Drawspace A

ILLUSTRATED
DRAWING WORDS AND TERMS

Brenda Hoddinott
A-01 GETTING STARTED: This glossary provides definitions and illustrations of the artrelated vocabulary used throughout Drawspace lessons and articles.
OF
I tend to stay away from complicated and unnecessary words. However, knowing the meanings of fundamental terms is essential to the learning process. Becoming familiar with the vocabulary of drawing enhances your comprehension of the diverse articles and lessons throughout this website, and helps make your drawing experiences more pleasurable and less frustrating!
TALENT: is the first word an aspiring artist needs to know. Talent is the self-discovery and acknowledgment that you possess the interest and motivation needed to become exceptional in a specific area. To find out what a talented person looks like, go look in a mirror! With a personal commitment, patience, and dedication, you can develop your talent for drawing. 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.
This glossary is recommended for artists from age 10 to adult, as well as students of home schooling, academic, and recreational fine art educators.
DEFINITIONS FOR MORE THAN 130 TERMS AND WORDS
18 PAGES 88 ILLUSTRATIONS
Published by Drawspace.com, Halifax, NS, Canada 2006 (Revised 2010)
2
ACID-FREE: refers to a high-quality, long-lasting, and pH-balanced paper or board that has had the acid removed from the pulp in the paper-making process. Drawings can be ruined when papers with acid, deteriorate and turn yellow.
This photo shows various acid-free sketchbooks and drawing papers.
AERIAL PERSPECTIVE: also called atmospheric perspective, refers to the visual depth created by particles in the atmosphere. The farther objects and/or people recede into the distance, the lighter in value they seem to become, and their edges and forms appear more blurred. The trees that are farther away from the viewer become progressively lighter in value.
AGE PROGRESSION: refers to the art of rendering individuals older than they really are. AGE REGRESSION: is the art of rendering a person younger than her or his actual age. These drawings demonstrate a males age progression from infancy to old age. When rendered in reverse, from older to younger, the process is called age regression.
ANGLE LINES: occur when two straight lines meet (or join together).
Various types and sizes of angle lines can be used to draw various shapes, including squares, rectangles, and triangles.
BALANCE: is a stable arrangement of subjects and values within a drawing composition.
While the shapes of these two heads are different, they are balanced on opposite sides of the composition by their individual masses.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing lesson belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
3
BLENDING: is the process of rubbing shading lines with a blending tool (such as tissue or paper towel) to evenly distribute the drawing medium over the surface of the paper, thereby achieving a silky smooth graduation of values. This is a drawing before and after blending the shading with a tissue.
BULL'S EYE: is the center section of a drawing space. A composition usually becomes weak when the primary subject is drawn within the bull's eye. This cartoon face isnt very happy about being in the center of this rectangular drawing space.
CAST SHADOW: is a dark section on an object or/and surface that receives little or no light. The values of a cast shadow are darkest next to the object and become gradually lighter farther away.
CIRCULAR SHAPE: is a two-dimensional shape, created when the ends of a curved line meet, such as in the letter O. Circular shapes are the primary ingredients for outlining the forms of various objects and most living creatures.
These circular shapes were created when different types of curved lines met.
CLIPS: are used to securely clamp sheets of paper to a drawing board. When artists draw outdoors, they protect drawings from falling on the ground, or blowing away with a gust of wind. COMPOUND CURVE: is a term used to describe the line created when a curved line changes direction.
For example, think of the letter S or an open ended number 8.

