Y-02 ADVANCED: CREATING IN COLOR pdf

Contrast: measures the degree of difference between the light and dark values within shading, and creates the illusion of three-dimensions in a drawing.. Graduated shading also known as

Brenda Hoddinott

Y-02 ADVANCED: CREATING IN COLOR

Drawing an adorable puppy with colored pencils, illustrates

how to shade textures and forms with a focus on identifying

and rendering the light and shadow areas of diverse colors

CONTENTS

Introduction……… 3

Suggested drawing supplies………4

Skills presented……… 4

Glossary of art terms used……… 4

Part One: Planning and Outlining……….……7

Lesson Y-02-1: Setting up your format and grid………7

Lesson Y-02-2: Outlining Wobby with help from a grid………8

Part Two: Adding Wobby’s Fur……… ………… 13

Lesson Y-02-3: Mapping dark blue values……… 13

Lesson Y-02-4: Hatching middle values of blue fur.……… 14

Lesson Y-02-5: Hatching light blue fur……… 16

Lesson Y-02-6: Hatching yellow fur……… 18

Part Three: Shading Eyes and Nose……… 20

Lesson Y-02-7: Drawing compelling dog eyes……… 20

Lesson Y-02-8: Shading Wobby’s shiny nose………23

Part Four: Shading a Rainbow……… … 24

Lesson Y-02-9: Setting up for stripes……….24

Lesson Y-02-10: Shading rainbow stripes……… 26

Part Five: Adding Final Touches……… 27

Lesson Y-02-11: Grounding Wobby with a cast shadow………27

Lesson Y-02-12: Finishing the drawing of Wobby……….28

28 PAGES – 24 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, 2004

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-INTRODUCTION

Wobby is “painted with colored pencils” using primary and secondary colors Because his face looked so sad in my preliminary sketch, I chose to use mostly blue for his fur To keep the drawing bright, I used other primary colors for this puppy, yellow for the insides

of his ears and the under pads of his paws, and red (almost pink) for his nose I chose stripes of both primary and secondary colors for his rainbow ribbon (bow)

SKILLS PRESENTED

1 Adding shading with graduated hatching values

2 Blending colors with burnishing

3 Sketching within a simple grid

4 Planning shading strategies

5 Illustrating various textures

6 Drawing the forms of a cartoon body

7 Identifying and shading light, shadows, and cast shadows

GLOSSARY OF ART TERMS

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

applying pressure to your pencil to blend colors together Burnishing colored pencils can also be done with a tortillon or a firm plastic eraser

Cast shadow: is a dark area on a surface, adjacent to where the light is blocked by

an object

Contour drawings (also called 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

Contour lines: are created when the shared edges of spaces and/or objects meet

Contour lines can define complete objects or small sections or details within drawing subjects

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

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

Foreshortening: refers to the visual distortion of a person or object, when viewed

at extreme angles As the angle of viewing becomes more extreme the level of distortion becomes more pronounced

Geometric perspective (sometimes called linear perspective): is a method of

representing drawing subjects so they seem to recede into distant space, and appear smaller the farther they are away

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

Grid: is a framework of vertical and horizontal reference squares on an image

and/or drawing paper, used by artists to either enlarge or reduce the size of the original image

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

Overlapping: refers to the position of an object when it visually appears to be in

front of another object

Perspective: is the rendering of a three dimensional object or space within a two

dimensional drawing space

Proportion: is the relationship in size of one component of a drawing to another or

others

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

Sketching: is the rendering of a quick, rough representation or outline of a planned

drawing subject A sketch can also be a completed work of art

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

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

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-SUGGESTED DRAWING SUPPLIES

1 Heavy drawing paper or mat board, preferably a light color

2 Sandpaper block or fine sandpaper for keeping your pencils sharp

PART ONE: PLANNING AND OUTLINING

In this section you plan your drawing and outline Wobby within your drawing space

