X-02 ADVANCED: FANTASY & FUN pot

™ OUTLINING AND SHADING STRANDS OF CARTOON HAIR: You outline the subject’s hair with thin lines, and then add shading according to a dominant light source from the upper right.. ™ FOREHE

Brenda Hoddinott

X-02 ADVANCED: FANTASY & FUN

This project explores the process of drawing a caricature from

a photo, by utilizing a complex grid The average drawing time

on this type of project generally runs between 20 to 40 hours

To give you an idea of the time I spent on each aspect, I

included a brief drawing journal

This lesson is divided into the following six sections:

™ SKETCHING WITH HELP FROM A GRID: You lightly sketch the outline of the subject

by utilizing a complex grid to establish the placements of various components

™ OUTLINING AND SHADING STRANDS OF CARTOON HAIR: You outline the subject’s hair with thin lines, and then add shading according to a dominant light source from the upper right

™ FOREHEAD, EYEBROWS AND EYES: Crosshatching and hatching are used for shading the upper sections of the face

™ NOSE, MOUTH AND EARS: You complete the shading of the ears and the center section

of the face with crosshatching graduations

™ CHIN, GOATEE AND NECK: A full range of values is used to complete the lower section

of the face, and the goatee and neck

™ FINAL TOUCHES: After shading the shirt, you are encouraged to check over your drawing and make adjustments to sections you’re not completely happy with

This project is recommended for artists with strong drawing skills, who have a well-trained eye for details and an incredible amount of patience Curriculum is designed for advanced students of home schooling, academic and recreational fine art educators By the way, this entire project is rendered with 0.3mm and 0.5mm mechanical pencils, from 4H to 2B

16 PAGES – 23 ILLUSTRATIONS

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – March, 2006

SKETCHING WITH HELP FROM A GRID

Many of my caricatures are rendered from life or memory; however, this particular project is done from a photo A complex grid is used to properly place the facial features, and then, once I know where the features belong, I modify and/or exaggerate each as I want To give you an idea

of the time I spent on each phase of this drawing, I include my drawing diary By the way, this entire project is rendered with 0.3mm and 0.5mm mechanical pencils, from 4H to 2B

This particular caricature has been waiting for conception ever since I first saw Lord Algernon dressed in his medieval garb His wonderfully animated face is an artist’s delight, and lends itself perfectly to pretty much all media

ILLUSTRATION 02-01

™ Sunday 3 to 4 pm (1 hour total): I take

photos with a digital camera, and

download them to my computer

Compare the photo to the completed

caricature I exaggerated the size of his

head, by drawing a disproportionately tiny

neck and upper body His eyes are

rendered in greater detail than the rest of

the drawing, and are drawn even larger

than they are in the photo I also modified

his hair and goatee; some facial features,

forms, and spaces; and added a fancy

medieval shirt, instead of a t-shirt

ILLUSTRATION 02-02

The text instructions in this project guide you through the process of drawing a caricature from a photo You can either follow along with me and draw Lord Algernon, or create an original caricature by drawing someone else If you work from a photo, make sure you choose one in which the facial features are clear and in focus

1 Draw a grid on your photo

Following are my two favorite methods for adding a grid to a photo

¾ Use the lines of graph paper as guidelines to draw the horizontal and vertical grid lines with a fine tip ballpoint pen

¾ If your photo is in digital format, draw a grid directly on the file in a photo imaging program (I use Adobe Photoshop) Then print the photo

Don’t forget to mark letters and numbers around the perimeter of the photo so you can identify each vertical and horizontal row

™ Sunday 5 to 7 pm (3 hours total): I add a grid to the photo in Photoshop, and then print the file

and mark numbers and letters on its top and sides

ILLUSTRATION 02-03

2 Press gently

on your pencil to draw a grid

on your paper

My drawing is one and a half times the size

of the photo Hence, I have one-quarter inch squares

on the photo, and three-eighth inch squares on the drawing paper

If you don’t like measuring

to draw the grid squares, you can tape the corners of your paper to

a large sheet

of graph paper Then, use a ruler to connect the grid lines on opposite sides Only the weight of the pencil itself created the very faint lines of both my grid and sketch Needless to say, this illustration has been scanned much darker, so you can see it! Also, don’t forget to add letters and numbers to your drawing paper to correspond with those on the photo so you can identify each square as you work Also, refer to Illustration 02-04