4
COMPOSITION: refers to the arrangement of the various facets of a drawing subject within the borders of a drawing space. A strong composition brings the eyes of the viewer into what the artist considers the most important elements.
In this composition, the viewers eyes are drawn into the scene by the gentle s-curve of the river.
CONTOUR DRAWING: is a drawing comprised of lines that follow the contours of the edges of various components of a drawing subject. This contour drawing of a mouse is made up of curved contour lines. CONTOUR LINES: are formed when the shared edges of spaces and/or objects meet.
CONTOUR HATCHING: is a shading technique in which curved hatching lines follow the outlines, contours, and/or forms of the drawing subject, so as to accentuate the illusion of threedimensional reality. Contour crosshatching has two sets of curved lines crossing over one another. Contour hatching is invaluable for drawing hair or fur.
CONTRAST: is the comparison of different values when put beside one another, and is an invaluable tool for heightening the effects of composition. Low contrast has a limited range of values.
High contrast is created by drawing the darkest values, close to the highlights and lightest values. The profile of young mans face is accentuated by using a strong contrast of light and dark values.
CRANIAL MASS: often referred to as the cranium or skull, is the large upper section of the head.
The cranial mass of a baby is more than three times bigger than the face, whereas the cranial mass of an adult is only twice the size of the face.
5
CROSSHATCHING: is a shading technique in which one set of lines crosses over (overlaps) another set.
CURVED LINE: is formed when a straight line curves or bends (as in the letters "C" and "U"). DRAWING: is the application of a medium to a surface so as to produce an image that defines an artist's choice of subjects from his or her unique perspective.
Three butterflies demonstrate three different styles of drawing.
DRAWING PAPER: an acid-free paper, designed specifically for artists, comes in various colors, textures, and sizes. This photo shows drawing paper held firmly to a drawing board with a clip.
DRAWING BOARD: is a portable drawing surface, perfect for drawing on sheets of paper to protect drawings from becoming crinkled, wrinkled, or torn.
DRAWING SPACE: (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specific perimeter. It can be the shape of the paper or outlined by any shape you draw, such as a square, rectangle, or circle.
A long rectangular format is ideal for drawing the full body of a giraffe. A short rectangle and a square, work well for closer up views.
6
EAR: Drawing human ears is easier when you are familiar with the following five basic parts:
1. Outer rim is the long form along the outside edge of the ear that meets the earlobe at the lower section. 3. Small lobe is the tiny form over the frontal section of the opening to the ear canal. 4. Ear canal is the opening to the inner ear.
2. Inner rim is the smaller long form inside the ear that circles the rear of the opening to the ear canal.
5. Earlobe is the soft, fleshy, lower section of the ear. EASEL: is used to hold drawings (or paintings) securely in place as an artist works. It is often made from wood or metal and looks similar to a tripod in that it usually has three legs. The easel in this photo is holding a drawing board.
EYE: Refer to this numbered drawing to identify each of the following:
1. Eyebrow is an arch-shaped group of hairs, above the eye. 3. Upper eyelid is a movable fold of skin that opens and closes to protect the eyeball. 5. White of the eye (a section of the eyeball) is light, but not really white.
4. Inner corner is a small, reddish, triangular-shaped form in the inside corner of the eye, close to the nose. 6. Highlight is the brightest area where light bounces off the surface of the eye.
2. Upper eyelid crease is a fold in the skin, at the top of the eyeball, above the eye.
7. Eyelashes are fine hairs that grow from the outer edges of the upper and lower eyelids. 8. Pupil of an eye is the darkest circular shape, within the iris, that adjusts its size under different lighting conditions. 9. Iris is the colored circular section of the eyeball surrounding the pupil. 10. Lower eyelid is the fold of skin that protects the lower section of the eyeball.
7
EYEBALL: commonly referred to as the white of an eye, is the fragile sphere nestled safely inside a protective bone cavity of the face, called the orbital cavity.
2. Frowner muscles are between the eyebrows and extend from the bridge of the nose upward and outward in a fan shape. Their movements contribute to the facial expressions of sadness, fear, concentration, anxiety, and anger. 3. Eyelid-lifter is a tiny muscle in each upper eyelid that controls the up and down movements of the upper eyelid to open and close the eyes. 4. Eye-squeezer muscle is a large oval-shaped muscle mass, surrounding the eye and extending onto the upper section of the cheek. The various sections can work independently or together to show happiness, stress, anger, and pain. 5. Lip-raiser muscles extend from above the outer mouth area, directly upward on the cheek in a fan shape. The movement of the upper lip displays disgust, devastation, despair, and sneering. 6. Smiling muscles run from the corners of the mouth back toward the ears, and contribute to the happy expressions of smiling, laughing, giggling, and grinning. 7. Speaking muscles encircle the mouth, and work with other muscles to give the mouth its movements when talking and helps create the expressions of anger, surprise, and sadness. 8. Sadness muscle extends from the corners of the mouth downward, and contributes to such facial expressions as grief, sadness, and frowning. 9. Pouting muscle pushes the center of the mouth upward, resulting in a raised and puckered chin.
FACIAL MUSCLES: Ten major facial muscles can create an infinite range of facial expressions. 1. Eyebrow-lifter muscle is a wide flat muscle, with two independent halves, that runs vertically across the forehead. It helps create the expressions of surprise, sadness, and fear.
10. Lip-stretcher muscles pull the lips horizontally back on the face in such extreme expressions as devastation, terror, or intense anger.
8
FACIAL GUIDELINES: sometimes called proportional guidelines, identify the placements of all aspects of diverse human faces within generic spaces.
Vertical and horizontal guidelines mark the locations of an adults facial features.
An adult face represents only half of the total mass of the head.
FACIAL MASS: also called the face or facial area, refers to the frontal lower section of a human head.
FOCAL POINT: is a term used to identify the most important elements in a drawing.
Primary focal point is the most important center of interest (or focus) in a drawing. For example, in a drawing of an animal, it may be the eyes, the entire face, or a whole section of the body that is especially fascinating. Secondary focal point(s) is a center of interest in a drawing composition that is significant but not as important as the primary focal point.
In this cartoon, the very happy primary focal point takes center stage, while the disgruntled secondary focal points look on.
FORESHORTENING: describes the visual distortion of a person, animal, or object when viewed at an extreme angle.
As the angle of viewing of these boards becomes more extreme, the level of distortion becomes more pronounced.
FORMS: are created in drawings by adding shading to transform a shape into threedimensional structures, such as a circle becoming a sphere.
9
GESTURE SKETCH: uses simple sketching methods to capture the past, present, or potential movements of living beings.
These simple sketches capture my grandson, Brandon, in motion.
GOLDEN MEAN: refers to a precise composition devised by the ancient Greeks, and based on the division of what they deemed as a perfect rectangle, into three triangles. GRADUATION: is also called graduated shading or graduated values, and is a continuous progression of values, from dark to light or light to dark. The goal of graduated shading is to keep the transitions between the different values flowing smoothly into one another, as in this illustration.
GRID: is a precise arrangement of a specific number of squares, of exact sizes, proportionately drawn on both a photo and a drawing surface. A grid can help render the precise proportions of the cartoon snake in this sketch.
HATCHING: is a series of lines (called a set) drawn closely together to give the illusion of values.
The individual lines in hatching sets can be either far apart or close together.
HIGHLIGHT: identifies the brightest area of a form where light bounces off its surface; usually the section closest to the light source. On this section of a sphere, the highlight is left the white of the paper.
10
HORIZON LINE: is an element of perspective, also known as eye level that refers to an imaginary horizontal line that divides your line of vision when you look straight ahead. Your eye level always stays with you wherever you move. The horizon line is drawn parallel to the upper and lower sides of a square or rectangular drawing space. IN-HOME STUDIO: is a personal drawing place within an artist's home, which has adequate space for the artist and his or her art supplies. It can range from a corner of the kitchen table to a large professional fully equipped art studio.
My favorite part of my studio is the view of my back yard.
KNEADED ERASER: is a versatile, soft, pliable eraser, used to erase parts of a drawing or to make a section lighter. Its tip can be molded to a point (or wedge) to erase small sections of a drawing, or to draw fine lines on a surface, covered with a drawing medium, such as graphite. KEY: refers to the overall amount of light and dark values in a drawing. Low-key drawings (think of low levels of light) have a range of mostly dark values and tend to be ominous or moody. Except for sections of the face, this low key drawing of a man has mostly dark values. High-key drawings (think of high levels of light) can have either a full or limited range of values that are mostly light. Even the shadows and dark areas are often shaded with medium values rather than extreme darks.
Only the pupils of the eyes are dark in this high key drawing of a young girl.
11
LIFE DRAWING: refers to the process of drawing from an actual object or living being, rather than a photo or sketch.
Charcoal is a wonderful medium for sketching human figures.
The fur of this line drawing of a koala bear looks furry.
LINE DRAWING: is rendered with straight, angle, and/or curved lines so as to outline various aspects of the subject such as shapes, forms and/or textures.
LINES: visually separate and/or define the forms of the various components of a drawing subject.
All lines in this drawing can be categorized into one of three types: straight, angle, or curved.
LIGHT SOURCE: is the direction from which a dominant light originates. A light source identifies the light and shadow areas of a drawing subject, so artists know where to add different values. In this cartoon, drawing the light source is from the upper right.
MECHANICAL PENCILS: are an alternative to pencils that need to be sharpened, and can hold various grades of graphite from hard to soft. They come in different sizes: 0.3 mm pencil allows you to render very detailed drawings, 0.5 mm pencil is great for regular drawings, and 0.7 or 0.9 mm are ideal for sketching loosely on a large surface. NEGATIVE SPACE: refers to the background around and/or behind a drawing subject such as objects, people, or animals. The black space around this swan and its reflection in the water is considered negative space.
12
NOSE: Refer to the numbered drawing and identify each of the various parts of a human nose:
1. Bridge (sometimes called the nasal bone) is the section of the nose where the upper bony section joins the cartilage. While barely visible on young children, the bridge on an adult nose often protrudes as a noticeable bulge or bump.
2. Ball (also called the tip) refers to the central rounded form on the lower half of the nose. 3. Wings are two soft, rounded (often triangular shaped) forms extending from the sides of the ball of the nose. 4. Nostril is the opening on the lower section of each side of a nose.
Noses come in many shapes and sizes. Upturned noses (see the first drawing) angle upward and the ball is higher than the wings. The ball and nostrils of straight noses (the middle drawing) line up horizontally with the wings. On down-turned noses (the third drawing) the ball is lower than the wings creating a downward angle.
5. Base of a nose (also called a septum) is in between the nostrils and connects with the lower face above the upper lip.
OVERLAPPING: refers to a technique for creating the illusion of depth in a drawing by drawing a subject so it visually appears to be in front of another (or others). A drawing space can be separated into foreground, middle ground, and distant space by overlapping (or layering) objects in front of one another.
In this cartoon of overlapping happy faces, 1 is in front of 2, and 3 is behind 2.
PATTERN: refers to the different values (or colors) of the drawing subject, represented in a drawing, by lines or shading. Sight alone identifies patterns. The pattern of fur on a zebra is striped; however the texture is furry.
13
PERSPECTIVE: is a visual illusion in a drawing in which objects appear to become smaller, and recede into distant space, the farther away they are from the viewer. The railings and boards of the deck appear to become progressively smaller the farther away they are.
PERSPECTIVE LINES: are straight, angular lines (invisible in real life), which extend from the edges of subjects back to a vanishing point(s) on the horizon line. Perspective lines, drawn from the edges of each cube to the vanishing point, create the illusion that the cubes are floating in the air like helium-filled balloons. PORTFOLIO CASE: is a hard-sided case used to keep drawings safe from being wrinkled or damaged. Portfolios come in many different sizes and types, ranging from simple inexpensive cardboard to high quality expensive leather. A portfolio case can be easily made from two pieces of cardboard or foam core.
POSITIVE SPACE: refers to the space occupied by the drawing subject and/or its (or his or her) various parts.
The silhouette of the swan and its reflection in the water represent positive space.
PROPORTION: is the relationship in size of one component of a drawing to another or others.
These four cartoons need to be drawn proportionately correct in order to accurately represent their various shapes and sizes.
14
REFLECTED LIGHT: is a faint light reflected or bounced back on an object from those surfaces that are close to and around it.
Refer to the thin section of light shading (marked RL) along the lower edge of a sphere.
RESOURCE FILES: are a collection of articles, photos, and information used by artists as references for drawing.
Three-ring binders work well for organizing small drawings and photos, which have been inserted into plastic sheet protectors.
ROUGH SKETCH: is a quickly rendered drawing that illustrates the important elements of a subject with very few details. A few simple, quickly-rendered lines capture the gestures of three figures.
The points, where the perpendicular lines intersect, identify four ideal locations for the most important components of a composition.
RULE OF THIRDS: is a simplified variation of an old traditional compositional formula known as the golden mean.
SANDPAPER BLOCK: is a tool with tear-off sheets of fine sandpaper used for sharpening only the points of pencils; hence, pencils wont wear down as quickly as with pencil sharpeners. SETS OF LINES: are created when several individual lines are grouped together to create shading. For example, in this drawing, crosshatching is used to create a variety of shading techniques.
15
SHADING: (noun) refers to the various values in a drawing that make images appear three-dimensional; (verb) the process of adding values to a drawing so as to create the illusion of texture, form and/or three-dimensional space.
The shading of this cartoon is rendered with hatching graduations.
SHADING MAP: (also called a value map), is a plan (or blueprint) for adding shading to a drawing. The locations and sizes of the shapes of various values are identified and lightly outlined. Outlines identify the locations of dark and light spots on a furry texture.
SHAPE: refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Examine the six circular shapes on the left.
SHARPENER: A tool for sharpening pencils. An ideal choice is a simple, inexpensive, sturdy, hand-held type, preferably with two openings for regular and oversized pencils. SKETCH: (noun) is a simple drawing that captures the integral aspects of a subject quickly and efficiently; (verb) refers to the process of rendering a sketch. Squirkling: is an easy method of shading, in which randomly drawn curved lines (called squirkles) combine squiggles and scribbles with circles to create textured values.
16
STRAIGHT LINES: can be thick or thin, long or short, and drawn in any direction. Each is classified as either horizontal (level and at a right angle to vertical lines), vertical (straight up and down and at a right angle to a horizontal lines), or diagonal (slanting or sloping at an angle). SYMMETRY: is a balanced arrangement (sometimes referred to as a mirror image) of lines and shapes on opposite sides of an often-imaginary centerline. TEXTURE: refers to the surface detail of an object in a drawing. The properties of a texture are identified with vision, a sense of touch, and a general knowledge of the subject. Rough refers to surface features that feel uneven, irregular, or jagged, such as the bark on a tree. Furry, fuzzy, and fluffy depict a surface texture such as animal fur. Additional descriptors include striped or spotted, soft or coarse, long or short, thick or thin, or curly or straight.
Matte is dull and lusterless and often has additional characteristics, such as smooth or rough. Many fabrics, rocks and stones, and unfinished wood, have a matte texture. Shiny has highlights reflecting off the surface. Shiny objects can be glossy or highly polished, such as the surfaces of crystal, a diamond, a shiny new penny, or polished brass.
Smooth Texture: has little or no surface features. When you run your hand over a smooth surface, you feel no unevenness or roughness.
THUMBNAIL SKETCH: a preliminary sketch rendered before an artist begins a drawing, is designed to work through potential problems with composition, values, perspective, and proportions.
The thumbnail sketch on the left was created prior to rendering the drawing on the right.
17
TOOTH: refers to the surface texture of paper, which can range from silky smooth to very course. The more tooth a paper has, the rougher it feels to the touch. TORSO: also called the trunk, is the primary structure of a human body to which is connected the head, arms, and legs.
This drawing shows frontal and posterior views of male and female torsos.
VALUES: are the different shades of gray created in a drawing by various means.
VALUE SCALE: refers to the range of different values from light to dark or from dark to light. VANISHING POINT: is an imaginary point (marked VP in this drawing) on the horizon line where perspective lines seem to converge. VIEWFINDER FRAME: is an adjustable, see-through drawing format, which allows artists to examine a potential drawing subject from various viewpoints, and is a priceless tool for planning a composition. VINYL ERASER: is an artistic tool used for erasing sections of drawings and/or drawing crisp light lines and fine details on a surface covered with a drawing medium, such as graphite.
As you can see in this illustration, a vast selection of vinyl erasers is available.
18 WARM FUZZIES: are words of encouragement or affirmations either given or received. They represent something unique to everyone and live wherever kindheartedness dwells.
BRENDA HODDINOTT
As a self-educated teacher, visual artist, portraitist, forensic artist (retired), and illustrator, Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint.
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<
Brenda is the author of Drawing for Dummies (Wiley Publishing, Inc., New York, NY) and The Complete Idiots Guide to Drawing People (Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education Macmillan, Indianapolis, IN). She is currently writing two books on classical drawing.
In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time writing books and developing her website (Drawspace.com). This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world
During her twenty-five year career as a self-educated civilian forensic artist, various criminal investigation departments have employed Brendas skills, including the Royal Canadian Mounted Police. 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.
Born in St. Johns, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong drawing and painting skills through self-directed learning.
Brenda Hoddinott
A-02 GETTING STARTED: This inspirational article provides insights into myths surrounding art and artists, and is divided into the following sections: Thankfully, nobody ever told me I couldnt draw. Talent is a word often misunderstood. Individuals progress at their own special pace. Talent must be nurtured and developed. Almost everyone can learn to draw. Drawing means something different to everyone. The joy of drawing is in the process not the product. Drawing is seeing. The act of drawing produces a physical reward, art. Draw in a way you really love. You have already taken the first step! Art has become very accessible in recent years
This article is recommended for artists of all ages and abilities, as well as home schooling, academic and recreational fine art educators. Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada Revised 2005
2 Thankfully, nobody ever told me I couldnt draw. As an introverted child, I was oblivious to the meaning of the word talent. I discovered drawing could entertain me for hours and provide me with something everybody needs, a sense of being special. The respect and praise of a friend, parent or teacher gave me a boost of selfconfidence, which enhanced my desire to constantly improve my skills. Growing up in the small town of Corner Brook, Newfoundland, presented the challenge of accessing information necessary to improve my drawing skills.
ILLUSTRATION 02-01
I was an avid reader and loved visiting our public library, in which I spent many hours devouring everything I could find about art, from childrens picture books to encyclopedias with photographs of art by the Great Masters. I was rarely without inspiration or subject material for my drawings. My greatest love was drawing faces. I thrived on the challenge of being able to draw likenesses of friends and celebrities, and it was this early interest in faces, which ultimately brought me beyond the frustrations of self-education, to a very rewarding career in art. By the time I discovered that many people believed drawing to be very difficult or required a special talent, I was already well on my way to becoming technically skilled. As a young artist of fourteen (after several years of teaching myself) I drew this little girl and her doll. Talent is a word often misunderstood. Talented artists are often presented to us through movies, television, and media as magical, illusive, and mysterious eccentrics. In the art world, you sometimes hear the media hailing such things as human excrement, or random blobs of paint on a canvas, as great works of art. If youre anything like me, you struggle to understand these artworks. Youre often left scratching your head, amused yet puzzled. The critics encourage you to believe that these artworks are the result of extraordinary talent. No wonder so many people believe that talent itself is magical, elusive, and not within the grasp of mere mortals, such as us! However, even the bizarre or zany stuff is usually great for a few giggles.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
3 There will always be artists who prefer to rely on shock to achieve recognition. But, the general population seems to respect artists who demonstrate strong technical skills in their style (or styles) of choice, representational, impressionistic, or abstract. Talent is actually the self-discovery and acknowledgment that you possess the interest and motivation needed to become exceptional in a specific area. Individuals progress at their own special pace. In fact, drawing is as natural a human activity as learning to walk or talk. From the ancient caves of pre-historic humans to the tombs of Egyptian and Native peoples all over the world, we have found evidence that humans used art to communicate and immortalize events and objects precious to their lives and cultures. The creators, of these ancient artworks, were probably not disparaged by self-doubt. They made art because it was the natural thing to do. From the beginnings of history to modern day, prodigies have been considered as persons who acquire a special ability with little effort. Talent is understood by many to only include these people. However, most prodigies, from a very young age, obsessively work to develop their skills. By continuing to challenge themselves, they discover their ability to transcend to extraordinary levels of technical competence. You are a unique individual with diverse abilities. Be patient with yourself. Your drawing skills develop over time. If your dream is to be a talented artist, you need to be true to yourself. Hard work, patience and devotion inevitably challenge a mediocre artist to become an exceptional artist. Talent must be nurtured and developed. Sadly, the world is full of talented people who never pursue that which they love, because they understand talent to be some magical elusive quality. Many people arrive at the conclusion that talent is only available to individuals who were born with it. I disagree. I wasnt born an artist. With various books I taught myself how to draw and so can you! Continue to explore and nurture your desire to draw. We all possess talent. Almost everyone can learn to draw. Most individuals are capable of developing superior skills in specific areas. Many persons, including individuals challenged by visual, physical and mental limitations, enjoy drawing. The drawing techniques presented in my books and CD-ROMS require only two abilities, the ability to see, and some way to hold a pencil. Luckily, I can see and have hands. Some people without hands have become successful artists by accepting the challenge of using their mouth or feet to hold their drawing tools. If you have some vision and a way to hold a pencil, the only obstacle left is making a commitment. With a better understanding of talent and ability, you begin to recognize that drawing can be one of your special skills.
4 Drawing means something different to everyone. You could look up the definition of drawing in a dictionary or even create your own nonspecific definition such as: Drawing is the applying of an art medium to a surface so as to produce a visual image. These words dont define drawing as it personally relates to you. What comes into your mind when you think of the word drawing? How do YOU define this word? Put on your thinking cap for a moment, and finish the following sentence. To me, drawing is.. You can learn to draw. With interest, patience and commitment, you can become as good at drawing as you wish. The most important thing is that you are actually drawing, making art, and communicating through and nurturing the artist within. The joy of drawing is in the process not the product. Drawing adds a new and exciting activity to your life. The joy and personal satisfaction of creating a drawing is both your incentive, and reward. The process of discovering this ability is enriching to all aspects of your life. The drawing process enhances many aspects of human development. As a means of expressing yourself, the language of art is a relaxing, stimulating and productive communication. Your drawings illustrate your personal perceptions. Drawing challenges you to communicate what you see into a non-verbal language. With only a few supplies and some basic skills, you soon find yourself taking pride in your new achievements. Drawing is seeing. Through your own eyes, as an artist, you appreciate everything around you from new perspectives, wherein you visually explore with a whole new purpose, discovering drawing subjects! Drawing is more than simply rendering a specific object. It visually defines your choice of drawing subjects from your own unique perspectives. No other person in the whole world is exactly like you. The act of drawing produces a physical reward, art. It really doesnt matter why you draw or who sees your drawings. Maybe you hope to one day publicly exhibit your drawings. Or, you may choose to only share them with family and friends. You also have the option of keeping them all to yourself. Your drawings serve as a journal of your artistic journey. For example, have you ever thought about writing a book? Use your own drawings to illustrate your literary art. You can use your drawings to decorate your surroundings with a personal touch. Have some of your drawings framed and hang them in your home or workspace.
5 Family, co-workers, and friends often become quite fascinated by your artistic creations. Dont be surprised if they soon request some of your drawings for their own homes. Of course, this is a good time to encourage them to take up drawing themselves. ILLUSTRATION 02-02
In this illustration, you see one of my many current styles of drawing. I have no names or labels to identify my styles. I simply enjoy drawing in various ways.
6 Draw in a way you really love. Every artist seems to have a unique approach to drawing. Some love big bold loose drawings, while others like little tiny drawings with lots of intricate details. Deciding which style applies to a specific drawing is not easy. Many artists choose to not label their drawings at all. Your personal style evolves each time you attempt new and diverse methods of drawing. Keep an open mind while carefully noting which of your drawings you prefer. Styles are neither right nor wrong they just are. With time, your style (or styles) develops all by itself. You have already taken the first step! In that you are reading this, you are already on your way to becoming an artist. Perceived personal limitations are not obstacles. Your only challenge is making a commitment. For most of my adult life, I have chosen to share my love of art with both children and adults by teaching art. Today I am blessed with the commitment and technology to bring my knowledge and love of drawing to you from my web site at: www.finearteducation.com or www.drawspace.com Whether it is your desire to learn the very basics of drawing or to improve the drawing skills you already have, my classes will hopefully have something of interest to you. Art has become very accessible in recent years Vast art resources are available through galleries, the Internet, art books, and possibly even within your own community. With careful observation of the drawings of other artists, you gain invaluable information, which you can apply to your own drawings. Take time to examine, and appreciate a diverse range of art and artists. Investigate and participate in some of the wonderful drawing e-groups, where international artists share tips, critique one anothers works, and openly discuss various art techniques and art resources. Check out your local community based educational facilities and recreational centers, for drawing programs in your area. You can always benefit from drawing classes and workshops. You meet others within your community who also want to improve their drawing skills, techniques and styles. As you uncover local art resources, you meet diverse artists, and have opportunities to become involved in art groups. Many art groups organize incredible workshops, taught by prominent artists, and the camaraderie and enjoyment is well worth your time. With an interest in self-expression, you CAN develop exceptional drawing skills.
7 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, cont crayon, and oil paints.
>Brenda Hoddinott<
Born in St. Johns, 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 Brendas twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brendas 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 communitys recreational art department, Brenda hired and trained teachers, and designed curriculum for several childrens 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 Idiots 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.
BUYING DRAWING
Brenda Hoddinott
A-03 GETTING STARTED: With so many different products available, it's easy to feel overwhelmed. Actually, you need very little to get started! This article offers practical guidance for buying drawing materials. This article discusses the following: DRAWING BOOKS AND PAPERS: Experiment with a broad range of different types of sketch books and drawing papers. PENCILS AND OTHER DRAWING MEDIA: Some types of drawing media are very similar and others are quite unique. SOME OTHER MEDIA TO CONSIDER: As your skills improve, you may want to add to your selection of drawing materials. PORTFOLIO CASE: You need a hard-sided case to keep your drawings safe. TOOLS FOR ERASING: Vinyl and kneaded erasers are incredibly effective. TOOLS FOR SHARPENING: If you use any type of pencil media, you need a pencil sharpener. TOOLS FOR BLENDING: Blending tools distribute the drawing medium over the surface of the paper, to achieve a silky smooth graduation of values. SKETCHING WITH PAPER ON A DRAWING BOARD: A portable surface is perfect for drawing with sheets of paper. ADDING TO THE BASICS: In addition to the basics, you may want to check out other drawing supplies.
INTRODUCTION
With so many different products available, it's easy to feel overwhelmed. Actually, you need very little to get started! This article offers practical guidance for buying drawing materials. You could probably find a few pencils and sheets of paper lying around your home. However, keep in mind that they may be designed for purposes other than drawing. You need to begin your drawing journey with professional materials that are designed specifically for artists. As with most activities, the better your tools the happier youll be with the outcomes.
ILLUSTRATION 03-01
Even though you may be able to economize on some drawing materials, dont try to scrimp and save money on the three most important items sketchbooks, pencils, and erasers. Plan to go shopping at a reputable art store and buy the best quality you can comfortably afford. Time to make your shopping list! The old expression You get what you pay for definitely applies to art supplies.
DRAWING BOOKS AND PAPERS

