o01 gentle giant

GENTLE

Brenda Hoddinott

O-01 INTERMEDIATE: CARICATURES

Plan on having some productive fun giving Gentle an endearing facial expression. This caricature uses three different graduated shading techniques, squirkling, hatching, and crosshatching, to define the three- dimensional forms and the texture of a face, facial features, and short curly hair.

This project is divided into the following two parts:

OUTLINING THE HEAD AND FACE: You render a contour drawing of all aspects of an endearing realistic human cartoon face by setting up your drawing format with a super simple grid of four squares, and then adding Gentle’s facial features, and outlining his hair and distinctive facial hair.

SHADING THE FACE AND HAIR: This fun caricature of an adorable male face uses various graduated shading techniques, to define three dimensional facial forms and the texture of short curly hair. You add the texture of his hair with squirkle graduations, and then use hatching lines to lay down a base of values on his face to identify the various facial forms. You enhance the features and add final touches with crosshatching graduations. The light source is from the right in this drawing, so the shading will be a little darker on the left.

Suggested drawing supplies include good quality white drawing paper, kneaded and vinyl erasers, various graphite pencils such as 2H, 2B, HB, 4B, and 6B, and a ruler.

This project is recommended for artists, aged twelve to ninety-nine, who have good drawing skills, as well as home schooling, academic and recreational fine art educators.

14 PAGES – 16 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada

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 site http://www.finearteducation.com or http://www.drawspace.com

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OUTLINING THE HEAD AND FACE In this part, you set up your drawing format and render a contour drawing of all aspects of an endearing realistic human cartoon face. Drawing format (sometimes called a drawing space) 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. Contour drawing (also called a line drawing) is comprised of lines which follow the contours of various sections of a drawing subject and define the outlines of its forms.

1) Draw a large square as your drawing space.

2) Measure the halfway point on each of the four sides of the square and mark them with dots.

3) Divide your drawing space into four equal sections to create a very simple grid, by connecting the opposite dots. Draw these lines VERY lightly because you have to erase them later!

4) Very lightly sketch a large oval shape as close as possible to the one in my drawing. This will be the outline of Gentle’s head. Use the grid lines inside the drawing space to visually measure spaces so both sides of the oval are the same shape and size (so his head isn’t lop-sided).

ILLUSTRATION 01-01

Drawing circular shapes, so both sides are symmetrical, isn’t easy! Practice drawing curved lines on some scrap paper. Use the grid lines to measure the spaces, either visually or with a ruler.



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ILLUSTRATION 01-02

5) Use your kneaded eraser to lighten your sketch lines until you can barely see them.

6) Re-draw the outline of Gentle’s head with nice crisp lines. Don’t press too hard with your pencil. You have to erase two sections for his ears in the next step. Check that the size and shape of his head is the same size on both sides of the vertical center line. You can even measure with a ruler if you want to be really precise.

ILLUSTRATION 01-03

7) Use your vinyl eraser to erase sections on either side of his head so you can add his ears.

8) Draw the ears. Look closely at their shapes. The tops stick out a little farther from the sides of his head than the bottoms.

Rotate your paper, and look at your drawing from different perspectives. This little trick often allows you insight into any problem areas.



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ILLUSTRATION 01-04

9) Extend the line, which is outlining the tops of the ears, a little inward on his face.

10) Redraw the section of his face (beside his ears) a little closer to the center of his face than it was earlier.

11) Add an oval shape for his nose. Take note of its size and position in relation to the vertical and horizontal lines.

ILLUSTRATION 01-05

12) Draw the outlines of his eyes. Take note that they are slightly above the center horizontal line.

Looking at the reflection of the head and face in a mirror will help you see areas in need of fixing.



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ILLUSTRATION 01-06 13) Outline the hairline,

which separates his hair from his face. This line is a little wiggly rather than smoothly curved.

14) Add the irises of his eyes inside the outlines. The upper and lower section of each eye is hidden under his upper and lower eyelids.

15) Outline the top of his lower lip. The ends of this line are directly below the outside edges of the irises.

