 and confirm that your proportions are correct.

13. Erase your grid lines and redraw the sections of the sketch, which were erased. A helpful hint when erasing: Use the edge of your vinyl eraser to erase the lines and then very lightly brush away the eraser crumbs with a clean soft paintbrush. Then use your kneaded eraser to gently pat the paper surface. It will pick up any remaining eraser crumbs.



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ILLUSTRATION 2-08

14. Use your kneaded eraser to lighten all your pencil lines until you can barely see them.



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PART TWO: ADDING WOBBY’S FUR You are ready to begin adding color to the fur. Use a sandpaper block or fine sandpaper to keep your pencil points very sharp. You use short hatching lines to represent fur.

LESSON Y-02-3: MAPPING DARK BLUE VALUES Use pencil 10 (dark blue) to map out the darkest colors.

ILLUSTRATION 2-09 The light source is slightly from the left front, so the shading will be slightly lighter on the left side of the drawing. Watch for the locations of dark shadowed areas such as under his brows, on his neck and on the side of his nose.



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ILLUSTRATION 2-10

15. With a freshly sharpened 10 (dark blue) pencil, draw the darker areas of blue fur with short curved hatched lines. Add darker shading to the areas that are farther away from the light source. Observe how the curved hatched lines define the three dimensional shapes of various parts of Wobby’s body.

LESSON Y-02-4: HATCHING MIDDLE VALUES OF BLUE FUR You use two middle values of blue in this section. Depending on the brand of colored pencils you are using, some colors may be different than mine. Test your 9 (sapphire blue) and 8 (medium blue) pencils (or two similar colors) and determine which is lighter and which is darker.



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ILLUSTRATION 2-11

16. With the darker of pencils 8 and 9, add more fur graduating from the

darkest values toward the lighter values.

17. Continue adding fur to the areas of Wobby closer to the light source, with the lighter of these two pencils.



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LESSON Y-02-5: HATCHING LIGHT BLUE FUR Working from the darkest to the lightest colors establishes a strong value range.

ILLUSTRATION 2-12

Before you add the lightest values, have a look at the close up view of fur in Illustration 2-12 and take note of the following:

The different directions of the shading lines define Wobby’s forms.

Hatching lines are short, but of slightly different lengths.

Several different values of blue pencils are in each section of fur.

The light color of my drawing surface shows through in the light areas.

Hatching lines with a white pencil make some of the light areas even lighter.

The shading is lighter on the left side of the drawing.

Dark shading, in such places as the flaps under the ears and the creases of the stitching, creates the illusion of depth.

An element of realism is created by drawing the hatching lines in the directions in which the fur appears to “grow”.



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ILLUSTRATION 2-12

18. Use your 13 (white) and 7 (light sky blue) pencils to add the light values to the fur. Pencil 7 (light sky blue) works well to graduate medium values towards the lightest sections.



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LESSON Y-02-6: HATCHING YELLOW FUR Work from the darkest to the lightest shades of yellow to establish a strong value range.

ILLUSTRATION 2-13 Have a close look at Illustration 2-13. The shading is lighter on the left side of the drawing and is very dark in the shadow areas such as his back foot and under the upper section of the flap of his right ear.



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ILLUSTRATION 2-14

You need the following pencils for drawing yellow fur:

2 (yellow)

4 (dark ochre)

13 (white)

16 (dark brown)

17 (medium brown)

18 (rust)

19. Begin shading the darkest areas with pencils 16 and 17.

Remember, LESS IS MORE”! Use VERY few dark shading lines. The yellow fur will actually look yellow (rather than yucky brown) if you use mostly light colors.

20. Add middle values very sparingly with pencils 4 and 18.

21. Use lots of 3 (yellow) to shade the light values.

In the lightest areas, leave some sections of your drawing surface showing between your hatching lines.

