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T01 rosey

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  • 1. 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. A complex grid helps you to sketch accurate proportions. The shading focuses on rendering the forms of the fur and individual features, as defined by a dominant light source. This project is divided into the following seven sections: SETTING UP THE FORMAT AND GRID: You use careful observation of spaces and lines within individual squares to measure and sketch accurate proportions. OUTLINING ROSEYS PORTRAIT: You draw a detailed outline of Rosey within your drawing space in preparation for shading. CROSSHATCHING THE BACKGROUND: You erase the grid lines before you begin adding crosshatching lines to the background. USING HATCHING LINES TO DRAW FUZZY EARS: The light source is from the left front, so the shading is slightly lighter on the left. DRAWING BIG BEAUTIFUL BROWN EYES: You begin to give personality to Roseys face, by drawing her gorgeous eyes. SHADING THE NOSEY OF ROSEY: Roseys nose is rendered with mostly squirkling. ADDING LOTS OF LONG FUR TO A FACE AND CHEST: You use hatching lines to render the texture of the fur on her chest, face, mustache and beard. Suggested drawing supplies include: 2H, HB, 2B, 4B and 6B pencils; vinyl and kneaded erasers; a ruler (if you choose to work with a grid); and smooth hot-pressed watercolor paper (or another good quality paper). You are mostly on your own when choosing which pencils to use for shading the individual sections of long and short fur. 20 PAGES - 19 ILLUSTRATIONS Recommended for artists, from age 12 to adult, with advanced drawing skills, as well as home schooling, academic and recreational fine art educators Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada

2. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 2 SETTING UP THE FORMAT AND GRID This drawing is done from a combination of photos and my memory, but Ive drawn it in a grid format to help you set up proportions (if you are not yet comfortable drawing freehand). You will use careful observation of spaces and lines within individual squares to measure for accurate proportions. Illustrations that show the progression of my drawing are fairly self-explanatory; hence, there is very little instructional text in this project. Ive chosen the size 5 by 7 inches with 1 inch squares, but please feel free to do a larger drawing by using 1 inch or 2 inch squares. Please make sure you draw your lines very lightly, preferably with your HB mechanical pencil. Use numbers along the top and letters down the side to help place Roseys face correctly within the drawing format. ILLUSTRATION 01-01 1) Draw a rectangular drawing format 5 by 7 inches (7 by 10 inches, or 10 by 14 inches, if you want a larger drawing). 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. 2) Divide your rectangle into 35 equal squares, 5 across by 7 down as in Illustration 01-01. Use 1 inch squares, if you want your final drawing to be 5 by 7 inches or larger squares for a larger drawing. 3) Add the numbers along the top and letters down the side as illustrated. OUTLINING ROSEYS PORTRAIT Throughout 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 Illustration 01-02. You can add a few diagonal lines to the grid to help you place everything more accurately within the drawing space. 3. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 3 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. 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. Take note of the areas where curved lines meet straight lines. ILLUSTRATION 01-02 Please 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 Illustration 01- 02), but on the actual drawing, the lines are so light that you can barely see them. Take your time and check your proportions often. 4. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 4 5) Draw the eyes, mustache and nose. I decided not to include the bottom lip and the teeth and preferred to have her mouth closed, so no need to draw them. Im writing this text after the drawing is complete, so there are a couple of other minor changes on upcoming pages. ILLUSTRATION 01-03 5. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 5 6) Draw the fur between her eyes (called her fall or mane), and also the wisps of fur above her nose. ILLUSTRATION 01-04 6. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 6 CROSSHATCHING THE BACKGROUND There are many ways to draw. I am right-handed and prefer to start my shading in the upper left hand corner and work my way across and down the page so as not to smudge my completed sections as I draw. Find a way to draw that is best for you. Remember to erase your grid lines with either your vinyl or kneaded eraser before you begin each section of shading. In this drawing, assume the dominant light source is from the upper left. The background is done with crosshatching. 7) Erase your grid lines in the sections in which you will be 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. 8) Add the graduated shading in the upper left corner. Use a 2B pencil for the darker areas closer to the edges, and a HB for the lighter values. ILLUSTRATION 01-05 7. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 7 USING HATCHING LINES TO DRAW FUZZY EARS I have chosen a light source slightly from the left front, so the shading will be slightly lighter on the left. In addition, cast shadows will need to be added to her neck on the right, and the right side of her nose. As you will soon see, my choice of light source will also affect where I place the values in her eyes and on her nose. 9) Using short hatching lines to represent fuzzy shading on the ear. 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. ILLUSTRATION 01-06 8. 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 bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com 8 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. When you draw dark fur, you use mostly dark hatching lines. On the other hand, light fur needs to be rendered with lighter values. 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 t