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Tuttle Turtle

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Tuttle Turtle

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Tài liệu tham khảo bằng tiếng Anh về hội họa - Tuttle Turtle

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Nội dung Text: Tuttle Turtle

  1. TURTLE Brenda Hoddinott I-08 BEGINNER: CARTOONS & CRITTERS With a focus on improving your observation skills, you first sketch Tuttle’s proportions within a simple grid, then outline him with nice neat lines and finally add shading. The following three sections guide you step-by-step through this project: SKETCHING BASIC PROPORTIONS: The drawing of Tuttle is based on a common species of box turtle. In this section, your goal is to sketch the various parts of Tuttle on your drawing paper proportionately correct. You divide a rectangular drawing format into six squares to create a simple grid to help you draw everything in its proper place. OUTLINING SHAPES AND SPACES: This section of the lesson is designed to enhance your observation skills, and subsequently refine your abilities to translate what you see into a drawing. I offer very few written instructions; rather, you rely primarily on your observation skills. You begin by erasing the grid lines, and then use a freshly sharpened 2B pencil to replace the initial rough sketch with dark, thin outlines. Your goal is to focus on drawing neat accurate lines that provide more detailed information about the various components of Tuttle. HATCHING VARIOUS VALUES: In this section, you add shading to Tuttle with hatching graduations. A full range of values from light to dark gives contrast between the light and the shadow areas. Light affects the placement and value of every section of shading in a drawing. The light source in this drawing is from the right. Therefore, the overall values need to be lighter on the right than on the left. You need basic drawing supplies including good quality white paper, different grades of graphite pencils (such as 2H, HB, 2B, 4B, and 6B), kneaded and vinyl erasers, and a pencil sharpener. 18 PAGES – 30 ILLUSTRATIONS This project is recommended for artists from age 12 to adult, as well as home schooling, academic and recreational fine art educators. Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (Revised 2006)
  2. -2- SKETCHING BASIC PROPORTIONS In this section, your goal is to sketch the various parts of Tuttle on your drawing paper proportionately correct. A sketch is a quickly rendered drawing that illustrates the important elements of your drawing subject with very few details. Sketching refers to the method used for creating a quick, rough representation or outline of a planned drawing subject. A sketch can also be a completed work of art. Proportion is the relationship in size of one component of a drawing to another or others. You divide a rectangular drawing space into six squares to create a simple grid to help you draw everything in its proper place. Drawing space (sometimes called a drawing format) refers to the area of a drawing surface within a specific perimeter, outlined by a shape of any size, such as a square, rectangle or circle. A grid is a precise arrangement of a specific number of squares, of exact sizes, proportionately drawn on both a photo and drawing surface. Grids help artists with numerous challenges, such as rendering precise proportions and correct perspective. If the proportions of your subject are off, no amount of beautiful shading or fancy pencil marks can save your drawing. ILLUSTRATION 08-01 1) Draw a rectangle as your drawing format. Your rectangle needs to be proportionate to mine, such as 4 by 6, 6 by 9, or 8 by 12 inches. Use a 2H or HB pencil. 2) Divide the rectangle into six same-size squares. Measure and divide the height in half and the width into thirds. Several species of animals, including some types of turtles, are in danger of becoming extinct. Too many box turtles are currently being taken from their natural habitats, and sold into the pet trade. Subsequently, consumers who buy these turtles are inadvertently contributing to the demise of the wild population. No matter how much humans love their pet turtles, the fact remains that these animals are often deprived of freedom, the company of other turtles, a healthy natural environment, familiar foods, and most importantly of all, an opportunity to breed. BE CAREFUL! Don’t press too hard with your pencils! Lightly drawn lines are easier to erase! No matter how careful you are, when drawing with a grid, accidents do happen! If you draw in the wrong squares, simply erase that section, redraw the grid lines, and keep on going! 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. -3- 3) Draw a curved line to mark the position, size, and shape of the upper section of Tuttle’s shell. A curved line is created when a straight line curves (or bends). ILLUSTRATION 08-02 Begin in the lower left grid square and curve the line upward and toward the upper center square. Continue this line across the upper center square, extend its end slightly downward, and then into the upper right square. 