ILLUSTRATION 01-07

16) With gently curving lines, draw the creases of his upper eyelids above the eyes. They extend outward (toward the sides of his face) farther than the ends of his eyes.

17) Add the outlines of his eyebrows. Closer to the center they are thicker and curve upward. His eyebrows are an important component of his facial expression.



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ILLUSTRATION 01-08

18) Add another curved line below the line indicating the top of his upper lip. This line marks the lower edge of his lower lip and is shorter and more curved than the other.

ILLUSTRATION 01-09

19) Draw the two curved smile lines. They begin on either side of his nose and curve outward and downward until they extend slightly past the corners of his mouth.

20) Add two curved lines above his lower lip, which represent his upper lip. Take note that a space is left between his lips so his mouth appears to be slightly open and his teeth are showing.



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21) With wiggly lines, add two long oval shapes above his upper lip to represent his mustache.

22) Add his goatee (beard) and the little tuff of hair under his lower lip.

23) Draw a few laugh lines (or smile lines) around his eyes to enhance his facial expression.

ILLUSTRATION 01-10

For refresher courses on various shading techniques, refer to sections D Beginner: Squirkling, F Beginner: Hatching, and L Intermediate: Crosshatching.



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SHADING THE FACE AND HAIR In this section, you shade the texture of his hair with squirkle graduations. 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. Squirkling © is a method of shading incorporating randomly drawn curved lines to create textured values and graduated value scales. I chose this name based on the method of morphing squiggles with circles to create shading. Graduated shading (also called graduations) is a continuous progression of graduated values from dark to light or from light to dark.

You then use hatching and crosshatching graduations lines to add shading to his face to identify the various facial forms. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. Crosshatching is a technique for rendering an infinite range of values within shading, in which one set of lines crosses over (overlaps) another set. Form as applied to drawing, 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.

ILLUSTRATION 01-11

24) Shade his hair with graduated squirkles. Use a 4B pencil for the darker hair on the left and a HB for the lighter hair on the right.

The light source is from the right in this drawing, so the shading will be a little darker on the left.

Light source refers to 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

Remember, a full range of different values is created by varying the density of the lines, varying the pressure used in holding your pencils, and using various grades of pencils.



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25) With a HB pencil, lightly shade the entire face with hatching lines. The hatching lines are several different lengths and values. The edges are not abrupt stops, but rather feathered (or ragged) to give a more realistic appearance.

26) Press a little harder with you HB pencil and darken the sections of his face which are in shadow. This shading helps to create three-dimensional forms on his face.

ILLUSTRATION 01-12



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27) Add darker shading to the face with 2B and 4B pencils. Remember, light affects the placement and value of every section of shading. The light source in this drawing is coming from the right. Keep in mind that a full range of values gives contrast between the light and the shadow areas. Contrast measures the degree of difference between the light and dark values within shading, and creates the illusion of three-dimensions.

ILLUSTRATION 01-13



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28) Add middle and dark values to the nose to transform an oval into a three-dimensional form. Leave a small circular section white. This is a highlight. The lighter values are closer to the highlight are close to the top and right of the nose. The tiny glow on the lower left edge of his nose is the reflected light. You need to leave this section lighter than the rest. Reflected light is a faint rim of light reflected or bounced back on an object (especially noticeable on a sphere) from the surfaces close to and around the object, such as the surface on which the object is sitting.

ILLUSTRATION 01-14

29) Use your 4B pencil to add the darker crescent shaped shading on his nose and in the cast shadow on his face on the lower left of his nose.

The shading in the shadowed area of the nose is shaped like the letter “C”.



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ILLUSTRATION 01-15

30) Use a 6B pencil to shade in the irises of his eyes. Don’t forget to leave tiny circles (the highlights) white.

31) Use a 4B pencil to add shading to his eyebrows, mustache, goatee, and the tiny tuff of hair under his lower lip.

32) Add final touches if needed. You can make some areas of the face and nose lighter by patting with your kneaded eraser and others darker by adding more shading. You make sections of the hair darker by simply drawing more squirkling lines where you need them. Sign your name, write today’s date on the back of your drawing, and put a smile on your face!



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ILLUSTRATION 01-16



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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: 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: 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.