™ Sunday 8 to 11 pm (6 hours total): I draw a grid on the drawing paper, add numbers and letters,

and then lightly sketch the face and hair

ILLUSTRATION 02-04

3 Use the grid squares to draw your subject

Also refer to Illustrations 02-03 and 02-05

When I work with a grid, I prefer to begin in the upper left and then work

downward toward the right (I’m right handed)

I use an HB pencil, and work on one square at a time, while constantly referring to my photo to make sure that I’m working

in the correct squares

Drawing the contents of one grid square at a time is much simpler than trying to tackle a whole section at once

By the way, grids do not hinder artistic growth;

rather, they serve as tools to make the learning process more pleasurable by helping with such challenges as rendering believable proportions and correct perspective

The most important component of learning to draw is maintaining the

enthusiasm

Aspiring artists should feel comfortable in using whatever tools are available to them, such as viewfinder frames and grids, so as to create drawings that make them happy and subsequently motivated to continue onward

ILLUSTRATION 02-05

™ Monday 1 to 2 pm (7 hours total):

lightly sketch the upper section of the

shirt, and check over the drawing

The shirt is very roughly

sketched at this point; more

adjustments and additional

details will be added in the

final stages of the project

An ideal disproportionate

width for the upper body on a

caricature is approximately

the width of the head

To accentuate his most

distinctive feature, his eyes,

I plan an overall tightly

cropped composition

Strong drawing skills and a good knowledge of facial

anatomy are important aspects of

drawing caricatures and cartoons

of people In other words, when

you know the rules, you know

how to break them successfully!

OUTLINING AND

SHADING STRANDS

OF CARTOON HAIR

A well done preliminary

drawing makes the shading

phase of a project much

simpler Hence, you first

outline all sections of the

subject’s hair with thin lines,

and then add shading

according to a dominant light

source from the upper right

ILLUSTRATION 02-06

™ Monday 6 to 9 pm: I

outline the intricate details

of the hair (10 hours total)

4 Use an HB pencil to outline each strand of hair

You now know why this project is in the advanced section! You need an incredible amount of patience

ILLUSTRATION 02-07

Remember to erase the grid lines in each section

before you add the outlines I used a 0.3mm

mechanical pencil If you’re using a regular

pencil, keep it nice and sharp

As I outline the hair, I find it very helpful to

follow each strand of hair from its origin to its

ending, over, under, and behind other strands

Even though all the individual strands of hair

are curved, many are thicker than others They

overlap and intertwine throughout the hair

ILLUSTRATION 02-08

5 Use a kneaded eraser to pat the hair until the outlines are very light in value

I’m into my third day of working on this project and can’t wait to start the shading By the way, the hours spent working on this drawing, exclude the time I spent writing this text and making scans of the drawing in progress

™ Tuesday 4 to 8 pm (14 hours total): I complete the

final outlines and shading of the hair

ILLUSTRATION 02-09

6 Add shading to

each section of

hair

Remember, this

drawing has a

LOT of hair, so, if

you don’t have an

extraordinary

attention span,

choose a less

tedious style of

drawing

Experiment with

different

techniques to find

a comfortable

style for shading

the hair before

you begin

Rely on the light

source from the

upper right front, to

tell you where to

draw the light and

dark values

In some of the

shadow sections

on the left, the

values are very

dark

7 Add dark outlines to the shadow sections of hair, and faint outlines to lighter sections

The shading is lighter on the right, with lots of the white paper showing through I have also added a darker outline around the entire perimeter of the hair

ILLUSTRATION 02-10

The images in the next four sections of this tutorial are fairly self-explanatory, so you’ll find very little text from this point onward Remember to erase the grid lines from each section before you begin adding shading Then, pat that section with a kneaded eraser to lighten the sketch lines, and remove any remaining eraser crumbs

