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Introduction

to

SHADING drawspace module

3.1

Exercise your brain while learning how to shade! • 253 pages of richlyillustrated resources and activities • 500+ drawings to clarify discussions and activities • 33 step-bystep activities that teach you how to shade realistic subjects with traditional shading techniques

Brenda Hoddinott www.drawspace.com

Drawspace Tutorials for Artists and Educators

Introduction to Shading drawspace module 3.1

Brenda Hoddinott www.drawspace.com 253 pages and 500+ illustrations 15 resources and 33 activities ISBN: 978-1-927539-94-1 Individual Drawspace tutorials and Drawspace e-books can be licensed for educational purposes in digital format at www.drawspace.com. Copyright © 2013 Brenda Hoddinott and Drawspace Publishing All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing. Curriculum, illustrations, and intellectual property are intended for educational purposes only and may not be sold in any form or by any means. This publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide helpful and informative material on all aspects of the subject matter. Brenda Hoddinott and Drawspace.com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of the contents of this book.

Publisher: Drawspace Publishing, Halifax, NS, Canada Curriculum, illustrations, cover design, and layout: Brenda Hoddinott Editors: Giselle Melanson Tattrie, Suzanne Beaton, and John Percy Researcher: Giselle Melanson Tattrie

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Brenda Hoddinott Award-winning artist and author, illustrator, art educator, curriculum designer, co-owner of Drawspace.com, owner of Drawspace Publishing, and retired forensic artist Brenda has been developing art curricula and teaching multidisciplinary arts since 1980. During her 25-year career as a forensic artist, Brenda worked with diverse criminal investigative agencies including the Royal Canadian Mounted Police, the Canadian Department of National Defense, private investigative agencies, and municipal police departments. Brenda and her partner John live in the suburbs of Halifax, Nova Scotia with their two SPCA rescue dogs: Timber the Huskador and Katie the Pitweiler. Their blended human family includes five adult children and two grandchildren. Other books by Brenda Hoddinott: •

Drawing on Your Brain (Drawspace Publishing, 2013)

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Introduction to Contour Lines (Drawspace Publishing, 2012)

•

Introduction to Drawing (Drawspace Publishing, 2012)

•

Drawing for Dummies 2nd Edition with Jamie Combs (Wiley Publishing, Inc., 2011)

•

Illustrated Dictionary of Art-Related Terms (Drawspace Publishing, 2011)

•

Getting Started with Drawing (Drawspace Publishing, 2010)

•

The Complete Idiot’s Guide to Drawing People Illustrated (Alpha Books, 2004)

•

Drawing for Dummies (Wiley Publishing, Inc., 2003)

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About drawspace.com Exercise your brain while learning how to draw! Ex

Drawspace is more than an art website – we are an international community of drawing enthusiasts, professional artists, art educators, and authors of art books.

Drawspace Free Lessons These downloadable art lessons have been strengthening the drawing skills of aspiring artists for almost two decades. They offer a sampling of the diverse skills and techniques you can learn in Drawspace Professional Lessons and Drawspace Online Classrooms. http://www.drawspace.com/lessons

Drawspace Professional Lessons This world-renowned collection of drawing lessons is continuously growing, with four to six new lessons added every month. The comprehensible, high-quality lesson material is used by students who prefer to teach themselves, schools, colleges, universities, and homeschooling families. Each module contains topics that flow together naturally, and each topic includes both resources and activities. http://www.drawspace.com/lessons/pro

Drawspace Online Classrooms These state-of-the-art, socially-interactive classrooms provide professional guidance and ongoing assignment feedback from internationally acclaimed art educators. Several free classrooms are also available – students receive everything but an art educator. http://www.drawspace.com/

Drawspace Beginner Certification Program Students who complete all the requirements of this program thereby demonstrate beginner-level educational and artistic competence, and are awarded a certificate of completion. http://www.drawspace.com/classrooms/certification

Drawspace Publishing Drawspace books focus on art-related topics and are written by world-renowned artists, art educators, and authors. http://www.drawspace.com/bookshop

Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Contents at a Glance Note: To locate the corresponding curriculum files in digital format on Drawspace.com, refer to the number/letter codes. Examples: 3.1.R1: Module 3. Topic 1. Resource 1 and 3.1.A1: Module 3. Topic 1. Activity 1

Introduction...............................................................1 Part 1: Seeing and Shading Values...........................5 Resource 3.1.R1: Identifying Light and Shadow on Forms................................7 Activity 3.1.A1: Shade Simple Value Scales.....................................................15 Activity 3.1.A2: Shade an Optical Illusion........................................................21 Resource 3.1.R2: Identifying Primary Light Sources........................................25 Activity 3.1.A3: Shade Graduations of Values..................................................31 Resource 3.1.R3: How to Use a Value Map.....................................................35 Activity 3.1.A4: Use Shading to Create Forms.................................................39 Activity 3.1.A31: Turn a Shape into a Form.....................................................45 Activity 3.1.A32: Shade the Realistic Forms of Leaves.....................................49

Part 2: Super Shading with Squirkles......................55 Resource 3.1.R4: Checking Out Squirkles in Drawings....................................57 Resource 3.1.R5: Exploring Squirkled Value Scales........................................61 Activity 3.1.A5: Squirkle Value Scales..............................................................65 Resource 3.1.R6: How to Squirkle Graduations...............................................69 Activity 3.1.A6: Squirkle Graduations of Values................................................73 Activity 3.1.A7: Squirkle Striped Graduations...................................................75 Activity 3.1.A8: Graduate Blobs and Globs......................................................77 Activity 3.1.A9: Squirkle an Iris and a Pupil......................................................81

Part 3: Elementary Values with Hatching................85 Resource 3.1.R7: Exploring Hatching in Drawings...........................................87 Resource 3.1.R8: How to Hatch Value Scales..................................................93 Activity 3.1.A10: Hatch Value Scales with Five Grades....................................97 Activity 3.1.A11: Mountains in the Style of Impressionism................................99 Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

IV Activity 3.1.A12: Use Line Density to Hatch Value Scales..............................107 Activity 3.1.A13: Hatch an Abstract Design....................................................109 Activity 3.1.A14: Hatch Value Scales with Pencil Pressure.............................113 Activity 3.1.A21: Render Ribbons of Values....................................................115

Part 4: Graduate to Hatching Graduations............121 Resource 3.1.R9: Exploring Hatching Graduations.........................................123 Resource 3.1.R10: How to Hatch Graduations with One Grade......................127 Activity 3.1.A15: Use Five Grades to Hatch Five Graduations........................131 Resource 3.1.R12: How to Hatch a Graduation with Five Grades...................133 Activity 3.1.A16: Hatch a Single Graduation with Five Grades........................137 Activity 3.1.A17: Hatch Forms with Burnishing and Erasing............................139 Activity 3.1.A18: Hatch Vertical Lines of Random Lengths..............................145 Resource 3.1.R14: How to Hatch Lengthways Graduations............................149 Activity 3.1.A19: Hatch Two Types of Lengthways Graduations......................153 Activity 3.1.A20: Sketch a Scene with Hatching Graduations..........................155

Part 5: Contour Hatching Around Forms...............163 Resource 3.1.R15: Checking Out Contour Hatching.......................................165 Resource 3.1.R13: Rendering Contour Hatching Naturally.............................171 Activity 3.1.A22: Shade a Simple Form with Contour Hatching.......................173 Activity 3.1.A23: Graduate Curved Hatching Lines Lengthways......................177 Activity 3.1.A29: Shade a Tulip with Contour Hatching...................................183 Activity 3.1.A28: Hatch Harry’s Realistic Hair................................................191 Activity 3.1.A25: Contour a Child’s Straight Hair............................................201

Part 6: Smooth Out Shading with Blending...........207 Resource 3.1.R11: To Blend or Not to Blend..................................................209 Activity 3.1.A26: Shade and Blend Bobby Blob..............................................213 Activity 3.1.A24: White Egg on a White Surface.............................................217 Activity 3.1.A33: Shine Up a Simple Sphere...................................................221 Activity 3.1.A30: Shade an Apple with Contour Hatching................................227 Activity 3.1.A27: Realistic Petals on a Flower.................................................233

Glossary of Art Terms............................................241 Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Contents Introduction...............................................................1

Introduction to Shading provides practical tips, skills, techniques, and activities designed to teach you the fundamentals of different styles of shading About this Book ......................................................................................................................1 Sizing Up the Sidebars............................................................................................................3 How to Use this Book .............................................................................................................3

Part 1: Seeing and Shading Values...........................5 Identifying Light and Shadow on Forms..............................................7

Discover how highlights, shadows, reflected light, and cast shadows help create the illusion of a three-dimensional reality on a flat sheet of paper Highlighting Highlights.............................................................................................................8 Examining Shadow Sections....................................................................................................9 Identifying Reflected Light......................................................................................................11 Exploring Cast Shadows.........................................................................................................12 Seeing Light and Shadow in a Graduation...........................................................................13

Shade Simple Value Scales.................................................................15

Prepare five grades of pencils and then use them to shade two value scales: from light to dark and from dark to light Prepare your Pencils for Shading.........................................................................................15 Shading Two Value Scales.....................................................................................................18

Shade an Optical Illusion.....................................................................21 Outline straight-sided shapes and add shading with four grades of pencils Outline an Optical Illusion.......................................................................................21 Add Shading with Four Pencils...............................................................................23

Identifying Primary Light Sources.......................................................25 Examine values on drawing subjects to find clues that identify the directionality of the dominant light source Seeing Light on Subjects in the Real World...........................................................25 Experiment 1: Light and shadow on an object...............................................................25 Experiment 2: Light and shadow on you........................................................................26 Experiment 3: Light and shadow outside.......................................................................26

Locating Light Sources in Drawings.......................................................................26

Shade Graduations of Values..............................................................31

Use pencil pressure and different grades of pencil to create seven different graduations Graduations with a Single Grade of Pencil.............................................................31 Graduations with Five Grades of Pencils................................................................33


VI How to Use a Value Map......................................................................35

A four-step process to help you plan an appropriate method for adding shading to a drawing Step 1: Outlining the Subject..................................................................................35 Step 2: Identifying Values in the Subject................................................................36 Step 3: Outlining the Shapes of Values..................................................................37 Step 4: Adding Shading to Your Drawing................................................................37

Use Shading to Create Forms..............................................................39 Use value maps and graduated shading to turn a circle, cube, and rectangle into realistic three-dimensional forms Outline a Circle, Cube, and Rectangle....................................................................39 Identify Values in the Reference Image...................................................................40 Outline the Shapes of Values..................................................................................41 Add Shading to Your Drawing.................................................................................41

Turn a Shape into a Form....................................................................45 Use traditional shading techniques and five grades of pencils to render a three-dimensional form

Shade the Realistic Forms of Leaves..................................................49

Follow richly-illustrated, step-by-step instructions to draw a plant in the style of realism Sketch and Outline Leafy Proportions....................................................................49 Prepare for Shading................................................................................................51 The Process of Shading a Leaf...............................................................................52 Create Forms with Traditional Shading...................................................................53

Part 2: Super Shading with Squirkles......................55 Checking Out Squirkles in Drawings..................................................57 A richly-illustrated discussion demonstrates the diversity of squirkling for a broad range of different drawing subjects

Exploring Squirkled Value Scales.......................................................61

Popular techniques for rendering a range of different values with squirkles Varying the Density of Lines..................................................................................................61 Using Various Grades of Pencils...........................................................................................62 Combining Density and Grades with Pressure....................................................................63

Squirkle Value Scales..........................................................................65

Render six different value scales with squirkling by using line density, pencil grades, and pressure Vary the Density of Lines.......................................................................................................65 Use Various Grades of Pencils...............................................................................................66 Combine Density and Grades with Pressure.......................................................................67

How to Squirkle Graduations..............................................................69 Examine various types of graduations and discover the process for squirkling smoothly flowing graduations


VII Squirkle Graduations of Values...........................................................73 Use line density, pencil pressure, and different grades of pencils to squirkle smoothly flowing graduations

Squirkle Striped Graduations..............................................................75 Create a striped pattern and a bumpy texture with gently curving graduations

Graduate Blobs and Globs..................................................................77 Design an arrangement of five overlapping shapes and use squirkling graduations and different grades of pencils to make the shapes appear three-dimensional Design Five Overlapping Shapes............................................................................77 Turn Shapes into Forms..........................................................................................78

Squirkle an Iris and a Pupil.................................................................81

Sketch the shapes of an iris, highlight, and pupil, and add shading with graduations of squirkles Sketch the Parts of an Eye....................................................................................................81 Add Shading with Squirkles..................................................................................................83

Part 3: Elementary Values with Hatching................85 Exploring Hatching in Drawings..........................................................87

Check out the different shading effects made possible by a basic hatching technique of parallel straight lines. Spaced Out Hatching Lines...................................................................................................87 Hatching Quickly.....................................................................................................................89 Hatching Details......................................................................................................................90 Hatching Lines as Solid Tones..............................................................................................91

How to Hatch Value Scales..................................................................93 Examine different types of value scales created with hatching and find out how each is rendered Use Different Grades of Pencils........................................................................................93 Vary the Density of the Lines.............................................................................................94 Apply Different Degrees of Pressure to a Pencil...........................................................95 Combine all Three Shading Techniques...........................................................................95

Hatch Value Scales with Five Grades..................................................97 Use hatching and five grades of pencils to render value scales that appear to be solid tones

Mountains in the Style of Impressionism............................................99 Draw an impressionistic range of mountains shaded with the natural values of five different grades of pencils

Use Line Density to Hatch Value Scales............................................107 Render five different value scales of seven values each by varying the density of the hatching lines and using different grades of pencils

Hatch an Abstract Design..................................................................109 Design an abstract composition and add shading with five different grades of pencils while varying line density


VIII Hatch Value Scales with Pencil Pressure..........................................113 Render ten value scales of five solid tones by varying the pressure used with single grades of pencils

Render Ribbons of Values.................................................................115 Vary the pressure used with five grades of pencils to create a design with five ribbons of different values Outline Five Ribbons with Curved Lines........................................................................115 The Process of Shading a Ribbon...................................................................................117 Shade the Other Four Ribbons........................................................................................118

Part 4: Graduate to Hatching Graduations............121 Exploring Hatching Graduations.......................................................123 An illustrated discussion about various types of hatching graduations that are rendered with straight lines

How to Hatch Graduations with One Grade......................................127 Examine the process of rendering three types of graduations by using one grade of pencil and side-by-side, straight hatching lines

Use Five Grades to Hatch Five Graduations.....................................131 Use pencil pressure to create a graduation of values with a 2H, HB, 2B, 4B and 6B grade of pencil, and side-by-side, straight hatching lines

How to Hatch a Graduation with Five Grades...................................133 Discover the process of rendering a single graduation with five grades of pencils and straight hatching lines

Hatch a Single Graduation with Five Grades....................................137 Render a single graduation with a combination of five grades of pencils and straight hatching lines

Hatch Forms with Burnishing and Erasing.......................................139 Learn two invaluable shading techniques for creating a smooth texture with hatching Sketch Proportions and Outline Shapes.............................................................................139 Graduate Values with Various Pencils.................................................................................141 Burnish Values and Draw with Erasers .............................................................................142 Shade, Burnish, and Erase Highlights on Your Own........................................................143

Hatch Vertical Lines of Random Lengths..........................................145 Create two sets of randomly placed hatching lines of different lengths: one with long lines and the other with short lines How to Hatch Random Vertical Lines.............................................................................145 Hatch Two Sets of Random Vertical Lines.....................................................................147

How to Hatch Lengthways Graduations............................................149 Examine the process of rendering a graduation by using lengthways hatching lines and four grades of pencils


IX Hatch Two Types of Lengthways Graduations..................................153 Render a graduation with long lines and another with short lines by using lengthways hatching lines

Sketch a Scene with Hatching Graduations......................................155 Use graduated hatching, atmospheric perspective, and a shading map to draw a tranquil scene with a palm tree, an island, and calm water Sketch Proportions............................................................................................................155 Plan Shading........................................................................................................................157 Shade Graduations.............................................................................................................158

Part 5: Contour Hatching Around Forms...............163 Checking Out Contour Hatching........................................................165 Examine graduations and drawings to see how curved hatching lines help create highly realistic textures and three-dimensional forms

Rendering Contour Hatching Naturally.............................................171 How to find and use your most natural drawing motions for shading with contour hatching

Shade a Simple Form with Contour Hatching...................................173 Use contour hatching graduations to depict the illusion of depth by transforming a circular shape into a three-dimensional form

Graduate Curved Hatching Lines Lengthways..................................177 Use curved hatching lines to smoothly render a graduation that depicts the illusion of form on a segment of a sphere

Shade a Tulip with Contour Hatching................................................183

Outline and then use contour hatching graduations to add shading to a tulip and a section of its stem and leaf based on a light source Sketch Proportions...............................................................................................183 Turn a Sketch into a Contour Drawing..................................................................185 Add Light and Medium Values..............................................................................186 Add Dark Values and Final Touches......................................................................188

Hatch Harry’s Realistic Hair..............................................................191 Use a shading map and hatching graduations to render both smooth shading and the texture of realistic hair Sketch and Outline Harry.......................................................................................191 Sketch proportions with a line of symmetry..................................................................191 Outline the basic shapes.............................................................................................192 Neatly outline his face, nose, ears, and hair................................................................193

Map a Shading Plan...............................................................................................194 Shade the Face, Nose, and Ears...........................................................................197 Shade Realistic Hair with Curved Lines................................................................198

Contour a Child’s Straight Hair.........................................................201 Draw the realistically proportioned head of a young child with straight hair that curves around the contours of his cranium


X Sketch Facial Proportions.....................................................................................202 Prepare the Hair and Face for Shading.................................................................203 Use Curved Lines to Shade Straight Hair.............................................................204 Add Shading to the Eyes and Face.......................................................................205

Part 6: Smooth Out Shading with Blending...........207 To Blend or Not to Blend...................................................................209 Tips and techniques for using blending tools to successfully blend shading graduations Blending Gone Bad!..............................................................................................209 Beautiful Blending!................................................................................................210 Blending Tools to Try............................................................................................212

Shade and Blend Bobby Blob...........................................................213

Outline a shape, add graduated values with squirkles, and blend the shading to create a smooth three-dimensional cartoon face Outline a Fun Blob Shape.....................................................................................213 Shade and Blend Light and Medium Values.........................................................214 Shade and Blend Dark Values...............................................................................215 Create a Fun Face.................................................................................................216

White Egg on a White Surface..........................................................217

Use squirkling graduations to define the form of a high key subject and hatching to render its cast shadow Shade Around and Outward from the Highlight....................................................217 Graduate from the Shadow into the Reflected Light............................................218 Hatch the Cast Shadow from Light to Dark..........................................................220

Shine Up a Simple Sphere.................................................................221

Use contour hatching, burnishing, blending, and erasing to create a realistic drawing of a sphere with a shiny surface Sketch Proportions and Shading Guides..............................................................221 Add Shading with Contour Hatching.....................................................................222 Blend, Burnish, Blend, and Pull Out Highlights...................................................224

Shade an Apple with Contour Hatching............................................227 Render a realistic drawing of a shiny Macintosh apple by using blending to smooth out contour hatching graduations

Realistic Petals on a Flower..............................................................233

Use a chisel point on nine grades of pencils to render a detailed drawing of a flower with a focus on shading light and shadow Sketch Petal Contours..........................................................................................233 Establish a Full Range of Values..........................................................................235 Shade Light and Shadow......................................................................................236

Glossary of Art Terms............................................241


Introduction

Introduction Shading – the magic that transforms lines on a piece of paper into realistic, three-dimensional objects and living beings This book exercises your brain and teaches you how to shade at the same time! With 253 pages of richly-illustrated discussions and step-by-step activities, you learn how to shade realistic subjects using such techniques as: chisel-point, hatching, squirkling, and blending.

About This Book This book is designed for everyone who can hold a pencil – from absolute beginners to professional artists. Each of the 48 tutorials in this book is categorized as either a resource or an activity. Resources include illustrated discussions about shading skills and techniques. Activities challenge you to turn your theoretical skills into practice by shading values, forms, shapes, objects and people.

The Six Parts This book is divided into six parts, each of which includes resources and activities. Over 500 illustrations enhance the text and make it easy to comprehend and enjoy.

Part 1: Seeing and Shading Values Shading is so much more than simply adding values to a drawing. Shading is accurately rendering light and shadow. In this part, you discover how highlights, shadows, reflected light, and cast shadows help create the illusion of a threedimensional reality on a flat sheet of paper. An easy-to-use traditional shading technique takes you all the way from the basic skill of sharpening a pencil to rendering value scales and graduations. The same technique also helps you transform three shapes and realistic leaves with a stem into realistic three-dimensional forms.

ArtSpeak ArtSpeak: A fun word used to describe the vocabulary of art. An understanding of art-related words and terms enhances art curriculum comprehension. Icon: A visual image or graphic symbol used to identify information or a specific task. Icons can identify sidebars in books or specific functions on computer screens. Illustration: An image used to enhance a book or publication and/or to help explain textual concepts. Illustrations are used throughout many books to further the reader’s comprehension of the text. Sidebar: A section of text in a document that provides additional information about a topic. Many instructional art books have sidebars that provide readers with definitions of art-related words and terms.


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Introduction to Shading

Part 2: Super Shading with Squirkles In this part, you learn how squirkling can help create a diverse range of subjects, techniques, and graduations. You also try your hand at using line density, pencil grades, and pencil pressure to squirkle value scales and smoothly flowing graduations. Three additional activities challenge you to create a striped pattern and a bumpy texture, design and render five three-dimensional forms, and draw a realistic human eye.

Part 3: Elementary Values with Hatching This part of the book begins by showing you a few of the wonderful shading effects you can create with basic hatching techniques. Simple activities take you through the step-by-step process of rendering each different type of value scale. Then comes the best part: you employ your new skills to draw an impressionistic range of mountains, create and add shading to an original abstract design, and draw and shade five realistic ribbons of different values.

Part 4: Graduate to Hatching Graduations This part of the book begins with a richly-illustrated introduction to hatching graduations. You learn how to render side-by-side and vertical hatching graduations and then master these invaluable shading techniques through a series of activities. The art of burnishing shows you how to smooth out your shading. Also, you learn how to make a form appear more three dimensional by pulling out highlights with a kneaded eraser. As a grand finale, you use graduated hatching, atmospheric perspective, and a shading map to draw a tranquil scene with a palm tree, island, and calm water.

Part 5: Contour Hatching Around Forms This part of the book begins with an illustrated discussion on how curved hatching lines help create highly-realistic textures and three-dimensional forms. You then put theory into practice when you use contour hatching graduations to transform a circular shape and a segment of a sphere into three-dimensional forms. Your ability to render contour hatching graduations naturally progresses as you add shading to a tulip and a section of its stem and leaf, render smooth shading and the texture of realistic hair, and draw the forms of a young child’s face and hair.

Part 6: Smooth Out Shading with Blending This final part of the book begins by sharing numerous tried-and-true techniques and helpful tips for successfully blending shading.


Introduction

You then try your hand at blending a smooth three-dimensional cartoon face, a realistic white egg on a white surface, and a sphere with a shiny surface. Finally, all your new shading skills come together as you render two highly realistic masterpieces: a fresh, shiny Macintosh apple and the smooth, delicate petals of a beautiful flower.

Sizing Up the Sidebars

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

The sidebars in this book offer oodles of tips, challenges, and factoids to make your drawing experience more enjoyable. Each of the six different types of sidebars can be easily identified by a simple icon: ArtSpeak: (Figure 1) Definitions of words and terms in the context of art and drawing As an Aside: (Figure 2) Additional info about your drawing subject, art-related topics, and artists. Caution!: (Figure 3) Valuable information to help you prevent mistakes and avoid frustration when you draw Tip!: (Figure 4) Suggested strategies to save you time, energy, and aggravation Visual Challenge: (Figure 5) Tasks to enhance your visual intelligence Action Challenge: (Figure 6) Tasks to help you experiment with new techniques, practice your skills, and/or create a sketch or drawing

How to Use this Book The curriculum files in this book are designed to be either worked through in sequence or incorporated into an existing syllabus. Therefore, the important content of some sidebars is repeated throughout.

For Artists Who Prefer Self-Education Option A If you decide to work through the entire book in sequence, you soon discover that each new piece of information, skill, or technique prepares you for the next. Lots of reference material and related activities are scattered throughout this book. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Take your time studying all the information in each resource before you begin working through its activities. The degree of difficulty increases as you near the end of the book. Option B Read through the Contents and jump right into those topics that excite you. Take a quick flip through the pages, closely examine illustrations that catch your eye, and start reading wherever you feel inspired.

As an Aside Introduction to Shading is the fourth in a series of books that utilizes diverse drawing skills and techniques to enhance your brain functions and strengthen your visual intelligence, creativity, and memory.

On the first page of most activities is a list of resources that you need to successfully complete each activity. If you come across a term you don’t understand, just look it up in the Glossary on pages 241 to 253. If at any point you begin to feel frustrated, you can start over again with Option A.

For Art Educators The curriculum in this book is recommended for visual art programs in schools, colleges, and universities; homeschooling families; and independent art teachers. All resources and activities in this book can be used to enhance a pre-existing syllabus. Wander through the detailed contents to locate files that can supplement your curriculum. To locate each resource and activity in digital format on drawspace.com, refer to its number/letter code in the Contents at a Glance. To provide each of your students with this book and/or its individual curriculum files in downloadable digital format, you can purchase an educators’ license: http://www.drawspace.com/lessons/pro

As an Aside The Drawspace philosophy on teaching art is to emphasize the enjoyment aspects while gently introducing the technical and academic skills needed to master the subject. Through the creation of a passion for the subject matter, the quest for knowledge is deepened.

As an Aside Anyone who can see and hold a drawing medium can learn to draw!


Part 1: Seeing and Shading Values

Part 1

Seeing and Shading Values Shading is so much more than simply adding values to a drawing. Shading is accurately rendering light and shadow. In this part, you discover how highlights, shadows, reflected light, and cast shadows help create the illusion of a threedimensional reality on a flat sheet of paper. An easy-to-use traditional shading technique takes you all the way from the basic skill of sharpening a pencil to rendering value scales and graduations. The same technique also helps you transform three shapes and realistic leaves with a stem into realistic three-dimensional forms. Identifying Light and Shadow on Forms...........................7 Seeing Light and Shadow in a Graduation......................13 Shade an Optical Illusion................................................21 Identifying Primary Light Sources...................................25 Shade Graduations of Values.........................................31 How to Use a Value Map................................................35 Use Shading to Create Forms........................................39 Turn a Shape into a Form..............................................45 Shade the Realistic Forms of Leaves.............................49


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Identifying Light and Shadow on Forms

Resource

Identifying Light and Shadow on Forms Discover how highlights, shadows, reflected light, and cast shadows help create the illusion of a threedimensional reality on a flat sheet of paper

This tutorial has five sections: • Highlighting Highlights • Examining Shadow Sections • Identifying Reflected Light • Exploring Cast Shadows • Seeing Light and Shadow in a Graduation Shading is so much more than simply adding values to a drawing. Shading is accurately rendering light and shadow. A light source identifies the light and shadow areas of a drawing subject so you can see a range of different values. When you can identify the shapes and locations of the light, medium, and dark values, you can use shading to turn shapes into forms. With contour hatching and a light source from the upper left, a simple circle becomes both a sphere and a planet (Figure 1).