Treat yourself to the luxury of experimenting with a broad range of different types of sketch books and drawing papers. Check out various art supply and stationary stores, and some department stores and purchase the best quality that you can afford. Make sure the actual paper is acid-free, or your drawings will deteriorate quickly. DRAWING BOOKS (SOMETIMES CALLED SKETCHBOOKS) Even though soft-covered sketchbooks are usually less expensive, drawings may easily become crumpled and damaged. A hard cover sketchbook is much more durable, and protects your treasured masterpieces from being ruined. If you happen to like drawing outside, away from a table, youll really come to appreciate the hard covers as a solid surface on which to draw. Choose a size that is easy to transport when you travel. Stay away from sketchbooks under 9 by 12 inches or your drawing options for composition and subjects will be too limited.
3
ILLUSTRATION 03-02
DRAWING PAPERS Drawing papers come in oodles of colors, textures, and sizes. Go to a good art supply store, purchase several different types, and then try sketching on each until you discover your favorites. Tooth refers to the surface texture of paper and can range from silky smooth to very course. The more tooth a paper has, the rougher it feels to the touch. Some artists like smooth paper, and others prefer rougher, more heavily textured paper. Consider the qualities of the following three types of paper:
ILLUSTRATION 03-03
This close-up of shading was rendered with a 6B pencil on smooth, fine-tooth paper. Fine tooth paper often feels velvety smooth to the touch and is perfect for rendering fine textures with hatching, crosshatching and/or squirkling. A word to the wise: stay away from papers with a really glossy surface! If the papers surface is too smooth, the graphite simply wont stick very well, and its darn near impossible to render medium and dark values.
4
ILLUSTRATION 03-04
Shading with a 6B pencil on medium-tooth sketchbook paper created this wonderful delicate texture. Medium tooth papers are ideal for most portrait drawings and work beautifully for rendering a full range of values from light to dark. The surface allows you to easily create diverse textures. Many artists prefer a medium tooth drawing surface in that its somewhere in between smooth and rough.
ILLUSTRATION 03-05
The peaks and crevices of rough watercolor paper helped create this textured shading. Coarse, highly textured paper holds graphite very well. Some really great textures appear when the peaks of the paper grab the graphite and some of the crevices show through as white.
PENCILS AND OTHER DRAWING MEDIA

