Isaac

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JACK Brenda Hoddinott T-05 ADVANCED: DIVERSE ANIMALS Meet Isaac – a Jack Russell Terrier and proud owner of my friend Rob! In this project, you first set up Isaac’s facial proportions and render a contour drawing. Then, you add texture to his fuzzy face with hatching, and shading to his nose with squirkling. This project is divided into the following six sections: SKETCHING PROPER PROPORTIONS: With a simple grid as a helpful guideline, you draw the various components of Isaac’s face, ears, and neck. OUTLINING FUZZY HEAD SHAPES: The hatching lines you use to draw fur on Isaac are ragged and uneven, and are also various lengths and thicknesses. HATCHING FUZZY FUR ON HIS HEAD AND EARS: In this section, you add the fur texture to the upper section of his head and his ears. SHADING SHINY PUPPY DOG EYES: You begin this section by shading around the rims of the eyes and then proceed on to the pupils and irises. FINISHING THE NOSE AND FACIAL SHADING: In this section you complete Isaac’s face by adding more fur to his face and rendering the texture of his nose. ADDING FINAL DETAILS AND FINISHING TOUCHES: When you are happy with your drawing to this point, you then add final touches and bring Isaac to life. Suggested drawing supplies include good quality white drawing paper, graphite pencils, kneaded and vinyl erasers, and a pencil sharpener. This advanced project is recommended for artists with good drawing skills, from age 12 to adult, as well as home schooling, academic and recreational fine art educators. 25 PAGES – 36 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada –2004 (Revised 2006)
-2- SKETCHING PROPER PROPORTIONS Setting up accurate proportions is the foundation of drawing. If the proportions of a dog’s head and face are off, no amount of beautiful shading or fancy pencil marks can save your drawing. In this project, you create a simple grid to help you draw everything in its correct place. Use a 2H or HB pencil to lightly sketch all the components of Isaac’s head and face. ILLUSTRATION 05-01 1. First of all, draw a square any size you wish as your drawing format. 2. Use a ruler to divide the square into four equal smaller squares. 3. Lightly sketch a circle as Isaac’s head. Make sure you leave space on your drawing paper for his snout, ears, and neck. ILLUSTRATION 05-02 4. Add a smaller circle below and to the left of the other circle to indicate the position of his snout. Most of the smaller circle is located in the lower left square. Take note of where this second circle cuts into the first. 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 sites http://www.finearteducation.com and http://www.drawspace.com
-3- ILLUSTRATION 05-03 5. Draw two triangular shapes to mark the locations of his ears. Observe that the ear on the right is lower than the other. The ear on the left is located completely within the upper left square. 6. Sketch two circles to mark the locations of his eyes. Notice that the eye on the left is higher than the other. ILLUSTRATION 05-04 7. Sketch another circle inside his snout to identify the location of his nose. 8. Use curved lines to lightly sketch the outlines of the side of his face, neck, and shoulders. Double check the proportions of each section of your sketch by visually measuring the shapes of the positive and negative spaces. The rough sketch is now complete. 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 sites http://www.finearteducation.com and http://www.drawspace.com
-4- 9. Very lightly sketch parallel angular guidelines to identify the slant of the tops of the ears, the tops and bottoms of the eyes and nose, and the nostrils, and mouth. Remember; don’t press too hard with your pencils. Not only do these areas become impossible to erase or touch up, but they also leave dents in your paper. All the lines you draw now will either need to be completely erased or made fuzzy in the next section. 10. Use a freshly sharpened HB pencil to very lightly outline the shapes of his eyes, upper face, and ears. Draw your outlines slowly and carefully! Pay close attention to the grid lines to make sure you draw the various lines in their proper places. 11. Draw the outline of his nose and add two small curved lines to indicate the nostrils. 12. Mark the location of his mouth with a curved line. 13. Refine the lines that outline the left side of his face and both sides of his neck. 14. Check over the shapes and sizes of the various parts of Isaac in relation to the lines of the square and grid, and fix anything you’re not totally happy with. ILLUSTRATION 05-05 The lines look very dark in this illustration. However, in fact they are so light that I can barely see them. I have made them look darker in a computer program so you can see them. 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 sites http://www.finearteducation.com and http://www.drawspace.com
-5- OUTLINING FUZZY HEAD SHAPES The hatching lines used to draw fur on Isaac are ragged and uneven, and are also various lengths and thicknesses. Some hatching lines are dark and others are light. 15. Before you begin adding fuzzy lines as Isaac’s fur, use your kneaded eraser to lighten your sketch lines until they are so light that you can barely see them. ILLUSTRATION 05-06 16. Use your HB pencil to add curved hatching lines of various lengths and thicknesses to create the texture of fur on the upper sections of Isaac’s head. 17. Use your HB pencil to outline the perimeters of Isaac’s fuzzy ears. ILLUSTRATION 05-07 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 sites http://www.finearteducation.com and http://www.drawspace.com
