T-04 ADVANCED: DIVERSE ANIMALS ppt

SETTING UP FOR SHADING: You sketch the outlines of spots of various shapes and sizes over Dandy’s head, neck, body, and legs.. 10 Refine your initial sketch by lightening the lines with

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)

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

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 04-05

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!

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

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

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

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

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

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)

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

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!

ILLUSTRATION 04-20

ILLUSTRATION 04-23

ILLUSTRATION 04-21

ILLUSTRATION 04-22

22) Outline a few spots and sections

of spots within a format of any shape and size, and add

guidelines to mark the directional flow of the shading

24) With a freshly sharpened HB pencil, add more hatching lines

to each spot

Note that the spots are lighter in the upper left corner of the drawing space, and become progressively darker toward the lower right

25) Use a 2H pencil and hatching

lines to add shading to the spaces

in between the spots

Observe that this shading is also lighter in the upper left corner of the drawing space and becomes progressively darker toward the lower right

26) Use a 2B pencil to add darker hatching lines to the fur in the lower right

SHADING TEXTURES AND SPOTS

In this section of the project 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 pattern of spots

ILLUSTRATION 04-24

27) Use hatching to add shading to the ears

28) Follow the guidelines to add shading to the spots on the side

of his face

Remember, light affects the placement and value

of every section of shading Also, a full range of values gives contrast between light and shadow areas

muzzle and chin

31) Outline tiny circles

in the eyes as

highlights

The eyes appear as partial

circles because the upper

section of each is hidden

under the upper eyelids

Remember, the hatching lines used to draw fur are ragged and uneven with lines of various lengths and thicknesses

ILLUSTRATION 04-26

Add shading to the dark tuffs of fur on his antlers with a 2B pencil Use a 2H for the light shading of the base of his antlers and 2B for the areas in shadow (on the right)

Use a 6B pencil to shade the pupils of his eyes Leave the irises white for now Add the dark shading under his irises with a 2B

Shade in the forms of his snout, and the darkest sections of his nostrils with a 2B

33) Use various pencils to complete the shading of his eyes

ILLUSTRATION 04-27

The light sections of the irises are shaded with a 2H pencil

I used 2B and 4B for the sections of the eyes in

shadow and for the eyelashes

ILLUSTRATION 04-28

34) Before you begin working on the neck, check over your shading and touch up any sections you aren’t happy with

35) Draw guidelines on Dandy’s neck and mane

These lines help you remember the directions

in which the hatching lines need to be drawn

ILLUSTRATION 04-29

The hatching lines used

to draw the fur on the neck are also

ragged and uneven with lines of various

lengths and thicknesses

Remember, the light source in this

drawing is from the upper left

You still need to maintain an

overall contrast of values from

light on the left side of the neck

to dark on the right

Watch very closely the different directions in which the guidelines curve Take your time

the neck

Remember to graduate the shading according to the light source from the upper left

37) Use a 2H pencil and hatching lines

to add shading to the spaces in between the spots

This shading becomes progressively darker toward the lower right The values under the chin are quite dark because this area is in shadow Yet, the edge of the neck on the far right is slightly lighter This rim

of reflected light accentuates the forms of the neck

ILLUSTRATION 04-31

38) Add a section of dark shading to

the inner edge of the mane closest

to the neck with an HB pencil

39) Lighten 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

The outer edges of the mane are ragged-looking, with hatching lines

of various lengths

ILLUSTRATION 04-32

40) Complete the shading of

the longer fur of the

mane

Use both 2H and HB

pencils, but be careful not

to make this fur as dark as

the fur on the ends of his

antlers

ILLUSTRATION 04-33

The next step is to complete

the shading of the spotted fur

on Dandy’s body and legs

41) Draw guidelines

within the spots on

Dandy’s body and legs

to indicate the

directions in which his

fur grows

42) Lighten the outlines of

the spots by gently

patting the lines with

your kneaded eraser

43) Use the directional guidelines, and 2H and HB pencils, to shade in the spots with hatching lines

ILLUSTRATION 04-35

44) Add medium values to the

spots that are farther

away from the light

source, with an HB pencil

ILLUSTRATION 04-36

45) Use a 2H pencil

to shade the spaces between the spots in the light sections 46) Add medium values to the spaces in the shadow sections (use an HB pencil)

ILLUSTRATION 04-37

COMPLETING THE FINAL DETAILS

In this section you add final details, such as shading on

the end of the tail, lower legs, and hoofs and add a

shadow under the giraffe

47) Use a 2B pencil to add dark shading to the long

fur on the end of Dandy’s tail

48) Complete the shading

on the lower sections

of Dandy’s legs with a 2H pencil (for the light areas) and an HB pencil (for the sections

in shadow)

Check over the shading

on the four legs, and make sure that the shading of the two legs that are on the other side of the giraffe, are darker than the two legs closer to the viewer

49) Add a few small faint spots to the lower sections of his legs

ILLUSTRATION 04-39

50) Use various pencils to complete the shading of his feet and hoofs

Observe the rounded forms on the backs of his feet Don’t miss the small sections of lighter

shading on the hoofs, which defines their forms and help make them look shiny