Brenda Hoddinott: 10 Pages - 15 Illustrations

Brenda Hoddinott
Plan on having some productive fun giving Gentle an endearing facial expression. This caricature uses three different graduated shading techniques, squirkling, hatching, and crosshatching, to define the three- dimensional forms and the texture of a face, facial features, and short curly hair. This project is divided into the following two parts:
O-01 INTERMEDIATE: CARICATURES
OUTLINING THE HEAD AND FACE: You render a contour drawing of all aspects of an endearing human cartoon face by setting up your drawing format with a super simple grid of four squares. SHADING THE FACE AND HAIR: You add the texture of his hair with squirkle graduations, and then use hatching lines to lay down a base of values on his face to identify the various facial forms. You enhance the features and add final touches with crosshatching graduations.
Suggested drawing supplies include good quality white drawing paper, kneaded and vinyl erasers, various graphite pencils such as 2H, HB, 2B, 4B, and 6B, and a ruler.
Recommended for artists from age 12 to adult with basic drawing skills, as well as students of home schooling, academic and recreational fine art educators
10 PAGES 15 ILLUSTRATIONS
Published by Drawspace.com, Halifax, NS, Canada 2004 (Revised - August, 2009)
OUTLINING THE HEAD AND FACE
In this part, you set up your drawing space and render a contour drawing of all aspects of an endearing realistic human cartoon face. 1. 2. Draw a large square as your drawing space.
ART SPEAK
Contour drawing (also called a line drawing) is comprised of lines which follow the contours of various sections of a drawing subject and define the outlines of its forms. 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. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Proportion refers to the relationship in size of one part of a drawing to another or others. Symmetry is a balanced arrangement (sometimes referred to as a mirror image) of lines and shapes on opposite sides of an often-imaginary centerline.
Measure the halfway point on each of the four sides of the square and mark them with dots. Divide your drawing space into four equal sections to create a very simple grid, by connecting the opposite dots. Draw these lines VERY lightly because you have to erase them later!
3.
4.
Use an HB pencil to very lightly sketch a large oval shape as close as possible to the one in my drawing. This will be the outline of Gentles head.
Figure 101
Use the grid lines inside the drawing space to visually measure spaces so both sides of the oval are the same shape and size (so his head isnt lop-sided).
TIP Drawing circular shapes that
are symmetrical isnt easy! So, before you begin, practice drawing curved lines on some scrap paper. Use the grid lines to measure the spaces, either visually or with a ruler. 5. Use your kneaded eraser to lighten your sketch lines until you can barely see them.
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
TIP Rotate your paper, and look at your drawing from different perspectives. This little trick often
allows you insight into any problem areas with symmetry. 6. I used a very sharp 4B pencil so my outlines would be dark. Use slightly wiggly lines for the upper part of his head that will later be turned into curly hair. Check that the size and shape of his head is the same size on both sides of the vertical center line. You can even measure with a ruler if you want to be really precise. Re-draw the outline of Gentles head with nice crisp lines (Figure 102). Dont draw directly over your sketch lines. Rather, use them as a guide for making a more accurate drawing. 7. Dont press too hard with your pencil. You have to erase two sections for his ears in the next step. Use your vinyl eraser to erase sections on either side of his head so you can add his ears. Look closely at their shapes. The tops stick out a little farther from the sides of his head than the bottoms.
Figure 103 Figure 102
8.
Draw the outlines of his ears (Figure 103).
9.
Extend the line, which is outlining the tops of the ears, a little inward on his face (Figure 104).
10. Redraw the section of his face (beside his ears) a little closer to the center of his face than it was earlier.
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11. Add an oval shape for his nose. Take note of its size and position in relation to the vertical and horizontal lines. Take note that they are slightly above the center horizontal line.
Figure 105 Figure 104
12. Draw the outlines of his eyes (Figure 105).
head and face in a mirror, can help you see areas in need of fixing.
TIP Looking at the reflection of the
Figure 106
13. Outline the hairline that separates his hair from his face (Figure 106).
14. Add the irises of his eyes inside the outlines.
This line is a little wiggly rather than smoothly curved. The upper and lower section of each eye is hidden under his upper and lower eyelids.
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15. Outline the top of his lower lip (Figure 107). The ends of this line are directly below the outside edges of the irises.
16. With gently curving lines, draw the creases of his upper eyelids above the eyes.
17. Add the outlines of his eyebrows.
They extend farther outward (toward the sides of his face) than the ends of his eyes. Closer to the center they are thicker and curve upward. His eyebrows are an important component of his facial expression.
Figure 107
18. Add another curved line below the line indicating the top of his upper lip (Figure 108).
Figure 108