ArtSpeak Shadow: A dark area on an object or living being that receives little to no light. Shading: The process of adding values to a drawing to create the illusion of texture, form, and/or threedimensional space. Values: (also called tones) The various shades of gray in an artwork. A broad range of values can be achieved by using various grades of a medium and by varying the density of the shading lines and the pressure used when applying the medium to a surface. Contour hatching: A classical shading technique in which sets of curved hatching lines follow the outlines, contours, and/or forms of the drawing subject and accentuate the illusion of a three-dimensional reality. Form: A component of art that creates the illusion of a three dimensional space on a two-dimensional surface, such as paper or canvas. A range of values and/or colors are used to visually transform shapes into three-dimensional structures. Light source: The direction from which a dominant light originates. A light source identifies the light and shadow areas of a drawing subject, allowing artists to know where to add light or dark lines and values in their artworks. Circle: A geometric shape in which all points on the circumference are an equal distance from its center point.


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Figure 1

ArtSpeak Sphere: A perfectly round geometric object in which all points on the surface are equal distance from the center point. Balls and globes are examples of spheres.

Highlighting Highlights You can add one or more strategically placed highlights to drawings of most objects and living beings to make them appear more three dimensional. A sphere helps illustrate the power of a single highlight (Figure 2). Examine the white circular shape in the center of the lightest shading.

Figure 2

Note that the light source is from the upper left; thus, the highlight needs to be in the upper left. Highlights can be any size and do not have to be circular. Their sizes and shapes vary considerably based on the type of light source and the forms of the object on which they appear. A drawing of a medieval dagger (Figure 3) has more than twenty highlights that are different sizes and shapes. The locations of twelve of these highlights are identified with arrows.

Hatching: A series of lines (called a set) drawn closely together to give the illusion of values. Depending on the shading effects desired, the individual lines in hatching sets can be far apart or close together. Shape: A twodimensional geometric object that can serve as the outline of a three-dimensional object. For example, a circle is the shape of a sphere. Highlight: A small section of a drawing subject that is rendered with white or a very light value to identify the brightest area where light bounces off its surface. Highlights are more pronounced on shiny or glistening surfaces than dull or matte surfaces. Render: The process of making or creating something. For example, an artist can render a sketch by drawing lines on a sheet of paper.




Figure 3

Examining Shadow Sections The surfaces on objects that receive very little light or are in the shadow of other objects are usually dark in value. The darkest shading on the surface of a form is often located in areas where the light has been blocked by the form itself. Identify the dark, crescent-shaped shadow on the lower right of a sphere (Figure 4). The light source is from the upper left.

Figure 4

Figure 5

In Figure 5, the contrast has been enhanced in Photoshop to better demonstrate the crescent shape.


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Realistic drawings of human facial forms are highly dependent on the accurate placement of shadows. In a realistic drawing of an eye (Figure 6), the light is partially blocked from reaching the six shadow sections marked with arrows. These sections need to be rendered with darker shading than the sections that are in direct light. Figure 6

ArtSpeak Realism: A style of art in which living beings and objects are represented in an artwork as they appear in real life without stylization or distortion. Reflected light: A faint light reflected or bounced back on an object from nearby surfaces. Cast shadow: A dark section on an object or a surface adjacent to a subject that receives little or no direct light. The values of a cast shadow are darkest next to the object and gradually lighten as they move farther away.

Thanks to Photoshop, Figure 7 shows the shadow sections more clearly. Figure 7

Subject: Any object or living being that an artist chooses to capture in an artwork. Contour: The outline or a section of the outline of a shape or form.

As an Aside Even though the iris, pupil, eyelashes, and eyebrow are shaded with dark values in Figures 6 and 7, they are not completely in shadow. The colors of those parts are simply dark in value.




Identifying Reflected Light Reflected light is especially noticeable on a sphere. Identify the rim of light shading on the lower right of Figure 8. In this particular case, the reflected light is bouncing back from the light surface on which the sphere is sitting. In Figure 9, Photoshop made the background black so you can better see the reflected light.

Figure 8

Figure 9

When you know how to add reflected light to your drawings, many independent forms, such as facial features tend to look more three-dimensional and therefore more realistic. Figure 10

In the drawing of a child in Figure 10, look for the tiny sections of reflected light on the edge of his nose and along the jaw and chin.

ArtSpeak Value scale: A range of different values that are drawn in sequence from light to dark or from dark to light. Contour lines: Real or imaginary lines formed when the shared edges of spaces or forms meet. You can draw everything you can see or imagine with contour lines. Graduation: (also called gradient, graduated shading, or graduated values) A continuous, seamless progression of values from dark to light or light to dark.


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Exploring Cast Shadows

Figure 11

The light source in the drawings of a sphere (Figure 11) and a grape (Figure 12) is from the upper left. The light on an adjacent surface is blocked by each of these objects, resulting in cast shadows on the right. When you draw cast shadows, keep in mind that they generally take on the shapes of the forms that are blocking the light. Examine the cast shadow of a section of the stem in the drawing of the grape. The light source in Figure 13 is slightly behind and above the giraffe, and from the left. For the most part, the cast shadows are long and thin like his legs.

Figure 12

Figure 13

The values of these cast shadows are darkest right next to the giraffe’s feet and become gradually lighter farther outward. How and where you draw a cast shadow can create the illusion that objects are either touching or separated from adjacent surfaces (or other objects).

As an Aside The shadows in Figures 11 and 12 have been darkened in Photoshop to better illustrate their shapes.




The drawing of three spheres in Figure 14 has a light source from above. The first sphere (on the far left) is sitting on the surface of a table. The cast shadow is touching its lower edge.

As an Aside No art was ever less spontaneous than mine. What I do is the result of reflection and study. Edgar Dégas

However, the other two appear to be floating because the shadows are detached from the spheres.

Figure 14

As a sphere floats higher above a surface, its shadow usually becomes lighter in value and the reflected light on its surface is less noticeable. Figure 15

Figure 16

Seeing Light and Shadow in a Graduation A graduation of values can serve as an example of how shading would look on a section of an actual object. The different values in a graduation can therefore be attributed to the effects of the light source. The contours of a sphere (Figure 15) and a sliver of a sphere (Figure 16) are identified with simple contour lines.

As an Aside It is the supreme art of the teacher to awaken joy in creative expression and knowledge. Albert Einstein


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Examine the highlight, shadow, and reflected light on the same sphere after shading has been added (Figure 17). Compare and note the similarities of the left side of the sphere to the graduation on the right. The various values in this graduation of values can also be considered a highlight, a shadow section, and reflected light. Figure 17 Highlight

Shadow Reflected light

The practice of rendering graduations with contour lines becomes much more interesting when you imagine them as part of an actual object.

Figure 18

Challenge! Examine the shading on the apple in Figure 18 and identify the: •

highlight

•

shadow section

•

reflected light

•

cast shadow



Shade Simple Value Scales

Activity

Shade Simple Value Scales Prepare five grades of pencils and then use them to shade two value scales: from light to dark and from dark to light

Resource: Identifying Light and Shadow on Forms (Page 7) Supplies: drawing paper or a sketchbook, 2H, HB, 2B, 4B, and 6B grades of graphite pencils, pencil sharpener, sandpaper block, kneaded eraser

This tutorial has two sections: • Prepare your Pencils for Shading • Shade Two Value Scales

Prepare your Pencils for Shading The points of pencils that are used for a broad range of shading techniques are... well – pointed! When the points wear down, you simply use a pencil sharpener and/or a sandpaper block to sharpen them again. But, did you know that you can also render shading with a flat point? So, other than being an oxymoron, what exactly is a flat point?

ArtSpeak Acid-free: An archival quality, long-lasting paper product that has had the acid removed from the pulp in the paper-making process. Artist: A person who practices one or more art disciplines (e.g., dance, music, theater, writing, or visual arts). Drawing paper: Acid-free paper that’s designed specifically for artists and is available in various weights, colors, textures, and sizes. Grade: The softness or hardness of the mixture used in the process of manufacturing drawing mediums. Graphite: A soft black form of opaque carbon found in nature that is usually mixed with clay in the process of manufacturing various types of drawing tools. Kneaded eraser: A soft, pliable type of eraser used to erase parts of a drawing or to gently pat a drawing medium to make a lighter value or line. Sandpaper block: A block with tear-off sheets of fine sandpaper, which is used to sharpen the points of pencils.


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A flat point (also called a chisel point) refers to a pencil point with both a sharp edge and a flat surface (Figure 1). A chisel point enables you to quickly and efficiently render both fine lines (Figure 2) and shading (Figure 3) with one pencil. Figure 2

Figure 1

ArtSpeak Chisel point: (also called flat point) A versatile shape on the working end of a dry medium (such as a woodencased pencil) that has both a sharp edge and a flat angled surface. The sharp edge is used to render thin lines and fine details, and the flat surface is used for shading. Dry medium: A non-liquid drawing tool (e.g. colored pencils, graphite, or charcoal). Medium: An art material, such as clay, paint, or graphite that is used to make art. Almost anything can be an art medium, from the burnt end of a stick to computer software. Pencil: A broad category of writing and drawing tools that have a medium inside a holder. By the end of the nineteenth century, the word “pencil” specifically referred to a stick of graphite encased in a cylindrical piece of wood.

Figure 3

Tooth: The surface texture of paper. Paper with a smooth tooth is flat with a silky texture; a medium tooth is uneven with a slightly rough texture; and a coarse tooth is bumpy with a very rough texture. Shading: The process of adding values to a drawing to create the illusion of texture, form, and/or threedimensional space. Sharpener: A tool for sharpening pencils. An ideal sharpener for artists is hand held, made of metal, and has two openings for regular and oversized pencils. Sketchbook: Several sheets of drawing paper that are bound together and contained within a soft or hard cover. Technique: A well-known method of accomplishing a particular activity or task (e.g., a specific way to render shading). Value scale: A range of different values that are drawn in order from light to dark or from dark to light.




1. Gather your five pencils and follow these steps to create a chisel point on each:

Tip! Just before you sharpen a pencil into a chisel point, rotate the pencil between your fingers until the writing side is facing upward. When the pencil is sharpened and ready to use, you now know to hold your pencil:

• Step 1: Sharpen the pencil with a pencil sharpener • Step 2: Hold the pencil at an angle • Step 3: Stroke its point across fine sandpaper until you have a flat angled surface • Step 4: Make a couple of marks with the flat surface to soften any hard edges before you render a value scale or add shading to a drawing

• writing-side-down to use the sharp edge (Figure 2). • writing-side-up to use the flat surface (Figure 3).

ArtSpeak Values: The various shades of gray in an artwork. A broad range of values can be achieved by using various grades of a medium and by varying the density of the shading lines and the pressure used when applying the medium to a surface.

Caution! When shading with the flat surface of a chisel point, do not press very hard with your pencil. Pressing too firmly with any grade of pencil can destroy the paper’s tooth, and additional shading cannot adhere to the paper.

Tip! Sharpen several pencils in advance of beginning a new project so that your drawing time isn’t continuously interrupted by pencil sharpening.

Rendering value scales is the first step toward rendering shading. The overall appearance of shading varies greatly depending on: • the tooth of your drawing paper • the manufacturer of your pencils Paper with a coarse tooth (Figure 4) may leave more of the white showing through your shading than paper with a smooth tooth (Figure 5). Both these values are rendered with a 2B grade of pencil.

Tip!

Figure 4

Figure 5

B grades of graphite pencils, especially 4B to 9B, are softer and wear down faster than H grades. Therefore, they usually need to be sharpened more frequently than H grades.


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Identical grades of pencils do not always make identical values. The value scales in Figures 6 and 7 are both rendered with 2H, HB, 2B, 4B, and 6B grades of pencils. However, the type of paper used and the manufacturers of the pencils are not the same. Compare the “same” value in each value scale in sequence beginning with the lightest value on the left. Note subtle differences in values. Figure 6

Figure 7

Shading Two Value Scales Tip! If you are left-handed, you can render a value scale from right to left, beginning with light values on the right that graduate darker as they move toward the left. When you are done, just turn your paper upside down and your value scale is similar to the illustrations in this tutorial.

Caution! Re-sharpen your pencil before its graphite point is worn down to the wooden encasement. If a sliver of this wood scrapes your paper, your drawing may become irreparably damaged.

Set up your drawing supplies in preparation for creating value scales. 2. Use the flattened surface of a 2H pencil to gently render a light value on the far left of your paper. Refer to Figure 8. Each section of shading can be any size or shape you want. However, make sure you leave enough space to add four more values. To minimize smudging, leave space on the right if you are righthanded and on the left if you are lefthanded.

Figure 8




3. Use the flattened surface of an HB pencil to create a slightly darker value beside the light value (Figure 9).

Tip! Experiment with papers and pencils made by different manufacturers. Eventually, you will find the perfect combination of paper and pencils that gives you the results you want.

Figure 9

4. Use the flat surface of 2B, 4B, and 6B pencils in turn to render three more values that are progressively darker (Figures 10, 11, and 12). Figure 10

Tip! Whenever you render shading, keep a piece of paper under your drawing hand to prevent smudging. Figure 11

Figure 12

5. Use the same technique to shade another value scale of five values in reverse with the darkest value (6B pencil) on the left and the lightest value (2H pencil) on the right (or vice versa if you are left-handed) as shown in Figure 13. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 13

Challenge! Draw another value scale from light to dark and make each of the five values a completely different shape (Figure 14). Use your imagination to come up with your own shapes (no need to copy these). Next, shade another value scale in reverse from dark to light. Render each of these shapes as if it’s one of your previously rendered shapes reflected in calm water (Figure 15).

Figure 14

Figure 15

Challenge! Use five grades of pencils and the pencil-sharpening technique discussed in this activity to render at least one value scale every day for a week.



Shade an Optical Illusion

Activity

Shade an Optical Illusion Outline straight-sided shapes and add shading with four grades of pencils

Supplies: paper, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, vinyl and kneaded erasers; ruler

This activity has two sections:

ArtSpeak

• Outline an Optical Illusion

Optical illusion: (also called a visual illusion) An image that differs from objective reality, but when processed by the subconscious brain is interpreted as reality.

• Add Shading with Four Pencils

Subconscious: A mental process which may be beneath or beyond current awareness.

Optical illusions can challenge one’s perception. Examine the white square in the center of Figure 1. Figure 1

Perception: The manner in which you understand and process sensory information.

• Does it appear closer to you than the sides? • Or are the sides closer to you than the white square? The answer is both! Keep staring at the white square until you can see both illusions. If you don’t see both illusions right away, try again after you render your own optical illusion.

Outline an Optical Illusion 1. Use a ruler and an HB grade of pencil to measure and draw a square (Figure 2). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 2

ArtSpeak Parallel: Two or more straight lines that slant in the exact same direction and can extend to infinity without ever intersecting. Parallelogram: A four-sided shape with two sets of parallel sides that are equal in length and in which the opposite angles are identical.

Figure 3

Square: A parallelogram with four straight sides of equal length and four right angles.

Horizontal line: A geometric object that is at a right angle to a vertical line and parallel to a level surface. Vertical line: A geometric object that is straight up and down and at a right angle to a level surface. Trapezoid: A foursided shape in which only two sides are parallel.

2. Use a ruler to measure and divide each 3 in (7.62 cm) side into three 1 in (2.54 cm) lines, and mark each with a dot or short line (Figure 3). 3. Use a ruler to connect the opposite dots, thereby creating nine 1 in (2.54 cm) squares inside your larger square (Figure 4).

Render: The process of making or creating something. For example, an artist can render a sketch by drawing lines on a sheet of paper. Diagonal line: A line that is neither vertical nor horizontal but rather slants at an angle.

A good size for your square is 3 by 3 in (7.62 by 7.62 cm).

Figure 4

4. Draw diagonal lines in each of the four corner squares. Refer to Figure 5 on the next page. 5. Erase eight of the straight lines until you are left with only the five shapes shown in Figure 6.



Figure 5

Shade an Optical Illusion

Figure 6

You now have a square surrounded by four trapezoids.

Figure 7

Figure 8

Tip! Prepare your HB, 2B, 4B, and 6B pencils as shown in Figure 8. Refer to Shade Simple Value Scales on Page 15 to refresh your memory of how to prepare your pencils and create shading with pencils sharpened in this way.

Figure 9

6. Erase any unnecessary lines and marks and redraw any lines that may have been inadvertently erased (Figure 7).

Add Shading with Four Pencils 7. Use an HB pencil to add shading to the upper trapezoid (Figure 9).


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Figure 10

8.

Use a 2B pencil to add shading to the trapezoid on the left (Figure 10). Figure 11

9.

Use a 4B pencil to add shading to the trapezoid on the right (Figure 11). Figure 12

10. Use a 6B pencil to add shading to the lower trapezoid (Figure 12).

Challenge! Examine your drawing until you can see: • the square move closer to you than the trapezoids. • the trapezoids move closer to you than the square.



Identifying Primary Light Sources

Resource

Identifying Primary Light Sources Examine values on drawing subjects to find clues that identify the directionality of the dominant light source

This tutorial has two sections: • Seeing Light on Subjects in the Real World • Locating Light Sources in Drawings Everything you see has a light source. Even when there are several sources of light, one is usually stronger than the others (the primary light source.) A light source causes parts of objects to be lighter in value than others. For example, a mound of black earth on a sunny day may have several different values from medium to dark. On another sunny day, this same mound of earth may be covered with snow. You would again see several different values, but they would range from very light to medium.

Seeing Light on Subjects in the Real World Light falls on objects in predictable and consistent ways. The best possible way to gain an understanding of light is to examine the world around you under various lighting conditions. To get started, conduct three simple experiments.

Experiment 1: Light and shadow on an object Step 1: Place an object on a surface in a dimly lit room. Step 2: Shine a powerful flashlight or a lamp on the object. Step 3: Identify a few components of light and shadow (such as highlights, reflected light, shadow sections, and cast shadows).


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Step 4: Move the light source around in different directions and identify the changes in the locations and shapes of the light and shadow sections. Step 5: Move the light source higher and then lower and note the changes. For example, did you notice that the lower you placed the light source, the longer the cast shadow becomes?

Experiment 2: Light and shadow on you Set yourself up in front of a mirror while holding a flashlight or other type of portable light. Shine the light on your face from above, below, and each side. Examine your reflection and locate a few light and shadow sections. Note how the light and shadows on your face change their sizes, shapes and locations when you relocate the light source.

Experiment 3: Light and shadow outside On a sunny day, go outside and examine your cast shadow at the following times: • sunrise or sunset, when the sun is low in the sky • in the middle of the day, when the sun is directly overhead • mid-morning or mid afternoon, when the sun is at an angle

Tip! When you draw from life in a place with two or more light sources, the primary light source is usually the one that creates the brightest highlights and the darkest shadows on the subject itself.

Tip! To enhance your visual intelligence, always take time to observe your surroundings and compare the locations of shadows to the directionality of the light source.

Locating Light Sources in Drawings Before you begin drawing any subject, you need to identify the directionality of the primary light source. In this section, you are challenged to find the primary light source in seven drawings. First, determine the locations, sizes, shapes and values of highlights, shadows, reflected light, and cast shadows. Then apply the knowledge you gained from the experiments in the previous section. Identify the directionality of the primary light source in Figures 1 through 8. A few hints are offered to help you with the first three. If you run into problems, go back to the previous section and redo the three experiments. Examine the location, size, and shape of a highlight (marked 1), shadow section (2), reflected light (3), and cast shadow (4) in Figures 1 and 2.




Figure 1

Figure 2

1 2

1

3

2 3 4 4

Figure 3

In Figure 3, examine a highlight (1), reflected light (2), shadow section (3), and cast shadow (4).

1 2

3

As an Aside Art is the reason I get up in the morning, but the definition ends there. It doesn’t seem fair that I’m living for something I can’t even define. Ani DiFranco

4


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Figure 4

As an Aside As your shading skills improve, you should begin examining cast shadows more closely. For example, you may want to draw the texture of the surface on which the shadow falls or a rim of a lighter value that may be surrounding the shape of the shadow.

Tip! Long shadows can make a subject appear ominous in a drawing. Of course, this can be good or bad depending on your subject.

Figure 5

As an Aside Whatever the imagination seizes as beauty must be truth – whether it existed before or not. John Keats




Figure 6

Tip! To create the illusion of a realistic threedimensional object on a flat sheet of paper: Step 1: locate the primary light source Step 2: identify the locations, sizes, shapes, and values of the four components of light and shadow Step 3: add shading to your drawing that duplicates the locations, sizes, shapes, and values of the light and shadow

Figure 7

As an Aside He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist. St. Francis of Assisi


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Figure 8

Drum roll, please! The primary light sources originate from: • the upper right and slightly in front (Figure 1) • the upper left and slightly behind (Figure 2) • the right and slightly above (Figure 3) • overhead on a cloudy day, when the sun can’t create strong shadows (Figure 4) • the left (Figure 5) • the front and slightly to the left (Figure 6) • the left and slightly above (Figure 7) • the upper left on a sunny day when the sun creates strong shadows (Figure 8)

As an Aside

As an Aside

One has no right to love or hate anything if one has not acquired a thorough knowledge of its nature. Great love springs from great knowledge of the beloved object, and if you know it but little you will be able to love it only a little or not at all.

Every now and then go away, have a little relaxation, for when you come back to your work your judgment will be surer. Go some distance away because then the work appears smaller and more of it can be taken in at a glance and a lack of harmony and proportion is more readily seen.

Leonardo da Vinci

Leonardo da Vinci



Shade Graduations of Values

Activity

Shade Graduations of Values Use pencil pressure and different grades of pencil to create seven different graduations

Resource: Identifying Light and Shadow on Forms (Page 7) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block Figure 1

ArtSpeak Tooth: The surface texture of paper. Paper with a smooth tooth is flat with a silky texture; a medium tooth is uneven with a slightly rough texture; and a coarse tooth is bumpy with a very rough texture.

This tutorial has two sections: • Graduations with a Single Grade of Pencil • Graduations with Five Grades of Pencils

Graduations with a Single Grade of Pencil The process for shading each of the five graduations (Figure 1) in this section is the same. The difference is that you use a different grade of pencil for each. Paper with a medium tooth was used for the graduations in this tutorial. Due to its rough surface, parts of the white paper still show through the shading.


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The three-step process for rendering a graduation with a single grade of pencil is: Step 1: use only the weight of the pencil to begin shading the lightest value Step 2: gradually apply a little more pressure to your pencil as you graduate middle values Step 3: graduate the values darker by increasing the pressure applied to the pencil until the value is as dark as possible Figure 2

1. Sharpen a 2H, HB, 2B, 4B, and 6B pencil to a chisel point (Figure 2). 2. Draw a graduation of values with a 2H grade of pencil (Figure 3). 3. Use an HB grade of pencil to shade a second graduation (Figure 4). Figure 3

Figure 4

4. Use a 2B, 4B, and 6B grade of pencil in turn to create three more graduations (Figures 5 to 7). Figure 5

Figure 6

Figure 7

5. Use the same basic process to shade five more graduations from dark to light instead of from light to dark (Figure 8).



Figure 8

Shade Graduations of Values

Graduations with Five Grades of Pencils You can use all five grades of pencils to create a single graduation. In essence, you link together the five graduations from the previous section in sequence. The goal is to keep the transitions between each graduation flowing seamlessly into one another (Figure 9). Figure 9

6. Use a 2H pencil to create a graduation from light to dark on the far right or left of your paper (Figure 10). Figure 10

Begin by pressing very lightly. To graduate the values darker, apply more pressure to the pencil. Leave lots of space on your paper to add the four more graduations. 7. Use the same technique with an HB grade pencil to graduate darker values (Figure 11).

Figure 11

Begin by lightly shading over a small section of the darkest shading that was created with the 2H. Then, continue making the graduation darker as you move toward the middle of your paper. Remember to apply a little more pressure to your pencil to darken the values.

Figure 12

8. Use the same process to add in middle values with a 2B grade (Figure 12). 9. Add darker values toward the end of the graduation with a 4B pencil (Figure 13).


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Figure 13

10. Use firm pressure on your 6B pencil to make the end of the graduation very dark (Figure 14).

Figure 14

11. Add final touches to your graduation with each of your five pencils in turn (Figure 15). Figure 15

12. Use the same process and five grades of pencils to draw another graduation from dark to light instead of from light to dark (Figure 16). Examine your graduation beginning on the left and locate any sections that don’t graduate smoothly. Use the same grades that originally created the values in each section to smooth out the graduations. Figure 16

And finally, pat yourself on the back and rub your tummy at the same time! Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


How to Use a Value Map

Resource

How to Use a Value Map A four-step process to help you plan an appropriate method for adding shading to a drawing

This tutorial has four sections: • Step 1: Outlining the Subject • Step 2: Identifying Values in the Subject • Step 3: Outlining the Shapes of Values • Step 4: Adding Shading to Your Drawing

ArtSpeak

Tip! You can create a value map based on a value scale of any number of different values. However, most value maps have no fewer than three values and no more than ten.

Figure 1

Value map: A plan or blueprint for adding shading to a drawing.

Step 1: Outlining the Subject Before creating a value map you should draw your subject proportionally correct. A contour drawing of a simple circle serves as the example for this demonstration (Figure 1).


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Step 2: Identifying Values in the Subject Beginners to shading should keep a value scale close by when creating a value map. You can then compare the values in your subject to those in the value scale. To save time and prevent confusion, you can sequentially number each value in your value scale (Figure 2). Figure 2

1

2

3

4

5

The next goal is to find each value of the value scale in a section of your subject or reference image. In Figure 3, a drawing of a sphere is pretending to be a photo and five different values are identified and marked. You can mark only one section of each value or several sections of each. Figure 3

2 3

As an Aside

2

4 The texture and base value created with a specific grade of pencil can be very different depending on the tooth of the paper used.

1

5 3

3

2

5 3

3 4

4

5

4

3 Figure 4

2

2 4

3

1

3

1

For example, both values in Figure 4 were rendered with a 2B pencil. The first was rendered on paper with a smooth tooth (1) and the second was rendered on paper with a coarse tooth (2).

2

1

5 3

5

Tip!

1: Smooth Tooth

2: Coarse Tooth

You can mark the numeric name of each value right on a photo reference. When drawing from life, outline the shape of each value as soon as it’s identified (Step 3).



How to Use a Value Map

Figure 5

Step 3: Outlining the Shapes of Values The shapes of values differ considerably depending on the shape of the object and the light source. In the reference image (Figure 3), the shape of each graduation of values follows the contours of the sphere (Figure 5). The next goal is to outline each shape inside your contour drawing. You can simply remember which value is which (Figure 6) or very lightly mark the numeric name of each inside its corresponding shape (Figure 7). Figure 7 has been darkened in Photoshop so you can more clearly see the outlined shapes.

Figure 7

Figure 6

1 2 3 4 5 3

Step 4: Adding Shading to Your Drawing The shading map shows you which grade of pencil to use to graduate values in each shape. Naturally, you also graduate the values in between shapes. Otherwise, you end up with stripes rather than a smoothly shaded shape. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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There is no magic formula for adding graduated shading to a drawing.

Figure 8

You can begin with the lightest value and graduate toward the darkest value or you can begin with the darkest value and graduate toward the lightest value (Figure 8).

