T-04 ADVANCED: DIVERSE ANIMALS ppt

Brenda Hoddinott T-04 ADVANCED: DIVERSE ANIMALS In this lesson, you first choose one of three compositional options, then outline the proportions and shapes, and finally use graduated hatching to define the three dimensional forms, textures, and patterns of an adorable young giraffe named Dandy. While the understructures of the anatomy of a giraffe are very complex, this project focuses on only the exterior forms and shapes which characterize the primary bone and muscular structures. This project is divided into the following five sections: INTRODUCTION: You can render one, two, or three drawings. You first choose a composition and then follow those steps that apply to each. OUTLINING PROPER PROPORTIONS: You use a ruler to measure and set up a very simple grid, to help you draw the proper proportions of the baby giraffe. SETTING UP FOR SHADING: You sketch the outlines of spots of various shapes and sizes over Dandy’s head, neck, body, and legs. The spots are large on his body, and smaller on his face, tail and legs. SHADING TEXTURES AND SPOTS: You have fun adding shading to the Giraffe to bring out his personality, and the delightful spots and fuzzy texture of his fur. The process of shading Dandy’s face offers opportunities for you to use your creative license to make subtle changes, such as creating your own patterns of spots. COMPLETING THE FINAL DETAILS: You add shading on the end of the tail, lower legs, and hoofs and add a shadow under the giraffe. Suggested drawing supplies include good quality white drawing paper, a ruler, kneaded and vinyl erasers, and various graphite pencils such as 2H, 2B, HB, 4B, and 6B. This project is recommended for artists, aged twelve to ninety-nine, who have good drawing skills, and also for home schooling, academic and recreational fine art educators. 23 PAGES - 43 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada (Revised 2006) 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 sites http://www.finearteducation.com and http://www.drawspace.com 2 INTRODUCTION In this project, you first choose a composition. Composition is the arrangement of the various facets of your drawing subject within the borders of a drawing space. A strong composition brings the eyes of the viewer to what you consider to be the most important elements in your drawing. By following only those steps that apply to each compositional variation, you can render one, two, or three of the following drawings: In Illustration 04-01, a full view of a giraffe is ideally suited for a medium to large drawing format. The close-up view of the head and long neck of a young giraffe (Illustration 04-02) is somewhat easier to draw than a full view and can be drawn any size. Drawing just the face of the giraffe (Illustration 04-03) offers an opportunity to focus on only his gorgeous face, and is the easiest composition of all to render. ILLUSTRATION 04-01 ILLUSTRATION 04-02 You first establish proportions; then outline the various shapes and forms; and finally use graduated hatching to characterize the texture and pattern of spotted fur. ILLUSTRATION 04-03 Your goal in this exercise is not to render a drawing exactly like mine. Your goal is to do the very best drawing you possibly can. OUTLINING PROPER PROPORTIONS While the understructures of the anatomy of a giraffe are very complex, in this project you focus on only the exterior forms and shapes, which characterize the bone and muscular structures. You begin this section by sketching the proportions of the giraffe. You then draw a neat outline in preparation for shading. The instructions in this section are for the full view of the giraffe. If you are doing one of the closer-up views, please refer to only those sections of the instructions that apply. 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 sites http://www.finearteducation.com and http://www.drawspace.com 3 Don’t press too hard with your pencils! No matter how careful you are, when you draw with a grid, accidents do happen! If you draw some lines in the wrong grid squares, simply erase that section, redraw the grid lines, and keep on going! Lightly drawn lines are easy to erase! ILLUSTRATION 04-04 1) Set up a rectangular drawing space and divide it into six equal squares. Suggested formats include: 6 by 9 inches (with six 3-inch squares); 8 by 12 inches (with six 4-inch squares; or 10 by 15 inches (with six 5-inch squares). ILLUSTRATION 04-05 2) Sketch the giraffe’s neck and the rear end of his body. A section of this angular U- shape is in each of the top four squares of the grid. The lower section of this shape represents the location of the rear end of his body and the upper section is his neck. When drawing with a grid you may find it easier to draw only the contents of one square at a time. Take your time and draw your outlines VERY slowly and carefully! 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 sites http://www.finearteducation.com and http://www.drawspace.com 4 ILLUSTRATION 04-06 3) Add an oval-shape to represent the front of his body and front shoulders. Observe that this oval is tilted toward the right. Double check the proportions of each section of your sketch as you go, by visually measuring the shapes of the positive and negative spaces. ILLUSTRATION 04-07 4) Draw a circular shape in the upper right square to identify the placement of the giraffe’s head and face. 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 sites http://www.finearteducation.com and http://www.drawspace.com 5 ILLUSTRATION 04-08 5) Mark the placement of the rear legs with straight lines. The lines that identify the upper section of the back legs are slightly at an angle. The lines marking the placement of the lower legs are almost vertical. ILLUSTRATION 04-09 6) Sketch the front legs with straight lines that are almost vertical. Draw your outlines slowly and carefully! Pay close attention to the grid lines to make sure you draw the various curved lines in their proper places, and their correct lengths and contours. 