22. Use your 13 (white) to add some very light areas to the lightest sections of the yellow fur.



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ILLUSTRATION 2-15

23. As in Illustration 2-15, add shading to Wobby’s paws using the same techniques as used for shading the inside of his ear.

PART THREE: SHADING EYES AND NOSE Wobby’s personality is illustrated by your handling of the shading of his eyes and nose. Remember, you have a certified artistic license to use your creativity and make any changes you wish, including the colors of his eyes and/or nose. Use a sandpaper block or fine sandpaper to keep your pencil points sharp. But remember; don’t press too hard with your pencils!

LESSON Y-02-7: DRAWING COMPELLING DOG EYES Before you begin your shading of the eye refer to Illustration 2-16 and observe the following:

Note that the shading of the iris is darker at the top and on the side where the larger highlight is drawn.

Observe that the shading of the lower eyelid is a dark gray.

Take note of the large highlight (on the left) and a lighter area (a smaller highlight) on the opposite side of the iris.

The lightest value of the shading on the iris is around the smaller highlight (on the lower right).



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ILLUSTRATION 2-16 Following are the colors I used for shading Wobby’s eyes:

a) Irises: the larger colored circular shapes. o 5 (dark green) o 3 (yellow) o 16 (dark brown) o 18 (rust)

b) Pupils: the dark circles inside the irises. o 12 (black)

c) Highlights: bright spots that define where light bounces off the eyes. o 13 (white)

d) Lower eyelid: the lid (or rim) of the eye below the irises. o 14 (light gray) o 15 (dark gray)



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ILLUSTRATION 2-17

24. Identify the locations of the two large and two small highlights and fill them in with your white pencil.

Note that the larger highlights are not touching the tops of the irises, but rather are a little below. This is because the upper sections of the eyes are in the shadows of the brows.

25. With your 16 pencil, add a very thin border of dark shading around the inside edge of the lower half of each iris.

26. With your 12 pencil, outline the circular perimeter of the irises.

27. Shade in the upper section of the iris with your 16 pencil.

28. Add shading to the lower sections of the irises. Use 18 for the section on the left of each iris and 5 for the section on the right. Use burnishing, and your 3 pencil to blend these two colors and 17 together so the iris seems shiny.

29. Outline the lower edge of the rim of each eye with your 12 pencil.

30. Use 15 to shade in the rim of the eye.

31. Burnish the center of the rim (or eyelid) with 14 to make it look shiny.

32. With your 12 pencil, shade in the pupil.

Compare your drawing of Wobby’s eyes to mine and make sure you’ve forgotten nothing. Touch up any areas you are not happy with.



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LESSON Y-02-8: SHADING WOBBY’S SHINY NOSE The technique of burnishing over your shading helps create the shiny texture of the nose.

ILLUSTRATION 2-18

33. Refer to Illustration 2-18, and fill in the four highlights on the nose with your white pencil. Two circular highlights (a big and a small) are located on the top of the nose, and two small oval highlights are on the lower left sections of the nose

34. Add shading to the nose and the dark section of fur (the shadow created by the nose) in the lower right. Don’t forget to leave the highlights white. Take note of the reflected light sections on the left and bottom section of the nose and remember to leave them very light. Use the following colored pencils for the various values:

12 (black): the darkest values on the inside of the nostrils, and for the darkest shadow section of the fur on the lower right.

15 (dark gray): the outline of the left perimeter of the nose and the shading of the shadow sections of his nose on the right.

23 (dark red): the dark values on his nose. 21 (light red): the medium values 19 (pink): the light values

35. Burnish the entire nose leaving the round highlights white, and the oval highlights and reflected light sections light. Use 13 to burnish the light values, 19 to burnish the middle values, and 23 for the darker sections of the nose.



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PART FOUR: SHADING A RAINBOW

Graduations are the primary ingredient in realistic shading. Some individual stripes of the ribbon have more than one value of a specific color, requiring a graduation from one value to the next. The goal is to keep the transition between the different values flowing smoothly into one another.