As an Aside The process of using a value map works equally well for shading the individual shapes of most drawing subjects (Figures 9 and 10). Figure 9

Figure 10



Use Shading to Create Forms

Activity

Use Shading to Create Forms Use value maps and graduated shading to turn a circle, cube, and rectangle into realistic three-dimensional forms

Resource: How to Use a Value Map (Page 35) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded and vinyl erasers

This tutorial has four sections: • Outline a Circle, Cube, and Rectangle • Identify Values in the Reference Image • Outline the Shapes of Values • Add Shading to Your Drawing

As an Aside The paper used for the drawing in this activity has a rough tooth. Also, very little pressure was applied to the pencils while adding shading. Therefore, the graphite sits mostly on the paper’s peaks, and the tiny crevasses in the paper are visible as gorgeous little white specks.

Outline a Circle, Cube, and Rectangle 1. Use a 2H pencil to lightly sketch a circle, cube, and rectangle. Your goal is to simply place each subject on your paper in proportion to the corresponding drawings in Figure 1. Your drawing of these three subjects should be no smaller than 8 in (20.32 cm) wide. Realistic shading is more difficult to render in a small drawing than a large one. 2. Lighten your sketch lines with a kneaded eraser and neatly outline each subject more accurately with a sharpened HB pencil (Figure 1).


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Figure 1

Do not apply too much pressure to your pencil; you may want to lighten these outlines later.

Identify Values in the Reference Image 3. Create a value scale of the base value of a 2H, HB, 2B, 4B, and 6B pencil (Figure 2). Number the values from 1 to 5. This value scale can help you locate each base value in your reference image, and can serve as a guide when you add shading to your drawing. 4. Identify the locations of each value in the reference image. Refer to the completed drawings in Figures 2 and 10. When you know where the different values are located, you can more easily identify their shapes. The frontal face of the cube and the cylinder are made up of graduations that are long vertical rectangles. Compare their values to those in your value scale.

Figure 2

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The shapes of the values on the side of the cube are less distinct. They graduate from light (or white) at the top edge to medium at the bottom edge. Locate each of these values in your value scale. The shapes of the values in the sphere are more difficult to identify because they follow its perceived contours. Refer to Figure 3 to get an idea of what you need to see. These numbered values should correspond to the numbered values of your value scale. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.



Figure 3

You can darken or lighten the values in your value scale if they are not close to the corresponding values in Figures 2 and 3.

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Outline the Shapes of Values 5. Peek ahead to Figure 10, and Identify the size and shape of each different value. 6. Use a 2H pencil to lightly outline each shape on your contour drawing. Figure 4

This illustration has been darkened in Photoshop so you can see the outlines clearly. To help keep you on track, you can use a 2H pencil to very lightly mark the numeric name of each value inside each of its outlined shapes.

Add Shading to Your Drawing 7.

Sharpen your 2H, HB, 2B, 4B, and 6B pencils to a chisel point.

8.

Use a kneaded eraser to pat your drawing until the value map is very faint. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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9.

Tip! The completed drawings of the sphere and cylinder have a section that is left white (highlights). You can add shading to the side of the cube with or without a white section. To include a white section, begin the lightest value a bit below the upper edge (Figure 5). If you don’t want a white section, begin the lightest value at the upper edge (peek ahead to Figure 10).

Use each pencil in turn to add shading to your contour drawings (Figures 5 to 10). Place your value scale beside you as you add shading to your drawings. Remember to graduate the values in between each shape. Figure 5

Graduation 1: (2H pencil) the lightest graduation of all with values that range from almost white to light.

Figure 6

Graduation 2: (HB pencil) a light graduation with values that range from light to medium.




Figure 7

Graduation 3: (2B pencil) a medium graduation with a full range of medium values that range from the lighter medium values to the darker medium values.

Figure 8

Graduation pencil) a the lightest Graduation 1: 4: (2H (4B pencil) dark graduation with graduation of all with values that range values that range from the darker medium values to from almost white to light. the lighter dark values.


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Figure 9

Tip! To create a value map for any subject, identify its individual values and then outline their shapes on your contour drawing.

To create an even smoother overall graduation, you can add an additional thin rim of Value 4 between Values 3 and 5 in the section of reflected light in the lower left of the sphere.

Figure 10

Graduation 5: (6B pencil) the darkest graduation with values that range from the lighter dark values to the darkest values of all.

10. Compare your drawing to Figure 10 and touch up any sections of shading that don’t graduate smoothly. Gently pat a section of shading that is too dark with a kneaded eraser. Use a little more pencil pressure or a darker grade of pencil to darken shading that is too light. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


Turn a Shape into a Form

Activity

Turn a Shape into a Form Use traditional shading techniques and five grades of pencils to render a three-dimensional form

Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded and vinyl erasers

Figure 1

1. Use an HB pencil to outline a shape similar to the one in Figure 1. 2. Imagine or lightly outline a highlight in the upper left. Assume the light source originates from the upper left and slightly in front of this shape.

Tip! Sharpen your pencils to either a chisel or slightly worndown point (Figure 2) to add shading to this shape.

Figure 2

3. Use a 2H pencil to add a graduation of light values around the highlight (Figure 3). Press gently and move you pencil in tiny circular motions to add smooth shading. The lightest values are closest to the highlight.


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Figure 3

As an Aside This shading technique is ideal for the smooth textures found on oodles of different drawing subjects, such as: people, flowers, leaves, still life, and landscapes.

Figure 4

4. Graduate medium values toward the lower right with an HB pencil (Figure 4). 5. Use a 2B pencil to graduate darker values toward the lower section of the shape (Figure 5). 6. Graduate progressively darker values toward the right and lower right with a 4B pencil (Figure 6) and then a 6B pencil (Figure 7). Figure 6

Figure 5



Turn a Shape into a Form

Figure 7

As an Aside The paper used in this activity has a medium tooth, so specks of white show through the shading.

7. Graduate progressively darker values toward the left side of the lower edge (Figure 8). 8. Graduate lighter values to the edge of the lower right side. Use 2H and HB pencils. This rim of light shading represents reflected light from a surface on which the shape is sitting. Figure 8

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Graduate lighter values toward the left side of the lower edge with 2H and HB pencils (Figure 9).

10. Graduate values downward from the light values to medium and then to dark when you reach the lower edge on the left (Figure 10).

Figure 9

Take your time. This graduation changes values from light to dark within a very short distance.


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11. Add a sliver of dark shading outside the lower right edge of the shape. 12. Outline a section of what will become the darkest shading. 13. Shade the darkest section by pressing firmly with a 6B pencil (Figure 11).

As an Aside This texture has many possible applications for drawing realistic subjects. The right and left sections of the lower edge of this shape demonstrate two potential options (Examine the final drawing in Figure 11).

Figure 10

14. Compare your drawing to Figure 11 and touch up any sections that do not graduate smoothly. Figure 11

To darken a section of shading, use the same grades of pencils that you used for the initial shading. To lighten shading, use a kneaded eraser molded to a point to gently pat sections that are too dark.

Challenge! Draw another shape, choose a different light source, and use these same basic shading techniques to turn your shape into a form.



Shade the Realistic Forms of Leaves

Activity

Shade the Realistic Forms of Leaves Follow richly-illustrated, step-by-step instructions to draw a plant in the style of realism

Supplies: paper, HB, 2B, 3B, 4B, 5B, 6B, and 7B pencils, pencil sharpener, sandpaper block, kneaded eraser, vinyl eraser, small and soft paintbrush

Tip!

This tutorial has four sections: • Sketch and Outline Leafy Proportions

Render your drawing any size you want. Keep in mind, however, that large drawings tend to be much more forgiving of minor imperfections in shading.

• Prepare for Shading • The Process of Shading a Leaf • Create Forms with Traditional Shading

Sketch and Outline Leafy Proportions

Figure 1

1. Follow along with Figures 1 to 4 to sketch and neatly outline the shapes of the leaves and their stem. Remember to keep your outlines light by pressing gently with your HB pencil.


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Figure 2

Figure 3

Figure 4

As an Aside Mother Nature is somewhat forgiving of inaccurate proportions when you draw leaves. Your primary goal is to capture their forms, textures, and/or patterns.




Figure 5

Prepare for Shading 2. Use a kneaded eraser to lighten your drawing until the lines are very faint (Figure 5). 3. Use fine sandpaper or a sandpaper block to sharpen each of your HB, 2B, 3B, 4B, 5B, 6B, and 7B pencils to either a chisel point or a worn-down point (Figure 6). 4. Zero in on the leaf marked A (Figure 7) in the upper right of your drawing.

Figure 6 Figure 7

5. Identify a small shadow section above this leaf and shade it with a 7B pencil (Figure 8).

Figure 8

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This shadow section will be the darkest value in the drawing, while the white of the paper will be the lightest.


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The Process of Shading a Leaf 6. Add shading to the leaf marked A by following these five steps: • Step 1: Use a 7B followed by a 6B to add graduations of dark values. The darkest values on this leaf are in the upper left and the lower right (Figure 9). • Step 2: Use a 5B and a 4B to add graduations of medium values (Figure 10). • Step 3: Use a 3B, 2B, and HB to add graduations of light values (Figure 11). Figure 9

Figure 11

Figure 10

Figure 12

Step 4: Gently pat your shading with a small, soft paintbrush to very slightly blend the values (Figure 12). Step 5: Use a kneaded eraser molded to a point to pull out a few spots and lighten the brightest highlights.



Figure 13


Create Forms with Traditional Shading 7. Use the five-step process described in the previous section to add graduated shading to the other nine leaves and the stem (Figures 13 to 17). Figure 14

Figure 16 Figure 15


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Challenge!

Figure 17

As an artist, you automatically have an artistic license to use your imagination and discretion to modify your drawings and/or add extra details. Compare the final drawing (Figure 17) to the reference photo (Figure 18) and find at least three things that are different in the drawing. For example, the spots on the leaves are much more obvious and the ribbon is not included in the drawing.

Challenge! Figure 18

Refer to a photo of a plant (or an actual plant) to draw another grouping of leaves in the style of realism. Use the shading process outlined in this tutorial.

As an Aside In case you are wondering, the yellow ribbon (Figure 18) was simply holding the branch in place while the photo was taken.


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Part 2: Super Shading with Squirkles

Part 2

Super Shading with Squirkles Numerous illustrations demonstrate the diverse range of subjects, techniques, value scales, and graduations made possible with squirkling. You also try your hand at using line density, pencil grades, and pencil pressure to squirkle value scales and smoothly flowing graduations. Three additional activities challenge you to create a striped pattern and a bumpy texture; design and render five threedimensional forms; and draw a realistic human eye. Checking Out Squirkles in Drawings..............................57 Exploring Squirkled Value Scales...................................61 Squirkle Value Scales.....................................................65 How to Squirkle Graduations..........................................69 Squirkle Graduations of Values......................................73 Squirkle Striped Graduations..........................................75 Graduate Blobs and Globs.............................................77 Squirkle an Iris and a Pupil.............................................81


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Checking Out Squirkles in Drawings

Resource

Checking Out Squirkles in Drawings A richly-illustrated discussion demonstrates the diversity of squirkling for a broad range of different drawing subjects

Squirkling is an easy-to-learn and highly versatile technique that should be part of the shading repertoire of all artists (Figure 1).

ArtSpeak

When squirkles are rendered large and far apart, the resulting textures are bold and heavy. When drawn very tiny and close together, squirkles create smooth textures.

Squirkles: Randomly drawn, overlapping curved lines and shapes that are used to create a shading technique called squirkling.

Figure 1

Squirkling: A shading technique in which randomly drawn, overlapping curved lines and shapes (squirkles) create values. Realism: A style of art in which living beings and objects are represented in an artwork as they appear in real life without stylization or distortion. Photorealism: A genre of realistic drawing and painting that looks like a photograph (usually created by using photographs as references). Hyperrealism: A genre of highly realistic drawing and painting in which subjects appear as lifelike as they are in reality (usually created from real life and/or with photographic references).


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Both drawing students and established artists use squirkles to add shading to their sketches and drawings. Squirkling is also a well-respected shading technique used by professional artists to create artworks in the styles of realism, photorealism, and hyperrealism. The drawings in this tutorial are either partially or entirely rendered with squirkles. Close-up views of each drawing help illustrate the versatility of squirkling as a shading technique.

Figure 2

A cartoon drawing of a sheep would not be complete without some wool (Figure 2). You can create this wonderfully woolly texture easily and quickly using loosely rendered squirkles (Figure 3). Squirkles can add a realistic touch to sketches of foliage, such as this spruce tree (Figure 4).

Figure 3

Figure 4

Figure 5

A close-up view shows how squirkles give life and movement to the branches and needles on the tree (Figure 5).



The fleece fabric of a jacket looks quite believable when rendered with squirkles (Figure 6).

Checking Out Squirkles in Drawings

Figure 6

Note how you can achieve various values by using a range of line densities, different grades of pencils, and varying degrees of pressure on the pencil (Figure 7). Figure 7

Figure 8

Drawing animals gives you lots of opportunities to use squirkles. The fish in Figure 8 is full of squirkles. Figure 9

The texture of the scales on the fish can be easily rendered using squirkles (Figure 9). When you know how to render shading with squirkles, you’ll find a use for them in many of your drawings.


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In a drawing of a young child, all the textures are shaded with squirkles (Figure 10). The shading on the smooth skin of her beautiful face is rendered with thousands of tiny squirkles (Figure 11). Figure 10

Figure 11

Figure 12

On the terrycloth hat, a few quickly rendered c-shapes bring out the bumps in the fabric (Figure 12).



Exploring Squirkled Value Scales

Resource

Exploring Squirkled Value Scales Popular techniques for rendering a range of different values with squirkles

This tutorial has three sections: • Varying the Density of Lines • Using Various Grades of Pencils • Combining Density and Grades with Pressure What do you get when you cross scribbles and squiggles with circles? You get squirkles! Squirkling is a simple shading technique that incorporates randomly drawn curved lines to create textured values. The beauty of squirkling is its ability to produce an infinite range of values and a variety of textures. You can create different values by:

ArtSpeak Abstraction: A movement away from realistic depictions of objects, nature, or living beings. Partial abstraction depicts a subject that exists in reality, but may be unrecognizable (e.g., using geometric shapes to render a human face). Complete abstraction employs line, color, form, pattern, and shape to suggest emotion or a non-figurative subject.

• varying the density of the lines (drawing the lines either far apart or close together) • using different grades of pencils • combining different line densities with different grades of pencils and varying the pressure you apply with the pencils

Varying the Density of Lines You can create several different values with a single pencil by simply varying the density of squirkling lines. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 1

Check out a light, medium, and dark value created with a 2B grade of pencil (Figure 1). The light value has noticeable curved lines with lots of white space showing (Figure 2).

The lines are far apart and few in number. Lines cut across themselves in many places creating lots of different shapes, an abstraction or an abstract composition, and an overall light value. The medium value has more squirkles than the light value, and the lines are closer together with less white space showing (Figure 3). In a dark value, the lines are drawn very close together, filling in most of the paper with the texture of squirkles (Figure 4). Very little of the white paper is still visible. Figure 2

Figure 3

Tip! Each time you draw a value scale, stand back and look at the values from a distance to make sure that each value is slightly darker than the previous. If any of the values are not quite right, you can adjust them. •

•

To make a value lighter, mould your kneaded eraser to a point and use it to dab small sections of the darkest lines. To make a value darker, add a few more squirkles to the larger white spaces or use a softer pencil to darken sections.

Figure 4

Using Various Grades of Pencils Each of five grades of pencils (2H, HB, 2B, 4B, and 6B) creates a different base value (Figure 5). Even though the density of the squirkles is approximately the same for each value, the values themselves range from light to dark.



Exploring Squirkled Value Scales

Figure 5

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Combining Density and Grades with Pressure

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As an Aside I chose the term squirkles for my unique shading technique back in 1982. Many of my students from the past three decades are very familiar with this fun way to create shading.

The ability to create seven different values using density, pencil grade, and pressure requires a keen eye and many hours of practice (Figure 6).

The only way to learn is trial and error, but such practice will give you a keen understanding of the interaction between your materials and your technique. In addition to varying the density of the lines and using different grades of pencils, you also need to vary the pressure you apply to your pencils. You can create a very light value by using a light grade pencil with light pressure but quite a few squirkles (marked 1). You can render a second value by using a darker grade of pencil, applying additional pencil pressure, or both (marked 2). Various pencil grades and amounts of pressure help make the next five values progressively darker (marked 3 to 7). Figure 6

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You can create a value scale with values that range from dark on the left to light on the right (Figure 7).


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Figure 7

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At some point during your many hours of practice, you will discover that magic mixture of line density, pencil grade, and pressure to render each value perfectly.

Tip! The process of creating a range of different values with squirkles is very similar to that of rendering all other shading techniques.

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As an Aside Pablo Picasso (1881–1973) changed the world of art with his Cubist painting Les Demoiselles d’Avignon (1907) in which he used geometric shapes to portray women. Wassily Kandinsky (1866–1944) moved away from the more figurative paintings of his youth to focus on colors and forms. He described the circle as the most peaceful shape to see and a representation of the human soul. Jackson Pollock (1912–1956) dripped paint onto canvas and encouraged viewers to experience the “pure painting” without need to see it as representational.



Squirkle Value Scales

Activity

Squirkle Value Scales Render six different value scales with squirkling by using line density, pencil grades, and pressure

Resources: • Checking Out Squirkles in Drawings (Page 57) • Exploring Squirkled Value Scales (Page 61) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded eraser

This activity has three sections: • Vary the Density of Lines • Use Various Grades of Pencils • Combine Density and Grades with Pressure

Vary the Density of Lines 1. Use a 2B grade of pencil to create a value scale from light to dark by varying line density (Figure 1). The lines are far apart and few in number for the light value. The lines are drawn closer together for the medium value.

Figure 1

In the dark value, several lines are much closer together with very little white paper still showing through. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 2

2. Draw the same value scale in reverse from dark to light (Figure 2).

Use Various Grades of Pencils 3. Draw five different values by using five grades of pencils (Figure 3). Keep the line density approximately the same for each value. Apply a medium amount of pressure with your pencil and let each grade of pencil (2H, HB, 2B, 4B, and 6B) create its own natural value. Begin with a 2H on the left and create each value in sequence until you finish with a 6B on the right. Figure 3

4. Draw the same value scale in reverse from dark to light (Figure 4). Begin with a 6B on the left and create each value in sequence until you finish with a 2H on the right. Figure 4



Squirkle Value Scales

As an Aside

Tip!

There is no single or specific way to achieve a scale of seven values. The potential combinations of the three different techniques are infinite.

When values are rendered too dark too quickly, you may not be able to make seven different values.

Trial and error combined with lots of patience and practice is your best chance for success. At some point you will discover a magic mixture of line density, pencil grades, and pressure to make each value perfectly.

If this happens, just begin again and make the first few values a little lighter.

Combine Density and Grades with Pressure 5. Create a value scale of seven distinctively different values from light to dark. Use whichever combinations of grades, line density, and pressure enable you to achieve a scale of seven different values (Figure 5). • Begin with a very light value (marked 1 in Figure 5). • Draw the second value (2) with more squirkles and/or a darker grade of pencil, and add a little more (or less) pressure until the overall value is just slightly darker than the first. • The next five values (3 to 7) need to become progressively darker and can be rendered in much the same way. 6. Stand back and look at your seven values from a distance to make sure that each value is slightly darker than the previous one. If a value is too light or too dark, you can make adjustments: • To make a value lighter, mold your kneaded eraser to a point and use it to dab small sections of the darkest lines. • To make a value darker, add a few more squirkles to its larger white spaces, or use a softer pencil to darken sections. Figure 5

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7. Create another scale of seven values that ranges from dark on the left to light on the right (Figure 6). Figure 6

Figure 7

Challenge! Several sections of the drawing in Figure 7 are shaded with squirkles. How many can you identify?



How to Squirkle Graduations

Resource

How to Squirkle Graduations Examine various types of graduations and discover the process for squirkling smoothly flowing graduations

Value scales and graduations are quite different from one another even when each has identical values. A value scale is made up of stand-alone values. A graduation has a range of different values that come together as a single unit (Figure 1).

ArtSpeak Graduation: (also called a gradient, graduated shading, or graduated values) A continuous, seamless progression of values from dark to light or light to dark.

Figure 1

A full range of graduated values from light to dark can be drawn within a compact space (Figure 2) or stretched out over a long distance (Figure 3).

Figure 2


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Figure 3

Not all graduations have a full range of values. A graduation can also be made up of only light, medium, or dark values. In addition, graduations can be drawn in any direction (Figure 4). Figure 4

In Figure 5 on the next page, a drawing of a tiny section of a phone has several types of graduations that are all rendered with squirkles.

Challenge!

Area 1: The partial sphere segment has a full range of graduated values from very light to almost black.

Examine close-up views of the graduations in Figures 6 to 8.

Area 2: Another segment has a graduation that ranges from light to middle values.

Can you find the exact location of each of these examples of graduated shading in Figure 5?

Area 3: A shadow section has a graduation that ranges from a middle value to almost black.

(Hint: each can be found in a numbered section.)



Figure 5

How to Squirkle Graduations

Figure 6

Figure 7

Figure 8

You can draw graduations using the same three techniques you use to draw value scales: 1. vary the density of the lines 2. use different grades of pencils 3. vary the pressure used with a pencil However, the goal when rendering graduated shading is to keep the transitions between different values flowing seamlessly into one another.


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The process for creating a graduation of squirkles is fairly straightforward. Step 1: The graduation begins on the left side of the paper with squirkles that are rendered with hard grades of pencils. A little more pressure is also applied and the lines gradually become denser toward the right (Figure 9). Figure 9

Step 2: When the hardest pencils have created their darkest values, softer pencils are chosen and the process is repeated (Figure 10). Figure 10

Step 3: By using very soft pencils, increasing the amount of pressure, and drawing denser squirkling lines, the values graduate from dark to almost black (Figure 11). Figure 11

And, with help from a combination of three techniques, the graduation is finished!



Squirkle Graduations of Values

Activity

Squirkle Graduations of Values

Use line density, pencil pressure, and different grades of pencils to squirkle smoothly flowing graduations

Resource: How to Squirkle Graduations (Page 69) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, kneaded eraser, ruler (optional)

1. Outline or visualize a long drawing space in which to shade your graduation. An ideal size is 2 by 10 in (5.08 by 25.4 cm). 2. Draw a graduation of values from light to medium that extends approximately halfway across your drawing space (Figure 1). Remember to vary the density of the lines, use different grades of pencils, and vary the pressure you apply to the pencil. To create smooth transitions, you may need to go back over small sections of some values to make them darker or lighter. You can add additional curved lines in between other lines to darken a value or use your kneaded eraser to dab away sections of a value that is too dark. Figure 1

3. Continue drawing squirkles closer together and pressing harder with softer pencils until your graduation transitions into darker values (Figure 2). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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You should be more than three-quarters of the way across your paper by now, with room remaining on the right to add the darkest values. Figure 2

4. Continue to the end of your drawing space, drawing the squirkles closer together and pressing a little harder with soft grades of pencils. But don’t press too hard! Remember to let your softest pencils help you achieve values that graduate from dark to almost black (Figure 3). Figure 3

Figure 4

Challenge! Gain a greater understanding of squirkling techniques by varying the length and direction of graduated values. Draw each of the following four graduations (Figure 4): 1. Light to dark inside a 2 by 5 in (5.08 by 12.7 cm) drawing space. 2. Dark to light inside a 2 by 5 in (5.08 by 12.7 cm) drawing space. 3. Light to medium inside a 2 by 5 in (5.08 by 12.7 cm) drawing space. 4. Medium to dark inside a 2 by 5 in (5.08 by 12.7 cm) drawing space.



Squirkle Striped Graduations

Activity

Squirkle Striped Graduations Create a striped pattern and a bumpy texture with gently curving graduations

Resource: How to Squirkle Graduations (Page 69)

Figure 1

Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded eraser

1. Use a 2H pencil to very lightly draw four curved lines similar to those in Figure 1. These lines have been darkened in Photoshop; in actuality, they are very faint. Figure 2

2. Use a 2H pencil to draw light graduations in the upper and lower spaces (Figure 2). Continuously examine the reference images as you draw. Make sure you have the light and dark sections of each graduation in approximately the same locations. The dark stripe will be in the space between these two light stripes. 3. Use an HB pencil to add darker sections to the graduations of light values (Figure 3).


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Your goal is to end up with graduations in which the different values flow seamlessly into one another. You may need to go back over the stripes to make some sections darker or lighter. You can add additional curved lines in between other lines to darken a value or use a pointy section of your kneaded eraser to dab away sections that are too dark. 4. Use an HB pencil to add a graduation of medium values to the dark stripe (Figure 4). 5. Add additional shading to the darker sections with a 2B pencil, and then 4B and 6B pencils, to graduate dark values into the lighter sections (Figure 5).

Figure 3

Figure 4

Figure 5

Figure 6

6. Check over your drawing and touch up any sections of graduations that do not flow as smoothly as you would like (Figure 6). And, you’re done! You are now ready to use squirkling graduations to add shading to drawings.



Graduate Blobs and Globs

Activity

Graduate Blobs and Globs Design an arrangement of five overlapping shapes and use squirkling graduations and different grades of pencils to make the shapes appear three-dimensional

Resources: • Exploring Squirkled Value Scales (Page 61) • How to Squirkle Graduations (Page 69) Supplies: paper, 2H, HB, 2B, 4B, and 6B grades of pencils, pencil sharpener, erasers

This activity has two sections: • Design Five Overlapping Shapes • Turn Shapes into Forms

Design Five Overlapping Shapes

ArtSpeak Overlapping: The placement of subjects in a composition when one subject appears to be in front of another (or others). This technique helps create the illusion of depth in a drawing or painting. Distant space (also called background): The sections of a drawing or painting that are furthest from the viewer. Foreground: The sections of an artwork that are closest to the viewer.

Figure 1

In this section, you outline five overlapping shapes with five different grades of pencils. When sketching overlapping objects, subjects in the foreground should be rendered first. Your shapes should be in approximately the same locations as in Figure 1. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 2

However, you don’t have to draw the same shapes. Feel free to use your imagination and design your own shapes. 1. Use a 6B grade pencil to draw the first shape in the lower right of your drawing paper (Figure 2). 6B

Figure 3

You can choose either a horizontal (landscape) or vertical (portrait) format. Make sure you have plenty of space left on your paper for four more shapes. 2. Add a second shape using a 4B pencil (Figure 3).

2B

Remember, you are working back toward distant space. A section of this shape must appear to be behind the first shape.

4B

3. Outline a third shape with a 2B pencil. 4. Add a fourth shape with an HB pencil (Figure 4). Figure 4

HB 2H

5. Render the final shape with a 2H pencil. This final shape has the lightest outline.

Turn Shapes into Forms In this section, you use squirkling graduations to help make each shape look three-dimensional.



By varying the density of the squirkles and the amount of pressure applied to your pencil, you can easily create a broad range of smoothly flowing graduated values. Remember to add shading to each shape with only the grade of pencil used for its outline.

Caution!

Graduate Blobs and Globs

Tip! You can simply shade in each shape with squirkled graduations or you can get creative. Consider adding a pattern or texture to each shape. Maybe you’d like to give each shape its own personality by adding eyes, ears, a nose, and/or some hair. Just make sure you use only the grade of pencil used for outlining each shape.

Figure 5

Don’t press too hard with your pencil. Let the grade of the pencil do the work for you.

6. Use a 6B pencil to add graduated values to the darkest shape in the foreground (Figure 5). To graduate squirkles, press lightly with your pencil for light values and press a little harder as you graduate toward darker values.