FOREHEAD, EYEBROWS, AND EYES

In this section you use crosshatching graduations to add shading to the forehead and eyes, and hatching lines to complete the eyebrows

8 Refer to the following four illustrations to draw the forehead, eyebrows, and eyes

Begin by shading the upper section of the forehead along the hairline, and slowly progress down the face toward the eyebrows The shading that defines the forms of the forehead, eyes, and eye sockets is slightly darker on the left Use a 2H pencil for the light areas, and

an HB for the darker shadow areas

All the crosshatching lines used for the delicate facial shading are diagonal rather than horizontal and vertical This is a matter of personal preference and style

™ Wednesday 5 to 6 pm (15 hours total): I add shading to the forehead and around the upper

sections of the eyes, and draw the eyebrows

ILLUSTRATION 02-11

For the eyebrows, use a shading style similar to that of the hair The shading directly below the eyebrows, is relatively dark in value, especially on the left Remember to keep your pencil point very sharp

ILLUSTRATION 02-12

Outline the pupils, irises, and highlights, and add shading to the upper eyelids and the forms surrounding the eyes Keep in mind that the shading on the left is darker than on the right

Draw tiny oval-shapes (rendered in much the same way as the hair and eyebrows) as eyelashes The irises are shaded with an HB pencil, and the pupils with a 4B The irises are darker on the right, the side where the highlight is drawn

™ Wednesday 7 to 9 pm (17 hours total): I added shading to the eyes and the forms surrounding

the eyes

ILLUSTRATION 02-13

ILLUSTRATION 02-14

NOSE, MOUTH, AND EARS

In this section, you complete the shading on the face with crosshatching graduations Remember

to leave the highlight of the nose white, and to leave a light area along the shadow edge of the nose to represent reflected light The values on the right side of the face are very light Also, take note that the ear on the right is much lighter in value than the other

9 Refer to the following seven illustrations, and complete the shading of the center sections of the face

ILLUSTRATION 02-15 ILLUSTRATION 02-16

™ Thursday 6

to 8 pm (19

hours

total): I add

shading to

the

shadow

sections of

the face on

the left,

and

complete

the

shading of

the nose

ILLUSTRATION 02-17

™ Friday 1 to 2:00 pm

(20 hours total): I add shading to the section of the face directly below the eye on the right

ILLUSTRATION 02-18

™ Friday 3 to 5:00 pm (22 hours total): I add

shading to the cheekbone section of the face (on the right), and finish the mouth and the other ear

ILLUSTRATION 02-19

ILLUSTRATION 02-20

CHIN, GOATEE, AND NECK

In this section you use crosshatching graduations for the chin and neck The goatee is rendered in

the same way as the hair and eyebrows

ILLUSTRATION 02-21

10 Refer to the following two

illustrations, and complete

the shading of the face,

goatee, and neck

ILLUSTRATION 02-22

™ Friday 6 to 7 pm (23 hours

total): I add dark values to the

neck, a broad range of values

to the chin and jaw sections

(on the right), and finish the

goatee

ILLUSTRATION 02-23

FINAL TOUCHES

In this section, you complete

the shirt with loosely rendered

crosshatching, and touch up

any sections with which you’re

not totally happy

11 Complete your

drawing!

Add shading to the shirt to

define the shadows on the

left, and give the illusion of

depth to the collar

Shading has now been added

to the entire drawing The

final goal is to enhance the

overall contrast

Use a kneaded eraser to pull

out the lightest values on the

sections on the right The

strong highlights of his eyes,

hair, nose, chin, and cheeks are

the white of the paper

With freshly sharpened 2B and 4B

pencils, darken some sections of

shading, especially in the shadow

areas on the left side of his face,

hair, and neck

™ Monday 5 to 7 pm (25 hours

total): I add shading to the shirt

and touch up the shading

By the way, the total

preparation time (including the

25 hours drawing) to bring this

project to the website was over

40 hours

Sign your name and

put today’s date on

the back of your

drawing

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 These sites are 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: 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 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