This line marks the lower edge of his lower lip and is shorter and more curved than the other. 19. Draw the two curved smile lines (Figure 109). They begin on either side of his nose and curve outward and downward until they extend slightly past the corners of his mouth.
20. Add two curved lines above his lower lip, which represent his upper lip.
Take note that a space is left between his lips so his mouth appears slightly open with teeth showing.
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Figure 109
21. With wiggly lines, add two long oval shapes above his upper lip to represent his mustache (Figure 110). 22. Add his goatee (beard) and the little tuff of hair under his lower lip. 23. Draw a few laugh lines (or smile lines) around his eyes to enhance his facial expression.
Figure 110
SHADING THE FACE AND HAIR
In this section, you shade the texture of his hair with squirkle graduations. You then use hatching and crosshatching graduations lines to add shading to his face to identify the various facial forms.
ART SPEAK
Texture is the surface detail of an object, as defined in a drawing with various shading techniques. The senses of touch and sight help identify the surface texture of drawing subject. Squirkling is a method of shading incorporating randomly drawn curved lines to create textured values and graduated value scales. I chose this name based on the method of morphing squiggles with circles to create shading. Graduated shading (also called graduations) is a continuous progression of values from dark to light or from light to dark. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values.
7 ART SPEAK
Crosshatching is a technique for rendering an infinite range of values within shading, in which one set of lines crosses over (overlaps) another set. Form as applied to drawing, is the illusion of the three-dimensional structure of a shape, such as a circle, square or triangle, created in a drawing with shading and/or perspective. Light source refers to the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows. Contrast measures the degree of difference between the light and dark values within shading, and creates the illusion of three-dimensions. Reflected light is a faint rim of light reflected or bounced back on an object (especially noticeable on a sphere) from the surfaces close to and around the object, such as the surface on which the object is sitting.
Figure 111
values is created by varying the density of the lines, varying the pressure used in holding your pencils, and using various grades of pencils. For refresher courses on various shading techniques, refer to sections D Beginner: Squirkling, F Beginner: Hatching, and L Intermediate: Crosshatching. 24. Shade his hair with graduated squirkles (Figure 111). The light source is from the right in this drawing, so the shading will be a little darker on the left. Use a 4B pencil for the darker hair and a HB for the lighter hair on the right.
TIP Remember, a full range of different
26. Press a little harder with you HB pencil to add medium values to the sections of his face that are in shadow. Add these darker hatching lines in between the lighter lines. This shading helps to create three-dimensional forms on his face.
This first layer of shading is light in value. Hatching lines need to be several different lengths and values. The edges are not abrupt stops, but rather feathered (or ragged) to give a more realistic appearance.
25. With a HB pencil, lightly shade the entire face with hatching lines (Figure 112).
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Figure 112
27. Add darker shading to the face with crosshatching and a 2B pencil (Figures 113 and 114). Dont forget his lips!
28. Add middle and dark values to the nose.
Leave the highlight white. The lighter values are closer to the highlight. The tiny glow on the lower left edge of his nose is reflected light. You need to leave this section lighter than the rest.
Figure 113
29.
Use your 4B pencil to add the darker crescent shaped shading on his nose.
Figure 114
30. Use a 6B pencil to shade in the irises of his eyes (Figure 114). Dont forget to leave the highlights white.
31. Use a 4B pencil to add shading to his eyebrows, mustache, goatee, and the tiny tuff of hair under his lower lip (Figure 115). 32. Add final touches to the shading on the hair and face with a 4B. You can make areas of the face and nose darker by adding more crosshatching lines with a 4B pencil. You make sections of the hair darker by simply drawing more squirkling lines with a 4B pencil. You can make areas of the face and nose lighter by patting the shading with your kneaded eraser. Sign your name, write todays date on the back of your drawing, and put a smile on your face!
Figure 115
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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 HODDINOTT
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.
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.

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Brenda Hoddinott

O-01 INTERMEDIATE: CARICATURES

Published by Drawspace.com, Halifax, NS, Canada 2004 (Revised - August, 2009)

OUTLINING THE HEAD AND FACE

TIP Drawing circular shapes that

Draw the outlines of his ears (Figure 103).

12. Draw the outlines of his eyes (Figure 105).

TIP Looking at the reflection of the

14. Add the irises of his eyes inside the outlines.

17. Add the outlines of his eyebrows.

SHADING THE FACE AND HAIR

TIP Remember, a full range of different

28. Add middle and dark values to the nose.

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