Figure 6

Plan your shading in advance so you have light values for the highlights, dark values for shadow sections, and medium values for the graduated shading in between. 7. Use a 4B pencil to shade your next shape (Figure 6). 8. Shade your next shape with a 2B pencil (Figure 7).


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Figure 7

As an Aside My role in society, or any artist’s or poet’s role, is to try and express what we all feel. Not to tell people how to feel. Not as a preacher, not as a leader, but as a reflection of us all. John Lennon

Figure 8

9.

Shade the fourth shape with an HB pencil (Figure 8).

10. Use a 2H pencil to add shading to the shape farthest away (Figure 9).

Figure 9

As an Aside The guy who takes a chance, who walks the line between the known and the unknown, who is unafraid of failure, will succeed. Gordon Parks



Squirkle an Iris and a Pupil

Activity

Squirkle an Iris and a Pupil Sketch the shapes of an iris, highlight, and pupil, and add shading with graduations of squirkles

Resource: How to Squirkle Graduations (Page 69) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, vinyl and kneaded erasers

This activity has two sections: • Sketch the Parts of an Eye • Add Shading with Squirkles Refer to Figure 1 to identify the following parts of an eye.

ArtSpeak Highlight: A small section of a drawing subject that is rendered with white or a very light value to identify the brightest area where light bounces off its surface. Highlights are more pronounced on shiny or glistening surfaces than dull or matte surfaces. Pupil: The dark circular shape within the iris of an eye that constricts or expands under different lighting conditions. Iris: The colored circular section of an eyeball surrounding the pupil.

• Highlight (1) • Pupil (2)

Upper eyelid: A fold of skin that opens and closes automatically (blinks) to protect the eyeball.

• Iris (3) • Upper eyelid (4) Figure 1

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Sketch the Parts of an Eye In this section, you lightly sketch the outlines of the iris, highlight, and pupil in preparation for shading. The edge of an upper eyelid is represented by a simple curved line. 1. Use an HB pencil to lightly sketch a circular shape as the iris of an eye (Figure 2).


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Figure 2

Remember to press very lightly. 2. Add a slightly curved line cutting through the upper section of the iris. This line represents the lower edge of the upper eyelid. The upper section of a human eye is often hidden under the upper eyelid.

Figure 3

Tip! When you draw circles or circular shapes, rotate your paper and look at your drawing from different viewpoints. This little trick often allows you to find problem areas.

Figure 4

3. Sketch a small circular shape as a highlight in the upper left section of the iris (Figure 3). The location of this highlight suggests that the dominant light source originates from the front and upper left. 4. Outline the pupil of the eye (Figure 4). The ends of this curved line meet the outline of the highlight.



5. Erase the section of the iris above the edge of the upper eyelid (Figure 5).

Squirkle an Iris and a Pupil

Figure 5

The outline is complete and the next step is to add shading.

Add Shading with Squirkles Squirkling is an easy shading technique for creating a realistic drawing of an eye.

Figure 6

6. Add a few squirkles to the iris with an HB pencil (Figure 6). Squirkle lines should curve in various directions; some have large curves and others are smaller. The more uneven you draw squirkles, the better the shading looks. The overall value is light, and lots of white paper is showing through.

Figure 7

7. Use a 2B pencil and squirkles to graduate darker shading toward the upper left sections of the iris (Figure 7). The lower right section remains the light value you added in the previous step. The shading in the graduation now ranges from light to dark.


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8.

Add tiny squirkles with a freshly sharpened 4B pencil to the upper section of the iris (Figure 8). The upper section of an iris is often in the shadow of the upper eyelid and eyelashes.

9.

Use a 6B pencil to fill in the pupil with squirkles (Figure 9).

Figure 8

Naturally, the highlight is left white. 10. Touch up any areas that are not as smooth as you would like. You may need to darken some sections with more shading. You can also lighten sections that are too dark with a kneaded eraser.

Figure 9

Use your vinyl eraser to clean up any smudges or fingerprints on your drawing paper.

Challenge! The eye you just completed would be considered dark in color (or value) such as hazel or brown.

Figure 10

Follow along with the same instructions to draw another eye with a lighter iris (such as blue or gray). Use harder grades of pencils such as 2H and HB to make lighter shading on the iris (Figure 10).


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Part 3: Elementary Values with Hatching

Part 3

Elementary Values with Hatching This part of the book begins by showing you a few of the wonderful shading effects you can create with basic hatching techniques. Simple activities take you through the step-by-step process of rendering each different type of value scale. Then comes the best part: you employ your new skills to draw an impressionistic range of mountains; create and add shading to an original abstract design; and draw and shade five realistic ribbons of different values. Exploring Hatching in Drawings................................87 How to Hatch Value Scales.......................................93 Hatch Value Scales with Five Grades.......................97 Mountains in The Style of Impressionism..................99 Use Line Density to Hatch Value Scales.................107 Hatch an Abstract Design........................................109 Hatch Value Scales with Pencil Pressure................113 Render Ribbons of Values.......................................115


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Exploring Hatching in Drawings

Resource

Exploring Hatching in Drawings Check out the different shading effects made possible by a basic hatching technique of parallel straight lines.

This resource has four sections: • Spaced Out Hatching Lines

As an Aside

• Hatching Quickly • Hatching Details • Hatching Lines as Solid Tones Hatching with straight lines is a versatile technique that works equally well to represent values in sketches or render highly detailed shading in complex drawings. The density of the hatching lines (Figure 1) determines its suitability for loosely rendered sketches, detailed sketches, or highly detailed drawings.

Hatching emerged in Western art in the Middle Ages. During the Renaissance, it gained popularity not only in drawing but in engraving and woodcutting for prints. Creating prints in this manner lasted well into the twentieth century and is still practiced in some schools of art today. Albrecht Dürer (1471–1528), Rembrandt (1606–1669), and Francisco Goya (1746–1828) were all well-known for their prints, and all were masters of the hatching technique.

Figure 1

Spaced Out Hatching Lines Artists have used hatching with noticeable spaces between the lines for several centuries (Figure 2).


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Figure 2

Figure 3

A delicate graphite sketch of a flower, based on a pen and ink drawing by Leonardo da Vinci (1452–1519), uses very clean hatching lines of different weights (Figure 3). A close up of the flower illustrates how a few loose parallel lines can add depth to even a simple sketch (Figure 4). Figure 4

Figure 5

The hatching lines are bolder and more varied in a sketch of a metal spoon (Figure 5).




Figure 6

The illusion of different values is created with hatching lines of various lengths and weights (Figure 6). Figure 7

Hatching Quickly One of the biggest benefits of hatching is the speed at which you can sketch a full range of values. Widely-spaced hatching lines are featured in a contemporary sketch of a horse (Figure 7).

Figure 8

Some of the hatching lines in this sketch are rendered so quickly that they merge as single compound curved lines (Figure 8).


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This technique for speeding up the shading process can also be found in many drawings created during the Renaissance.

Figure 9

Many artists use hatching to quickly and efficiently add shading to their sketches when working from life. Figure 10

Closely-spaced hatching lines help to add depth to three gesture sketches of a busy child (Figure 9). A closer look shows how not only the forms of a child’s body, but also the folds of different fabrics can be represented with a wide range of quickly-rendered hatching lines (Figure 10).

Figure 11

Hatching Details From a distance, some hatching lines appear to be a solid tone. When you look closely, however, small spaces are visible between the lines (Figure 11). Leonardo da Vinci was a master of hatching lines, so it seems natural that a drawing based on Leonardo’s painting of the Mona Lisa would incorporate this technique (Figure 12).



Figure 12


Figure 13

To help achieve the depth of the original oil painting, the drawing uses some hatching lines that are widely-spaced and some hatching lines that are close together (Figure 13).

Hatching Lines as Solid Tones Sometimes, hatching lines are rendered so close together that they actually are solid tones (Figure 14).


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Figure 14

Figure 15

Very fine hatching is used in a study of light and shadow on a crystal angel (Figure 15). The shading lines are so close together, they disappear as individual lines. Figure 16

The shapes simply become an abstract pattern of outlines and smooth values (Figure 16).

Tip! Hatching is a must-have shading technique for all artists.



How to Hatch Value Scales

Resource

How to Hatch Value Scales Examine different types of value scales created with hatching and find out how each is rendered

This tutorial has four sections: • Use Different Grades of Pencils

Tip!

• Vary the Density of the Lines • Apply Different Degrees of Pressure to a Pencil • Combine all Three Shading Techniques You can render hatched values with distinctly separate lines or with lines so close together that they create solid tones.

Hatching is a very fast and simple way to achieve either classical or realistic shading in your drawings.

Use Different Grades of Pencils Each grade of pencil has its own base value. This value scale of solid tones is easy to create by simply using a 2H, HB, 2B, 4B, and 6B pencil in turn to make each value (Figure 1). Note that these hatching lines are drawn very close together. Figure 1


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Vary the Density of the Lines Tip! As with many other types of shading, a hatched value scale can be rendered using various combinations of the following techniques: •

use different grades of pencils

•

vary the density of the lines

•

apply different amounts of pressure to a pencil

In this section, two value scales demonstrate how different grades of pencil can create unique value scales using only line density. With this technique, you can substitute any other grade of pencil and still end up with a range of different values. For example, a 4B pencil is used to create the very simple value scale with three values in Figure 2. • The light value (1) has lines drawn very far apart. • The medium value (2) has more lines drawn closer together. • The darkest value (3) has many more lines drawn very close together. Figure 2

A range of five different values is created by varying the density of the lines rendered with a 2B pencil (Figure 3). • The lightest value (1) has lines that are drawn very far apart. • The second value (2) has lines that are drawn a little closer together. • The medium value (3) has even more lines. • The dark value (4) has several more lines. • The darkest value (5) has so many lines that very little of the white paper still shows through. Figure 3



How to Hatch Value Scales

Apply Different Degrees of Pressure to a Pencil By varying the pressure applied to a single grade of pencil, you can create many different values. In fact, you can make a completely different value scale with each grade of pencil. You can also make your value scale with either noticeable lines or with solid tones. This solid-tone scale of five different values was created with a 4B pencil (Figure 4). • The pencil is held very lightly and only the weight of the pencil itself creates a light value (1). • The pencil is held a little more firmly and a tiny bit of pressure is applied (2). • A medium amount of pressure is applied to create a medium value (3). • A firm grip on your pencil along with additional pressure makes a darker value (4). • Very firm pressure (but not so much as to destroy the paper’s tooth) is applied for the darkest value (5). You should still be able to see a few specks of the white paper showing through. Figure 4

Combine all Three Shading Techniques You can create hundreds of different values with hatching when you combine all three shading techniques: line density, pencil grade, and pressure. However, being able to create seven different values with these techniques requires a keen eye and a lot of patience. Your ultimate goal is to develop an understanding of how techniques and tools work together. At some point during your many hours of practice, you will discover that magic mixture of line density, pencil grade, and pressure to render each value perfectly. Remember: value scales can have noticeable lines (Figure 5) or lines rendered so closely together that they become solid tones (Figure 6).


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Figure 5

Figure 6

As an Aside Your personal preferences play a huge role in determining which hatching technique to use for a specific subject. For example, if you want to complete a quick sketch or emulate the shading techniques of the Great Masters, you might prefer to show individual hatching lines. On the other hand, highly-realistic works usually benefit from solid tones rather than visible lines.

Tip! Each time you draw a value scale, stand back and look at the values from a distance to make sure that each value is slightly darker than the previous one. If any of the values are not quite right, you can adjust them. •

To make a value lighter, mould your kneaded eraser to a point and use it to dab the darkest lines.

•

To make a value darker, add a few more lines in between others or use a softer pencil to darken sections.



Hatch Value Scales with Five Grades

Activity

Hatch Value Scales with Five Grades Use hatching and five grades of pencils to render value scales that appear to be solid tones

Resources: • Exploring Hatching in Drawings (Page 87) • How to Hatch Value Scales (Page 93) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded eraser

The primary goal in this activity is to make sure that each of your five smoothly-rendered values is a different shade of gray, Refer to Figure 1 to see how the points of pencils should look when used for hatching. When the points wear down, simply use a pencil sharpener and/or a sandpaper block to sharpen them again. Figure 1

Tip! B grades of graphite pencils are softer and wear down much more quickly than H grades, especially the 4B to 9B grades. Therefore, they may need to be sharpened more often than H grades.

1. Draw five different values by using five grades of pencils (Figure 2). • Keep the line density the same for each value. The hatching lines need to be very close together with very little of the white paper showing through. • Begin with a 2H and create each value in sequence until you finish with a 6B. • Apply a medium amount of pressure to each pencil so that each grade can make its own natural value.


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Figure 2

2. Use the same techniques to create another scale of five values that ranges from dark to light (Figure 3). Figure 3

Challenge! Practice drawing these two types of value scales every day for a week.



Mountains in the Style of Impressionism

Activity

Mountains in the Style of Impressionism Draw an impressionistic range of mountains shaded with the natural values of five different grades of pencils

Resources: • Exploring Hatching in Drawings (Page 87) • How to Hatch Value Scales (Page 93) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, erasers, ruler (optional if you choose to draw a grid)

1. Choose an approximate size for your drawing. The size of the drawing in this project is 6 by 3.5 in (15 by 9 cm). If you prefer a larger drawing, keep the proportions approximately the same. A larger drawing isn’t more difficult but may require a little more time to complete. 2. Lightly outline the contours of a mountain range with a 2H pencil (Figures 1 to 3). The various shapes detail rocky and smooth sections of mountains as well as shadows and patches of snow that are shaded with five different values.

ArtSpeak Impressionism: A style of painting and drawing that originated in France in the late nineteenth and early twentieth centuries and sought to capture a visual impression of a subject rather than its objective reality.

As an Aside The drawing in this activity is based on an imaginary mountain scene. When artists use their imagination instead of a visible object for inspiration, they often continue making minor changes and modifications to their subjects until the drawing is finished.


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You don’t need to draw each shape exactly as it appears in each example image. You should, however, try to keep the number of shapes or you may run into problems with adding believable values. This activity cannot be successfully completed in only a few minutes. Plan to spend a minimum of two to six hours sketching, shading, and rendering the final outlines of this complex mountain scene.

Tip! In activity Hatch Value Scales with Five Grades (Page 97), you rendered a value scale with five values. Keep this value scale handy as you draw. The same pencil grades are used in this activity, and the scale can help you choose the correct grade of pencil for each shape.

Figure 1

In reality, this sketch is very light (Figure 1). The image in Figure 2 has been darkened in Photoshop so you can more easily see the outlines. If you prefer to work with a grid, refer to Figure 3. Figure 2




Figure 3

3. Use a 2B pencil to add shading to the sky. The hatching lines used for the sky in Figure 4 are horizontal. The outlines of the first two mountain shapes to be shaded are slightly enhanced so you can better understand the next step. Figure 4

4. Working from the left, use an HB and a 2H pencil to add shading to the first two shapes (Figure 5). Constantly refer to your value scale, the completed shapes on your own drawing, and the following illustrations to help you identify the correct value for each shape. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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As you shade in the many shapes of the mountains, you can vary the directions of the hatching lines. You can choose horizontal, vertical, or diagonal hatching lines for each shape. However, try to keep the shading lines parallel to one another inside each shape. Figure 5

5. Examine the outlines of the next three shapes (Figure 5) and shade them in with a 4B, an HB, and a 2H pencil (Figure 6). In this drawing, the sunlight is coming from the right. Therefore, most shapes on the left are darker than those on the right. Figure 6

6. Add shading to the next four shapes with 4B, HB, 2B, and 2H pencils (Figures 7 and 8). Before you begin, note that the large shape in the center section has now been divided into two smaller shapes (see Figure 8).

Figure 7




Figure 8

As an Aside Things are pretty, graceful, rich, elegant, handsome, but until they speak to the imagination, not yet beautiful. Ralph Waldo Emerson

7. Use 4B, 2B, and 2H pencils to add shading to the next three shapes (Figure 9). Figure 9

8. Add shading to eleven more shapes with 2H, HB, 2B, and 4B pencils (Figures 10 and 11). Before you begin, identify the large shape for a snow-covered peak that has no shading (to be left white). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 10

Figure 11

As an Aside

9. Finish shading the remaining shapes (except those that are snow covered) that make up the mountain range with 2H, HB, 2B, 4B, and 6B grades (Figures 12 and 13).

The work of art which I do not make, none other will ever make.

To get you off to a good start, the grades used for the first few shapes are marked (Figure 12).

Simone Weil

Remember: don’t add shading to sections that should be left white.




Figure 12

Refer more often to the shaded sections in the illustrations than to your outlines. You may find some shapes that should be modified or lines that need to be added or erased. For instance, the mountains in the lowest sections (Figure 13) are last minute add-ons. They were created by simply extending the shading of some of the shapes downward. This type of improvisation is a very normal part of drawing from one’s imagination. Figure 13


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10. Use HB, 2B, 4B, and 6B grades to outline each shape (Figures 14 and 15). Shapes that are shaded with light values are outlined with hard grades of pencils. Conversely, dark shapes are outlined with soft grades. Also note that each independent mountain is outlined with a soft grade. Figure 14

Figure 15

And – you’re done! This was a very complex subject; you should be proud of yourself!



Use Line Density to Hatch Value Scales

Activity

Use Line Density to

Hatch Value Scales Render five different value scales of seven values each by varying the density of the hatching lines and using different grades of pencils

Resources: • Exploring Hatching in Drawings (Page 87)

As an Aside

• How to Hatch Value Scales (Page 93)

A 2H pencil renders very light values, so the lines in Figure 1 have been darkened in Photoshop so you can see them clearly.

Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block

1. Use a 2H pencil to draw a value scale with seven different values by varying line density. • The lightest value has a few lines spaced very far apart. • The second lightest value has lines that are closer together. • The three medium values are created by progressively adding more lines to each value. • The dark value has many more lines. • The darkest value has so many lines that very little white paper is still showing through.

Tip! Apply the same amount of pressure to your pencil for each of the seven values in each value scale.

Figure 1


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2. Use an HB pencil and the same techniques you just used to draw another value scale (Figure 2). Refer back to Figure 1 and compare these values to those rendered with a 2H pencil. Figure 2

3. Use the same techniques to draw the next three value scales with a 2B, 4B, and 6B pencil in sequence (Figure 3). Figure 3

You’re done! Give yourself a big hug, and imagine the great drawings you can create with all these different values! Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


Hatch an Abstract Design

Activity

Hatch an Abstract Design Design an abstract composition and add shading with five different grades of pencils while varying line density

Resources: • Exploring Hatching in Drawings (Page 87) • How to Hatch Value Scales (Page 93) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, erasers

ArtSpeak Abstract: A style of art that does not necessarily depict a person, place, or thing. In some cases, the subject exists in reality, but is usually unrecognizable in the artwork. The subjects of abstract drawings are created with line, color, value, form, pattern, and/or shape.

Tip! Before you begin, plan an approximate size for your drawing. The drawing featured in this activity is 5 by 6 in (13 by 15 cm). A larger drawing is fine, but don’t go any smaller.

1. Use an HB grade of pencil to design an abstract composition. Examine Figure 1 but don’t copy it – come up with your own original design. Begin with a few simple doodles comprised of straight and curved lines to help jump start your creativity. When you have something you like, you can add more lines and shapes or use your eraser to get rid of a few lines.


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Figure 1

2. Add shading to your design by varying line density with five grades of pencils (Figure 2). Place your value scales (from activity 3.1.A12 Use Line Density to Hatch Value Scales) beside you as guides. Try to use all (or most of) the 35 different values. You can create diverse patterns by varying the direction of the sets of hatching lines.



Hatch an Abstract Design

Figure 2

3. Use a freshly-sharpened 6B pencil to outline all the shapes in your design (Figure 3). Keep your sandpaper block handy so you can easily keep the point of your pencil nice and sharp. 2B, 4B, and 6B pencils wear down very quickly.


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Figure 3

Now, the fun part! Turn your drawing in each of four different directions and choose your favorite. Then sign your name in the lower right-hand or left-hand corner (so the rest of the world will know which side is up).



Hatch Value Scales with Pencil Pressure

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Activity

Hatch Value Scales with Pencil Pressure Render ten value scales of five solid tones by varying the pressure used with single grades of pencils


Solid-tone hatching values are the fundamental component of hatching graduations, which are used to add realistic shading to a vast array of subjects. To create a solid-tone scale of five different values, follow these pencil pressure guidelines: Value 1: Hold the pencil very lightly. The weight of the pencil itself helps create the lightest value. Value 2: Hold the pencil a little more firmly, and a tiny bit of pressure is applied. Value 3: Apply a medium amount of pressure to create a medium value. Value 4: Grip the pencil firmly and apply additional pressure to make a darker value. Value 5: Apply very firm pressure (but not so much as to destroy the paper’s tooth) is applied for the darkest value. 1. Draw five value scales with hatching lines that are close enough together to look like solid tones (Figure 1). To accomplish this, vary the pressure applied to each of five different grades of pencils in turn. Begin by creating five different values from light to dark with a 2H pencil. Then use an HB, 2B, 4B, and 6B in turn to render another four value scales of five different solid-tone values. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 1

2. Reverse the process to draw five solid-tone value scales from dark to light (Figure 2).

Figure 2

As an Aside What I’ve discovered is that in art, as in music, there’s a lot of truth – and then there’s a lie. The artist is essentially creating his work to make this lie a truth, but he slides it in amongst all the others. The tiny little lie is the moment I live for, my moment. It’s the moment that the audience falls in love. Lady Gaga



Render Ribbons of Values

Activity

Render Ribbons of Values Vary the pressure used with five grades of pencils to create a design with five ribbons of different values


This activity has three sections: • Outline Five Ribbons with Curved Lines • The Process of Shading a Ribbon • Shade the Other Four Ribbons

Outline Five Ribbons with Curved Lines

As an Aside The illustrations in the first section of this activity have been darkened in Photoshop so you can see them clearly.

1. Turn your paper to a horizontal (landscape) format. 2. Use curved lines and an HB pencil to lightly sketch a ribbon in the upper section of your paper (Figure 1). Note where the ribbon becomes narrow and then wide again.

Tip! If you want your ribbon to be symmetrical, use a ruler to draw a vertical line of symmetry down the center of your page before you begin drawing.


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3. Draw diagonal straight lines on the two ends of the ribbon.

Figure 1

4. Draw four more ribbons below the first, as shown in Figure 2.

Figure 2

Tip! Render your hatching lines in the same directions as the curved outlines of each ribbon (Figure 3).

You are now ready to begin shading!

Figure 3

As an Aside In 3.1.A14 Hatch Value Scales with Pencil Pressure, you shaded five individual shapes of different values with a single grade of pencil. In this activity, you use the same process to shade five different shapes that are joined together rather than separated. In addition, each shape needs to fit between the curved lines that eventually form a long ribbon.




The Process of Shading a Ribbon 5. Use hatching to add the darkest values to each end of the darkest ribbon (second from the bottom in Figure 4).

Figure 4

Apply firm pressure to your 6B pencil to render this darkest value. 6. Use a firm grip on a 6B pencil and a little less pressure to join a dark value to the darkest value (Figure 5). Figure 5

7. Apply a medium amount of pressure with a 6B pencil to join a medium value to the dark value (Figure 6). Figure 6

8. Apply a little less pressure with a 6B pencil to join a light value to the medium value (Figure 7). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 7

9. Hold your 6B pencil gently and apply almost no pencil pressure to add the lightest value (Figure 8).

Figure 8

This very light value fills the gap between the light values on each side of this ribbon.

Tip! The five-step process for shading each ribbon is to apply: •

firm pencil pressure to a tightly-held pencil to add the darkest values to the end sections

•

a little less pencil pressure and a firm grip to join a dark value to the darkest value

•

a medium amount of pencil pressure and a medium grip to join a medium value to the dark value

•

less pencil pressure and a lighter grip to join a light value to the medium value

•

almost no pencil pressure and a very gentle grip to add the lightest value

Shade the Other Four Ribbons 10. Use the same shading process described in the previous section to add shading to the remaining four ribbons. Refer to Figures 9 through 12 in turn to find out which grade to use for each ribbon.




Figure 9 (4B pencil)

Figure 10 (2B pencil)

Figure 11 (HB pencil)


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Figure 12 (2H pencil)

Figure 13

Challenge! Use a sharpened 2B or 4B pencil to neatly outline each ribbon (Figure 13).


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Part 4: Graduate to Hatching Graduations

Part 4

Graduate to Hatching Graduations This part of the book begins with a richly-illustrated introduction to hatching graduations. Several illustrated discussions demonstrate the process of shading side-by-side and vertical hatching graduations. You then begin the process of mastering these invaluable shading techniques through a series of activities. The art of burnishing shows you how to smooth out your shading. Also, you learn how to make a form appear more three dimensional by pulling out highlights with a kneaded eraser. As a grand finale, you use graduated hatching, atmospheric perspective, and a shading map to draw a tranquil scene with a palm tree, island, and calm water. Exploring Hatching Graduations...................................123 How to Hatch Graduations with One Grade.................127 Use Five Grades to Hatch Five Graduations................131 How to Hatch a Graduation with Five Grades..............133 Hatch a Single Graduation with Five Grades...............137 Hatch Forms with Burnishing and Erasing...................139 Hatch Vertical Lines of Random Lengths.....................145 How to Hatch Lengthways Graduations.......................149 Hatch Two Types of Lengthways Graduations.............153 Sketch a Scene with Hatching Graduations.................155


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Exploring Hatching Graduations

Resource

Exploring Hatching Graduations An illustrated discussion about various types of hatching graduations that are rendered with straight lines

A value scale of hatching lines is very different from graduated hatching. A value scale is made up of identifiable, individual values.

ArtSpeak

Graduated hatching, however, has a broad range of values that come together as one entity.

Graduation: (also called graduated shading or graduated values) A continuous, seamless progression of values from dark to light or light to dark.

There are a variety of ways to render graduated hatching.

Hatching: A series of lines (called a set) drawn closely together to give the illusion of values. Depending on the shading effects desired, the individual lines in hatching sets can be far apart or close together.

Graduations can have smoothly rendered values that flow seamlessly into one another (Figure 1) or noticeable hatching lines that can be long (Figure 2) or short (Figure 3).

Technique: A well-known method (e.g., a specific way to render shading) that is used to accomplish a particular activity or task.

Figure 1


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Figure 2

Figure 3

Figure 4

Hatching graduations can be rendered within a compact space (Figure 4) or stretched out over a long distance (Figure 5).

Figure 5

Figure 6

Not all hatching graduations have a full range of values. A graduation can be made up of only light and medium values (Figure 6) or only medium and dark values (Figure 7).



Exploring Hatching Graduations

Figure 7

Hatching graduations can also be drawn in any direction (Figure 8).

Figure 8

A hatching graduation can be created with one grade of pencil (by varying the amount of pressure applied to the pencil and the density of the hatching lines) or with a combination of several grades of pencils.

Each grade of pencil helped create its own hatching graduation (Figure 9). A combination of all five grades of pencils helped render the graduation in Figure 10. Figure 9

2H

HB

2B

4B

6B


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Figure 10

Figure 11

Straight hatching lines can graduate sideways or lengthways. The hatching lines in Figure 11 graduate sideways from dark to light. In Figure 12, the hatching lines graduate lengthways from dark to light. Figure 13

Figure 14

Figure 12

Short or long hatching lines that graduate lengthways work beautifully for shading various textures such as hair and fur (Figures 13 and 14). When you master the many different techniques for hatching graduations of values, you will be able to modify your graduations to render any subject you can see or imagine.