-6- 18. With your kneaded eraser, lighten the original sketch lines in and around the eyes. 19. Add the outlines of the strands of fur around the eyes. Try a 2H or HB pencil. The lines used to outline these sections of fur are very ragged and uneven. Note that fur will cover a section of the eye on the left. ILLUSTRATION 05-08 20. Redraw the outlines of the eyes with nice neat lines (I used an HB pencil). Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin. ILLUSTRATION 05-09 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 sites http://www.finearteducation.com and http://www.drawspace.com
-7- 21. Draw a circular shape inside each eye as the irises. Note that the iris on the right doesn’t quite touch the lower section of the rim of the eye. 22. Add a tiny circle in the upper left section of each iris as the highlight. 23. Sketch yet another circle inside each iris as the pupils. The lines outlining the pupils cut into the edges of the outlines of the highlights. ILLUSTRATION 05-10 ILLUSTRATION 05-11 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 sites http://www.finearteducation.com and http://www.drawspace.com
-8- 24. Use long curved lines to add a few strands of longer fur between his eyes and above the eye on the right. Watch closely the different directions in which the lines curve. Be careful that the lines are not similar in shape or size or the fur may not appear realistic. 25. Sketch the fur on both sides of his face below his ears. 26. Extend the section of fur that is hiding a section of his eye (on the left) down toward the edge of the snout. Again, pay close attention to the different directions in which the lines curve. ILLUSTRATION 05-12 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 sites http://www.finearteducation.com and http://www.drawspace.com
-9- ILLUSTRATION 05-13 27. Add the fur around the perimeter of his snout and below his nose. Keep in mind that the edges of the fur are ragged- looking, and the lines are various lengths and thicknesses. ILLUSTRATION 05-14 28. Add the fur on the lower section of his chin. Take your time and pay attention to the different directions in which the lines curve. 29. Sketch in a fuzzy line to the lower section of the mouth. 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 10 - ILLUSTRATION 05-15 30. Use gently curved lines to outline each side of his nose. 31. Use raggedy lines curving in many directions to draw the fur directly above his nose. ILLUSTRATION 05-16 32. Redraw the outline of the nose with nice neat lines. Take note of the shape of the lower part of the nose and the v-shape in the center of the very bottom section. 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 11 - ILLUSTRATION 05-17 33. Add the outlines of the nostrils. Check the location of the horizontal oval shape in the center of his nose. This section needs to be lighter than the rest of the nose to help make it look three dimensional and shiny. 34. Draw the lines along the edges of his neck and shoulders that indicate the various directions in which this fur curves. ILLUSTRATION 05-18 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 12 - 35. Carefully erase the grid lines and rough sketch lines. 36. Check over your drawing carefully and make sure you are happy with the curved lines which define the outlines of the head, ears, eyes, nose, snout, and fur. ILLUSTRATION 05-19 As you can tell by the locations of the highlights in his eyes, the light source in this drawing is from the upper left. As you add more shading to this drawing, remember that the values need to be lighter on the left than on the right. Remember, light affects the placement and value of every section of shading. Keep in mind that a full range of values gives contrast between the light and the shadow areas. You can achieve different values by using various pencils, and by varying the density of the lines and the pressure used in holding your pencils. 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 13 - HATCHING FUZZY FUR ON HIS HEAD AND EARS At this point, Isaac’s face is completely outlined with lightly shaded fur, and everything is in its correct place. It’s now time to add a few more important details to the upper section of his head and his ears, such as the fur texture and various values. As you draw, constantly compare your drawing to mine and double check your proportions. Pay close attention to the lengths, angles, and curves of the hatching lines. 37. With a 2H pencil, lightly draw several short hatching lines throughout the upper sections of Isaac’s face and ears to map the various directions in which his fur grows. Take your time. Adding shading to the fur becomes much easier when you have established guidelines for hatching the various values. 38. Carefully outline around the wispy fur strands along the edge of his forehead, eye, and upper snout with an HB pencil. 