Artists have been drawing with graphite for centuries and even today it remains the most popular drawing medium. It has withstood the test of time for permanence, and lends itself beautifully to all styles of drawing. Some other types of drawing media are very similar and others are quite unique. For example, a drawing done with charcoal looks completely different than one done in graphite or pen. Media such as colored pencils, cont crayons, and pastels present you with the challenge of combining values with colors.
ILLUSTRATION 03-06
5 GRAPHITE (SOMETIMES CALLED LEAD PENCIL) Pencils are your most important drawing tools, so buy the highest quality you can afford. Inexpensive graphite may work well for writing, but are often poor quality and can sometimes scratch your drawing paper instead of going on smoothly. A big ugly scratch mark right smack dab in the middle of smooth shading can be incredibly annoying and frustrating. Graphite comes in various grades and beginners only need a few different pencils. Generally speaking, H pencils work beautifully for light and middle values, and B pencils are best for middle and dark values. When you use a combination of both H and B pencils you can easily create a full range of values in your drawings. Choose a selection of both H and B pencils, such as 2H, HB, 2B, 4B, and 6B. 2H is the lightest (hardest), and the 6B is the darkest (softest).
ILLUSTRATION 03-07
6H
5H
4H
3H
2H
HB
ILLUSTRATION 03-08
2B
3B
4B
5B
6B
7B
8B
Mechanical pencils are a fantastic alternative to pencils that need to be constantly sharpened. They can hold various grades of graphite from very hard to soft and come in different sizes, such as 0.3, 0.5, 0.7 and 0.9. A 0.3 mm pencil allows you to render very detailed drawings, a 0.5 mm pencil is great for regular drawings and 0.7 or 0.9 mm mechanical pencils are ideal for sketching loosely or drawing on a large surface (or both).
SOME OTHER MEDIA TO CONSIDER