How to Hatch Graduations with One Grade

Resource

How to

Hatch Graduations with One

Grade

Examine the process of rendering three types of graduations by using one grade of pencil and side-by-side, straight hatching lines

Graduations are the primary element in realistic shading. Various types of hatching graduations can be created with a single grade of pencil by varying both the amount of pressure applied to the pencil and the density of the hatching lines. The techniques used for graduating values are the same for creating value scales. However, unlike graduated values, each value in a value scale stands alone as a single entity (Figure 1). In a graduation, the values need to flow gently and gradually into one another so there are no noticeable breaks from one value to the next (Figure 2).

Figure 1

Figure 2


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Figure 3

Hatching graduations can have either noticeable lines (Figure 3) or dense tones (Figure 4) that graduate in value from light to dark (or vice versa). Figure 5

Figure 4

The goal is to keep the transition between the different values flowing into one another as smoothly as possible. A simple three-step process can be used to create any type of graduation of straight lines with one grade of pencil. The following demonstration shows how three different types of hatching graduations are created with a 2B grade of pencil.

Step 1 The first set of lines begins very lightly (on the left) by applying very little pressure to the pencil and drawing the lines far apart (Figure 5). As the graduation moves toward the middle of the drawing space, the lines gradually become darker and closer together. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


How to Hatch Graduations with One Grade

Figure 6

Step 2 As the graduation flows past the middle of the drawing space, the lines need to gradually become darker and move closer together (Figure 6).

Tip! It’s very normal to have to occasionally adjust a section that is too light or too dark. To make a section darker, you can draw over hatching lines with a little more pressure or add additional lines in between others. To make a section lighter, use a kneaded eraser molded to a wedge to gently pat the section that is too dark.

Tip!

Step 3 The hatching lines continue to become progressively darker and closer together until they are as dark as is possible with that grade of pencil (Figure 7).

A repertoire of diverse shading techniques provides you with numerous creative options for shading oodles of different textures.


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Figure 7

As an Aside Graduations require the ability to render parallel straight lines and the ability to visually measure the spaces between the lines.



Use Five Grades to Hatch Five Graduations

Activity

Use Five Grades to

Hatch Five Graduations Use pencil pressure to create a graduation of values with a 2H, HB, 2B, 4B and 6B grade of pencil, and side-by-side, straight hatching lines

Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, erasers

Figure 1

The process for creating each of these graduations is the same. The difference is that you use a different grade of pencil for each (Figure 1).

Tip! The process for rendering a graduation with a single grade of pencil is as follows: 1. Use only the weight of the pencil to begin drawing light values beginning on the left. Slowly apply a little pressure to graduate the values darker toward the right. 2. Gradually apply a little more pressure to your pencil as you graduate middle values toward the right until they begin to look dark. 3. Graduate the values darker toward the right by increasing the pressure applied to the pencil until the values are as dark as possible.

1. Use side-by-side straight hatching lines to draw a graduation of values with a 2H pencil (Figure 2).


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Figure 2

2. Use an HB, 2B, 4B, and 6B grade of pencil in turn to create four more graduations (Figures 3 to 6). Figure 3

Figure 4

Figure 5

Figure 6



How to Hatch a Graduation with Five Grades

Resource

How to

Hatch a Graduation with Five Grades Discover the process of rendering a single graduation with five grades of pencils and straight hatching lines

Graduations that are created with five different grades of pencils offer a far broader range of values than with only one or two grades. The 2H grade is best for the lightest sections and the 6B is best for the darkest sections. The HB, 2B, and 4B grades provide an infinite range of middle values.

Caution! Allow each grade of pencil to create its own natural range of values without damaging the tooth of the paper with too much pencil pressure.

Tip! This type of graduation can be rendered with or without a drawing space. However, if you outline a drawing space, you have the option of extending the hatching lines outside its perimeters (Figure 1). Drawing hatching lines that begin and end precisely within an outlined drawing space is time consuming for a beginner!

Figure 1


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As with all types of graduations, the objective is to keep the transitions between the different values flowing smoothly into one another.

Tip! Remember to combine all three of the following techniques to render a super-smooth graduation: •

Use at least five different grades of pencils.

•

Vary the density of the hatching lines.

•

Vary the pressure used in holding your pencils (press lightly for light values and harder for darker values).

Step 1 This graduation begins on the left by pressing very lightly with a 2H pencil and drawing the lines far apart (Figure 2). As the values graduate darker, the hatching lines are rendered closer together and more pressure is applied to the pencil. When the capabilities of the 2H are exhausted, an HB is used to graduate darker values into the middle. Figure 2

Tip! Remember to use your natural hand movement when creating graduations. The hatching lines can be vertical, slanted to the right, or slanted to the left. In this demonstration, the lines slant toward the right.

As an Aside Drawing things makes them seem more real and makes me feel more alive. It also makes me pin down and remember things – landscapes, season, weather, occasions, incidents, people – that would otherwise have melted from my memory. David Gentleman (London, You’re Beautiful: An Artist’s Year)

Tip! Pencil tips need to be constantly sharpened as you graduate values – even more so when you begin using softer grades of pencils.



How to Hatch a Graduation with Five Grades

Step 2 A 2B grade is used to add in middle values that become progressively darker as the pressure applied to the pencil is increased and the lines are rendered closer together (Figure 3).

As an Aside Drawing is the art of being able to leave an accurate record of the experience of what one isn’t, of what one doesn’t know. A great drawer is either confirming beautifully what is commonplace or probing authoritatively the unknown.

The darker values close to the end of the graduation are added by applying light to medium pressure with a 4B pencil.

Brett Whiteley

Figure 3

As an Aside I believe that most of us, students and artists alike, ought to concern ourselves less with what we think is the right way to draw and more with letting our feelings flow through our hand. In this way, we stretch our dynamic nature. Our larger goal should be to draw in a way that expresses our vision. Bert Dodson, Keys to Drawing)

As an Aside When drawing actual subjects, graduations usually need to fit precisely within diverse shapes and spaces. However, when learning how to draw graduations, a rectangular drawing space (imaginary or outlined) is just fine.

Step 3 Progressively darker values are added toward the end of the graduation by pressing firmly with a 4B grade of pencil and then by applying medium pressure with a 6B grade. Firm pressure on a 6B pencil then brings the graduation to its very dark ending (Figure 4).


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The graduation is then closely examined to find sections that don’t graduate as smoothly as they should. A few more short hatching lines are added in between some others to make the values graduate smoothly. Figure 4

Figure 5

Have a peek at a close-up view of the densely-spaced hatching lines (Figure 5). From a distance, this type of graduation looks quite smooth. With patience, and lots of practice, you can also draw this type of graduation!

Challenge! You can discover lots of ways to use graduations in your drawings by examining the shading techniques of various artists. Art has become very accessible in recent years through galleries, art books, and the Internet. Take time to appreciate the diverse range of art and artists that is available to you. Through careful observation of drawings by other artists, you will gain invaluable information that you can then apply to your own drawings.



Hatch a Single Graduation with Five Grades

Activity

Hatch a

Single Graduation with Five Grades

Render a single graduation with a combination of five grades of pencils and straight hatching lines


Tip! In addition to using five different grades of pencils, remember to also vary the density of the hatching lines and the pressure you use to hold your pencils. 1. Begin the light values with a 2H pencil and gradually apply more pressure and draw the lines closer together (Figure 2).

This graduation can be rendered with or without a drawing space. However, if you outline a drawing space, you have the option of extending the hatching lines outside its perimeters (Figure 1).

Figure 1

2. Use the same technique with an HB grade pencil to graduate darker values into the middle. Figure 2


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3. Add in middle values with a 2B grade (Figure 3). Remember to apply more pressure to the pencil and render the lines closer together as the values darken. Also, continuously use your pencil sharpener or a sandpaper block to keep the point of your pencil sharpened. 4. Add darker values toward the end of the graduation with a 4B pencil. Figure 3

5. Add progressively darker values to the end of the graduation by pressing more firmly with a 4B grade of pencil and rendering the lines closer together (Figure 4). 6. Use firm pressure on your 6B pencil to make the end of the graduation very dark. 7. Add final touches to your graduation with each of your five pencils in turn. Examine your graduation and locate any sections that don’t graduate smoothly. Use the same grades that originally created the values in each section to add a few more hatching lines in between others to make the values graduate more smoothly. Figure 4

Challenge!

And finally, pat yourself on the back and rub your tummy at the same time!

Use the same process to draw another graduation with values that graduate from dark to light instead of from light to dark.



Hatch Forms with Burnishing and Erasing

Activity

Hatch Forms with

Burnishing and Erasing Learn two invaluable shading techniques for creating a smooth texture with hatching

Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded and vinyl erasers

ArtSpeak This activity has four sections: • Sketch Proportions and Outline Shapes • Graduate Values with Various Pencils • Burnish Values and Draw with Erasers • Shade, Burnish, and Erase Highlights on Your Own

Sketch Proportions and Outline Shapes

Burnishing: The process of applying one or more layers of a dry medium (e.g., colored pencils or graphite) over another to lighten, darken, or blend colors or values. Kneaded eraser: A soft, pliable type of eraser used to erase parts of a drawing or to gently pat a drawing medium to make a lighter value or line. Blending: The process of gently rubbing a section of shading with a blending tool (e.g., paper towel) to evenly distribute the medium over the paper’s surface.

1. Use a 2H pencil to lightly sketch the shapes of this toy proportionally correct (Figure 1). Although the model for this drawing is the framed face and hat of a plastic toy, these shading techniques also work well for many other smooth textures.

Tip! Keep your outlines faint so the forms look realistic after you add shading. After all, objects in the real world are not outlined with noticeable lines. Figure 3 shows how light the outlines are in the actual drawing.


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Figure 1

As an Aside Children’s toys make fantastic models for drawing. Most won’t talk your ears off, and they usually stay where you place them especially if you remove any batteries. :)

Figure 3

Figure 2

2. Neatly outline the shapes with an HB pencil. Continuously adjust the proportions until your drawing looks like Figure 3. 3. Erase the initial sketch lines so only the outline is left (Figure 4). Figure 4




Graduate Values with Various Pencils 4. Use a 2H pencil to graduate values on the hat from light on the left to slightly darker on the right (Figure 5). As you’ll see in the next section, extending the hatching lines outside the outlines is a good idea at this stage of shading!

Figure 5

Besides – hatching inside the outlines is much too tedious and time consuming.

Tip!

Figure 6

The light source in this drawing originates mostly from above, but also slightly from the front of and left of the toy.

5. Use an HB and 2B in turn to graduate darker values toward the right (Figure 6). 6. Use a 4B pencil to graduate dark shading into the section of the hat on the far right (Figure 7).

Figure 7

7. Use the 4B pencil again to add a rim of dark shading along the lower edge. This section of the hat’s form is in shadow.


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Burnish Values and Draw with Erasers 8.

As an Aside The process of blending values with a blending tool usually lightens your darker values by pulling off some of the graphite.

Use the worn-down or chisel point tip (Figure 8) of a 2H pencil to gently shade over your hatching until no white sections are still showing between the lines (Figure 9). Burnishing enables you to softly blend your shading without losing the darker values.

9.

Figure 8

On the other hand, burnishing fills in only the white paper between the shading lines without changing the dark values.

Figure 9

Use the sharp edge of a vinyl eraser (or a kneaded eraser molded to a thick wedge) to erase all shading lines outside the contours of the hat (Figure 10).

10. Use a kneaded eraser molded to a point to pull out (erase) the highlights.

Figure 10

11. Use a kneaded eraser molded to a thin wedge to gently pat the light shading along the lower edge of the hat on the left. Be careful to not completely erase this shading – just lighten it slightly so that the shadow section appears darker. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.



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Figure 11

Shade, Burnish, and Erase Highlights on Your Own 12. Take your time and add shading to the other sections of the toy as shown in Figures 11 to 13. Use 2H, HB, 2B, 4B, and 6B pencils.

Figure 12

The 6B pencil is only used for the uppermost section of the cast shadow under the lower edge of the hat.

As an Aside I cannot rest, I must draw, however poor the result, and when I have a bad time come over me it is a stronger desire than ever. Beatrix Potter


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Figure 13

Challenge! Find a still life object (or a photo of a still life object) with a smooth texture and draw it using the shading techniques outlined in this project.

Tip! Remember the following process whenever you want to add shading with hatching graduations, burnishing, and erasers: Step 1: Use a combination of different grades of pencils to add graduated shading to each section in turn. Step 2: Burnish the values with the lightest grade of pencil used in the drawing. Step 3: Use a vinyl or kneaded eraser to erase any stray hatching lines that extend outside the subject’s contours. Step 4: Mold a kneaded eraser to a point to pull out any highlights that need brightening. Step 5: Mold a kneaded eraser to a wedge or a point to lighten any sections of shading that are too dark.



Hatch Vertical Lines of Random Lengths

Activity

Hatch Vertical Lines of Random

Lengths

Create two sets of randomly placed hatching lines of different lengths: one with long lines and the other with short lines

Supplies: paper, 2B pencil, pencil sharpener, sandpaper block

This activity has two sections: • How to Hatch Random Vertical Lines • Hatch Two Sets of Random Vertical Lines

Tip! These two hatching techniques are necessary for drawing landscapes, animals, or people.

Figure 1

Figure 2

How to Hatch Random Vertical Lines Graduations of lengthways hatching lines are made up of vertical lines that are long (Figure 1) or short (Figure 2). Before you can draw these two types of graduations, you need to practice drawing their primary element: randomly spaced long (Figure 3) and short (Figure 4) individual lines of different lengths and values.


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Figure 3

Figure 4

If you render hatching lines the same length and the same distance apart (Figure 5), your graduation will not be smooth. You will end up with an irreparable horizontal stripe-like edge between the values (Figure 6) instead of a smoothly flowing graduation of values (Figure 7). To draw the hatching lines in either type of lengthways graduation: • render individual lines of different lengths. • vary the pressure on the pencil so that all lines are not the same value. • vary the sizes of the spaces in between lines.

Figure 5

Figure 6

Figure 7

Tip! When you render any type of graduated values, remember to rotate your paper so you are always using your natural hand movement.

A step-by-step demonstration (beginning on the next page) illustrates randomly rendered long and short vertical lines. The basic drawing process is the same for both.



Figure 8

Hatch Vertical Lines of Random Lengths

Figure 9

To begin, draw only a few hatching lines to establish the space a set of lines will occupy (Figures 8 and 9). Then add a few more random lines of different lengths in between the establishing lines (Figures 10 and 11). Figure 10

Figure 11

Finally, add extra lines of different lengths to fill in spaces until the desired value is achieved (Figures 12 and 13). Figure 12

Figure 13

As you can see, this example is a light value and would probably become the lightest value in a graduation of values.

Hatch Two Sets of Random Vertical Lines Use the three-step process demonstrated in the previous section to render sets of long and short hatching lines (Figures 14 and 15). If you prefer, you can outline two drawing spaces on your paper before you begin.


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Caution!

Challenge!

Do not: •

draw the lines the same length

•

leave the same amount of space in between all the lines

•

make all the lines the same value

Figure 14

Practice drawing randomly spaced hatching lines of different lengths every day for a week!

Figure 15



How to Hatch Lengthways Graduations

Resource

How to

Hatch Lengthways Graduations Examine the process of rendering a graduation by using lengthways hatching lines and four grades of pencils

Graduations of lengthways hatching lines are used for a vast range of textures, including hair, fur, and fabrics. Depending on the texture you want, you can render lengthways graduations with long or short lines (Figure 1). Each type of graduation can be rendered to fit into a short space or a long space.

Figure 1

A very precise process of graduating lengthways hatching lines ensures that the values flow smoothly. Most importantly, the hatching lines must be of random lengths.

Tip! The process for creating a lengthways graduation is the same whether you work from light to dark or dark to light. The difference is that you draw the hatching lines toward the dark values for a graduation from dark to light and toward the light values for a graduation from light to dark.

To create a graduation that is dark at the bottom (6B pencil) and light at the top (2H pencil), begin with the darkest value (Figure 2). Work your way upward toward lighter values while changing to lighter grades of pencils. The shading lines themselves are rendered in a downward direction (in the direction of the arrow). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Conversely, when you graduate values from light to dark, begin with the lightest value (as shown in the lower section of Figure 3).

Figure 2

Figure 3

Draw the lines of the darker values downward and into the lighter values (in the direction of the arrow). You can also rotate your paper in any direction so you are always using your natural hand motion (Figure 4). In this demonstration, a graduation from light to dark (as in Figure 3) is used to show you the process of drawing a lengthways graduation. The different values are created by using four grades of pencils and by varying the density of the lines and the amount of pressure applied to the pencil. Figure 4

As with any graduation, the goal is to keep the transitions between the different values flowing smoothly into one another. Step 1: A 2H Grade of Pencil The first set of lines begins very lightly by applying very little pressure to a 2H pencil and drawing random lines of different lengths far apart. They are drawn in a downward direction and extend to the bottom of the drawing space. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


How to Hatch Lengthways Graduations

By pressing a little more on the pencil, slightly darker lines are added above the lightest value to randomly fill in spaces between the upper sections of the lightest lines. Don’t worry if the upper section of the graduation looks messy – it will be mostly covered with darker values anyway.

As an Aside The values in Figure 5 are so light that they had to be darkened in Photoshop so you could see them more clearly (Figure 6).

This second grouping of lines does not extend all the way to the bottom of the drawing space. Hence, you can already see a very slight graduation of values in the lower section of the drawing space (Figures 5 and 6). Figure 5

Figure 6

Caution! Remember to draw hatching lines of random lengths! If you begin each hatching line at the same horizontal plane, you will end up with an irreparable horizontal “stripe-like” edge.

Tip! You can easily adjust a section of a graduation that is too light or too dark. •

To make a section darker, draw over hatching lines with a little more pressure and add additional lines in between others.

•

To make a section lighter, use a kneaded eraser molded to a wedge to gently pat the section that is too dark.

Tip! Step 2: An HB Grade of Pencil As the graduation moves into and past the middle of the drawing space, an HB pencil is used to graduate darker lines (Figure 7).

As you begin using softer pencils, sharpen their points frequently so the graduation continues to flow smoothly from one value to the next.


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Figure 7

The values graduate darker by adding more hatching lines in between others and extending them a little ways downward into the lighter value below. Step 3: A 2B Grade of Pencil

Additional hatching lines begin in the upper section of the drawing space with a 2B pencil and graduate slightly darker into the medium value below it (Figure 8). Step 4: A 4B Grade of Pencil The final sets of hatching lines begin at the top of the drawing space with a sharpened 4B pencil and graduate downward into the middle values. More and more hatching lines are added until the top of the drawing space is quite dark (Figure 9). Figure 8

Figure 9

Don’t expect your first try at graduating lengthways lines to turn out well. Give yourself the gift of practicing this skill as frequently as you can.

Tip! The same four-step process applies to rendering a vertical graduation of values with short lines instead of long. Refer back to the graduation on the right in Figure 1 (Page 149).



Hatch Two Types of Lengthways Graduations

Activity

Hatch Two Types of

Lengthways Graduations

Render a graduation with long lines and another with short lines by using lengthways hatching lines


1. Use 2H and HB pencils in turn to render a graduation of long lines in the lower half of an outlined drawing space. Begin by applying very little pressure to a 2H pencil and draw randomly spaced long lines in a downward direction toward the bottom of the drawing space (Figure 1).

Figure 1

Figure 2

Press a little harder with the 2H pencil to add slightly darker lines above the lightest value. (Do not extend this second set of lines all the way to the bottom of the drawing space.) As the graduation moves into and past the middle of the drawing space, use an HB pencil to graduate darker values (Figure 2). To graduate the values darker, add more hatching lines in between others and extend them down a bit into the lighter value below.


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Figure 3

2. Add additional hatching lines in the upper section with a 2B pencil (Figure 3). These hatching lines graduate slightly darker into the medium values below. 3. Add dark hatching lines close to the top with a 4B pencil (Figure 4). 4. Use a 6B to graduate the darkest values from the top of your drawing space downward into the dark hatching lines. 5. Use the same process to draw another graduation with short lines (Figure 5). Figure 4

Figure 5

Tip! Touch up any sections that don’t graduate smoothly: •

To make a section darker, draw over some hatching lines with a little more pressure and add additional lines in between others.

•

To make a section lighter, use a kneaded eraser molded to a wedge to gently pat the section that is too dark.



Sketch a Scene with Hatching Graduations

Activity

Sketch a Scene

with Hatching

Graduations

Use graduated hatching, atmospheric perspective, and a shading map to draw a tranquil scene with a palm tree, an island, and calm water


This project has three sections: • Sketch Proportions • Plan Shading • Shade Graduations

Sketch Proportions In this section, you use an HB pencil to lightly sketch a tranquil scene that is close to the proportions of the sketch in Figure 1. The focal points of the scene are a section of land with a palm tree and an island. 1. Examine the subject. The sketch in Figure 1 is your primary reference image.

ArtSpeak Atmospheric perspective: (also called aerial perspective) A visual depth of field created by various particles in the atmosphere. As an object recedes farther into distant space, it becomes lighter in value and its edges become more blurred. Focal point: (also called center of interest or center of focus) A term used to identify the most important element(s) in an artwork. Shading map: (also called a value map) A plan or blueprint for adding shading to a drawing. Foreground: The sections of an artwork that are closest to the viewer. Subjects in the foreground are usually rendered with more detail and a greater contrast of values than those in the middle ground or background. Background: (also called distant space) The sections of a drawing or painting that are farthest away from the viewer.


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The palm tree is the part of the scene that is closest to you (foreground) and the mountain range and sky are the farthest away (background or distant space). Everything in between the distant space and the foreground is considered middle ground.

Figure 1

Tip! You can outline a drawing space that is approximately the same proportions as your reference image, if you prefer. However, scenery is quite forgiving of slight variations in proportions, so you may prefer to just begin drawing without a drawing space.

Figure 2

If you use a drawing space, remember to allow the hatching lines to extend outside the borders (Figure 2).

Figure 3

2. Use an HB pencil to sketch the basic components of the scene (Figures 3 and 4). Continue adjusting your sketch lines until you are happy.




Figure 4

Check the relationships of objects to one another, and observe that angles, sizes, and proportions are relatively accurate.

Plan Shading The shading in this drawing is based on values created with 2H, HB, 2B, 4B, and 6B pencils. A shading map (Figure 5) shows which grades of pencils can be used to create the various graduations in the scene. Note that the overall values are rendered lighter in the distant space than in the foreground to create the illusion of a threedimensional reality.

Figure 5

Tip! As you add shading to your drawing, continue to refer back to your subject (Figure 1) and the shading map (Figure 5).


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Shade Graduations In this section, the planned sketch is transformed into a completed sketch! Most of the values used to create the shading in this drawing graduate into others, either from dark to light or from light to dark. Figure 6

3. Use a 2H pencil to add the lightest values (Figure 6). The lightest values are added to the sky with diagonal hatching lines and to the water with horizontal hatching lines. 4. Use an HB pencil to graduate slightly darker values into the light values (Figure 7). Darker values graduate downward from the upper section of the sky into the light values.

Figure 7

The darker horizontal hatching lines used for the water in the foreground graduate into the light values and help create the illusion of ripples. 5. Erase the horizontal line cutting through the island. 6. Add a few simple hatching lines with an HB pencil to indicate the value of the mountain in the distant space (Figure 8).




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Figure 8

As an Aside To help create the illusion of atmospheric perspective, the three land masses are shaded differently according to their positions in the drawing.

Figure 9

The distant mountain is shaded lightly with an HB pencil; the island in the middle ground is shaded with both 2B and 4B pencils; and the tiny section of land in the foreground is rendered with darker values using 4B and 6B pencils.

7. Use a 2B pencil to add middle values to the island (Figure 9). To create the forms of hills and rocks, the graduations of the island are not smoothly rendered.

Figure 10

8. Add the reflection of the island in the water with a 2B pencil and graduation lines that are horizontal to the lower edge of the distant mountain range (Figure 10).

Tip! When adding shading to the reflection, you may want to turn your drawing sideways so you can more easily identify the symmetrical shapes.


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Figure 11

9.

Add a layer of dark values with a 4B pencil to the land in the foreground (Figure 11).

10. Using 4B and 6B pencils, add shading to the trunk of the palm tree (Figure 12). Note that the values are lighter on the left, which provides insight into the origin of the light source (the left). Remember to refer back to Figure 1 and the shading plan (Figure 5). 11. Use a freshly sharpened 6B pencil to add a few squiggly lines to represent small shrubs and foliage.

Figure 12

12. Return to the island and use a 4B pencil to add dark shadow sections along the lower part (Figure 13). The shading of the island graduates unevenly from light at the top to dark in the lower sections. Remember to leave a tiny horizontal sliver of light values to identify a sandy beach where the land meets the water. Figure 13

13. Use a freshly sharpened 2B pencil to draw a few tiny trees and shrubs on the island.



Figure 14


14. Add the stems (or branches) of the palm tree with curved lines and a 2B pencil (Figure 14). 15. Use freshly sharpened 2B, 4B, and 6B pencils and curved hatching lines to complete the leaves on the upper section of the palm tree. Refer to the close-up image in Figure 15. Observe how some palm leaves are lighter in value than others – especially the ones that seem farther away.

In other words, the leaves that are in the foreground are considerably darker in value. This illusion of depth is a result of atmospheric perspective.

Figure 15

• Add the smallest and shortest leaves first with a 2B pencil. • Use a 4B pencil to add slightly larger and darker leaves that overlap sections of the smaller ones. • Use a 6B pencil to add a few large leaves in the foreground that also overlap a few sections of other leaves.


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16. Step back from your drawing and compare the overall values in your drawing to the reference image (Figure 16). You may need to make some areas lighter and others darker. • To make a section darker, simply add more hatching lines in between others. • To make a section lighter, pat the lines gently with a kneaded eraser molded to a wedge or point. Sign your name, date the back of your drawing, and put a big smile on your face. Figure 16


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Part 5: Contour Hatching Around Forms

Part 5

Contour Hatching Around Forms This part of the book begins with an illustrated discussion on how curved hatching lines help create highly realistic textures and threedimensional forms. You then put theory into practice by using contour hatching graduations to transform a circular shape and a segment of a sphere into three-dimensional forms. Your ability to render contour hatching graduations naturally progresses as you add shading to a tulip and a section of its stem and leaf; render smooth shading and the texture of realistic hair; and draw the forms of a young child’s face and hair. Checking Out Contour Hatching...................................165 Rendering Contour Hatching Naturally.........................171 Shade a Simple Form with Contour Hatching..............173 Graduate Curved Hatching Lines Lengthways.............177 Shade a Tulip with Contour Hatching...........................183 Hatch Harry’s Realistic Hair..........................................191 Contour a Child’s Straight Hair.....................................201


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Checking Out Contour Hatching

Resource

Checking Out Contour Hatching Examine graduations and drawings to see how curved hatching lines help create highly realistic textures and three-dimensional forms

Curved hatching lines can depict the illusion of depth much better than straight lines, especially when you want to transform a circular shape into a three-dimensional form. See this for yourself by comparing two drawings based on identical circular shapes: • The first shape (Figure 1) is shaded with straight hatching lines and looks relatively flat and twodimensional – like the sheet of paper on which it is rendered. • The second shape (Figure 2) is shaded with curved hatching lines that follow the contours of its perceived forms. The illusion of a three-dimensional form on a flat sheet of drawing paper is successfully created thanks to contour hatching. Figure 1

Figure 2

ArtSpeak Contour: The outline of a shape or form. Contour hatching: A classical shading technique in which sets of curved hatching lines follow the outlines, contours, and/or forms of the drawing subject and accentuate the illusion of a three-dimensional reality.

