U-03 ADVANCED: FACE AND FIGURES potx

Brenda Hoddinott U-03 ADVANCED: FACE AND FIGURES This article explores the process of modifying a photo, choosing different shading techniques for the various textures, and using graduations to fade the lower section of a head and shoulders portrait from the shading into the nothingness of the paper. This article is divided into the following six sections: PLANNING THE PROJECT: This section discusses the proposed modifications to my reference photo. SETTING UP PROPORTIONS AND VALUES: My primary goal is to render a rough sketch of the overall proportions, and establish a small section of the drawing with a full range of values from very light to the darkest dark. CREATE TEXTURES WITH SHADING: I work on various components of the drawing to establish diverse textures appropriate for each. COMPLETING THE HAT: I work from the top of the drawing downward to complete each section of the drawing, beginning with the hat. DRAWING HER HAIR AND EAR: I use a full range of values to render her ear and the hair below the brim of the hat. CREATING THE FORMS OF THE FACE AND FEATURES: I use 2H, HB, and 2B pencils to add mostly light and middle values to the face, nose, lips, and mouth. ADDING THE FINAL DETAILS: I use 2H and HB pencils to graduate light values downward and outward from the neck. You will find no step-by-step directions in this article. Rather, find yourself a comfy seat and read, until you get to the very end that is; at this point, you receive a drawing challenge! ☺ 13 PAGES – 33 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 – January, 2007 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 PLANNING THE PROJECT This section discusses proposed modifications to the reference photo. If you decide to work along with me, but from your own photo, make sure you choose a large one with clear and in focus facial features. Figure 01: The adorable little Miss Claire This photo was taken of my beautiful 18-month-old niece, Claire by my sister-in-law, Francine. I prefer to make modifications to a photo in the planning stages, before I actually start to draw. After playing with the photo for a few minutes, I decide that the composition is more expressive and aesthetically pleasing with her head tilted more toward the left. Figure 02: Claire’s facial expression is enhanced by simply tilting the photo. After experimenting with compositional options by placing a viewfinder frame on my photo, I finally decide to go with a portrait format rather than a landscape. At this point, I like everything about the composition except the angle of the neck and shoulders. I decide to draw the neck and shoulders from the original (not the tilted) photo. Figure 03: A vertical (also called portrait) format is chosen. I used Photoshop to copy and paste the neck and shoulders from the first photo Photoshop onto the tilted photo. I added a stronger shadow behind her neck and shoulder to better see the outline. After a few touches with the eraser and rubber stamp tools, I have my final composition. Finally, I auto adjust the colors, and then change the file to grayscale, so as to better see the values. Figure 04: The reference photo is modified to enhance composition, and then changed to grayscale. 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 SETTING UP PROPORTIONS AND VALUES In this part, my primary goal is to render a rough sketch of the overall proportions, and establish a small section of the drawing with a full range of values from very light to the darkest dark. My paper is more of a cream color than white, so I rendered the scans in color rather than grayscale. First, I do a rough sketch, just so I know how much space the drawing takes up on my paper. My sketch was darkened in Photoshop so you can see the lines, which in fact are very faint. Figure 05: Claire’s proportions are very lightly sketched with a 2H pencil. Then, I sketch the outlines of the various parts of the eye on the right, and the highlight with a 2H pencil. Figure 06: An eye is neatly outlined. Shading is added to the eye. Light values are rendered with a 2H pencil; middle values, such as those used for the iris, eyelashes, and upper eyelid crease, are created with an HB and 2B; and the pupil is shaded with a 6B. The eyelashes are rendered by using curved hatching lines of various thicknesses and lengths. Note that they appear thicker closer to the eyelids. Figures 07 and 08: An assortment of pencils from 2H to 6B, help create a full range of values. 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 I plan to use squirkling for the shading of the hat, face, and neck, hatching for her hair, and crosshatching for the tiny section of the dress that is visible. When drawing young children, I prefer to use mostly light and middle values for their faces and features, with the exception of the focal points, the eyes. Figure 09: Light values identify the forms of the face around the eye. CREATE TEXTURES WITH SHADING I’m now ready to plan my shading strategy and get started on the really fun stuff! In this part, I work on various components of the drawing to establish diverse textures appropriate for each. The hat’s bumpy texture is easily created with loosely rendered squirkle graduations. I begin with the top section and work my way downward. Figures 10: Light and middle values are added to the hat with 2H and HB pencils. I continue the shading and outline the embroidered flowers on the front of the hat. The hat’s texture is enhanced by adding numerous C-shapes throughout the fabric (see the close-up in Figure 12 on the next page). Figure 11: Three flowers are outlined, and darker shading is added to the left with HB and 2B pencils. 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 The C-shapes are lighter in value wherever the base shading is light. Conversely, the C-shapes are more plentiful and very dark in the darkest shadow sections. Figure 12: The wonderful texture of the hat is created with squirkles and tiny C-shapes. Claire’s second eye is rendered in much the same way as the other. Figure 13: The shading for the other eye is completed. I outline a few strands of hair and add a dark shadow on her forehead, under the brim of her hat. The texture of the eyebrows is created with short curved hatching lines. Finely rendered squirkles define the facial forms around the eye. Figure 14: The visible sections of her face and hair are shaded with a full range of values. The shadow side of her cheek and nose are shaded with HB and 2B pencils. To keep her face looking soft in the shadow sections, I use mostly light and middle values; dark values are added very sparingly (Refer to Figure 15 on the next page). 