As your skills improve, you may want to add some of the following to your selection of drawing materials: Chalk pastels come in tons of wonderful colors, and can be layered and blended to build up a paint-like quality in a drawing. Charcoal offers beautiful rich intense blacks that work brilliantly for sketching. However, keeping your sketches clean as you work can be challenging in that charcoal is messy and easy to smudge. On the up side, charcoal blends beautifully because of its soft texture, is available in both pencils and sticks, and come in various grades from hard to soft. Cont is similar to charcoal, is also available in either pencils or sticks, and comes in black, white, and gray, as well as a gorgeous range of rich earth tones, such as browns and sepias. Colored pencils (also called crayon pencils or crayons) have become very popular and highly respected over the past two decades. Painting with colored pencils involves dry mixing by layering colors on top of one another. Colored pencils rarely smudge, but they dont blend very well and are difficult to erase. You can purchase colored pencils individually or in sets, and they come in tons of different colors. Stay away from cheap colored pencils. Theyre much too waxy to blend and they fade very quickly. Pens and markers have become very popular as drawing tools in recent decades, and are relatively inexpensive. They work beautifully for various cartooning styles, such as Manga.
PORTFOLIO CASE
You absolutely must have a hard-sided case in which to keep your completed drawings safe from being wrinkled or damaged. You can purchase many different sizes and types of portfolio cases ranging from simple inexpensive cardboard to high quality expensive leather. You can even make your very own unique portfolio case (Refer to Lesson A-05: Making a Portfolio Case).
TOOLS FOR ERASING

Vinyl erasers are gentle to the surface of your paper, and are incredibly effective for both artistic uses (such as pulling light sections from a layer of graphite or charcoal) and reparative needs (such as erasing complete sections of a drawing). If you need to erase very tiny details, you can cut off a small slice of a vinyl eraser with a utility knife. For erasing small sections of a drawing try a pencil type of vinyl eraser (for which you can buy inexpensive refills). If you arent familiar with art erasers, have a salesperson help you. Kneaded erasers are a real joy to work with in that they don't leave annoying eraser crumbs on your paper, and can easily be molded to a point or wedge for erasing or lightening sections of drawings. You can either pat or gently rub the surface of your paper to make a section of shading lighter. Your kneaded eraser can be easily cleaned by simply stretching and reshaping (also known as "kneading") it several times until it comes clean. However, eventually kneaded erasers get too dirty to work well, so pick up some extras.
7
ILLUSTRATION 03-09
TOOLS FOR SHARPENING

If you use any type of pencil media, you need a pencil sharpener. Stay away from fancy, batteryoperated, or expensive sharpeners. Instead, choose a simple, inexpensive, sturdy, hand-held metal pencil sharpener, preferably with two openings for regular and oversized pencils. They seem to last forever, especially when you buy replacement blades for them at art supply shops. Also pick up a few sandpaper blocks, with tear-off sheets designed to sharpen just the pencil points; hence, the wooden sections of your pencils wont wear down as quickly.
ILLUSTRATION 03-10
TOOLS FOR BLENDING

Blending is the process of rubbing shading lines with a blending tool (such as tissue or paper towel), to evenly distribute the drawing medium over the surface of the paper, to achieve a silky smooth graduation of values. Choose blending tools that are clean, and experiment with colored items (such as fabrics) before you use them, to make sure they dont leave dyes on your drawing surface.
8 Consider a few of the following blending tools: Blending stumps (or tortillons) are tightly wound sticks of paper with points on both ends. Check out the various sizes and types available in art supply stores. Chamois is a soft fabric found in many grocery and department stores, and is ideal for creating a silky smooth texture. Cotton balls work well for blending large sections of your drawings. Facial tissues are great for blending soft pencil strokes. Felt creates different textures for various subjects, and is usually found in department or craft supply stores. Select white so colored dyes dont spoil your drawings. Make-up wedges are ideal when your goal is very smooth blending. You can find them in cosmetic sections of department or drug stores. Paper towels are durable and work well for various blending applications. Q-tips work beautifully for blending tiny detailed sections of drawings.
ILLUSTRATION 03-11
SKETCHING WITH PAPER ON A DRAWING BOARD

A portable drawing surface, such as a drawing board is perfect when you draw with sheets of paper and dont want your drawings to end up all crinkled, wrinkled, or torn. Many art supply stores sell different types in various sizes, and they are relatively inexpensive. As a matter of fact, if you (or someone you know) are handy with tools, you can very easily make your own drawing board. Simply cut a piece of smoothly finished, thin plywood to a size slightly larger than your favorite drawing paper. Use a fine sandpaper to sand it until its surface and edges are very smooth.
9
ILLUSTRATION 03-12
When you draw outside, a drawing board is a great alternative to a hard covered sketchbook. Of course, you need to find a way to tape or clamp the sheets of paper to the drawing board, so they dont fall on the ground or blow away with a gust of wind. I personally prefer Boston Bulldog clips (available in various sizes at most art supply stores). Be aware that some types of tape can damage or tear your paper, so visit an art supply store and choose a special tape that is specifically designed for this purpose.
ADDING TO THE BASICS

When you wander through the labyrinths of art supply stores, resist the temptation to pick up a bunch of stuff you really dont need and may never use. However, in addition to the basics already discussed in this article, you may want to check out the following drawing supplies that I use on a regular basis: Knife: A utility knife with replaceable snap-off blades can cut your drawing paper much straighter and neater than if you use scissors. Easel: An easel is a great alternative to propping up your drawing board on your lap, or against a tree. Check out various types and sizes in art supply stores. Spray fixative: A spray fixative, designed specifically for graphite and other drawing media, can protect your completed drawings from being accidentally smudged. However, keep the following in mind before you use a spray fixative: Make sure you read the directions carefully. Spray only in a well-ventilated area (such as outdoors). Two or three thin coats are better than one thick coat (less is more!). Don't use a spray fixative on your unfinished drawings, because you may no longer be able to erase a problem area. You may find it very frustrating to draw over top of a sprayed surface; the spray changes the texture of the paper, so the graphite doesn't adhere properly. Pencil case: A large zippered pencil case can keep all your small drawing supplies, such as pencils and erasers, together in one place.
10
ILLUSTRATION 03-13
Ruler: A ruler comes in handy for drawing grids, outlining drawing spaces, and as a guide for cutting straight pieces of drawing paper with a utility knife. A metal ruler with a beveled edge may be a little more expensive than some others, but will last longer, is easier to clean, and is less likely to smudge your drawing as you work.
Three-ring binders are absolutely fantastic for organizing art files, small drawings, and reference materials. I simply punch holes in text sheets and file them away in binders. Small drawings and photos are inserted into plastic sheet protectors, which are specifically designed for three-ring binders. Supplies for this type of file system are available in most department, stationery, and business supply stores.
ILLUSTRATION 03-14
Have some fun wandering through various art stores, and check out the different drawing materials and new and innovative products currently available. However, keep in mind that you don't need to spend a lot of money on supplies to learn how to draw well.
11
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, cont crayon, and oil paints.
>Brenda Hoddinott<
Born in St. Johns, 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 Brendas twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brendas 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 communitys recreational art department, Brenda hired and trained teachers, and designed curriculum for several childrens 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 Idiots 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.
CREATING YOUR OWN
Brenda Hoddinott
A-04 GETTING STARTED: With the increased popularity of home based computers, a renaissance of classical drawing endeavors, and a resurgence of art-based businesses, comes an exciting and virtually limitless choice of options for furnishing an in-home art studio. In this 4-page article, I offer numerous suggestions for setting up your own in-home studio or expanding your current workspace, as well as ideas for planning and packing a portable studio for taking your art outdoors or traveling. The following topics are discussed: CHOOSING A STUDIO SPACE SHEDDING LIGHT ON YOUR ART CHOOSING A DRAWING SURFACE SELECTING STUDIO FURNISHINGS PUTTING TOGETHER A PORTABLE STUDIO
CHOOSING A STUDIO SPACE