LESSON Y-02-1: SETTING UP YOUR FORMAT AND GRID

I’ve chosen a lightly textured acid-free mat board as my drawing surface Wobby is drawn in a grid format to help you set up proportions I’ve chosen 4 squares across by 5 squares down My drawing is 4” x 5”, which is quite tiny, but you can do a larger drawing by using larger squares

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-LESSON Y-02-2: OUTLINING WOBBY WITH HELP FROM A GRID

Don’t press too hard with your pencil or your lines won’t erase later

ILLUSTRATION 2-04

4 Lightly draw the outline of Wobby’s head and ears as in Illustration 2-04

5 Add the tuffs of fur on the top of his head

6 Draw the outlines of his eyes, in which you will draw the individual parts

Note the distinctive overall shapes as being almost triangular

7 Draw all the parts of his eyes inside the outlines

Take a moment and become familiar with the names of the parts of an eye:

™ Iris: the large colored circular shape

™ Highlight: a bright spot that defines where light bounces off the eye

™ Pupil: the dark circle inside the iris

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-ILLUSTRATION 2-05

8 Add Wobby’s nose, his chubby cheeks, the bottoms of his ears and his tail

ILLUSTRATION 2-06

9 Draw the outline of his bow and the rose (see Illustration 2-06)

To keep the drawing a little simpler, feel free to leave out the rose

ILLUSTRATION 2-07

10 Finish drawing the details of his body, legs and tail

11 Draw his paws

One of his back paws seems to be hidden behind his belly, but don’t worry, you add

it later!

12 When you’ve finished drawing these detailed sections, take a moment to check carefully that everything is in the correct place

Refer back to Illustration 2-03 and confirm that your proportions are correct

13 Erase your grid lines and redraw the sections of the sketch, which were erased

A helpful hint when erasing: Use the edge of your vinyl eraser to erase the lines and then very lightly brush away the eraser crumbs with a clean soft paintbrush Then use your kneaded eraser to gently pat the paper surface It will pick up any remaining eraser crumbs

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-ILLUSTRATION 2-08

14 Use your kneaded eraser to lighten all your pencil lines until you can barely see them

PART TWO: ADDING WOBBY’S FUR

You are ready to begin adding color to the fur Use a sandpaper block or fine sandpaper

to keep your pencil points very sharp You use short hatching lines to represent fur

LESSON Y-02-3: MAPPING DARK BLUE VALUES

Use pencil 10 (dark blue) to map out the darkest colors

ILLUSTRATION 2-09

The light source is slightly from the left front, so the shading will be slightly lighter on the left side of the drawing Watch for the locations of dark shadowed areas such as under his brows, on his neck and on the side of his nose

LESSON Y-02-4: HATCHING MIDDLE VALUES OF BLUE FUR

You use two middle values of blue in this section Depending on the brand of colored pencils you are using, some colors may be different than mine Test your 9 (sapphire blue) and 8 (medium blue) pencils (or two similar colors) and determine which is lighter and which is darker

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-LESSON Y-02-5: HATCHING LIGHT BLUE FUR

Working from the darkest to the lightest colors establishes a strong value range

ILLUSTRATION 2-12

Before you add the lightest values, have a look at the close up view of fur in Illustration 2-12 and take note of the following:

™ The different directions of the shading lines define Wobby’s forms

™ Hatching lines are short, but of slightly different lengths

™ Several different values of blue pencils are in each section of fur

™ The light color of my drawing surface shows through in the light areas

™ Hatching lines with a white pencil make some of the light areas even lighter

™ The shading is lighter on the left side of the drawing

™ Dark shading, in such places as the flaps under the ears and the creases of the stitching, creates the illusion of depth

™ An element of realism is created by drawing the hatching lines in the directions in which the fur appears to “grow”

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-LESSON Y-02-6: HATCHING YELLOW FUR

Work from the darkest to the lightest shades of yellow to establish a strong value range

ILLUSTRATION 2-13

Have a close look at Illustration 2-13 The shading is lighter on the left side of the drawing and is very dark in the shadow areas such as his back foot and under the upper section of the flap of his right ear