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 The forms of her face on the left are enhanced with dark shading. A thin section of light shading represents the reflected light along the edge of her face. Figure 15: A foundation of shading has identified several facial forms. Hatching lines are perfect for capturing the texture of an embroidered satin stitch. Figure 16: Directional guidelines create a shading map for the flowers. An HB pencil and hatching help bring out the texture and forms of the flowers. Figure 17: Hatching lines provide the illusion of a hand stitched design of flowers. 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 Crosshatching graduations work beautifully for creating the textures of numerous fabrics. Figure 18: Crosshatching and 2H and HB pencils provide texture to the shoulder section of Claire’s sundress. COMPLETING THE HAT With all the shading techniques identified for the diverse textures, I now work from the top downward to complete each section of the drawing, beginning with the hat. Squirkling combines with C-shapes for shading the hat. The hatching of the embroidered flowers provides a distinctive contrast in textures. Figure 19: The main section of the hat is complete. The brim of the hat needs to illustrate the soft folds and bends of the fabric. The shadow sections are darker than in the photo. My goal is to capture a more natural lighting than that of a flash on a camera. Figure 20: The darkest shadows on the hat are under the brim on the left. 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 Figure 21: An overview of the various values and textures used throughout the drawing. At first glance, the stitching appears rather large for the hat; however, keep in mind that the hat is on the tiny head of a baby. Figure 22: The brim of the hat on the left is made up of mostly middle and dark values. Figure 23: A shading map is sketched for the complex section on the right that has her ear and fine strands of hair overlapping the hat. 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 9 Figure 24: Dark values are used for the shadows of the sections of hair and hat, under the brim on the right. Figure 25: The center section of the brim is rendered with mostly light values. The shading of the hat is completed with 2H, HB, 2B, and 4B pencils. Figure 26: A full range of values, from very light to almost black, create the illusion of a three-dimensional hat. DRAWING HER HAIR AND EAR In this section, I use a full range of values to render her ear and the hair below the brim of the hat. Shadows on the center sections of her forehead, are not as wide or dark as the shadows on the sides. Figure 27: The strands of hair on her forehead are lightly sketched. 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 10 The ear on the right is shaded softly with 2H and HB pencils, so as to not take attention away from the eyes. Figure 28: Curved lines complete the hair and squirkling brings out the forms of the ear. CREATING THE FORMS OF THE FACE AND FEATURES In this section, I use 2H, HB, and 2B pencils to add mostly light and middle values to the face, nose, lips, and mouth. Figure 29: Shading accentuates the three-dimensional forms of the lower sections of the face. I completely erased the outlines around the lips and teeth before added shading. The two front teeth are very light in value. Figure 30: A rim of light values around her mouth, especially on the right, accentuates the forms of the mouth and lips. [...]... Before I continued on to her dress and upper body, I took several breaks, coming back after each and making tiny adjustments to sections that didn’t look quite right For example, I made the lower edge of her cheek on the left smaller, touched up the mouth on the left, and softened the shading of the outer corners of the eyes Figure 31: A few touch-ups are added to the face, and shading creates the cast shadows... 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... I use 2H and HB pencils to graduate light values downward and outward from the neck Very little shading is added to her dress and upper body; rather, graduations of light values allow these sections to fade gently into the cream-colored paper Figure 32: Gradations of light values gently fade away into the nothingness of the paper Copyright to all articles, images, text, projects, lessons and exercises... 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... 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. .. away from more important aspects of the drawing CHALLENGE: Render a head and shoulders portrait from a photograph, using the technique of fading out the edges of the lower sections (introduced in this lesson) 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... self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda 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,... Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally You Can Draw Animals: to be published in 2007 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... 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 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... 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 12 Figure 33: I check over my drawing carefully, erase a few smudges, and touch up a few small sections of shading CHALLENGE . Brenda Hoddinott U-03 ADVANCED: FACE AND FIGURES This article explores the process of modifying a photo, choosing different shading techniques for the various textures, and using graduations. CREATING THE FORMS OF THE FACE AND FEATURES In this section, I use 2H, HB, and 2B pencils to add mostly light and middle values to the face, nose, lips, and mouth. Figure 29: . pencils to add mostly light and middle values to the face, nose, lips, and mouth. ADDING THE FINAL DETAILS: I use 2H and HB pencils to graduate light values downward and outward from the neck.