Curved hatching lines can also transform a quick sketch of a simple icon into an interesting cartoon with detail and depth.


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Figure 3

Hatching with straight lines doesn’t work very well when you want to draw hair or fur on a form. Examine the very flat looking hair that is shaded with long, straight lines on the head of a cartoon in Figure 3. His face, nose, and ears also look very boring and two-dimensional. Figure 4

The illusion of a threedimensional reality is created when long, curved lines are used to shade the hair of his twin brother (Figure 4). Short, straight hatching lines work beautifully to bring out the forms of his face, nose, and ears. Figure 5

Curved hatching lines can be any length. Refer to Figure 5 and compare contour hatching with long lines to contour hatching with short lines. In Figure 6, a simple circle becomes a sphere when it’s shaded with graduations of curved hatching lines of different lengths and values.



Figure 6


Figure 7

Have a close-up look at the curved lines used to create a very smooth graduation (Figure 7). The transitions between the hatching values are seamless. The curved hatching lines in the darkest shadow sections are barely noticeable because they are really close together with hardly any of the white paper showing through. This type of graduation is perfect for rendering smooth and shiny textures, such as a drawing of an apple in Figure 8.

Figure 8

More noticeable hatching lines can be used to add shading to other types of smooth textures such as the petals of flowers (Figure 9). Figure 9


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Figure 10

Any real or imaginary animal with fur or feathers can also be shaded with contour hatching. Check out the shading used for cartoon drawings of a pig and penguin (Figures 10 and 11). Note that most of the hatching lines are shorter than those used for the flower drawing. Figure 11

Highly-detailed drawings of animals with fur simply cannot look realistic without contour hatching. Figure 12

Closely examine the intricate curved hatching lines that make up the fur of Katie the Pitweiler in Figure 12. In addition, we can’t forget all the bugs, birds, and plush toys that are best rendered with contour hatching. Examine the shading lines used to render the drawings in Figures 13, 14, and 15 (on the next page).




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Figure 13 Figure 14

Figure 15

And, of course, people have all sorts of textures and rounded forms on their body and clothing that can be rendered with contour hatching. Human hair, for example, can be realistically rendered with contour hatching. Identify contour hatching lines in drawings of overlapping strands of hair (Figure 16) and the hair of a young man (Figure 17). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 16

Figure 17

Figure 18

Even fantasy hair needs contour hatching to create the illusion of depth (Figure 18). As you can tell, contour hatching is simply a musthave technique for all artists, from beginner to professional!

Challenge! Look around you and find at least five objects with rounded forms or textures that can be shaded with contour hatching.



Rendering Contour Hatching Naturally

Resource

Rendering Contour Hatching Naturally How to find and use your most natural drawing motions for shading with contour hatching

Resource: Checking out Contour Hatching (Page 165)

Getting to know yourself as an artist is as important to drawing as techniques and tools. Surprisingly, very few artists are aware of which hand motions can create the best lines when they draw. Thankfully, it’s very easy to find out! All you need for this little exercise is a calm mind, a relaxed body, a pencil, and a piece of paper. Use a pencil and paper to discover your natural hand movements for drawing sets of curved hatching lines (Figure 1). Draw several sets of slightly curved lines. As you draw, take note of how you make these lines, how smooth the lines look, and how comfortable you feel while drawing them. Try many different ways of moving your pencil, rotating your paper, or changing the directions of your lines until you find the motions that are the most natural for you. One potential motion consists of lines that curve upward from the lower right toward the upper right (marked 1 in Figure 1). Another is from the upper right curving downward toward the lower right (marked 2).

Tip! Contour hatching is a must-have technique for rendering realistic drawings. To achieve smooth shading with contour hatching, you need to be aware of and in control of your own natural hand movements.

Even if you’re comfortable with one or more of the strokes in Figure 1, be sure to also experiment with others that are not illustrated.


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Figure 1

To take advantage of your natural hand movement, you need to continuously rotate your drawing paper as you draw. Practice drawing contour lines to help you get a feel for rotating your paper in the most natural direction. For example, imagine for a moment that your natural hand motions are similar to the motions demonstrated in samples 1 and 2 in Figure 1. When you need to curve your contour hatching lines in the opposite direction, simply turn your paper upside-down. When your contour lines need to change direction again, rotate your paper accordingly until you find yourself using your natural hand motion again.

As an Aside The motions indicated in sets 1 and 2 in Figure 1 are the ones that work best for me. As you can tell by the awkwardness of the lines in sets 3 to 8, these sets of lines don’t follow my natural hand motion.



Shade a Simple Form with Contour Hatching

Activity

Shade a Simple Form with Contour Hatching Use contour hatching graduations to depict the illusion of depth by transforming a circular shape into a three-dimensional form

Resources: • Checking out Contour Hatching (Page 165) • Render Contour Hatching Naturally (Page 171) Supplies: paper, 2H, HB, 2B and 4B pencils, pencil sharpener, sandpaper block, erasers

Drawing contour hatching graduations is very similar to drawing lengthways hatching graduations with straight lines, with one exception: you use curved lines instead. 1. Lightly sketch a circular shape with your HB pencil (Figure 1).

Tip! 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.

Figure 1

No need to make your shape exactly like this one, but try to come close. This shape looks like a cross between a kidney bean, a potato, and a cocoon! Keep your lines light by pressing gently with your pencil. 2. Sketch a few curved lines to map the directions in which the hatching lines will curve (Figure 2).


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As you draw, visualize wrapping string around a circular form.

Figure 2

Tip! Remember to take advantage of your natural hand movement and constantly rotate your paper as you draw.

Figure 3

3. Use a 2B pencil and curved hatching lines to add shading to the lower section of the circular shape (Figure 3). The hatching lines are not long and continuous; rather, they are of various lengths and follow the perceived contours of the surface of the form. Figure 4

4. Use a 2H or HB pencil to add more shading lines that follow the contours of the surface of the form (Figure 4). 5. Switch to a freshly sharpened 4B pencil and add darker curved lines around the perimeter of the shape (Figure 5).



This dark value will enhance the illusion of a three dimensional form.

Shade a Simple Form with Contour Hatching

Figure 5

The dark curved lines need to feather gently toward the center sections. Remember to use curved hatching lines that are raggedy and of various lengths. 6. Use 2H, HB, and 2B pencils to add light and medium values that graduate smoothly toward the dark values (Figures 6 and 7).

Figure 6

Figure 6 shows you where to draw: • light values (marked 1) with 2H and HB pencils. • medium values (marked 2) with HB and 2B pencils. Figure 7 is the completed drawing. The curved hatching lines are barely noticeable anymore because they are really close together with hardly any of the white paper still showing through. The transitions between all the values are very smooth.


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Figure 7

If your shading isn’t as smooth as you would like, you can touch it up. To make lines lighter, pat them with your kneaded eraser molded to a wedge shape. You can make sections darker by drawing more short, curved lines in between others. Touch up any sections with which you aren’t happy.

Challenge! Practice drawing forms with contour hatching lines every chance you get! With only half an hour a day of practice, you’ll see a significant improvement in your drawings in only a week.



Graduate Curved Hatching Lines Lengthways

Activity


Use curved hatching lines to smoothly render a graduation that depicts the illusion of form on a segment of a sphere

Resources: • Checking out Contour Hatching (Page 165) • Render Contour Hatching Naturally (Page 171) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded eraser

Graduations are the primary component of realistic shading.

ArtSpeak Contour hatching: A classical shading technique in which sets of curved hatching lines follow the outlines, contours, and/ or forms of a drawing subject to accentuate the illusion of a three-dimensional reality.

When your goal is to create a smooth texture for a three-dimensional form, you need to keep the transition between the different values flowing into one another as smoothly as possible. To render a graduation with curved hatching lines: • use different grades of pencils • vary the density of the hatching lines • hatch curved lines far apart for light values • hatch curved lines closely together for dark values • draw individual hatching lines of different lengths

As an Aside It is good to love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is well done. Vincent van Gogh

• vary the pressure used when holding your pencils • use your natural hand movements


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In this activity, graduations of curved hatching lines help render a section of a sphere by illustrating light and shadow. Figure 1

A drawing of a sphere (Figure 1) shows the components of light and shadow that are represented in this graduation: highlight, shadow, and reflected light.

Highlight

Shadow Reflected light

Figure 2

1. Lightly sketch a small circular shape to represent the highlight section of a form (Figure 2). The center of this circular shape will be left white, and represents the section closest to a light source emanating from the upper right. 2. Add three curved lines to map the directions in which the hatching lines curve.

Tip! You can rotate your drawing paper or sketchbook as you draw curved hatching lines to take advantage of your natural hand movements.

3. Add light shading to the upper section of the map (Figures 3 and 4). The shading begins very light around the edge of the highlight and becomes gradually darker farther away.



Figure 3


Figure 4

Figure 5

4. Continue to add shading that becomes progressively darker farther away from the light (Figures 5 and 6).

Tip! If your shading isn’t as smooth as you’d like, you can touch it up. To make lines lighter, pat them with your kneaded eraser molded to a wedge shape. To make sections darker, add more short, curved hatching lines in between others.


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Figure 6

5. Graduate the darkest shading downward to identify the shadow sections (Figures 7 and 8). The values are dark here because less light reaches a shadow area on a form. Figure 7

Figure 8

6. Continue adding darker values until the end of the graduation is very dark (Figures 9 and 10). A 6B pencil will create the very darkest values. As you add the dark shading, constantly check the transition between the different values and adjust the hatching lines as needed.



The transition between the hatching values is very smooth.


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Figure 9

The curved hatching lines in the darkest shadow sections are barely noticeable because they are really close together with very little white paper showing through. 7. Add raggedy, curved hatching lines to the lower section below the darkest shadow. The lines need to feather gently downward toward a lighter value. Switch to lighter pencils that are freshly sharpened to prepare for adding a rim of reflected light. From here, the shading will need to graduate lighter to indicate the light values of reflected light. Figure 10

8. Graduate the shading from the dark shadow into the section of reflected light (Figures 11 and 12). Use lighter pencils, make your lines farther apart, and press more lightly with your pencils until the end of the graduation is light. 9. Touch up any sections with which you aren’t happy. To smooth out the transition between values, add a few short, curved hatching lines in between some others using freshly sharpened pencils.


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Figure 11

Figure 12

Challenge! The ability to shade a rounded form opens up many creative possibilities.

Figure 13

Use the shading techniques in this activity along with your artistic licence to draw an object or living being from your imagination. To help get your creative juices flowing, refer to Figure 13.



Shade a Tulip with Contour Hatching

Activity

Shade a Tulip with Contour Hatching Outline and then use contour hatching graduations to add shading to a tulip and a section of its stem and leaf based on a light source

Resources: • Identifying Light and Shadow on Forms (Page 7) • Checking out Contour Hatching (Page 165)

Figure 1

Supplies: paper, 2H, HB, 2B, and 4B pencils, pencil sharpener, sandpaper block, erasers

This activity has four sections: • Sketch Proportions • Turn a Sketch into a Contour Drawing • Add Light and Medium Values • Add Dark Values and Final Touches

Sketch Proportions 1. Outline a square drawing space to help you render the tulip’s proportions. An ideal size is 4 by 4 in (10.16 by 10.16 cm). 2. Use an HB pencil to very lightly sketch a large triangle and an angle line as shown in Figure 1. The triangle becomes the tulip and the angle line becomes the leaf. The leaf overlaps the large triangle.

As an Aside Several of these very lightly rendered sketches were darkened in Photoshop to help you see them clearly.


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3. Draw the circular shape of a tulip approximately the same size as the triangle (Figure 2).

Figure 2

The lower section is wider than the top, and the top is gently pointed upward. Keep your sketch lines light – you may want to erase them later! 4. Add two short lines below the tulip to represent its stem. These two lines are tilted at an angle rather than straight up and down. Figure 3

5. Sketch the leaf (Figure 3). 6. Sketch a long oval shape on the left of the tulip to represent a large petal (Figure 4). This petal is in front of the main section of the tulip. Figure 4

7. Add the long, tiny section of a petal on the right. This petal is mostly out of sight behind the main section of the tulip. 8. Pat your sketch lines gently with your kneaded eraser until you can barely see them.




Turn a Sketch into a Contour Drawing With the completion of the proportional sketch comes a decision: do you prefer drawing in the style of realism or illustrative realism? Drawings in the style of realism (Figure 5) do not have highly noticeable outlines whereas drawings in the style of illustrative realism (Figure 6) have obvious outlines. Figure 5

Figure 6

If you prefer realism, render your contour lines much lighter than you see in the upcoming illustrations. If you prefer illustrative realism, use dark lines to outline your drawing.

Caution! Don’t simply draw over your sketch lines. Rather, examine the illustrations closely and draw new lines where you see them.

9.

Tip! Use sharpened pencils for the outlines. Draw slowly. Accuracy is more important than speed. Your speed will automatically improve the more you practice.

Use an HB pencil to draw a thin line around the leaf and large petal (Figure 7).

10. Draw the main body of the tulip with gently curved lines. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 7

11. Outline the stem with slightly curved lines (Figure 8). 12. Outline the long, thin section of the other petal on the right. 13. Check over your contour drawing and erase and redraw sections with which you aren’t happy. Figure 8

As an Aside By shading the light values first, you can then layer your medium shading on top of the light shading. This layering creates a nice, smooth transition between different values.

Tip! You can create different values by using various grades of pencils and varying the density of the lines and the pressure you use when holding your pencils. For light lines, press very lightly with your pencil. Press a little harder to make darker lines.

Add Light and Medium Values The light source in this drawing is coming from above and slightly to the right. To protect your drawing from smudging, place a piece of clean paper under your hand as you add shading. Each time you work on a new section, remember to move your paper so it’s always under your hand.




Figure 9

14. Use 2H and HB pencils to add graduations of light values to the main section of the tulip and its large petal (Figure 9). The hatching lines are of various lengths and slightly curved to follow the contours of the form of the tulip. Hatching lines on the petal are more horizontal than vertical.

Figure 10

15. Use HB and 2B pencils to add medium shading to the main section of the tulip, the tiny petal on the right, and the stem (Figures 10 and 11). The edges of the darker shading are not abrupt stops but feathered (or ragged) to give a smoother appearance. Take note of the small section of white on the upper section of the tiny petal on the right (Figure 11). Also note the section of the stem that’s left white – this helps to make the stem look rounded rather than flat.


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16. Add shading to the wide section of the leaf with your HB pencil.

Figure 11

Before you begin, draw a faint line on the left to represent the edge of the leaf. Leave this section white for now.

Add Dark Values and Final Touches The darkest values are added in layers over the light and medium values.

Figure 12

17. Add darker shading to the lower sections of the leaf with 2B and 4B pencils (Figure 12). 18. Use a 2B pencil to add shading to the leaf’s edge. 19. Add medium values to the left side of the large petal with an HB (refer to Figure 13 on the next page). 20. Use a 4B to fill in the tiny dark section under the large petal. 21. Use a 2B to add darker shading to the upper section of the stem under the flower.




Figure 13

22. Use your 2B pencil to add more shading to the small section of the petal on the right (Figure 14). This shading is very dark close to the main section of the tulip and graduates lighter toward the outer edge. Also, a tiny section at the top is left white. Figure 14

23. Use various pencils to complete the graduated shading of the main section (Refer to Figure 15 or 16 on the next page). Step back from your drawing and examine the graduations. Add final touches to the shading if needed. • Sometimes a short line placed inside a space between two others helps make the transition look smoother. • You can make areas lighter by patting them gently with the edge of your kneaded eraser. • To make a section darker, simply add more hatching lines in between others.


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Figure 15

With a few final touches of darker values, the tulip looks threedimensional.

Figure 16

Challenge! Take a photo of a tulip from a slightly different angle than the one in this project (or you may prefer to draw from an actual flower). Render a detailed drawing using contour hatching graduations for the shading. Your goal is to capture a full range of values from very light to very dark, as shown in the drawing of a tulip in this project.



Hatch Harry’s Realistic Hair

Activity

Hatch Harry’s Realistic Hair Use a shading map and hatching graduations to render both smooth shading and the texture of realistic hair

Resources: • How to Use a Value Map (Page 35) • Render Contour Hatching Naturally (Page 171) Supplies: paper, HB, 2B, and 4B pencils, pencil sharpener, sandpaper block, erasers

This activity has four sections: • Sketch and Outline Harry • Map a Shading Plan • Shade the Face, Nose, and Ears • Shade Realistic Hair with Curved Lines

As an Aside Most illustrations in the first two sections have been darkened in Photoshop so you can see them clearly.

Sketch and Outline Harry In this section, you render Harry’s head in three stages: • Sketch proportions with a line of symmetry • Outline the basic shapes • Neatly outline his face, nose, ears, and hair

Sketch proportions with a line of symmetry 1. Use an HB pencil and your ruler to lightly draw a vertical line down the center of your drawing space.

Caution! Don’t press too hard with your pencils – several sections will need to be erased later!


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This line of symmetry serves as a reference to help keep both sides of your sketch symmetrical.

Figure 1

2. Use an HB pencil to sketch an eggshaped head with ears on either side. Make it any size you wish, as long as the wider part is at the top (Figure 1).

Outline the basic shapes 3. Use a sharpened HB pencil to neatly outline Harry’s ears, head, and face. Refer to Figures 2 and 3. As you sketch, constantly check the relationships of lines and spaces to one another and to the line of symmetry. Figure 2

Figure 3

4. Carefully erase the initial sketch lines (Figure 4). 5. Use a kneaded eraser to pat your outlines until they are very faint. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


Figure 4


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Neatly outline his face, nose, ears, and hair 6. Use an HB pencil to outline a nose and the two strands of hair on either side. Examine Figure 5 to see how to create the illusion that the nose is in front of the hair. 7. Add a tiny circle under the nose to represent the mouth and a curved line below the mouth to represent the edge of the lower face. Figure 5

8. Outline Harry’s hair with thin, neat lines and re-draw the outer sections of his ears. Refer to Figures 6 and 7 as well as Figure 8 on the next page. Figure 6

The outlines of the hair are drawn outside the perimeter of the head. Hence, the upper half of the head (including the hair) is now wider and higher. Don’t miss the two little cowlicks on top of the head or the two small sections of hair below the ears! Figure 7


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Figure 8

Also, note that some sections of hair appear to be behind the ears, and others are in front, covering the eyes and most of the face. 9. Erase the rough sketch lines of the upper section of the head, the inner sections of the ears, and the sides of the face (Figure 8).

Map a Shading Plan A shading map allows artists to plan where they want to place different values in a drawing. To refresh your memory of how a shading map works, examine the shading of his nose in Figure 9. The primary light source originates from the upper left and slightly in front. The drawing of Harry has light, medium, and dark values. Light values (L) are rendered with an HB pencil; medium values (M) with a 2B; and dark values (D) with a 4B. The highlight is left white.

As an Aside Both cartoon drawings and realistic portraits of people often follow the same basic rules of facial proportions.

Figure 9




Figure 10

10. Add circular shapes with an HB pencil to represent highlights on the nose and ears (Figure 10). 11. Map the dark values on the nose and ear on the right and mark them with a “D” (Figure 11).

Figure 11

12. Map the dark values of the part in the hair, the hair in the middle and lower sections, and the shadows on the face. Take your time. Your patience will pay off when you start to shade your drawing.


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13. Map the medium values and mark them with an “M” (Figure 12). Figure 12

Tip! Keep the following in mind as you shade the hair: •

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

•

The overall values are lighter closer to the light source and darker farther away.

•

The hatching lines used on the top half of the head are all curved.

As an Aside Knowing trees, I understand the meaning of patience. Knowing grass, I can appreciate persistence. Hal Borland

As an Aside It is very strange that the years teach us patience – that the shorter our time, the greater our capacity for waiting. Elizabeth Taylor

14. Outline the light values and mark them with an “L” (Figure 13). The unmarked sections represent highlights and are left white.




Figure 13

15. Check over your map carefully and make sure you’ve included all the outlines for each value.

Figure 18

Shade the Face, Nose and Ears Hatching graduations with straight lines are used to add shading to Harry’s face, nose and ears. Remember to use an HB pencil for light values (L), a 2B for medium values (M), and a 4B for dark values (D). Figure 14

16. Use hatching graduations to add shading to the face, nose, and ears (Figures 14 through 16).


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Figure 15

Tip! To take advantage of your natural hand motion, remember to rotate your sketchbook as you draw the hatching lines.

Figure 16

Shade Realistic Hair with Curved Lines In this section, follow your shading map by adding dark values, then medium values, and finally – light values. Figure 17

17. Use mostly gentlycurving hatching lines to shade the hair (Figures 17 through 20). The hatching graduations are rendered with curved lines that follow the perceived contours of the head.




Figure 18

As an Aside He that can have patience can have what he will. Benjamin Franklin

Figure 19

As an Aside The strongest of all warriors are these two: time and patience. Leo Tolstoy

18. Add final touches to any sections of shading that don’t look quite right. Step back from your drawing, compare it to Figure 20, and have a look at the overall values.


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You can make some areas lighter by patting the lines with your kneaded eraser shaped to a wedge. You can make sections of the hair darker by simply drawing more hatching lines in between others wherever necessary. Sign your name, date the back of the drawing, and put a smile on your face! Figure 20



Contour a Child’s Straight Hair

Activity

Contour a Child’s Straight Hair Draw the realistically proportioned head of a young child with straight hair that curves around the contours of his cranium

Resource: Render Contour Hatching Naturally (Page 171) Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, kneaded and vinyl erasers

ArtSpeak Contour: The outline, or a section of the outline, of a shape or form. Symmetry: An arrangement of lines, shapes, and/or values on opposite sides of an often imaginary center line that appear to be duplications or mirror images of one another. Both sides are said to be symmetrical.

As an Aside Several illustrations were darkened in Photoshop so you can see them clearly.

This activity has four sections:

Line of symmetry: A real or imaginary line dividing an object or drawing space into two equal sections. In a drawing, an outline on one side of the line of symmetry needs to be a mirror image of the other side. Upper eyelid: A fold of skin that opens and closes automatically (blinks) to protect the eyeball. Eyebrow: An arched group of hairs above the eye.

• Sketch Facial Proportions

Eyelashes: Fine hairs that grow from the outer edges of the upper and lower eyelids.

• Prepare the Hair and Face for Shading

Lower eyelid: The fold of skin that protects the lower section of the eyeball. The lower eyelid cannot move without help from facial muscles around the eye.

• Use Curved Lines to Shade Straight Hair • Add Shading to the Eyes and Face

Iris: The colored circular section of an eyeball surrounding the pupil. Pupil of an eye: The dark circular shape within the iris that constricts or expands under different lighting conditions.


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Figure 1

Sketch Facial Proportions 1. Use an HB pencil to lightly sketch an egg shape with the wider section at the top (Figure 1). The subject of this activity is a child named “Jamie”, and this is the basic shape of his head. To help sketch his head symmetrically, lightly draw a line of symmetry down the center of your page. 2. Lightly sketch a gently-curved line dividing Jamie’s head into two sections (Figure 2). Imagine a dot in the center of this curved line. If you drew vertical lines from this dot to the top and bottom of his head, both distances should be about the same.

Figure 2

3. Sketch two vertical lines inside each side of the lower section of the egg-shape. The small, triangular shapes created should be close to the same width. 4. Add two curved lines below the curved line to identify the location of his upper eyelids. 5. Sketch two U-shapes below the two curved lines to represent the irises of his eyes (Figure 3). 6. Draw a curved line to mark the lower section of his nose. Figure 3

7. Add a three part curved line to represent the opening of his mouth.

Tip! Remember; different values are created by varying the density of the hatching lines and the pressure used when holding your pencils.




Prepare the Hair and Face for Shading 8.

Add a few strategically placed lines and shapes to enhance Jamie’s facial features (Figure 4). • Sketch a curved line above each eye as the upper eyelid creases (his eyebrows are partially hidden under his hair). • Add a shorter, curved line below each eye as the edge of the lower eyelid. • Sketch a round shape above the curved line that marks his nose. • Add a smaller round shape on each side of this round shape. • Outline the upper lip with a curved line in the center and a downward diagonal line on each side. • Sketch the lower lip with a horizontal line in the middle and an upward diagonal line on each side. Figure 4

9.

Visually choose a point on the top of the skull close to the middle, and place a small dot there (Figure 5). This is the point from which the hair seems to originate.

10. Continue using an HB pencil to lightly sketch several short, curved lines from the center point at the top of the head downward to serve as guides for shading. • Imagine these lines following the three-dimensional form of his head.

Figure 5

.

• Note that the line in the center is almost straight. • The lines become increasingly curved as they move toward the outside edge of Jamie’s head. 11. Erase the curved line that marked the lower edge of the bangs of Jamie’s hair (Figure 6). 12. Erase the upper sections of the lines that mark the sides of his face.


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Figure 6

13. Outline the lower edges of Jamie’s ears. 14. Gently pat your sketch lines with a kneaded eraser until they are very faint.

Use Curved Lines to Shade Straight Hair 15. Use an HB pencil to add gently-curved hatching lines along the lower section of Jamie’s hair (Figure 7). Figure 7

• The hatching lines are several different lengths and most are slightly curved. • The edges are feathered and ragged to give a more realistic appearance. Figure 8

16. Use your kneaded eraser to lighten the sketch lines in the upper section of hair. 17. Add additional shading to the hair with an HB pencil and hatching lines as shown in Figure 8. Keep your hatching lines of varying lengths, rather than long and continuous. 18. Use a 2B pencil to add slightly darker shading on the right. The dominant light source comes from the upper left. Hence, the hair and face are lighter closer to the light source and darker farther away. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


19. Use a 4B pencil to add a few darker sections of hair to the top of the head and on the right (Figure 9).


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Figure 9

The overall values range from white in the shiny areas to dark in the shadow sections.

Add Shading to the Eyes and Face 20. Outline the pupils and highlights of the eyes with an HB pencil (Figure 10). Figure 10

21. Use a 2H and an HB pencil in turn to add light shading to the eyes and face. 22. Use a 2B to add middle values to the darker sections of the eyes and facial features (Figure 11).


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Figure 11

23. Add a few soft and wispy lines around the edges of his hair (Figure 12). 24. Use a 6B pencil to shade the pupil of the eye. 25. Compare your drawing to Figure 12 and fix any sections you don’t like.

Figure 12

Turn your drawing upside-down to look for sections that can be improved: • To make a section of shading darker, simply add more hatching lines in between others. • Use your kneaded eraser molded to a wedge to lighten areas that are too dark. Erase any fingerprints or smudges with your kneaded or vinyl eraser, sign your name, date the back of your drawing, and put a big smile on your face!