With the onset of home based computers, a renaissance of classical drawing endeavors, and a resurgence of art-based businesses, came an exciting and virtually limitless choice of options for furnishing a home art studio. With a little innovative thought, you can easily find some sort of space in your home for your creative activities. When you consider potential locations for your studio, take your surroundings into account, such as its proximity to your computer, phone, and windows. Your special artistic place should also be peaceful and free of distractions. Consider the following three options: A CREATIVE CORNER: You can easily turn an unused corner of any room into a drawing space. If friends or family use the same space, compromises, careful planning, and respect are critical. Choose a drawing time that provides minimum inconvenience for others. SETTING UP A SMALL STUDIO SPACE: If you are blessed with a room of your own, it will be even easier to create a small personal studio in a corner of this room. TRANSFORMING A ROOM INTO AN ART STUDIO: With a serious commitment to drawing, and ample space in your home, comes an opportunity to set up a fully equipped art room. An in-home studio provides privacy and a very special personal space you can design and tailor to suit your needs. Be creative! You will enjoy customizing a drawing space to meet your individual needs. Make it a place in which you will enjoy spending time. Look through some decorating books and magazines for potential options for customizing your very own drawing space. Visit some furniture, stationery, art supply, business, and department stores.
SHEDDING LIGHT ON YOUR ART

To see your drawings properly, and prevent your eyes from becoming tired or strained, always make sure you have adequate lighting. Consider a natural light source from a window in the daytime and from artificial light on overcast days and during evenings. In addition to utilizing available light sources, you also need a flexible-neck study lamp to focus light directly on your drawing surface. Try and stay away from florescent lighting as it may cause eye fatigue or even headaches. If you work in an art discipline involving color, you may find incandescent (and some florescent) lighting distorts the actual pigment colors. An ideal lighting for artists is one that mimics natural daylight, such as halogen which shows true colors and reduces eyestrain. Read the packaging carefully before you buy!
CHOOSING A DRAWING SURFACE

You can easily fashion a surface on which you can comfortably work. If you are a tidy artist working on small projects, consider such options as the kitchen or dining room table, or a computer or study desk. Larger projects require a different approach and more space.
3 For example, an ideal surface for drawing is slightly sloped, and can easily be set up by using books to prop up one end of a piece of plywood. An adjustable sloped table top or drafting desk may provide additional comfort. Other visual art disciplines, especially those involving large projects, may require other more practical options such as a large worktable. Check out art supply stores, yard sales, or the classified ads of your local newspaper to find something that fits your budget and space.
SELECTING STUDIO FURNISHINGS

A basic comfy studio space requires resourceful planning. Before you go shopping, make a list of your needs, and measure and sketch a rough outline of the space in which you will be working. With an adequate budget and a realistic concept of the size of your artistic space, you will really enjoy designing your studio. With a serious commitment and adequate space in your home, comes an opportunity to add additional items to your creative space. Seating: A comfortable, adjustable chair saves your back from becoming tired. Make sure your chair and working surface are conducive to proper posture. An ergonomically correct chair, with or without wheels, is a necessity if you spend several hours a week on your creative projects. Within a larger studio space, you can add a good reading lamp, and comfortable chair in which you can sit, read, and research your creative projects. Storage: Adequate space for storing your materials and tools is essential for keeping your studio uncluttered and organized. You may have some storage containers or shoeboxes already lying around your home. If not, you can find inexpensive plastic or cardboard containers in most department or craft stores. Storage containers can be easily put away under a bed, in a closet, in a drawer or on a shelf. A small table or storage cart (preferably on wheels) can hold your creative materials as you work. A sturdy shelving unit is ideal for storing your art books. If floor space is at a premium, consider adding a wall mounted shelving unit to hold various art supplies. Display: Bulletin or display boards are relatively inexpensive and provide display space for your inspirational images, photos, and art articles. You can even designate a specific wall or shelving system in your home for an ongoing exhibition of your art. Easels: Easels of various sizes can hold and display the drawings on which you are currently working. Having your artworks, in various stages of completion, highly visible may provide inspiration and motivation. Comfort: A small surface on which you can make coffee and lay out snacks for guests (or yourself) is a convenient addition. A small television set can keep you company as you work. Organization: A filing cabinet or binders can organize your reference materials and files. Technology: From a simple set of headphones connected to a small music player to an elaborate sound system, a collection of your favorite music is a fantastic addition to any creative space. Your access to information and creative subjects is greatly enhanced with technology. A computer, printer, scanner, digital camera, and photography supplies can enrich your personal creative space and your artistic experiences. A stereo system hooked into your computer allows you to utilize various music media.
PUTTING TOGETHER A PORTABLE STUDIO

If you enjoy drawing outside your home, consider putting together a portable set of art supplies so youre always packed and ready to travel. You can easily customize your portable studio to your own artistic needs. As you are no doubt already aware, drawing is the foundation for many visual art disciplines. Quick sketches done on location can provide you with excellent visual references for later creating masterpieces at home. First of all, you need something in which to carry your art materials. A briefcase, knapsack, or even a toolbox or fishing box (available at most hardware stores) is ideal. Select something large enough to hold everything you need, such as sketchbooks and drawing materials. If you like to draw on sheets of paper, you may want to invest in a drawing board. Most art supply stores sell lightweight boards in various sizes. You can even make your own by cutting plywood, Plexiglas, or Masonite to a size slightly larger than your paper and then sanding the edges. Your paper can be taped or clamped to this surface. At most art supply stores you can find special tape specifically designed for this purpose, or clamps which are available in various sizes. A hardcover sketchbook is a great alternative to a drawing board, and will often fit inside a briefcase or knapsack. You should also leave a little space in your knapsack, or pack up a second light bag, for a few other practical items. A portable music player with headphones blocks many distracting noises, and helps keep spectators from interrupting your work! A couple of plastic bags can protect your art (or you) in case of rain or can be used to sit on if the ground is damp. You may also wish to carry an old blanket to sit on, and maybe even beverages, snacks, and/or a lunch. Depending on where you plan to go, you may also need bug repellant. Dont forget your sunscreen!

>Brenda Hoddinott<
5 Born in St. Johns, 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 Brendas twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brendas 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 communitys recreational art department, Brenda hired and trained teachers, and designed curriculum for several childrens 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.

MAKING A
Brenda Hoddinott
A-05 GETTING STARTED: A hard-sided portfolio is indispensable for protecting your drawing paper and completed drawings from becoming wrinkled, damaged, or destroyed. You can buy many types of wonderful portfolios in art supply stores. However, most tend to be very expensive, especially those made of leather. This project provides step-by-step instructions for making your very own unique, creative, and inexpensive portfolio, in which you can store or transport your drawing paper and completed drawings. You need one large sheet or two smaller sheets of acid-free cardboard or matte board, wide tape (duct tape is great), a sharp knife, and a straight edge or long ruler (such as a T-square).
This project is recommended for artists and aspiring artists of all ages, as well as home schooling, academic and recreational fine art educators.
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, Revised 2005
-2-
GATHERING SUPPLIES AND GETTING STARTED

You may have to go shopping for some of the following items, but others may be available around your home. You need: A roll of wide tape (duct tape is great and comes in various colors) A sharp knife (such as an inexpensive wallpaper or utility knife with snap-off blades) A straight edge or long ruler (such as a T-square) Strong string, thin rope, or fancy shoelaces (for the handles) Acid-free cardboard or matt board (usually offered in a wide selection of colors) Acid-free cardboard or matt board is generally available at framing or art supply stores. Acid-free refers to a high-quality, long-lasting, and PH-balanced paper or board that has had the acid removed from the pulp in the paper-making process. Drawings can be ruined when papers and boards with acid, deteriorate and turn yellow. 1) Cut out a large, rectangular piece of matt board or cardboard. When choosing a size, take into account that youll need to fold the cardboard in half for a smaller portfolio. In other words, the finished portfolio will be half the size of your cardboard. For a large portfolio you may need to buy two pieces of board, one for each side. Suggested portfolio sizes include: 16 by 20 inches for small drawings (one piece of board at least 32 by 20 inches unfolded). 20 by 30 inches for larger drawings (one sheet of board at least 40 by 30 inches or two large pieces at least 20 by 30 inches each). ILLUSTRATION 04-01
20 (or 30) inches high
32 (or 40) inches long