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 sites http://www.finearteducation.com and http://www.drawspace.com 6 7) Lightly sketch the approximate locations of the ears, eyes, and face so as to establish the proportions of the giraffe’s head and face in relation to the size of body. 8) Replace the straight lines that mark the position of the legs with curved lines. ILLUSTRATION 04-10 9) Outline the various shapes of the body and add a few details to the hoofs and legs such as oval shapes to mark the positions of the knees. In the next few steps, you use the proportional guidelines as a foundation to add additional information to your drawing to help bring out the shapes of the giraffe’s face, ears, and snout. 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 sites http://www.finearteducation.com and http://www.drawspace.com 7 ILLUSTRATION 04-11 10) Refine your initial sketch by lightening the lines with your kneaded eraser and redrawing the face, head, and neck. Don’t miss the angular lines across the top of the head and through the centers of the eyes, used as guidelines. Also, the ear on the left is higher than the other. ILLUSTRATION 04-12 11) Redraw the ears. 12) Add two circles to represent the irises of the eyes. 13) Draw two tiny ovals to indicate the locations of the nostrils. Pay close attention to the lengths, angles, and curves of the various lines which outline the different parts of his head, ears, and face. The following three drawings show only the upper right grid Take note that the whole head is tilted slightly downward and to the right. 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 sites http://www.finearteducation.com and http://www.drawspace.com 8 ILLUSTRATION 04-14 ILLUSTRATION 04-13 14) Sketch the various shapes of the ears and head. Add a line inside each ear, to separate the inner and exterior sections. Add the antlers and redraw the top of the head. Draw the upper and lower eyelids on each eye. The outline of the upper eyelid cuts through the iris. The double line of the lower eyelids indicates the thickness of the lids. Add the outline of the snout. Outline the cheeks and chin, and add the mouth. 15) Erase the grid lines and use your kneaded eraser to lighten all your sketch lines until you can barely see them. With the rough sketch completed, and everything in its correct place, you now neatly redraw the contours and add additional details. Use the very faint under sketch as a guideline. 16) Add more details to the neck, mane, ears, head, and face. Indicate the texture of the fur along the lower section of the line inside the ears. Refine the outlines of the eyes and add lines to define the shapes of the nose and mouth. Draw a bunch of fuzzy lines to indicate the texture of the mane. 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 sites http://www.finearteducation.com and http://www.drawspace.com 9 Don’t worry about trying to draw your spots exactly like mine. However, you should draw big spots where mine are large (as on his body), and smaller spots where mine are small (such as on his face, tail and legs). ILLUSTRATION 04-15 17) Refine the sketch of the giraffe’s body and add the details of the tail and hoofs. SETTING UP FOR SHADING In this section you sketch the outlines of spots of various shapes and sizes over Dandy’s head, neck, body, and legs. 18) Very lightly sketch the outlines of small spots on Dandy’s cheeks and the upper section of his neck. Observe that even though the spots are different shapes and sizes, the spaces between each are approximately the same width. ILLUSTRATION 04-16 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 sites http://www.finearteducation.com and http://www.drawspace.com 10 ILLUSTRATION 04-17 19) Add spots to his body, legs, tail and neck. Take note of which spots need to be drawn big and which ones are small. 20) Draw guidelines on Dandy’s face and neck to indicate the directions in which his fur grows. Refer to the drawing below. Keep these lines very light! These lines mark the directions in which the hatching lines will need to be drawn when you add the fur. 21) Double check that the eyes are drawn correctly. Note that the eyes appear as partial circles because the upper section of each is hidden under the upper eyelids. ILLUSTRATION 04-18 For a refresher course in spotted- fur-shading skills, try the following before you tackle the shading of Dandy’s spots! [...]... the outline of the fur of the mane along the outer edges by gently patting the lines with your kneaded eraser Other projects on drawing wild animals, including an adorable young owl, named Hooter, and a zebra named Spot, are available in T-level Advanced: Diverse Animals Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may... E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com 21 When you practice sketching animals from life, you increase your ability to draw quickly, improve the fluidity of your lines, and sharpen your observation skills Animals rarely stay still for more than a few seconds at a time, but with lots of practice and patience, sketches become quick and easy... http://www.finearteducation.com and http://www.drawspace.com 23 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 . Brenda Hoddinott T-04 ADVANCED: DIVERSE ANIMALS In this lesson, you first choose one of three compositional options, then. Other projects on drawing wild animals, including an adorable young owl, named Hooter, and a zebra named Spot, are available in T-level Advanced: Diverse Animals. Copyright to all