20 Add middle values very sparingly with pencils 4 and 18

21 Use lots of 3 (yellow) to shade the light values

In the lightest areas, leave some sections of your drawing surface showing between your hatching lines

22 Use your 13 (white) to add some very light areas to the lightest sections of the yellow fur

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-ILLUSTRATION 2-15

23 As in Illustration 2-15, add shading to Wobby’s paws using the same techniques as used for shading the inside of his ear

PART THREE: SHADING EYES AND NOSE

Wobby’s personality is illustrated by your handling of the shading of his eyes and nose Remember, you have a certified artistic license to use your creativity and make any changes you wish, including the colors of his eyes and/or nose Use a sandpaper block or fine sandpaper to keep your pencil points sharp But remember; don’t press too hard with your pencils!

LESSON Y-02-7: DRAWING COMPELLING DOG EYES

Before you begin your shading of the eye refer to Illustration 2-16 and observe the following:

™ Note that the shading of the iris is darker at the top and on the side where the larger highlight is drawn

™ Observe that the shading of the lower eyelid is a dark gray

™ Take note of the large highlight (on the left) and a lighter area (a smaller highlight) on the opposite side of the iris

™ The lightest value of the shading on the iris is around the smaller highlight (on the lower right)

ILLUSTRATION 2-16

Following are the colors I used for shading Wobby’s eyes:

a) Irises: the larger colored circular shapes

25 With your 16 pencil, add a very thin border of dark shading around the inside edge of the lower half of each iris

26 With your 12 pencil, outline the circular perimeter of the irises

27 Shade in the upper section of the iris with your 16 pencil

28 Add shading to the lower sections of the irises

Use 18 for the section on the left of each iris and 5 for the section on the right Use burnishing, and your 3 pencil to blend these two colors and 17 together so the iris seems shiny

29 Outline the lower edge of the rim of each eye with your 12 pencil

30 Use 15 to shade in the rim of the eye

31 Burnish the center of the rim (or eyelid) with 14 to make it look shiny

32 With your 12 pencil, shade in the pupil

Compare your drawing of Wobby’s eyes to mine and make sure you’ve forgotten nothing Touch up any areas you are not happy with

LESSON Y-02-8: SHADING WOBBY’S SHINY NOSE

The technique of burnishing over your shading helps create the shiny texture of the nose

34 Add shading to the nose and the dark section of fur (the shadow created

by the nose) in the lower right

Don’t forget to leave the highlights white Take note of the reflected light sections on the left and bottom section of the nose and remember to leave them very light Use the following colored pencils for the various values:

™ 12 (black): the darkest values on the inside of the nostrils, and for the darkest shadow section of the fur on the lower right

™ 15 (dark gray): the outline of the left perimeter of the nose and the

shading of the shadow sections of his nose on the right

™ 23 (dark red): the dark values on his nose

™ 21 (light red): the medium values

™ 19 (pink): the light values

35 Burnish the entire nose leaving the round highlights white, and the oval highlights and reflected light sections light

Use 13 to burnish the light values, 19 to burnish the middle values, and 23 for the darker sections of the nose

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-PART FOUR: SHADING A RAINBOW

Graduations are the primary ingredient in realistic shading Some individual stripes

of the ribbon have more than one value of a specific color, requiring a graduation from one value to the next The goal is to keep the transition between the different values flowing smoothly into one another

LESSON Y-02-9: SETTING UP FOR STRIPES

In this section you discover how to create three values of each of six different colors

by using various pencils The light source is from the left front, so the shading of each color in the bow will be slightly lighter on the left side of the drawing

The first number in the list below represents the pencil I used for the darkest value, the second number the medium, and the third the lightest value:

1) Purple: 11, 22 and 20 2) Blue: 10, 8 and 7 3) Green: 12, 5 and 6 4) Yellow: 16, 4 and 3 5) Orange: 16, 1 and 2 6) Red: 16, 23 and 24

This numbered list of colors also represents the order in which the stripes are drawn Have a look at Illustration 2-19 and identify the beginning of the ribbon (at the bottom) Note that purple is the first color, then blue, and so on in the same order as the above list