Tài liệu Long Straight Hair docx

Brenda Hoddinott H-12 BEGINNER: FOCUS ON PEOPLE You use slightly curved hatching lines of various lengths and values to draw realistic long straight hair.. Skills include: identifying d

Brenda Hoddinott

H-12 BEGINNER: FOCUS ON PEOPLE

You use slightly curved hatching lines of various lengths and

values to draw realistic long straight hair Skills include:

identifying different approaches to drawing hair, drawing the

contours of straight hair with curved hatching lines, and

transforming a circle into a sphere

This lesson is divided into the following four parts:

COMPARING HAIRY DRAWINGS: You observe a

couple of basic approaches to drawing hair and examine

various drawings in which the hair is drawn

realistically Drawing realistic hair involves creating the

illusions of form and depth

SETTING UP TO DRAW HAIR: You outline the

contours of hair as they assume the shape of a head

HATCHING LONG HAIR: You use curved hatching lines and various pencils to shade

the texture and three-dimensional forms of realistic long straight hair Curved hatching lines are perfect for creating the texture of both hair and long fur

ADDING A SIMPLE FACE: You shade in a face and transform a circular shape into a

spherical nose This face will be EASY to draw! The eyes are hidden under the hair and the mouth is a tiny oval

Suggested drawing supplies include good quality white drawing paper, kneaded and vinyl erasers, and various graphite pencils such as 2H, 2B, HB, 4B, and 6B

13 PAGES – 22 ILLUSTRATIONS

This project is recommended for artists, aged ten to ninety-nine, who have basic drawing skills, as

well as home schooling, academic and recreational fine art educators

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, Revised 2006

COMPARING HAIRY DRAWINGS

Many beginners try to draw realistic hair with long continuous lines and very little contrast Subsequently, the hair looks flat, rather than three-dimensional Drawing realistic hair involves creating the illusions of form and depth

Contrast measures the degree of difference between the light and dark values within shading,

and helps create the illusion of three-dimensional reality Shading refers to the various shades of gray (values) in a drawing that make the drawing subjects look three-dimensional Values are the

different shades of gray created when you draw by varying both the density of the shading lines,

and the pressure used in holding various pencils Form, as applied to drawing, is the illusion of

the three-dimensional structure of a shape

ILLUSTRATION 12-01 ILLUSTRATION 12-02

These two illustrations demonstrate a couple of

different methods for drawing long straight hair

Examine each to discover their differences

Hair drawn with straight lines and little contrast

looks flat Flat hair is rendered with long

continuous straight lines and a very limited

range of values Realistic hair is rendered with

curved lines of various lengths, and a full range

of hatching values from very light to almost

black

Some cartoon artists use straight lines to

illustrate hair This works perfectly when flat

two-dimensional hair is the goal Check out the

first cartoon drawing below

ILLUSTRATION 12-03 ILLUSTRATION 12-04

Drawing with

only straight lines

doesn’t work well

for drawing

realistic hair

Realistic hair is

drawn with curved

lines of various

lengths, which

follow the

contours of the

forms of the hair

and/or skull (as

shown in the

second cartoon)

ILLUSTRATION 12-05

Take note of the point on the top of this little

girl’s head, from which all her hair seems to

grow The hatching lines follow the contours

of her skull, creating the perceived reality of

her head being three-dimensional

Hatching is a series of lines (called a set)

drawn closely together to give the illusion of

values

ILLUSTRATION 12-06

Tiny individual lines can be sketched around the top and sides of realistic hair to create a soft wispy illusion

Hair of all colors (including black, brown, blond, red, and purple), should

be drawn with a broad range of values, from light to dark

Keep in mind that all colors of hair tend to look darker further away from the dominant light source, and even more so in the darkest shadow areas

Light source refers to the direction

from which a dominant light originates The placement of this light source affects every aspect of a drawing

More dark values than light, are used

to create the illusion that the hair is dark (such as black or dark brown), rather than light Conversely, light hair (such as gray or blond) is shaded with fewer dark values

ILLUSTRATION 12-07

Long hair often curves

in many directions,

creating wavy rather

than completely straight

hair Illustrations 12-06,

12-07, and 12-08,

demonstrate how light

and dark sections of

hair are each rendered

with a full range of

values

ILLUSTRATION 12-08

As you can no doubt tell, long wavy hair generally takes much longer to draw than straight hair Examine these drawings closely, and take note of the following:

̇ The dominant light source is from the right

̇ Strands of hair are much lighter closer to the light source

̇ The hair is darker in the shadowed areas further from the light source

̇ The hatching lines are of various lengths, rather than long continuous lines

̇ Almost all of the hatching lines are curved rather than straight

̇ The values range from almost white in the shiny areas to very dark, such as close to her neck

̇ Some sections of hair overlap others, helping enhance the illusion of depth and three-dimensional reality

SETTING UP TO DRAW HAIR

Put the cat out, let the dog in, and plan on having some productive fun learning how to draw realistic long hair Speaking of dogs and cats, these techniques also work well for drawing long fur on animals! Find your drawing supplies, and draw along with me as I take you step-by-step through this project

ILLUSTRATION 12-09

1 Use an HB pencil to draw an egg-shape in the upper

section of your drawing paper

ILLUSTRATION 12-10

This egg-shape is similar

to the shape of a human head, and will be the foundation on which the hair “grows”