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Part 6: Smooth Out Shading with Blending

Part 6

Smooth Out Shading with Blending This final part of the book begins by sharing numerous tried and true techniques and helpful tips for successfully blending shading. You then try your hand at blending: a smooth three-dimensional cartoon face, a realistic white egg on a white surface, and a sphere with a shiny surface. Finally – all your new shading skills come together as you render two highly realistic masterpieces: a fresh, shiny Macintosh apple and the smooth, delicate petals of a beautiful flower. To Blend or Not to Blend...............................................209 Shade and Blend Bobby Blob......................................213 White Egg on a White Surface.....................................217 Shine Up a Simple Sphere...........................................221 Shade an Apple with Contour Hatching........................227 Realistic Petals on a Flower..........................................233


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To Blend or Not to Blend

Resource

To Blend or Not to Blend Tips and techniques for using blending tools to successfully blend shading graduations

This tutorial has three sections: • Blending Gone Bad! • Beautiful Blending! • Blending Tools to Try

Blending Gone Bad! Most beginners to drawing try blending as a remedy for weak shading skills. Their drawing ends up looking smudged and flat instead of realistic; so they try again. More disappointment and spoiled drawings ensue. Blending cannot transform poorly rendered shading into beautiful smooth shading – no matter what tools you use or how much time you spend trying. For example, compare a set of shading lines before blending (Figure 1) to the same lines after blending (Figure 2).

ArtSpeak Blending: The process of using a blending tool to gently pat or rub sections of a drawing to smooth out graduations of values. Blending tool: Any object used by an artist to blend a medium. Blending stump: (also called a tortillon, stump, or blender) A thin cylindrical tool that is pointed at both ends, made of tightly wound paper or felt, and used to blend dry media. Dry media: Non-liquid drawing mediums (such as graphite and charcoal).

Caution! Never use your fingers to blend the shading of drawings you may someday value. Don’t even touch your drawing paper where you plan to blend. The powder component of graphite works like the fingerprinting powder used by police departments. Your skin transfers oil to your paper and the oil becomes visible after you add and blend graphite. To protect your drawings as you work, place a piece of paper under your drawing hand.


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Even if the surface of your paper survives your blending attempts, you may still end up with messy, smudgy shading. A less extreme example has similar results (Figures 3 and 4). Figure 3

Figure 2

Figure 1

Figure 4

Beautiful Blending! All artists should have blending in their repertoire of drawing skills. The key to successfully rendering blended shading is to meticulously shade smoothly graduated values before blending. Shading lines need to be rendered closely together in a smoothly flowing graduation (Figure 5). You then use a blending tool to gently blend your graduation from the lighter section toward the darker section (Figure 6). Figure 5

Tip!

Figure 6

You should blend hatching graduations in the same direction as the shading lines. When you blend across hatching lines, your drawing may smudge and no longer look three dimensional. Squirkling graduations should be blended with small circular motions. When your shading is rendered with chisel-point pencils, you should pat or use small circular motions to blend graduations.



Figure 7

To Blend or Not to Blend

The shading of an apple was created with a full range of hatching values that graduated around its contours (Figures 7 and 8).

Figure 8

A cotton swab (also called a cotton bud) and a sheet of paper towel were used to gently blend the values in the same direction as the contour hatching lines. The lightest values were blended first; then the medium and dark values. Figure 9

The highlights and light spots were then pulled out with a kneaded eraser molded to a point (Figures 9 and 10).

Tip! Always blend from the lightest values toward the darkest values. If you work in reverse from dark to light you may lose some middle and light values and end up with a smudged and flatlooking drawing.

Figure 10

Tip! Expect to not like your first few tries at blending. Remember, you need strong skills with rendering graduated values for blending to work. With time, patience, and lots of practice, your shading skills get stronger!


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Blending Tools to Try

Figure 11

Experiment with lots of different blending tools (Figure 11) until you find what works best for you. A few popular blending tools include: • Soft paintbrushes (dry – not wet) are ideal for beginners, especially if you don’t want to cross that line from smooth to smudged. You simply use the brush to pat the shading with small circular motions. The graphite moves a little but is not ground into the paper. • Facial tissues and paper towels work well to smooth out pencil strokes. However, be careful to not wear the tissue away so your fingers are doing the blending instead of the tissue. Wrap several layers around your finger and check often that the tissue isn’t wearing away. Paper towels are more durable than facial tissues.

As an Aside! If you shade and blend correctly and are still unhappy with your shading, the problem may be with your pencils, paper, and/or blending tools. Experiment with different combinations of drawing supplies until you are able to create blended shading you like.

• Blending stumps do their best work when you blend the values from light to dark. When the tips of blending stumps become too dirty or dull to work properly, they can be sharpened with a sandpaper block or a piece of fine sandpaper. Thick blending stumps are great for large sections of shading and thin ones work nicely for small sections. • Cotton swabs work beautifully for tiny detailed sections of drawings and offer lots of control. • Chamois is ideal for creating the texture of a very smooth surface such as glass.



Shade and Blend Bobby Blob

Activity

Shade and Blend Bobby Blob Outline a shape, add graduated values with squirkles, and blend the shading to create a smooth threedimensional cartoon face

Resource: To Blend or Not to Blend (Page 209)

Figure 1

Supplies: paper, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, vinyl and kneaded erasers, facial tissues and/or paper towels

This activity has four sections: • Outline a Fun Blob Shape • Shade and Blend Light and Medium Values • Shade and Blend Dark Values • Create a Fun Face

Outline a Fun Blob Shape

Figure 2

You can’t go wrong when outlining blobs – any circular shape will do nicely! Check out the three blobs in Figure 1 for ideas. 1. Use an HB or 2B pencil to outline a circular shape of any size (Figure 2). 2. Choose a highlight section to leave white or light in value. You can outline its shape or simply remember where it is. The highlight helps make the blob look three-dimensional. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Shade and Blend Light and Medium Values 3. Use squirkling graduations and 2H and HB pencils to add light values to your blob (Figure 3).

Caution! •

The light source originates from the front and upper left.

Don’t blend from darker values into light values or you may end up with the same value all over your blob. Blend from light values into darker values.

•

The values begin very light around the highlight and become progressively darker the closer they are to the edge of the blob.

When your tissue (or paper towel) becomes dirty, find another. If you blend the light sections with a tissue full of graphite, the light values may become too dark.

•

Don’t use your fingers to blend. The oils in your skin will penetrate the paper’s surface and make smooth blending impossible.

Figure 3

Remember: squirkling lines that are very close together produce the smoothest blended shading. 4. Use your 2B pencil to add middle values (Figure 4). Make the shading darker closer to the edge. 5. Use a facial tissue or piece of paper towel to gently rub the surface of your graduation until it is smoothly blended (Figure 5). Figure 4

Step 1: Wrap a folded facial tissue or piece of paper towel around the top of your finger. Step 2: Use circular motions to gently blend the lightest values around the highlight. Step 3: Slowly and carefully blend the light values into the darker values. Step 4: If the shading becomes too light, add more graphite and blend again. Step 5: Continue applying graphite to sections that don’t graduate smoothly and repeat the blending process until you are happy with the results.



Figure 5

Shade and Blend Bobby Blob

Shade and Blend Dark Values 6. Add dark squirkles with a 4B pencil (Figure 6). Note that the dark shading does not extend all the way to those edges that are farthest away from the light source. This slight rim of reflected light will help your blob look more three-dimensional.

Figure 6

7. Blend the medium shading toward the dark values until you achieve a smooth transition of values from light to dark (Figure 7). Refer back to the 5-step process in Instruction 5. Figure 7

Figure 8

8. Use a 6B pencil to add the darkest values to the outer sections of your blob and blend them until you are happy with the results (Figures 8 and 9). 9. Use your kneaded eraser molded to a wedge to clean up any smudges outside the edges of your blob.


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Figure 9

Create a Fun Face 10. Outline facial features on your blob with your 2B pencil (Figure 10). Bobby can be the name of a boy (Robert) or girl (Roberta), so feel free to add any face you want! 11. Use your vinyl and kneaded eraser to erase the inside sections of the eyes. Don’t worry if these sections don’t come completely white. As long as they’re lighter than the shading around them they are just fine!

Figure 10

12. Outline irises inside the white sections of the eyes (Figure 11). 13. Draw a tiny circle inside each iris as highlights. The highlights stay white to help make the eye look shiny. 14. Use your 6B pencil to shade the irises. Remember to leave a highlight in each eye.

Figure 11

15. With a nice sharp 6B pencil (or a finetip, black marker), outline the mouth and eyes. You can even add hair, eyebrows, and a hat if you wish!

Challenge! You now know how to blend shading! Create another cartoon character and use the techniques in this activity to make it look three-dimensional with blended shading.



White Egg on a White Surface

Activity

White Egg on a White Surface Use squirkling graduations to define the form of a high key subject and hatching to render its cast shadow

Supplies: paper, 4H, 3H, 2H, HB, B, 2B, 3B, 4B, and 5B pencils; pencil sharpener, sandpaper block, kneaded eraser, soft paintbrush for blending, ruler

This activity has three sections: • Shade Around and Outward from the Highlight • Graduate from the Shadow into the Reflected Light

ArtSpeak Key: The overall range of light and/or dark values in an artwork. Low key: (think of low levels of light) A range of mostly dark values. High key: (think of high levels of light) A range of mostly light values.

• Hatch the Cast Shadow from Light to Dark Figure 1

Shade Around and Outward from the Highlight 1. Use a 2H pencil to lightly outline the shape of an egg (Figure 1). 2. Press gently with a 4H pencil to outline a small circular shape as a highlight. Refer to the location and size of the highlight in Figure 2.


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Figure 2

3. Use a 4H pencil to add a light graduation around the highlight. Press gently on your pencil to add the lightest value over top of the highlight’s outline. However, don’t add any shading to the highlight itself; it needs to stay white. Figure 3

Then, gradually add a little more pressure to your pencil so the graduation becomes slightly darker farther out from the highlight. 4. Use 3H and 2H pencils in turn to graduate darker values outward in all directions toward the outline of the egg itself (Figures 3 and 4).

Figure 4

The shading with the 2H pencil should extend upward to touch the upper outline of the egg directly above the highlight. 5. Use an HB pencil to graduate darker values outward (Figure 5). Do not add additional shading to the section directly above the highlight. Figure 5

Graduate from the Shadow into the Reflected Light 6. Use B, 2B, 3B, and 4B pencils in turn to graduate darker values downward and outward (Figures 6 to 9). The shadow section on the egg is caused by the form of the egg itself blocking some light from the upper left.



White Egg on a White Surface

The shading of this shadow section gradually becomes darker toward the lower contour of the egg. Make sure you leave room for a section of reflected light. Figure 6

Figure 7

Figure 8

Figure 9

7. Use 3B, 2B, and B pencils in turn to graduate progressively lighter values to the lower outline (Figure 10).

Figure 10

This is a rim of reflected light. Light from the white surface on which the egg is sitting reflects light back onto the lower section of the egg.


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Hatch the Cast Shadow from Light to Dark 8.

Sketch a curved guideline to indicate the shape of the cast shadow (Figure 11).

9.

Use a ruler to draw a few horizontal guidelines to identify the directionality of the hatching lines for shading the cast shadow. Figure 11 has been darkened so you can clearly see the guidelines.

10. Use a 5B pencil to draw a curved line along a short section of the lower contour of the egg.

Figure 11

This line represents the darkest value of the cast shadow. 11. Use 2H, HB, 2B, 3B, 4B, and 5B pencils in turn to add shading to the cast shadow.

Figure 12

Begin at the outer edges of the cast shadow with light values (Figure 12) and graduate the shading darker until you meet the curved guideline on the egg (Figure 13). 12. Use a soft paintbrush to gently blend the shading of the egg and its cast shadow (Figure 13).

Figure 13

13. Compare the shading in your drawing to Figure 13 and fix any sections of shading that do not graduate smoothly. Use a soft paintbrush, kneaded eraser and/or various grades of pencils. Date and sign your drawing! Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.


Shine Up a Simple Sphere

Activity

Shine Up a Simple Sphere Use contour hatching, burnishing, blending, and erasing to create a realistic drawing of a sphere with a shiny surface

Supplies: paper, 2H, HB, 2B, 4B, 5B, and 6B pencils, pencil sharpener, sandpaper block, vinyl and kneaded erasers, soft paintbrush, blending tool

This activity has three sections: • Sketch Proportions and Shading Guides • Add Shading with Contour Hatching • Blend, Burnish, Blend, and Pull Out Highlights

Sketch Proportions and Shading Guides

Tip! Self-correction is integral to drawing independently. As you work, constantly go back over your drawing and adjust sections to make them more accurate.

Figure 1

1. Press gently with an HB pencil to sketch a circle (Figure 1). These lines will be covered with shading later on, so no one will know if you decide to use a compass to draw the circle! 2. Use an HB pencil to lightly sketch a circular shape in the upper left of the circle (Figure 2). The circular shape identifies the location of the highlight. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 2

The light source originates from the frontal, upper left. 3. Sketch faint curved lines as guides for adding shading. The contour hatching lines will follow the directionality of these sketch lines. 4. Lighten your sketch in preparation for shading. Pat your sketch gently with a kneaded eraser until the lines are very faint, but still visible.

Add Shading with Contour Hatching

Figure 3

5. Use an HB pencil to add curved hatching lines of random lengths all around the highlight (Figures 3 and 4). Follow the directionality of your guidelines and constantly rotate your paper so you are always using your natural hand motions. Figure 4

The values that are farther away from the highlight should graduate slightly darker.

Tip! Vary the lengths of the individual hatching lines so the shading graduates smoothly along the perceived contours of the sphere.



Figure 5


6. Use a 2B pencil to graduate darker curved hatching lines outward and toward the lower right (Figure 5). Begin this shading slightly into the outer edges of the previous shading. As you work, visualize the form of the sphere and follow its contours. Figure 6

7. Use 4B and 5B pencils in turn to graduate darker shading away from the highlight and downward, as shown in Figures 6 and 7.

Figure 7

Tip! As you work, focus on the broad range of values that exist in between the darks and the lights. Very light and very dark values are fairly easy to achieve; the real challenge is creating medium values.

8. Use a 6B pencil to graduate the darkest values close to the lower right edge of the sphere (Figure 8). Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 8

The white space left along the lower right will become the reflected light. 9.

Use a 2B pencil to graduate lighter values down to the lower right edge. These values represent a rim of reflected light (Figure 9).

Caution!

Figure 9

Never blend dark values into light values! More than likely the light values will darken and the dark values will lighten – leaving you with an irreparable blob of mostly medium values.

Blend, Burnish, Blend, and Pull Out Highlights 10. Use a soft paintbrush to gently blend your shading, beginning with the lightest value and ending with the darkest values (Figure 10). 11. Use 2H, HB, and 2B pencils with well-worn tips to burnish your shading.



Use a 2H for light values, an HB for middle values, and a 2B for the darkest values. An HB is best for the rim of reflected light in the lower right.


Figure 10

12. Use a kneaded eraser molded to a wedge to clean up the smudges around the circle. Any time you blend shading, plan to clean up around the edges of your subject (an unavoidable aspect of blending). 13. Use a soft blending tool (such as cloth, paper towel, a blending stump, etc.) to gently blend the values again from light into dark (Figure 11).

Figure 11

Remember: do not blend from dark to light. 14. Use various pencils to darken any sections of shading that became too light during the blending process and blend the values again. 15. Repeat steps 12 and 13 until you are happy with the results. 16. Use a kneaded eraser to lighten the highlight and clean up the smudges around the edges of the sphere. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Figure 12

17. Sketch the shape of the cast shadow and add a few horizontal lines as shading guides (Figure 12). 18. Graduate horizontal hatching lines to render the cast shadow (Figure 13). The values of the cast shadow are very dark close to the sphere and graduate lighter as they move farther away from the sphere.

Figure 13

19. Gently blend the values of the cast shadow from the light values into the dark values (Figure 14)

Figure 14

20. Check over the graduations in all sections of your drawing and make any changes required to further smooth out the shading. Sign and date your drawing, and give yourself a big hug!



Shade an Apple with Contour Hatching

Activity

Shade an Apple with Contour Hatching Render a realistic drawing of a shiny Macintosh apple by using blending to smooth out contour hatching graduations

Supplies: paper, 4H, 3H, 2H, HB, 2B, 4B, and 6B pencils, pencil sharpener, sandpaper block, vinyl and kneaded erasers, soft blending tool

Figure 1

This fun project is designed to challenge your vision and brain by asking you to rely mostly on illustrations to guide you as you work. Figure 2

1. Lightly sketch an apple and refine the lines until your sketch becomes a neatly rendered contour drawing (Figures 1 and 2). 2. Follow along with Figures 3 to 16 in sequence to add shading to your apple with contour hatching graduations. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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For the most part you are on your own to select grades of pencils that can give you the results illustrated.

Figure 3

Figure 4

This being said, the first few illustrations were darkened slightly in Photoshop to help you better see the individual hatching lines. Hence, to help get you started, use the following grades for each section of shading added in Figures 3 to 7: • Figure 3: 4H • Figure 4: 3H • Figure 5: 2H • Figure 6: HB • Figure 7: 2H Figure 5

Figure 6



Figure 7

Figure 9


Figure 8

Figure 11

Figure 10


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Figure 12

Figure 14

Figure 13

Figure 15

As an Aside The test of a vocation is the love of the drudgery it involves. Logan Pearsall Smith




Figure 16

Caution! Over blending can totally destroy the illusion of a three dimensional form. Your goal is to slightly blend your shading without losing any of the values that identify the individual components of light and shadow.

3. Use a soft blending tool to blend the values from the light values into the dark (Figure 17). Blend in the direction of the contour lines.

Figure 17

4. Add guidelines to help you add shading to the cast shadow. Draw horizontal lines below the apple where the cast shadow belongs (refer to the darkened image in Figure 18). These lines will serve as guidelines for the horizontal hatching lines used to shade the cast shadow (peek ahead to Figure 19). Add curved lines to identify the shapes of the cast shadow. The shading is darkest below the base of the apple and the values becomes progressively lighter farther outward.

Figure 18


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5. Use your guidelines and horizontal hatching lines to shade the cast shadow and then slightly blend its values. Refer to Figure 19, which is shown larger than the original drawing. 6. Make any changes needed to make your drawing more realistic. Use a kneaded eraser molded into an appropriate shape to: • gently pat the lighter sections to pull out highlights. • dot various sections of shading to pull out a random pattern of light spots; make sure they are different shapes and sizes. • clean up any smudges around the apple’s edges created by the blending process Sign your drawing, pat yourself on the back, and find another drawing project!

Figure 19



Realistic Petals on a Flower

Activity

Realistic Petals on a Flower Use a chisel point on nine grades of pencils to render a detailed drawing of a flower with a focus on shading light and shadow

Supplies: paper, 4H, 3H, 2H, HB, 2B, 3B, 4B, 5B, and 6B pencils; pencil sharpener, sandpaper block, erasers

This activity has three sections: • Sketch Petal Contours • Establish a Full Range of Values

As an Aside Most illustrations are shown larger than the actual drawing so you can better see how the shading is rendered.

• Shade Light and Shadow Figure 1

Sketch Petal Contours 1. Use a 2H or HB pencil to lightly outline the flower’s petals (Figures 1 to 4). Figure 1 shows how lightly rendered the original sketch is in reality. Figures 2 to 4 have been darkened in Photoshop to more clearly demonstrate the three-step process used to draw the contours of each petal.


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Figure 2

Figure 3

Figure 4

As an Aside I spend as much time as I can sketching from nature. Dartmoor contains such a rich variety of landscape, as many boulders, foaming rivers and twisted trees as my heart could ever desire... When I look into a river, I feel I could spend a whole lifetime just painting that river. Alan Lee




Figure 5

Establish a Full Range of Values 2. Sharpen all nine grades of pencils to a chisel point. 3. Use 5B and 6B pencils to shade four of the darkest shadow sections of the flower (Figure 5). All other values used to render this flower fall somewhere in between the white of the paper and these very dark values.

Figure 6

4. Use 4H, 3H, 2H, HB, 2B, 3B, and 4B pencils to shade the visible sections of the three petals in the upper left of Figure 5. Refer to Figures 6 to 10. Figure 8

Figure 7


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You now have at least nine different values (the base value of nine pencil grades) represented in your drawing (Figure 10).

Figure 9

Figure 10

Shade Light and Shadow 5. Use pencils from 4H to 4B to add shading to all the other petals (Figures 11 to 17). Figure 11

Examine each reference image closely and choose whichever pencils can render the same ranges of graduated values.

As an Aside The first function of an art student is to observe, to study nature. Kimon Nicolaides, The Natural Way to Draw



Figure 12


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If you are not sure where a specific petal is located on the flower, peek ahead to Figure 19. Figure 13

As an Aside I keep drawing the trees, the rocks, the river, I’m still learning how to see them; I’m still discovering how to render their forms. I will spend a lifetime doing that. Maybe someday I’ll get it right. Alan Lee

Figure 14

As an Aside When I draw something, I try to build some kind of history into it. Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged. I love trying to render not just the object, but what it has been through. Alan Lee


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Examine the values of each cast shadow to help you choose the appropriate pencils for their graduations.

Figure 15

As an Aside Alan Lee is a world renowned illustrator of books as well as a conceptional designer and illustrator for movies. He was born on August 20, 1947 in Middlesex, England. Alan studied at the Ealing School of Art and specialized in illustration.

Figure 16

As an Aside Alan Lee is probably best known for his award winning work on the The Lord of The Rings and The Hobbit by J.R.R. Tolkien. He created unique conceptional images and illustrations for these books and for the movies that were directed by Peter Jackson. His phenomenal illustrations can also be seen in a broad range of popular books including: Faeries (with Brian Froud), The Mabinogion, Castles, Merlin Dreams, The Black Ships of Troy, and The Wanderings of Oysseus.




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Figure 17

As an Aside A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely... But by watching for a time his motions and plays, the painter enters into his nature and can then draw him at every attitude. Ralph Waldo Emerson

Figures 17 and 18 are shown the same size as the original drawing. Figure 18

6. Use HB and 2B pencils to add additional middle values where needed (Figures 18 and 19). 7. Compare your drawing to Figure 19 and make any changes that bring your drawing closer to the original. The tiny white sections in the core of the flower were pulled out with a kneaded eraser molded to a point.


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Figure 19

Sign and date your drawing, and go find another flower, leaf, or tree to draw.


Glossary of Art Terms

241

Resource

Glossary of Art Terms Definitions of art-related terms used in Drawspace Curriculum

A

Age regression: The art of rendering individuals younger than they are.

Abstract: A style of art that may not depict a person, place, or thing. In some cases, the subject exists in reality but may be unrecognizable in the artwork. The subjects of abstract drawings are created with such elements as line, color, value, form, pattern, and shape.

Ambidextrous: Demonstrating the ability to use both the left and right hand equally well to perform such tasks as writing, drawing, or playing sports.

Abstraction: A movement away from realistic depictions of objects, nature, or living beings. Partial abstraction depicts a subject that exists in reality, but may be unrecognizable (e.g., using geometric shapes to render a human face). Complete abstraction employs line, color, form, pattern, and shape to suggest emotion or a non-figurative subject.

Anatomy: The branch of science that studies the physical structures of living beings.

Achromatic: Only featuring black, white, or shades of gray (i.e., colorless).

Angle: The size of the space between two straight lines that intersect or meet, usually measured in degrees.

Acid-free: An archival quality, long-lasting paper product that has had the acid removed from the pulp in the papermaking process.

Angle line: A line created when two straight lines meet or intersect to form an angle(s). Angle lines are used to draw shapes such as squares, rectangles, and triangles.

Acrylic painting: (noun) An artwork rendered with acrylic paints. Acrylic paintings look very similar to oil paintings; however, acrylic paints are considerably more stable than oils, which tend to yellow or become brittle with age.

Archaeologist: A person who studies ancient peoples by finding and documenting the objects they left behind. Many archeologists have excellent drawing skills.

Acrylic painting: (verb) The process of creating an acrylic painting. Acrylic paints: Water-based, fast-drying artists’ paints that are thicker and stronger than tempera or watercolor paints. Although water is used to dilute acrylics, they become waterresistant when dry. Acrylics work in much the same way as watercolor paints. However, unlike watercolors, acrylics cannot be rehydrated (i.e., brought back to a liquid) once dry. Age progression: The art of rendering individuals older than they are. Often used in police work, age progression may help update an image of a child who has been missing for a considerable amount of time. Although people’s faces change throughout their lives in natural and predictable stages, it’s impossible to accurately determine how an individual will look at a specific age. For this reason, age progression and age regression techniques are generally considered both an art and a science.

Anatomist: An expert in, or a student of anatomy.

Anchor: A component of composition in which a section of a drawing subject appears to extend outside the edges of a drawing or painting.

Architect: A person who renders building plans and designs. Art(work): An artistic creation in any art discipline (e.g. dance, music, theater, writing, or visual arts) by an artist who begins with an idea and ends with an original work of art. Artist: A person who practices one or more art disciplines (e.g. dance, music, theater, writing, or visual arts). Art elements: (also called design elements) The creative components of an artistic creation, such as lines, shapes, spaces, values, forms, textures, and color. Art principles: The unique expression of art elements in an artistic creation. ArtSpeak: A fun word used to describe the vocabulary of art. An understanding of art-related words and terms enhances art curriculum comprehension. Asymmetry: An imbalance or lack of equivalence (symmetry) between parts of a whole.


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Drawing on Your Brain

Atmospheric perspective: (also called aerial perspective) A visual depth of field created by various particles in the atmosphere. As an object recedes farther into distant space, it appears to become lighter in value and its edges seem to become more blurred. Avant-garde: The creation and application of new, original, or experimental ideas and techniques.

B Background: (also called distant space) The sections of a drawing or painting that are farthest from the viewer. Balance: A stable arrangement of subjects and values within a drawing composition. Ball of a nose: The large, central, rounded form of the lower half of the nose. Base of a nose: (also called the septum) The part of the nose between the nostrils that connects the nose to the lower face above the upper lip. Basic colors: The six most common colors, including the primary colors (yellow, red, and blue) and the secondary colors (orange, purple, and green.) A box of eight children’s crayons typically includes the basic colors plus black and brown. Bilateral: Neural responses that occur across the left and right brain hemispheres. Binder: (also called a three-ring binder) A sturdy folder for organizing hard copies such as reference materials, lesson files, printed electronic books, and small drawings. Small drawings can be sprayed with a fixative and inserted into three-ring, transparent vinyl sheet protectors before they are added to a binder. Binding agent: (sometimes referred to as a binder) An ingredient in paint that solidifies as it dries, thereby binding pigment particles together so that the paint adheres to a surface. Binding agents are also added to powdered mediums such as charcoal so that the particles can be compressed into solid sticks for sketching and drawing. Black: The complete absence of light. In painting, replicating black requires a mixture of paints that create the darkest possible value. In drawing, soft graphite or charcoal can make a powerful black. Blending: The process of gently rubbing a section of shading with a blending tool (e.g., paper towel) to evenly distribute the medium over the paper’s surface.

Blending stump: (also called a tortillon, stump, or blender) A long, thin, cylindrical artist’s tool that is pointed at both ends and made of tightly wound paper or felt. Blending stumps are used to blend charcoal, graphite, and pastel drawings. When the tips become too dirty or dull to work properly, they can be sharpened. Blending stumps are sold in art supply stores and are available in small to large sizes. Big blending stumps are great for large areas of shading, and tiny blending stumps work well for smaller, more detailed sections. Blending tool: Any object used by an artist to blend a medium. Blind contour drawing: A slightly unconventional method of contour drawing in which artists look only at the subject and not at their drawing paper as they work. By visually following the edges of the subject while drawing, both memory and visual intelligence are enhanced. Blue: A primary color that represents tranquility, harmony, and peace. Think of a blue sky, a calm ocean, or an iceberg. Brain stem: The posterior part of the brain that connects to the spinal cord and regulates the central nervous system. Bridge of a nose: (also called the nasal bone) The section of a nose where the upper bony part joins the cartilage. While barely visible on young children, the bridge of an adult nose often protrudes as a noticeable bulge or bump. The contoured outline of the bridge is most obvious when the nose is viewed in profile. Bull’s eye: The center of a drawing space. A composition is weakened when the primary subject is drawn within the bull’s eye. Burnishing: The process of overlapping layers of a dry medium (e.g., colored pencils or graphite) to lighten, darken, or blend the colors or values.