4) Add short lines that curve outward to each end of the shell. ILLUSTRATION 08-03 Did you know that a box turtle can pull its head, legs, and tail inside its shell, thereby enclosing itself in a “box”? 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. -4- ILLUSTRATION 08-04 5) Add another curved line on the right to mark the location of the opening of the shell. Take note that this line extends into four different grid squares. ILLUSTRATION 08-05 6) Complete the outline of the shell. Begin on the lower left side of the shell, and gently curve the line downward and toward the right. Then, curve the line upward to join the other side of the shell outline. Box turtles are not recommended as house pets. Sadly, many die within a year of their captivity. Without a proper diet and natural habitat, they are highly susceptible to illnesses that are often fatal. 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. -5- ILLUSTRATION 08-06 7) Sketch the outline of the edge of the lower section of Tuttle’s shell. Watch closely the location and size of this line in relation to the grid lines and the outline of the upper shell. ILLUSTRATION 08-07 8) Sketch a circular shape to mark Tuttle’s head. 9) Add an upside down U-shape as a front leg. 10) Sketch a horizontal oval below his leg to mark the location of his foot. Did you know that a box turtle’s cuisine, when living in a natural habitat, includes such delicacies as spiders, flies, worms, crickets, grasshoppers, slugs, and snails? Yummy! 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. -6- ILLUSTRATION 08-08 11) Sketch an oval to mark the position of Tuttle’s other leg. 12) Connect this leg to the edge of the upper shell with a curved line. Refer to the next drawing, marked Illustration 08- 09. ILLUSTRATION 08-09 13) Draw the inside edge of his lower shell. This edge actually consists of two lines, a short one to the left of his leg, and a longer one in between his legs. Did you know that the lower shell (called the plastron) of a box turtle is hinged, so he/she can close it against the inside of the upper shell (referred to as the carapace) and hide away inside? 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. -7- ILLUSTRATION 08-10 14) Sketch ovals as his other two visible feet. His fourth foot appears to be hidden behind his body. 15) Complete the rough sketch by adding his eye and mouth. Refer to Illustration 08- 11. ILLUSTRATION 08-11 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. -8- OUTLINING SHAPES AND SPACES This section of the lesson is designed to enhance your observation skills, and subsequently refine your abilities to translate what you see into a drawing. I offer very few written instructions; rather, you rely primarily on your observation skills. You begin by erasing the grid lines, and then use a freshly sharpened 2B pencil to replace the initial rough sketch with dark, thin outlines. Your goal is to focus on drawing neat accurate lines that provide more detailed information about the various components of Tuttle. 16) Check over the proportions of your sketch and adjust any areas you aren’t completely happy with. 17) Use your vinyl eraser to erase the grid lines. ILLUSTRATION 08-12 18) Pat the entire sketch with your kneaded eraser. The initial sketch lines need to become so light that you can barely see them. Keep your pencil sharpener and sandpaper block handy and constantly sharpen the point of your pencil as you work, so your outline stays neat. 19) Carefully observe each of the following nine drawings in sequence and redraw each section of Tuttle with thin neat lines. Watch closely the curves and sizes of each line in relation to the other lines and the spaces. Remember; don’t press too hard with your pencils. These areas become impossible to touch up, and also leave dents in your paper, spoiling the overall appearance of your drawing. 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. -9- ILLUSTRATION 08-13 ILLUSTRATION 08-14 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. - 10 - ILLUSTRATION 08-15 ILLUSTRATION 08-16 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. - 11 - ILLUSTRATION 08-17 ILLUSTRATION 08-18 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. - 12 - ILLUSTRATION 08-19 ILLUSTRATION 08-20 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
  13. - 13 - ILLUSTRATION 08-21 HATCHING VARIOUS VALUES In this section, you add shading to Tuttle with hatching. Hatching is a series of lines (called a set) drawn closely together to give the illusion of values. Values are the different shades of gray created when you draw by varying both the density of the shading lines, and the pressure used in holding various pencils. A full range of values from light to dark gives contrast between the light and the shadow areas. Contrast refers to the comparison of different values when put beside one another, and an invaluable tool for heightening the effects of composition. Light affects the placement and value of every section of shading in a drawing. 