The goal is to draw the hair in such a way, as to make the head look three-dimensional

2 Lightly sketch the outline of the outer shape of the hair

Visually choose a point in the center of (and slightly above) your egg shape, and place a small dot here This is the point from which the hair will originate Draw two long curved lines from this point (outside the egg-shape) downward toward the bottom of your drawing space The lines begin by curving upward from the point, then out, and finally downward They follow the contour of the head as they continue downward

Continue drawing the long curved lines downward,

to about three-quarters of the distance from the top

of your drawing space

Close to the bottom of the drawing space, both lines curve slightly inward, and then curve outward again

3 With an HB pencil, lightly sketch several short (mostly curved) lines from the center point at the top of the head downward

The goal is to establish a blueprint or “guidelines” for drawing the hair Take note that the line in the center is almost straight Each line you draw closer to the outside edge of the hair is progressively more curved

4 Draw a circle as the nose

Take note that the nose is located on the lower half of the egg-shape

5 Lighten the outline of the head with a kneaded eraser, until it becomes very faint

ILLUSTRATION 12-11 ILLUSTRATION 12-12

To help you draw a circle, rotate your paper and look

at your drawing from different perspectives This little trick often allows you insight into any problem areas

Looking at the reflection of your circle in a mirror will also help you to see areas in need

of fixing

6 Add (or extend) two more slightly curved lines that extend downward from the point,

to the inside edges of the nose, and then begin again lower on the nose, until they almost meet at a point below the nose

These lines do not touch the very outside edge of the nose The goal here is to create the

illusion that small sections of the hair are behind the nose on each side

7 Re-draw a tiny section of the chin (the lower section of the egg-shape) inside the triangular section formed by the two lines below the nose

8 Add (or extend) two more lines to the outside of the previous two

These lines also begin at the point on the top of the head, and extend downward

9 Erase the original drawing of the egg-shape (except for the chin)

ILLUSTRATION 12-13 ILLUSTRATION 12-14

10 Extend the curved lines from the upper section

of the head, almost all the way down to the bottom of your drawing space

Observe, how the lines that are closer to the outer edges of the hair, curve in the same directions as your first outline of the hair

The closer the lines are to the center, the less they curve

The line in the very center is almost completely straight, except for a tiny curve at the bottom

ILLUSTRATION 12-15

HATCHING LONG HAIR

Curved hatching lines are perfect for creating

the texture of hair (and fur) This very simple

method of shading can produce a complete

range of different values

The light source in this drawing is coming

from the left Light affects the placement and

value of every section of shading Hence, the

values need to be slightly darker on the right

Different values are created by:

• Varying the density of the lines you draw

Density refers to whether the individual

hatching lines are close together or far

apart

• Varying the pressure used in holding your

pencils For light lines you press very

lightly with your pencil Press harder with

your pencil to make darker lines

• Using various pencils A 2H pencil gives

you lighter lines than 2B or 4B

11 Use your 2H and HB pencils to draw

the light values

All the lines are slightly curved

Remember, straight hair often follows

the form of a person’s head and looks

more realistic when you use curved lines

instead of straight

The hatching lines are several different

lengths and values The edges are not

abrupt stops, but rather feathered (or

ragged) to give a more realistic

appearance

The graduated shading lines vary from

very light to medium values Graduated

shading is a continuous progression of

graduated values from dark to light or

from light to dark

12 Use your 2B pencil to draw the hatching lines for the darker sections of hair at the top (Illustration 12-16) and middle (Illustration 12-17) of your drawing

ILLUSTRATION 12-16 ILLUSTRATION 12-17

The darker values in the hair are also of various lengths and values with raggedy endings

13 Continue using your 2B pencil for the lower sections of hair close to the bottom

14 Use your 4B pencil to add a few darker hatching lines at the very top and in a small section of the center sections

ILLUSTRATION 12-18 ILLUSTRATION 12-19

ILLUSTRATION 12-20

ADDING A SIMPLE FACE

This face will be EASY to draw! The eyes are hidden under the hair and the mouth is a tiny oval

15 Use a 4B pencil to shade in the tiny triangular shape under the chin

16 Add shading to the small areas of the face that are showing

Use a 4B pencil for the darker section above the nose The shading is dark below the nose, but gets lighter closer to the chin Use your 4B for the dark area and your HB for the lighter section

ILLUSTRATION 12-21

17 Use a 4B for the mouth

18 Add a full range of values

to the nose to transform a circle into a

three-dimensional sphere

Leave a small circular section white This is a highlight

The lighter values (created with an HB pencil), closer

to the highlight are close to the top and left of the nose The tiny glow on the lower right edge of the circle is the reflected light Leave this section lighter than the shadow section

Use your 4B pencil to add the darker shading The shading in the shadowed area of the nose looks like a backwards “C”

ILLUSTRATION 12-22

19 Step back from your drawing and have a look at the overall values

20 Add final touches to the shading on the hair, face and nose, if needed

You can make some areas of the face and nose lighter by patting with your kneaded eraser and others darker by adding more shading

You make sections of the hair darker by simply drawing more hatching lines where you need them

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

>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: 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