Y-01 ADVANCED: CREATING IN COLOR potx

The dark gray drawing surface challenges artists to pull the forms of the drawing subject from darkness into light... This lesson is divided into three parts: ™ PART ONE: setting up your

GOLDEN ROSEBUD

Brenda Hoddinott

Y-01 ADVANCED: CREATING IN COLOR

Overlapping and burnishing colors, and rendering

believable shadows, contribute to the realistic

three-dimensional forms of a golden rosebud

The diversity of colored pencils is explored in this non-traditional approach to drawing a rosebud The dark gray drawing surface challenges artists to pull the forms of the drawing subject from darkness into light

CONTENTS

Introduction……… 3

Suggested drawing supplies………3

Skills presented……… 4

Glossary of art terms……… 4

Part One: Drawing the Outline………5

Lesson Y1-1: Choosing a format and drawing supplies ………5

Lesson Y1-2: Outlining a rosebud……… 6

Part Two: Coming Out of the Dark ……….8

Lesson Y1-3: Laying down some foundation colors……… 9

Lesson Y1-4: Shading the rosebud ……… 10

Lesson Y1-5: Shading the stem and leaves ……… 13

Part Three: Adding Final Touches……….14

Lesson Y1-6: Guidelines for colors in shadows ……… 15

Lesson Y1-7: Shading medium and dark values……… 15

Lesson Y1-8: Shading the darkest shadows……… 18

17 PAGES - 19 ILLUSTRATIONS

Recommended for artists with good drawing skills from age 12 to adult, as well as home schooling,

academic and recreational fine art educators

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, Revised 2004

INTRODUCTION

The diversity of colored pencils is explored in this non-traditional approach to drawing a rosebud The dark gray drawing surface challenges artists to pull the forms of the drawing subject from darkness into light This lesson is divided into three parts:

™ PART ONE: setting up your drawing format and drawing a detailed outline

™ PART TWO: shading light and medium values on the petals, stem, and leaves

™ PART THREE: adding realistic shadows by mixing a specific recipe of colors

SUGGESTED DRAWING SUPPLIES

1 Good quality dark drawing paper or mat board

2 White colored pencil

3 Five other colored pencils, as shown in Illustration 1-01

ILLUSTRATION 1-01

YELLOW ORANGE / RED MEDIUM BLUE PURPLE BLACK

SKILLS PRESENTED

1 Drawing with detailed curved contour lines

2 Adding shading with graduated values

3 Blending colors with burnishing

4 Understanding the theory of color in shadows

GLOSSARY OF ART TERMS

Burnishing: is the application of one layer(s) of color (or white) over another, by pressing hard

with a pencil, to blend colors together Burnishing of colored pencils can also be done with a tortillon or a firm plastic eraser

Color wheel: is a method of arranging colors within a circular format to easily reference colors

and their components such as primary, secondary, and complementary colors

Complementary colors: are colors which are opposite one another on the color wheel

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 an art medium to a surface so as to produce an image, which

visually defines an artist’s choice of drawing subjects from his or her own 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

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

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

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

Primary colors: are the fundamental colors or pigments of red, yellow, and blue

Secondary colors: are the pigments or colors, orange, green, and purple created by combining

any two of the primary colors Red and yellow make orange, yellow and blue make green, and red and blue make purple

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

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

PART ONE: DRAWING THE OUTLINE

Throughout this section you place your rosebud within your drawing space and draw a detailed outline in preparation for adding shading

LESSON Y1-1: CHOOSING A FORMAT AND DRAWING SUPPLIES

I used a very dark gray drawing paper with a slightly textured surface You can use any dark colored drawing paper, but keep in mind that the color of your paper will show through the colored pencils in some places

Draw a rectangular vertical (sometimes called a portrait format) drawing format Mine is 3 by 4 inches, but you may choose any size you wish, such as 4.5 by 6 inches, 6 by 8 inches, or 9 by 12 inches You need only one colored pencil for the first part of this project Choose a yellow close

in color to Illustration 1-02

ILLUSTRATION 1-02

LESSON Y1-2: OUTLINING A ROSEBUD

Find a quiet place where you will be uninterrupted for a while, sharpen your yellow pencil and get ready to draw!