-3-
CUTTING, SCORING, AND CONSTRUCTING

If you are working with two smaller pieces of board, rather than one large piece, skip over the next two steps (2 and 3). 2) Use a ruler to measure the halfway points, and then draw a straight line parallel to the shorter ends. With your knife and a straight edge, cut very slightly into the board (sometimes referred to as scoring) along the straight line. ILLUSTRATION 04-02
3)
20 (or 30) inches high
32 (or 40) inches long 4) Reinforce both short ends of the board with wide tape. ILLUSTRATION 04-03 When the ends are taped, the large sheet of cardboard (or matt board) is ready to be folded along the scored line. If you have two sheets of board instead of one, simply reinforce one of the longer sides of each with the wide tape.
-4ILLUSTRATION 04-04 5) Fold your board along the scored line toward the side not scored. If you have two sheets of board instead of one, simply lay one on top of the other with the taped ends up (the taped ends identify the opening of the case).
ILLUSTRATION 04-05
6)
Tape both short sides of your portfolio together, leaving the opening along the top. Reinforce the bottom edge (the long side with the fold) with tape.
7)
ILLUSTRATION 04-06
8)
Add creative handles, such as brightly colored shoelaces, to your portfolio. 1) To add handles, make two holes in the center section of each open side. 2) Thread the ends of string or thin rope (or another creative option) through the two holes on each side. 3) Tie the ends of each piece of the handle together on the inside of each side.
-5-
ADDING A SPIFFY DESIGN

You can add something simple such as a couple of stripes, or render a design or drawing of your choice. If your design is not drawn with a durable medium such as permanent markers or acrylic paint, you need to protect it. Check out your local art supply store and pick up a can of spray fixative designed to protect the medium you used.
ILLUSTRATION 04-07
9)
Decorate your portfolio however you wish! You are a unique and innately artistic being. Nurture your creativity! A drawing of a butterfly personalizes the side of this portfolio case. You can probably think of oodles of other great ideas to decorate your portfolio.
ILLUSTRATION 04-08
Dont store your drawings, with either clear tape or corrugated cardboard, touching them. Either of these items can discolor your drawings, and do permanent damage after only a few weeks.
-6-

>Brenda Hoddinott<

Brenda Hoddinott
A06 BEGINNER: GETTING STARTED

Sitting correctly is very important; not just for your health, but also for improving your drawing skills. In this article, I explain and illustrate good posture for sitting at a drafting desk or other sloped surface.
This project is recommended for artists from age 10 to adult, as well as students of home schooling, academic, and recreational fine art educators.
Published by Drawspace.com, Halifax, NS, Canada 2010
HOW NOT TO SIT

Many people do not sit up straight. They hunch or lean over too much, and twist their bodies into all sorts of positions that place their back out of proper alignment (Figure 601).
Figure 601
ArtSpeak
Drafting desk (or drafting table) is an adjustable worktable with a slanted top.
TIP!
Most drafting tables and some office chairs have height adjustments. You can also position your chair closer or farther away from your table.
SITTING CORRECTLY
Good posture and a comfortable, adjustable chair can prevent your muscles from becoming strained and sore. Arrange your chair and drawing surface so you can easily move your hand, arm, shoulder, and upper body as you draw. Refer to Figure 602 and arrange your table and chair until you can: Sit up straight with your feet flat on the floor (or on a raised surface such as a footstool). Distribute your body weight evenly on both hips. Bend your knees at a right angle. See your drawing clearly without bending your lower back. Comfortably rest your lower arm on the table.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
3
Figure 602
Warning!
Dont attempt large drawings on a flat (horizontal) surface! Instead, use something to prop up your sketchbook or paper so your drawing surface is sloped. When you create large drawings on a flat surface (such as a table or desk), the top of your paper is farther away from you than the bottom. As a result, you can end up with all sorts of problems trying to draw accurate proportions. For example, if you are drawing a figure, his or her head may end up too big for the body. Unfortunately, you usually find this out the hard way - after your drawing is complete.
Once you are used to sitting correctly, you can fully focus on drawing. A final note: Make sure you have good lighting as you draw. In Figure 603, an artist sits comfortably at a drafting desk with an attached lamp shedding light on his drawing.
Figure 603
TIP!
To prevent cramping and repetitive movement injuries, move your fingers and wrist as little as possible when you draw. You should be moving your lower and upper arm (and sometimes your shoulder and upper body as well). If you absolutely have to move your fingers and wrist (for example, to draw tiny details), take a break every ten minutes to relax your hand and wrist.
BRENDA HODDINOTT
As a self-educated teacher, visual artist, portraitist, forensic artist (retired), and illustrator, Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint. Brenda is the author of Drawing for Dummies (2003, Wiley Publishing, Inc., New York, NY) and The Complete Idiots Guide to Drawing People (Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education Macmillan, Indianapolis, IN). She is currently writing two books on classical drawing.
>Brenda Hoddinott<
Born in St. Johns, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong drawing and painting skills through self-directed learning. During her twenty-five year career as a self-educated civilian forensic artist, various criminal investigation departments have employed Brendas skills, including the Royal Canadian Mounted Police. 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. In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time writing books and developing her website (Drawspace.com). This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.
MAKING AND USING A
Brenda Hoddinott
A-07 BEGINNER: GETTING STARTED In this article I provide simple step-by-step illustrated instructions to show you how to construct your own simple viewfinder frame, with two adjustable L-shaped pieces of paper, cardboard, or matte board, held together with paper clips. A viewfinder frame is an adjustable, see-through drawing format, which allows you to examine a potential drawing subject from various viewpoints, and can be used for portraits, figures, landscapes, or any other drawing subjects. This lesson is divided into the following three sections: CONSTRUCTING A VIEWFINDER FRAME: I show you how to make a viewfinder frame with some matt board or cardboard (preferably acid-free), a utility knife, a ruler, and two large paper clips. FINDING AND FRAMING YOUR VIEW: I show you two photographs and demonstrate potential cropping options found with a viewfinder frame. THE PROCESS OF DRAWING FROM A FRAMED VIEW: I demonstrate two drawing tools a grid and a viewfinder frame. I began by setting up a grid on the photo and working out a pleasing composition. From there, I outline my drawing with simple lines, and then add realistic shading. A viewfinder frame allows you to choose an ideal composition by eliminating clutter and unnecessary objects so as to bring your drawings toward powerful works of art. Composition refers to 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.
This project is recommended for artists and aspiring artists of all ages, as well as home schooling, academic and recreational fine art educators.
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada
-2-
CONSTRUCTING A VIEWFINDER FRAME

A viewfinder frame is an adjustable, see-through drawing format, which allows you to view a potential drawing subject from various viewpoints. Its an invaluable tool for planning a composition, and can be used for portraits, figures, landscapes, or any other drawing subjects. You can easily make a viewfinder frame with some matt board or cardboard (preferably acidfree), a utility knife, a ruler, and two large paper clips. Acid-free describes a high quality, long lasting, and ph balanced paper that has had the acid removed from the pulp in the paper-making process. Drawings can be ruined when papers with acid deteriorate and turn yellow.
When buying matt board or cardboard, stay with neutral rather than bright colors. When using a brightly colored viewfinder frame, your eye is grabbed by the loud color and its hard to concentrate on the view inside its perimeter.
ILLUSTRATION 07-01
Use a ruler and a utility knife to cut two identical L-shaped pieces of cardboard. When choosing a size, keep in mind that the wider your frame, the more distracting unwanted objects are blocked from view.
ILLUSTRATION 07-02
Use two large paperclips to join the two pieces of cardboard together to form a frame. The frame can be adjusted so as to be wider or narrower. It can also be turned sideways to help you choose either a vertical (sometimes called portrait) or a horizontal (called landscape) drawing format. Through the adjustable opening, you can examine and evaluate the relationships between the lines, values, and shapes of your subject.
-3-
Consider making several viewfinders in three or four different sizes. Smaller ones are great for planning compositions from photos. Bigger ones are ideal for finding a composition when you are outside trying to choose a subject for drawing or painting.
FINDING AND FRAMING YOUR VIEW

An entertaining aspect of being an artist is that you can make any changes you wish to a photo before you draw. Modifying an existing composition is easy with help from a viewfinder frame. In this section I show you two photographs and demonstrate potential cropping options found with a viewfinder frame.
ILLUSTRATION 07-03
Place your viewfinder frame on your photo (or hold it up in front of your scene and look through it). Continuously adjust both sections until you find a composition you like. For example, the photo on the right was cropped with a viewfinder frame to find the below composition.
ILLUSTRATION 07-04
When you choose a composition you like, mark the four corners inside the viewfinder frame with a small dot so you know its location after the frame is removed. The following composition is also selected with the help of a viewfinder frame.
-4-
ILLUSTRATION 07-05
Keep in mind that the basic process for using a viewfinder frame with a photo is almost identical for viewing potential drawing subjects from life. Drawing from life refers to the process of drawing from an actual person, animal or scene, rather than from a two dimensional photo or sketch.
ILLUSTRATION 07-06
THE PROCESS OF DRAWING FROM A FRAMED VIEW