LESSON Y-02-9: SETTING UP FOR STRIPES

In this section you discover how to create three values of each of six different colors by using various pencils. The light source is from the left front, so the shading of each color in the bow will be slightly lighter on the left side of the drawing.

ILLUSTRATION 2-19 For each color you use a light, a medium and a dark value:

Light value: for the areas closest to the light source.

Medium value: for the areas farther away from the light source.

Dark value for the darkest areas in shadow such as the sections on the right and under his chin.

The first number in the list below represents the pencil I used for the darkest value, the second number the medium, and the third the lightest value:

1) Purple: 11, 22 and 20

2) Blue: 10, 8 and 7

3) Green: 12, 5 and 6

4) Yellow: 16, 4 and 3

5) Orange: 16, 1 and 2

6) Red: 16, 23 and 24 This numbered list of colors also represents the order in which the stripes are drawn. Have a look at Illustration 2-19 and identify the beginning of the ribbon (at the bottom). Note that purple is the first color, then blue, and so on in the same order as the above list.



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36. Find a piece of scrap paper and try out each of the pencils you will use to shade the rainbow ribbon. You may need to apply a lot of pressure with your pencil to make the dark values. If the light colors are not quite light enough, you can burnish them with white.

ILLUSTRATION 2-20

Have a close look at Wobby’s ribbon in Illustration 2-20. Each color in the bow is lighter on the left side of the drawing, closer to the light source. Take note that there are very few light values used for shading the section of the ribbon on the right.



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LESSON Y-02-10: SHADING RAINBOW STRIPES Using three different values of each color provides the illusion of depth. Find your pencils and draw a rainbow!

ILLUSTRATION 2-21

37. Draw lines on the ribbon to identify the location of each stripe. Refer to Illustration 2-21. Proper use of geometric perspective and foreshortening helps create the illusion of three dimensions. As a ribbon curves in different directions some sections are closer to the viewer than others. Foreshortening creates the illusion that some stripes appear to be wide and others are quite narrow.

38. Shade the rainbow ribbon. Refer to the guidelines in lesson Y-02-9 for more information.

39. Add shading to the rose (if you have included it in your drawing). Keep in mind that the rose is optional. You can draw it as is, leave it out, change the color, or replace it with something else such as a nametag or dog biscuit. Use your imagination!



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PART FIVE: ADDING FINAL TOUCHES With a tiny section of the fourth paw showing under Wobby’s belly, he seems to be sitting more firmly on the ground. A few final touches, including a cast shadow, complete this gorgeous cartoon puppy.

LESSON Y-02-11: GROUNDING WOBBY WITH A CAST SHADOW Cast shadows give the illusion of weight by making it appear that the subject of your drawing is sitting on a surface. In this section, you add Wobby’s other back paw, and some shading with horizontal hatching lines to create a cast shadow.

ILLUSTRATION 2-22

40. Before you begin adding shading for the cast shadow, first outline and then shade in a tiny section of his right back paw (as in Illustration 2-22). Refer back to Part Two for guidelines on choosing colors and drawing fur.



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ILLUSTRATION 2-23

41. Add shading to the cast shadow using lots of different colors as in Illustration 2-23. Very lightly draw in a few parallel horizontal lines before you begin the shading. The shading of the cast shadow on the surface, on which Wobby is sitting, is darker closer to him and becomes gradually lighter as it moves outward.

LESSON Y-02-11: FINISHING THE DRAWING OF WOBBY A few final touches help bring Wobby to life!

42. Take a few minutes to check over your drawing, from the top of Wobby’s fluffy blue head down to the yellow bottoms of his paws.

43. Touch up any areas that you are not completely happy with.

If you wish you can outline various sections of your drawing with very sharp darkly colored pencils. Refer to my completed drawing in Illustration 2-24.

Sign your name and put today’s date on the back of your drawing! 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!



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ILLUSTRATION 2-24



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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 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 community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s 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 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.