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. The light source in this drawing is from the right. Therefore, the overall values need to be lighter on the right than on the left. Keep the following in mind: Draw some hatching lines close together and others farther apart. Press lightly with your pencil for light lines and apply more pressure to achieve darker lines. Keep a pencil sharpener (and sandpaper block if you have one) handy so you can easily keep your pencil points nice and sharp. Always place a piece of clean paper under your hand as you draw to protect your drawing from accidental smudges. Watch closely the directions in which the hatching lines are angled. 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. - 14 - 20) Outline the various parts of Tuttle’s eye, including the highlight, iris, and pupil. Refer to Illustration 08-22. Highlight refers to the brightest area of a form where light bounces off its surface and is usually the section closest to the light source. Iris of an eye is the colored circular section of the eyeball surrounding the pupil. Pupil of an eye is the darkest circular shape within the iris. 21) Add shading to his eye (as explained in the following instructions and illustrated in the next set of drawings). Fill in the pupil with a 6B pencil (Illustration 08-23). Remember to leave the highlight white! Use HB and 2B pencils to add shading to the iris (Illustration 08-24). Take note that the values are darker around the edges, on the right, and under the eyelid. Add some eyelashes on the left (Illustration 08-25). Turtles don’t really have eyelashes, so you can leave them out if you want your turtle to look more realistic. Use an HB to shade in the whites of the eyes on either side of the iris (Illustrations 08-26 and 08-27). ILLUSTRATION 08-22 ILLUSTRATION 08-23 ILLUSTRATION 08-24 ILLUSTRATION 08-25 ILLUSTRATION 08-27 ILLUSTRATION 08-26 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
  15. - 15 - BE CAREFUL! Try not to touch your drawing paper with your fingers or hands where you plan to add shading. The powder component in graphite works like the fingerprinting powder used by criminal investigative sections of police departments. Your skin may transfer oil to the paper, which sometimes becomes visible after you add shading, spoiling the overall look of your drawing; hence, another reason to keep a piece of scrap paper under your hand while you draw. 22) Use your HB pencil and hatching lines to add light values to the various parts of Tuttle. The overall shading is darker on the left than on the right, and to keep things simpler, the hatching lines are mostly straight rather than curved. Rely on your observation skills to differentiate between the very light and slightly darker sections of light shading. ILLUSTRATION 08-28 Did you know that some box turtles can grow to be more than six inches long (but most are smaller)? 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. - 16 - Did you know that a box turtle can kill a human? Many box turtles love to eat poisonous wild mushrooms. While these mushrooms do no harm to the turtle, people who inadvertently eat the turtle meat can subsequently become very ill, and very often succumb to the poison and die. 23) Use a 2B and 4B pencils to add medium and dark values to the shadow areas in the sections of the drawing that are farther away from or blocked from the light source. 24) Add horizontal hatching lines under and to the left of Tuttle as the cast shadow. A cast shadow is a dark section on a surface that receives little or no light. The values of a cast shadow are darkest right next to the object and become gradually lighter farther away. ILLUSTRATION 08-29 Did you know that a few Box Turtles are alleged to have lived for more than a hundred years? However, this theory is challenged in that box turtles older than fifty are rarely found in the wild. It is more likely that a box turtle’s life span is between thirty-five and fifty years. 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. - 17 - 25) Use a 4B pencil to add dark shading to the sections of the cast shadow that are close to the turtle. 26) Examine your drawing both close up and from a distance, and touch up any sections of shading you aren’t happy with. To make a section of shading darker, simply add more hatching lines in between the existing lines. Use your kneaded eraser to gently pat any sections of shading that you feel are too dark. ILLUSTRATION 08-30 If you like turtles and care about their future existence, you should respect their need to continue living within their natural habitats in the wild. However, as long as you protect their environments, there’s nothing wrong with hunting for turtles armed with a sketchbook or a camera. 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. - 18 - BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. >Brenda Hoddinott< Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”. Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites. Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world. LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiot’s Guide to Drawing People: Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally. 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
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