In this project I used two drawing tools a grid and a viewfinder frame. I began by setting up a grid on the photo and working out a pleasing composition. From there, I outlined my drawing with simple lines, and then added realistic shading.
-5-
ILLUSTRATION 07-07
First of all, I tape my photo to a sheet of graph paper. I decide to tilt the photo slightly to make her adorable face even more expressive, and the overall composition more aesthetically pleasing.
ILLUSTRATION 07-08
With a fine tip ballpoint pen, I draw the horizontal and vertical grid lines by using the lines of the graph paper as guidelines. My graph paper has one quarter inch squares.
ILLUSTRATION 07-09
I place my viewfinder frame on the photo, and continuously adjust both sections until I find a composition I like.
ILLUSTRATION 07-09 ILLUSTRATION 07-10
I then mark the corners of the photo so I know how to identify the location of my composition after the frame is removed. The final step before drawing is to add letters and numbers so I can keep track of where I am working as I work.
-6-
ILLUSTRATION 07-11
After choosing a vertical drawing format size, proportionate to the size of the photo, I drew an outline of my compositional space on my drawing paper. With my HB pencil, I very lightly drew the various sections of her face, clothing, and hat. I found that the sharp contrast between the white and black of Karins clothing in the photo seemed to detract attention from her face. Therefore, my goal was to use shading to make Karins face the focal point of this drawing.
ILLUSTRATION 07-12
I began the shading with light values, and then layered the medium shading on top of the light. Finally I built up the darkest values on top of the medium. Its now time for you to choose a photo or find a scene you love, and use a viewfinder frame to compose a drawing of your choice.
-7-

>Brenda Hoddinott<

Youre a
Brenda Hoddinott
A08 BEGINNER: RESOURCES

Many aspiring artists simply jump into drawing without taking the time to discover their natural hand movement. As a matter of fact, most people dont even know they have one! This section explores the natural hand movement of Leonardo da Vinci, and helps you find yours. This project is divided into the following three parts: Leonardo the Leftie Finding Your Natural Hand Movement Rotating Your Paper as You Draw
Suggested drawing supplies include a sketchbook and a 2B grade of graphite pencil.

Recommended for artists of all ages, as well as students of home schooling, academic and recreational fine art educators
Published by Drawspace.com, Halifax, NS, Canada 2010
LEONARDO THE LEFTIE

You can tell a lot about artists by examining their art. A few years ago, I took the time to check out some of Leonardo da Vincis drawings. I found myself in awe of his shading lines - mostly drawn at the same angle. I used a graphite pencil to render a study of one of Leonardos pen-and-ink drawings.
ArtSpeak
Straight line provides the shortest connection between any two points. Straight lines can be drawn in any direction. Hatching is a shading technique (made popular during the Renaissance) that consists of a series of lines (called a set) drawn closely together to give the illusion of values. Figure 801: This drawing of an old man (including the marks and age spots on the paper) is copied from a drawing by Leonardo.
As an Aside
Some experts claim that Leonardo da Vinci was lefthanded because of the way he drew straight lines (at an angle from the upper left to lower right). This is the natural hand movement of many lefthanded artists. Righthanded artists (like me) often draw lines from the upper right to the lower left.
Figure 802: Leonardos shading lines appear to be rendered from the upper left to lower right, and from the lower right to the upper left.
Quote
The artist ought first to exercise his hand by copying drawings from the hand of a good master. (Leonardo da Vinci)
Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
FINDING YOUR NATURAL HAND MOVEMENT

You natural hand movement may not be the same as either Leonardos or mine. Try your hand at drawing sets of slanted straight lines in your sketchbook. Pay attention to how you make these lines. Use many different ways of moving your pencil or changing the slant of your lines. Some will feel comfortable and others will feel awkward. However, there will be one motion that feels the most comfortable. This is your natural hand movement, and you should try to use it to your advantage whenever possible.
ROTATING YOUR PAPER AS YOU DRAW

Professional artists have many secret ways to make sure their drawings turn out well. In addition to using their natural hand movement, they often rotate their paper. You should rotate your drawing paper as you work to take full advantage of your natural hand movement. Remembering to always rotate your paper takes lots of practice. But, before you know it, you are rotating your paper all the time without even thinking about it.
Figure 803: A sketchbook page is filled with straight lines that slant in many directions. My natural hand movement is the set of lines in the upper left. By the way, sets of lines such as these are called hatching.
Sign your name, write todays date on the back of your sketchbook page, and put a smile on your face!
Figure 804: I turned this drawing sideways as I worked so I could imitate Leonardos lines with my own natural hand movement.
BRENDA HODDINOTT
As a self-educated teacher, visual artist, portraitist, forensic artist (retired), and illustrator, Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint. Brenda is the author of Drawing for Dummies (Wiley Publishing, Inc., New York, NY) and The Complete Idiots Guide to Drawing People (Winner of the AlphaPenguin Book of the Year Award 2004, Alpha - Pearson Education Macmillan, Indianapolis, IN). She is currently writing two books on classical drawing.
>Brenda Hoddinott<
Born in St. Johns, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong drawing and painting skills through self-directed learning. During her twenty-five year career as a self-educated civilian forensic artist, various criminal investigation departments have employed Brendas skills, including the Royal Canadian Mounted Police. 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. In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time writing books and developing her website (Drawspace.com). This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.

Drawspace A

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Drawspace A

Uploaded by

Copyright:

Available Formats

ILLUSTRATED

DRAWING WORDS AND TERMS

DEFINITIONS FOR MORE THAN 130 TERMS AND WORDS

Published by Drawspace.com, Halifax, NS, Canada 2006 (Revised 2010)

This photo shows various acid-free sketchbooks and drawing papers.

BALANCE: is a stable arrangement of subjects and values within a drawing composition.

For example, think of the letter S or an open ended number 8.

Three butterflies demonstrate three different styles of drawing.

EYE: Refer to this numbered drawing to identify each of the following:

These simple sketches capture my grandson, Brandon, in motion.

My favorite part of my studio is the view of my back yard.

Charcoal is a wonderful medium for sketching human figures.

The fur of this line drawing of a koala bear looks furry.

In this cartoon of overlapping happy faces, 1 is in front of 2, and 3 is behind 2.

PROPORTION: is the relationship in size of one component of a drawing to another or others.

The shading of this cartoon is rendered with hatching graduations.

DRAWING BOOKS AND PAPERS

PENCILS AND OTHER DRAWING MEDIA

SOME OTHER MEDIA TO CONSIDER

TOOLS FOR ERASING

TOOLS FOR SHARPENING

TOOLS FOR BLENDING

SKETCHING WITH PAPER ON A DRAWING BOARD

ADDING TO THE BASICS

BRENDA HODDINOTT - BIOGRAPHY

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

CREATING YOUR OWN

CHOOSING A STUDIO SPACE

SHEDDING LIGHT ON YOUR ART

CHOOSING A DRAWING SURFACE

SELECTING STUDIO FURNISHINGS

PUTTING TOGETHER A PORTABLE STUDIO

BRENDA HODDINOTT - BIOGRAPHY

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

GATHERING SUPPLIES AND GETTING STARTED

20 (or 30) inches high

32 (or 40) inches long

CUTTING, SCORING, AND CONSTRUCTING

20 (or 30) inches high

ADDING A SPIFFY DESIGN

BRENDA HODDINOTT - BIOGRAPHY

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

A06 BEGINNER: GETTING STARTED

Published by Drawspace.com, Halifax, NS, Canada 2010

HOW NOT TO SIT

MAKING AND USING A

CONSTRUCTING A VIEWFINDER FRAME

FINDING AND FRAMING YOUR VIEW

THE PROCESS OF DRAWING FROM A FRAMED VIEW

BRENDA HODDINOTT - BIOGRAPHY

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

A08 BEGINNER: RESOURCES

Suggested drawing supplies include a sketchbook and a 2B grade of graphite pencil.

Published by Drawspace.com, Halifax, NS, Canada 2010

LEONARDO THE LEFTIE

FINDING YOUR NATURAL HAND MOVEMENT

ROTATING YOUR PAPER AS YOU DRAW

You might also like