ILLUSTRATION 1-03 ILLUSTRATION 1-04

1 Very lightly draw a simple outline of a rosebud, as in Illustration 1-03

The rosebud is at an angle within your drawing space, tilted towards the right Observe the curve of the stem

2 Pressing a little harder with your yellow pencil, go over your outline

Refer to Illustration 1-04 and refine the shape of your rosebud by adding a few more details with curved lines

ILLUSTRATION 1-05 ILLUSTRATION 1-06

3 As in Illustration 1-05, outline more petals in the center cluster

4 Add a curved line from the center cluster down to the bottom of the rosebud

This curved line is not in the center, but rather closer to the left

5 Refer to Illustration 1-06 and draw the outline of a thin leaf close to the bottom

of your drawing space on the right

Observe how the leaf begins at the base of the rosebud, curves downward, and then curves toward the right and upwards

ILLUSTRATION 1-07

6 Add another leaf under the rosebud on the left, as in Illustration 1-07

Observe how the leaf begins at the base of the rosebud and curves upward towards the left

7 Outline the stem more distinctly

8 Draw more small petals in the very center of the cluster

PART TWO: COMING OUT OF THE DARK

In this section you add shading to the petals, leaves and stem of the rosebud

LESSON Y1-3: LAYING DOWN SOME FOUNDATION COLORS

Use your yellow and purple pencils to add the basic forms to the rosebud (as in Illustration 1-08) Practice drawing graduated value scales before you begin

ILLUSTRATION 1-08

YELLOW PURPLE

ILLUSTRATION 1-09

9 Use your purple pencil to add shading to the shadow sections (the dark values) of each petal as shown in Illustration 1-09

The light source is from the right in this drawing

ILLUSTRATION 1-10

10 Pressing lightly with your yellow pencil, completely color in each petal, including the purple sections

This is called overlapping or dry-mixing colors

LESSON Y1-4: SHADING THE ROSEBUD

In addition to yellow, you will need a white pencil for adding highlights to the rosebud

ILLUSTRATION 1-11

5 Use your white pencil to add light values to the tips and edges of the petals that

are not in shadow (as in Illustration 1-11)

You may need to press fairly hard on your pencil to get really light values

6 Add an oval-shaped primary highlight on the largest petal with white

ILLUSTRATION 1-12

7 With your yellow pencil, completely color in each petal again, including the

purple sections, but excluding some of the white sections

Leave the center sections of the highlights white, as in Illustration 1-12

LESSON Y1-5: SHADING THE STEM AND LEAVES

In this section you add shading to the leaves and stem of your rosebud with the two colors shown

in Illustration 1-13

ILLUSTRATION 1-13

YELLOW MEDIUM BLUE

ILLUSTRATION 1-14

8 Shade in the leaves and stem with blue, as in Illustration 1-14

Observe that the right side of the stem stays the color of the paper for now so yellow can be

ILLUSTRATION 1-15

11 Use your yellow pencil to add graduated shading to the light sections of each leaf and the stem

The light source is from the right in this drawing Refer to Illustration 1-15 and take note that the lighter shading is on the right of the rosebud, leaves and stem

PART THREE: ADDING FINAL TOUCHES

In this part, you mix colors together to enhance light and shadow areas, and then darken the shadows with your black pencil

LESSON Y1-6: GUIDELINES FOR COLORS IN SHADOWS

While many complex formulas exist for drawing (or painting) shadows, I prefer to use a method that is effective and easy to remember Inherent in all shadows, no matter how dark, are the following three simple components:

™ BLUE: Blue is a very cool color and is considered the color of darkness Believable shadows must have blue in their color mixture

™ THE COLOR OF THE SUBJECT: The darkest values of the actual colors of the

subjects add realism to the colors of their shadows In a drawing of a red rose this

would be a very dark red A dark yellow would be in the shadow of a yellow

banana In a drawing of a blue ball, dark values of blue would be in the mixture of

the color of its shadow

™ THE COMPLEMENTARY COLOR OF THE SUBJECT’S ACTUAL COLOR: Pairs of complementary colors are opposite one another on the color wheel, such as

red/green, yellow/purple, and blue/orange

As examples, consider the application of the above three components to the shadow colors of a red rose, a banana, and a blue ball:

LESSON Y1-7: SHADING MEDIUM AND DARK VALUES

You need all five colored pencils, as in Illustration 1-16, to complete your drawing of the golden rosebud

ILLUSTRATION 1-16

YELLOW ORANGE / RED MEDIUM BLUE PURPLE BLACK

ILLUSTRATION 1-17

12 Add a little blue and red to the shadow areas of the rosebud

Refer to Illustration 1-17 These colors make the shadow areas cooler, and the darker yellow areas more golden

13 Pressing fairly hard with your yellow pencil, completely color in all sections of

the rosebud except the white areas

This process, called burnishing, smoothly blends your colors Yellow makes the brighter colors more vibrant

ILLUSTRATION 1-18

14 Add some red and purple shading to the shadow sections of the leaves and stem

as in Illustration 1-18

15 Burnish the leaves and stem with yellow

ILLUSTRATION 1-19

16 Use your black pencil to add some hatching lines in the background

My hatching lines are diagonal from the lower left to the upper right

17 Add a little black to the very darkest shadow areas of the rosebud, leaves, and

stem as in Illustration 1-19

Black should be used very sparingly Remember less is more!

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