39. Use a combination of 2H, HB, 2B, and 4B pencils and short hatching lines to add shading to the large dark section around Isaac’s eye (on the left), and the small spots on his ears. I personally prefer to work from light to dark. I began by adding more hatching lines to the lightest section of fur above his eye (with a 2H). From there, I added darker shading with a HB around this light section. A 2B works well for the dark values and a 4B is great for the darkest section in shadow under his ear. The smaller spots on the ear on the left (closest to the light source) are added with an HB. I used both an HB and 2B for the spots on the right. ILLUSTRATION 05-20 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 14 - 40. Complete the lighter shading on the ear on the left (Illustration 05-21). Use 2H and HB pencils and keep in mind that the shading needs to be lighter on this ear than the other because it’s closer to the light source. Note the darker shading along the insides of the edges of the ears, which helps give the illusion of depth to their forms. 41. Outline the edges of the strands of fur on the section of the head close to the ear on the right (Illustration 05-22). 42. Use various pencils to complete the shading of the ear on the right. This ear appears darker than the one on the left because it is farther away from the light source. However, be careful not to make this fur too dark, because, other than the small spots, the fur is actually white. As you render each section of fur, watch very closely the different directions in which the lines curve. Take your time. ILLUSTRATION 05-21 ILLUSTRATION 05-22 43. Add shading to the white fur in the sections of his face in shadow (on the right). Before you begin this shading, first outline the edges of the longer sections of fur above and between his eyes. Keep in mind that even though this white fur is in shadow, the shading needs to be lighter than the section on the left, which in fact a big dark spot. 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 15 - ILLUSTRATION 05-23 SHADING SHINY PUPPY DOG EYES My favorite part of drawing animals is bringing their eyes to life. In this section, you begin by shading around the rims of the eyes and then continue on to the pupils and irises. 44. Add shading to the parts of the eyes around the pupil. Use a freshly sharpened 2B to outline the outer edges of the eye closest to the fur, and the pupil. With an HB, fill in the sections between the outlines with medium values. ILLUSTRATION 05-24 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 16 - 45. Shade in the irises with an HB pencil (leave the pupils and highlights white for now). 46. Use a Q-tip to gently blend the shading in the irises. 47. Add more hatching lines to the fur between the eyes and below the eye on the left. ILLUSTRATION 05-25 ILLUSTRATION 05-26 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 17 - 48. With a 2B pencil, add darker shading to the upper sections of the irises and around the outside edges. 49. Mold your kneaded eraser to a point and gently pat a tiny section of each iris (in the lower right) to make it a little lighter. 50. Continue adding more furry shading between the eyes, down toward the nose. ILLUSTRATION 05-27 51. Use a 6B pencil to shade in the pupils of the eyes (leave white sections as highlights). ILLUSTRATION 05-28 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 18 - FINISHING THE NOSE AND FACIAL SHADING In this section you complete Isaac’s face by adding more fur and texture to his nose. 52. Add more furry details to the lower right section of his face. Use only freshly sharpened pencils for realistic looking fur! Keep in mind that the directions in which the hatching lines curve are important because they help give the illusion of depth to the various forms of the face under the fur. 53. Use 2H and HB pencils to add the longer soft wispy fur on his snout and around his nose. 54. Add dark shading in the shadow sections around his nose and lower face. Try a 2B pencil for the darker fur sections, such as the shadow sections to the right of his nose. The fur above his nose becomes progressively darker as it grows closer to his nose. Also don’t miss the little wisps of fur that curl in various directions onto the upper section of his nose. ILLUSTRATION 05-29 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 19 - ILLUSTRATION 05-30 55. Add shading with squirkles all over the nose (try a 2H pencil). 56. Use an HB pencil to add shading to the fur around the lower section of the nose. Note that the shading between the nose and mouth is quite dark. 57. Add dark shading to the sections of the mouth in shadow. ILLUSTRATION 05-31 58. Fill in the nostril sections with a 4B pencil. 59. Add more shading to the fur that is very close to the nose in the shadow sections (use 2B and 4B pencils). 60. Use a 2B pencil to add more dark sections in between the strands of fur in the mouth area. 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 sites http://www.finearteducation.com and http://www.drawspace.com
- 20 - ILLUSTRATION 05-32 61. Use HB, 2B, and 4B pencils to add a combination of dots and squirkle lines to the nose. Take note of the sections that are darker than others. 62. Outline the raggedy strands of fur around the lower section of Isaac’s face in preparation for shading his neck. Refer to Illustration 05-33. ILLUSTRATION 05-33 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 sites http://www.finearteducation.com and http://www.drawspace.com