C Carbon pencil: A drawing medium that makes soft, velvety marks that are perfect for sketching. Caricature: A type of cartoon, usually based on an actual person, with the individual’s various characteristics and facial features exaggerated for comic or satirical effect. Cartoon: A drawing or sketch that is humorous, lighthearted, or satirical. Cast shadow: A dark section on an object or a surface adjacent to a subject that receives little or no direct light. The values of a cast shadow are darkest next to the object and gradually lighten as they move farther away. Cerebellum: (Latin for small brain) The part of the brain that controls movement, balance and posture. Cerebral cortex: The wrinkled outer layer of the cerebrum that controls functions related to perception, learning, reasoning, and memory.



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Cerebral hemisphere: Either half of the cerebrum (left or right.)

Cognition: The process by which the brain recognizes and understands information.

Cerebrum: The largest part of the human brain, which is divided into two hemispheres.

Collage: An artwork created by affixing a selection of objects (e.g., photographs, ribbons, and/or colored papers) to paper, board, or canvas.

Chalk pastels: A drawing medium available in chalk pencil or stick form. Chalk pastels are ideal for blending to create soft, realistic still-life subjects and portraits. The sharp corners and edges of sticks can be used to draw thin lines and the sides can make broad strokes. Chalk: A drawing medium composed mostly of calcium carbonate with small amounts of clay and silt. Chalk is available in a broad range of natural browns and sepias that are ideal for rendering studies of great masters’ chalk drawings. Charcoal: A drawing medium made from a burnt organic material such as wood. Charcoal comes in various grades and is available in pencil, powder, and stick form. Charcoal pencil: A thin, cylindrical wooden casing filled with compressed charcoal powder.

Color: The visual qualities of objects based on individual perceptions of their hues and values. Basic colors include yellow, orange, red, purple, blue, and green. Color wheel: A circular arrangement of colors used to reference primary, secondary, intermediary, and complementary colors. Colored pencils: A dry medium created by combining various synthetic or organic pigments with binding agents and wax. Colored pencils range from recreational to professional grade depending on the permanency rating of the pigment, which helps determine the quality of the pencils. Colored pencils are relatively inexpensive, not messy, portable, and work equally well for subjects that are soft and delicate or bold and bright.

Charcoal powder: A powdered form of charcoal that works well for shading large areas of a drawing or preparing a base for drawing with erasers.

Commercial arts: A diverse range of artistic careers in which professional artists create artworks and/or typography for the production, manufacture, processing, promotion, or merchandising of products or services.

Charcoal sticks: A drawing medium made by compressing powdered charcoal and a binding agent into cylindrical or rectangular sticks.

Commission: An order placed with an artist for an original work of art.

Chiaroscuro: A drawing and painting technique that was introduced during the Renaissance in which light and dark values are balanced to create the illusion of a threedimensional reality.

Complementary colors: A set of two colors that are directly opposite one another on a color wheel (e.g., red and green, yellow and purple, and orange and blue). When placed beside one other, these colors seem brighter and more vibrant.

Chisel point: (also called flat point) A versatile shape on the working end of a dry medium (such as a wood-encased pencil) that has both a sharp edge and a flat angled surface. The sharp edge is used to render thin lines and fine details, and the flat surface is used for shading. Circle: A geometric shape in which all points on the circumference are an equal distance from the center point. Circular shape: A shape created when the ends of a curved line meet (such as in the letter O). Circular shapes are often used to outline the forms of various objects and living beings. Classical drawing: The drawing techniques invented by ancient Greeks and Romans for creating realistic drawings. Classical drawing was later enhanced by the great masters of the Renaissance. Clay: A naturally occurring material that hardens when dried. Clay is mixed with graphite to make graphite mediums. Clip: A tool usually made of metal that’s used to securely clamp sheets of paper to a drawing board. When artists draw outdoors, clips can prevent their drawings from falling on the ground or blowing away.

Composite art: The best-known discipline of forensic art in which a sketch artist translates the visual and verbal memories of a crime witness or victim into a drawing. Composition: The arrangement of various parts of a drawing subject within the borders of a drawing space. Compound curved line: A curved line that changes direction to travel in both clockwise and counterclockwise directions (e.g., the letter S). Conservation framing: (preservation framing) The process of framing an artwork to protect it from long-term deterioration or damage from environmental pollutants, acid, and light. Special materials such as museum-quality archival glass are used in the process of conservation framing. Conté crayon: A drawing medium composed of pigments, non-adhesive binders and wax. Conté performs like a cross between a chalk pastel and a child’s wax crayon. Continuous line: A line that is rendered without lifting the medium from the drawing surface. Contour: The outline or a section of the outline of a shape or form.

Clockwise: A circular motion that follows the direction of the hands of a clock. Copyright © 2013 Drawspace Publishing and Brenda Hoddinott. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the prior written consent of Brenda Hoddinott and Drawspace Publishing.

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Contour crosshatching: A classical shading technique that employs crisscrossing lines to create the illusion of threedimensional forms. Contour drawing: (noun) A drawing comprised of outlines that follow the contours of the edges of various components of a drawing subject. Contour drawing: (verb) The process of creating a contour drawing. Contour hatching: A classical shading technique in which sets of curved hatching lines follow the outlines, contours, and/or forms of the drawing subject and accentuate the illusion of a three-dimensional reality. Contour lines: Real or imaginary lines formed when the shared edges of spaces or forms meet. You can draw everything you can see or imagine with contour lines. Contrast: The comparison of different ranges of values when compared side by side. Contrast is an invaluable tool for accentuating various components of composition. Cool colors: Blue, green, purple, and mixtures of any of these three colors with one another or white or black. Cool colors are usually soothing and calming (e.g., colors that reflect on snow and ice.) Copyright: A form of protection that grants artists the exclusive right to sell, reproduce, or exhibit their own original artworks. In a country that has signed the Berne Union for the Protection of Literary and Artistic Property (also known as the Berne Convention), artists automatically own the copyrights to their original creations from the moment each is completed. Counterclockwise: (also called anticlockwise) A direction or motion that is opposite to the movement of the hands of a clock. Cranial mass: (also called the cranium) The large section of the skull at the upper back of the head. Cranium: The bones of the skull that cover and protect the brain. Creativity: The ability to generate unique, original, and functional ideas beyond the familiar or established. Crosshatching: A shading technique in which sets of straight or curved lines overlap or crisscross. Curved contour lines: Lines that follow the contours of a drawing subject and illustrate its three-dimensional forms. Curved line: A line that curves or bends (e.g., the letters C and U). Curved lines can be drawn in any direction and be any length. Curved-sided shapes: Shapes that are created with curved lines and have sections where two or more of the curved lines meet at a point or points (e.g., heart or teardrop shapes).

D Diagonal line: A line that is neither vertical nor horizontal but rather slants at an angle. Diamond shape: A parallelogram in which a straight line drawn from two opposite points is perpendicular to a line connecting the second set of opposite points. Diptych: A set of two related works of art (e.g., paintings, sculptures, or drawings) that come together as a single artwork. Distant space: (also called the background) The sections of a drawing or painting that are farthest away from the viewer. Divergent thinking: A thought process that explores various possible scenarios to generate creative concepts. Drafting desk: (also called drafting table) An adjustable worktable with a slanted top. Drawing: (noun) The image that results from the application of a medium to a surface. A drawing defines an artist’s choice of subjects from his or her own unique perspective. Drawing: (verb) The process of applying a medium to a surface to create an image. Drawing accessories: Any tools or products that enhance an artist’s drawing experiences. Drawing board: An unbendable, portable, smooth surface used to support an artist’s sketchbook or drawing paper. Drawing paper: Acid-free paper that’s designed specifically for artists and is available in various weights, colors, textures, and sizes. Drawing powder: Tiny, loose particles of a dry drawing medium which have been broken down from a solid into a powder. Drawing space: The area in which a drawing is rendered within a specific perimeter. It can be the shape of a sheet of paper itself or a shape outlined on paper, such as a square, rectangle, or circle. Drawing stick: A drawing tool made by compressing and shaping a medium (e.g., conté crayon, chalk, or chalk pastels) into a cylindrical or rectangular chunk. Dry media: Non-liquid drawing mediums (e.g., colored pencils, graphite, or charcoal). Dry mixing: The process of using a dry medium such as colored pencils to mix two or more different colors together to make a new color. Dry mount: The process of adhering paper artwork or photographs to a board by using dry adhesive substances, high heat, and/or a dry mount press. Duct tape: (also called duck tape) A strong, flexible, fabric-backed sticky tape used for a vast range of artistic, professional, and creative applications.



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Figure: The body of a human being.

E Ear: The organ for hearing in humans and many animals. Ear canal: The opening to the inner ear. Easel: An artist’s accessory often made from wood or metal that can be used to support a canvas when painting or a sheet of drawing paper attached to a drawing board when drawing. An easel can be any size, from a simple tabletop collapsible tripod to a large, floor-to-ceiling studio type with a large base. Egg tempera: A water-based paint made with an egg yolk binder. Electroencephalography (EEG): An electrical brain recording that measures voltage fluctuations within the neurons of the brain. EEG recordings are sometimes used to study creative processing in the brain. Elements of art: The fundamental visual symbols found in visual art; including, but not limited to: line, shape, form, texture, value, and color. Eye: The organ of sight and light sensitivity. Eyeball: (also called the white of the eye) The entire spherical section of an eye that is safely protected within an opening in the skull (called the orbital socket or orbital cavity.) Eyebrow: An arched group of hairs above the eye. Eyelashes: Fine hairs that grow from the outer edges of the upper and lower eyelids.

F Facial expressions: Voluntary and involuntary movements of facial muscles in response to various emotions. Facial features: The eyes, nose, and mouth. Facial guidelines: Proportional guides that identify the approximate locations of human features and ears within specific spaces on an average head.

Fixative spray: An aerosol liquid that is lightly sprayed on artworks to adhere a medium to paper and lessen the likelihood of smudging. Focal point: (also called center of interest or center of focus) The dominant and/or most striking element(s) in an artwork. When there is more than one focal point in an artwork, they are considered the primary and the secondary focal point(s). Folk art: A genre of art that depicts the traditional or indigenous lifestyle, customs, culture, and values of a specific society. Foreground: The sections of an artwork closest to the viewer. Subjects in the foreground are usually rendered with more detail and a greater contrast of values than those in the middle ground or background. Forensic art: Artistic techniques used by police departments and investigative agencies in the identification, apprehension, and/or conviction of wanted or missing persons. Foreshortening: A component of perspective in which objects and living beings appear visually distorted when viewed from extreme angles. The term “foreshortening” applies to a single object or figure, whereas the term “perspective” refers to an entire scene. Form: A component of art that creates the illusion of a three dimensional space on a two-dimensional surface, such as paper or canvas. A range of values and/or colors are used to visually transform shapes into three-dimensional structures. Fresco: (also called a mural) An artwork painted on a thin layer of plaster that covers a wall or ceiling. Frescoes that date back more than 3,500 years have been discovered in Greece. The ceiling of the Sistine Chapel in Rome is also a fresco that was painted by Michelangelo between 1508 and 1512. Friable: The extent to which a dry drawing medium crumbles or breaks. Drawings created with friable mediums are usually sprayed with a fixative to prevent the medium from eventually falling off the drawing surface.

Facial muscles: The muscles of a face.

Frontal lobe: One of the brain’s four main lobes, located in front of the central sulcus. It is associated with such functions as motor cortex (parts of movement and speech), reasoning, emotions, planning, and problem-solving.

Facial slope: The slant of a person’s face (excluding the nose) when viewed in profile. The angle of the facial slope is measured from the base of the upper teeth upward to the forehead.

Functional magnetic resonance imaging (fMRI): A scan that measures blood flow and neural activity in the brain. fMRI scans are the second most common tool used to study creativity in the brain, next to EEG recordings.

Facial mass: (also called the face or facial area) The lower frontal section of a human head.

Feathered line: A series of short lines that appear to be a single line. Figurative: The visual depiction of a human body in a drawing or painting.


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Introduction to Contour Lines

G

Heptagon: A straight-sided shape with seven sides and seven angles.

Geometric perspective: (also called linear perspective) A precise drawing technique used to render a visual depth of field with a horizon line, vanishing point(s), and perspective lines. As an object appears to recede into distant space, it becomes progressively smaller until it seems to disappear into a vanishing point.

Hexagon: A straight-sided shape with six sides and six angles.

Gesture sketch: A quickly rendered, simple sketch that captures the energy of the past, present, or potential movements of living beings. Golden Mean: (also called the Golden Ratio or Divine Ratio) A mathematical formula devised by the ancient Greeks and used to create a balanced composition through the strategic placement of focal points. Grade: The softness or hardness of the mixture used in the process of manufacturing drawing mediums. Graduation: (also called gradient, graduated shading, or graduated values) A continuous, seamless progression of values from dark to light or light to dark.

High contrast: Shading that is created by drawing the darkest values adjacent to the highlights and lightest values. High Renaissance: (also see Renaissance) The styles and techniques of the early sixteenth-century paintings of Florence and Rome characterized by technical mastery and humanistic content. Highlight: A small section of a drawing subject that is rendered with white or a very light value to identify the brightest area where light bounces off its surface. Highlights are more pronounced on shiny or glistening surfaces than dull or matte surfaces. History: A past record of the lives and activities of human beings and their environments.

Graphite: A soft black form of opaque carbon found in nature that is usually mixed with clay in the process of manufacturing various types of drawing tools.

Horizon line: (also called eye level) An imaginary horizontal line that exists at the viewer’s eye level and divides their line of vision. Depending on where an artist chooses to render the horizon line, the viewers of that artwork perceive their own vantage point to be above, below, or on the same plane as the subject.

Green: A soothing, nurturing, and calming secondary color that is made by mixing yellow and blue.

Horizontal line: A geometric object that is at a right angle to a vertical line and parallel to a level surface.

Grid: An arrangement of squares of exact sizes proportionately drawn on both a photo and a drawing surface.

Horizontal: A flat surface or line that is at a right angle to vertical lines and is parallel to a level surface.

Gum arabic: A binding agent that is added to various media to improve the bonding properties of their ingredients.

Hot pressed: A type of paper that is pressed through hot cylinders during the manufacturing process. Many smooth watercolor papers are hot pressed. Hue: Another word for color (e.g., red, purple, or teal).

H Handmade paper: Any type of paper that is made without modern technology or machinery. Hardcover: A durable type of book cover that is made from a thick and unbendable material. Hardness: The numerical rating of H-grade media (e.g., graphite and charcoal) according to their ingredients. Harder mixtures have higher numbers. Hatching: A series of lines (called a set) drawn closely together to give the illusion of values. Depending on the shading effects desired, the individual lines in hatching sets can be far apart or close together. Heightening: The technique of applying a light pigment such as white chalk to a drawing in order to enhance the illusion of mass, form, and light.

I Icon: A visual image or graphic symbol used to identify information or a specific task. Icons can identify sidebars in books or specific functions on computer screens. Illustration: An image used to enhance a book or publication and/or to help explain textual concepts. Illustrations are used throughout many books to further the reader’s comprehension of the text. Illustrative realism: A style of art often used by commercial artists such as illustrators, designers, and graphic artists in which realistic subjects are rendered with techniques (e.g., unrealistic outlines, stylization, and/or distortion) to help the image stand out strongly in digital and printed documents.

Hematite: The ingredient in natural red chalk that determines its specific hue.



Image modification: An artistic technique used by forensic artists to modify an image. The process can be as simple as adding or removing a beard or mustache from a photograph of a suspect, or as complicated as drawing an entire face hidden behind a ski mask using nothing more than a video image as a reference. Impressionism: A style of painting and drawing originating in France in the late nineteenth and early twentieth centuries that sought to capture a visual impression of a subject rather than its objective reality. In-home studio: A personal drawing place within or adjacent to an artist’s home. An ideal in-home studio has adequate space for the artist and his or her art supplies. It can range from a small section of a table to a large, fully-equipped professional art studio. Ink: A pigmented, thin liquid that is applied to a surface with a brush or pen to write, paint, or draw. Inks have been used by artists for hundreds of years. Most Renaissance penand-ink drawings were rendered with black and/or various shades of brown, red, and orange. The most popular inks for traditional and classical drawing are India, Chinese, and Bistro. Inner corner of an eye: A small, reddish, triangular or oval-shaped form in the inside corner of the eye close to the nose. Intensity: The brightness or dullness of a color. Interhemispheric: Pertaining to both hemispheres of the brain (right and left.) Intermediary colors: Colors that are created by combining adjacent primary and secondary colors. Iris: The colored circular section of an eyeball surrounding the pupil.

J Juxtaposition: An aspect of composition that refers to the close placement of elements in order to compare or contrast their relationships and/or enhance the message or meaning of the artwork. Artists can put two or more objects together that have opposite associations or interpretations (e.g., putting something new and shiny beside an object that is old and weathered).

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L Landscape format: (also called horizontal format) A rectangular shape with its two longer sides on the top and bottom (e.g., an outlined drawing space that is wider than it is high). Landscape: A drawing or painting depicting an expanse of natural scenery that includes some components of land such as trees, mountains, or beaches. Lateral: A strong neural response on either the left or right brain hemisphere. Leadpoint: (Also known as metalpoint) An ancient drawing tool made of lead or a lead alloy that left marks on unprepared paper. Leadpoint produced a beautiful faint line that could be erased. Level: The comparison of one horizontal surface or line to another or others. Life drawing: (noun) An artwork created by using living beings as references rather than objects. Life drawing: (verb) The process of drawing from a living being rather than a photo or sketch. Light source: The direction from which a dominant light originates. A light source identifies the light and shadow areas of a drawing subject, allowing artists to know where to add light or dark lines and values in their artworks. Line drawing: An artwork created with only lines. A line drawing aims to accurately outline the contours of the various shapes and/or forms of a drawing subject. Line of symmetry: A real or imaginary line dividing an object or drawing space into two equal sections. In a drawing, the outline on one side of the line of symmetry needs to be a mirror image of the other side. Line: A visually identifiable path of a point moving in space. Straight, angle, and curved lines can vary in width, direction, and length, and are used in drawings to visually separate and/or define the forms of a drawing subject. Lineweight: (also called the weight of a line) The value and/ or width of a line. Localized: Associated with a specific area of the brain. Low contrast: Shading with a limited range of values, such as mostly light values or mostly dark values.

K Key: The overall amount of light and dark values in a drawing.

Lower eyelid: The fold of skin that protects the lower section of the eyeball. The lower eyelid cannot move without help from facial muscles around the eye.

Kneaded eraser: A soft, pliable type of eraser used to erase parts of a drawing or to gently pat a drawing medium to make a lighter value or line.


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M

N

Manga: A Japanese word for comic book that refers to a popular style of cartooning which originated in Japan. Manga also refers to reprints of Japanese comics that are translated from Japanese into other languages, including English.

Negative space: The area, space, or background that visually surrounds or appears behind an object, person, or another space.

Manikin: (or mannequin) An accurately proportioned human or animal model that can be bent and contorted into various poses. Many manikins are designed specifically for artists as references for practicing figurative drawings and establishing accurate human proportions for a specific pose in an artwork. Markers: Drawing and writing tools with a soft tip often made of felt that are filled with colored or black liquid or ink. Markers are available with tips ranging from fine to thick. Master: A term of respect and honor earned by accomplished artists with exemplary skills in their specific discipline. Matte: A surface texture that is dull and lusterless. Many fabrics, rocks, and unfinished wood have a matte texture.

Neural: Relative to, or located in a nerve or the nervous system. Neuroscience: The scientific study of the human body’s nervous system. Newsprint: An inexpensive paper that is not acid-free and is generally used for printing newspapers. Newsprint is not recommended for drawing because it is very thin, tears easily, and quickly yellows due to its acidic content. Nose: The organ of smell and the entrance to the respiratory tract. Nostrils: The two openings on the lower section of a nose.

O

Mechanical pencil: A drawing tool with an internal mechanism that pushes a thin graphite lead placed in a tiny tube upward through the tip.

Occipital lobe: One of the brain’s four main lobes, located at the back of the brain behind the temporal and parietal lobes. It processes various aspects of vision.

Medium: An art material, such as clay, paint, or graphite that is used to make art. Almost anything can be an art medium, from the burnt end of a stick to computer software.

Octagon: An eight-sided shape with eight angles.

Mediums: (also called media) More than one medium. Metalpoint: A drawing tool popular during the Renaissance that was made from a relatively soft metal, such as lead, silver, gold, or copper. Middle ground: The sections of an artwork located in between the foreground and the background. Mixed lineweight: A single contour line made up of a combination of different lineweights (e.g., thick, thin, light, and/or dark). Mixed media: An artwork created with two or more different mediums. Modernism: A style of art that makes a distinctive break away from all previous genres. Monochromatic: A drawing or painting rendered with a range of values/tints of a single color.

Oil paint: (also called oil or oils) A painting medium that is made by mixing a finely ground adhesive pigment with an oil binder. Oil paint was the primary painting medium of the High Renaissance and has continued to dominate painting for the past 500 years. Oil-based paints take much longer to dry than acrylics but offer a greater ease of manipulation, and their colors change very little when dry. Oil painting: A work of art created by applying oil paints to a surface such as canvas, heavy linen, or board. Oil pastels: A dry drawing and painting medium made by mixing pigments with a very dense oil binder. Oil pastels are available in cylindrical and rectangular sticks covered with a thin paper. Oil solvents such as turpentine can be brushed over an oil pastel drawing to blend the colors for a more painterly appearance. One-point perspective: The technique of using a single vanishing point to create the illusion of a straight-on view into distant space. One-point perspective occurs when a face of an object such as a cube is closer to the viewer than its sides.

Mummy portrait: A painting of a man, woman, or child that was attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt.

Opaque: A medium or material through which light cannot be detected.

Mural: A drawing or painting on a wall, ceiling, or other large surface.

Optical illusion: (also called a visual illusion) An image that differs from objective reality, but, when processed by the subconscious brain, is interpreted as reality. Orange: A secondary color created with yellow and red. Orange is energetic, vibrant, and flamboyant.



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Orbital socket: (also called the orbital cavity) The bone cavity of the face that keeps the eyeball protected.

Perception: The manner in which you understand and process sensory information.

Original: An artwork that was created by an artist who was the first to bring the work from its intellectual conception to its creative conclusion. There can never be more than one original; however, reproductions can be made by the artist or with the written permission of the artist.

Perpendicular: A real or imaginary straight line that meets or intersects another straight line to form at least one ninetydegree angle.

Oval: (also called an ellipse) An elongated circle. Overlapping: A perspective and composition technique in which subjects are rendered in front of or behind one another to create the illusion of a three-dimensional reality on a flat surface.

Perspective: (also called geometric or linear perspective) A technique comprised of a precise series of rules that makes subjects in drawings appear to recede into distant space. Perspective lines: Imaginary straight lines that extend from the edges of drawing subjects back to a vanishing point (or points) on the horizon line. Photorealism: A genre of drawing and painting based on photographs that are used by the artist as references to create a highly realistic artwork with photographic qualities.

P Paint: An art medium (e.g., watercolor, oil, or acrylic) made from a mixture of pigment and a thick or thin liquid. Paint is applied to a surface such as paper, fabric, or board with a tool such as a brush, palette knife, or fingers. Painter: A person who paints. Painting: An artistic composition created by applying a liquid medium such as paint or ink to a surface. Parallel: Two or more straight lines that slant in the exact same direction and can extend to infinity without ever intersecting. Parallelogram: A four-sided shape with two sets of parallel sides that are equal in length and in which the opposite angles are identical. Parchment: (also called vellum) An ancient drawing or writing surface made from calf, sheep, or goat skin that was widely used before paper was easily available. Contemporary artists generally prefer synthetic parchment paper as it’s much less expensive and more readily available. Parietal lobe: One of the brain’s four main lobes, located behind the central sulcus. It processes such stimuli as pain, pressure, touch, and temperature. Pastels: Dry drawing mediums available in either sticks or pencils that are manufactured by mixing dry, powdered pigments with binding agents. Pattern: The visual arrangement of the different values of a drawing subject as represented by lines and/or shading. Pencil: A broad category of writing and drawing tools that have a medium inside a holder. It wasn’t until the end of the nineteenth century that the word pencil specifically referred to a stick of graphite encased in a cylindrical piece of wood. Pens: Disposable, refillable, or rechargeable drawing tools used for commercial art, sketching, and drawing.

Pigment: The material that is mixed with dry or liquid mediums to create the colors in a colored artwork. Plotting and dotting: The process of visually measuring distances and marking small dots along the sides of grid squares or drawing spaces to help artists outline a subject that is proportionately correct. Pointillism: A method of drawing or painting with several layers of small colored dots, strokes, or individual brushstrokes. When viewed from a distance, the dots in pointillist paintings and drawings appear to blend together to create the illusion of depth, visual masses, and forms. Nineteenth-century French impressionistic artists including George Seurat and Paul Signac helped this genre to become a highly respected style of painting, and more recently, drawing. Polychromatic: An artwork created with several different colors. Portable studio: Drawing or painting materials packed into an easily transportable container and used to create art at locations beyond one’s home. Portfolio of work: A body of work (i.e., drawings, paintings, and designs) created by an artist for self-promotion and/ or to supplement applications for career advancement opportunities, such as educational applications or gallery exhibitions. Portfolio: A hard-sided case in which artists transport and store such items as paintings, drawings, sheets of drawing paper, and other artworks. Portrait format: (also called vertical format) A rectangular shape with its two shorter sides on the top and bottom (e.g., an outlined drawing space that is higher than it is wide). Portrait: An artwork depicting a likeness to the face and sometimes the entire body of a person or animal. Positive space: The space in a drawing or painting that is occupied by an object or living being.

Pentagon: A straight-sided shape with five sides and five angles.


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Post-mortem reconstruction: Artistic techniques used by forensic artists to sculpt a model of a three-dimensional head and face based on the measurements of the skull. Pouncing: A technique that was most popular during the Renaissance for transferring the outlines of an image to another surface (e.g., transferring a drawing on paper to a canvas or wall). First, the outline of the image is perforated with a series of tiny holes and placed on or taped to the final surface. A fine powdered medium such as charcoal is sprinkled or gently rubbed over the image outlines causing some of the powder to fall through the holes onto the new surface. The original image is removed to reveal guidelines on the new surface for creating another drawing or painting of the image.

R Realism: A style of art in which living beings and objects are represented in an artwork as they appear in real life without stylization or distortion. Realist: An artist who creates artworks in the style of realism. A well-known realist is Canadian painter, Robert Bateman (b. 1930). Realistic sculpture: A three-dimensional art form that portrays recognizable shapes, objects, or people. Ream: A unit of 500 sheets of paper used to calculate a paper’s weight.

Powdered: A drawing medium such as graphite that has been ground into a fine powder.

Rectangle: A parallelogram with four straight sides, four right angles, and unequal adjacent sides.

Prehistoric: The time period that pre-dates recorded history. Prehistoric humans drew pictures on many surfaces, including the walls of caves.

Red chalk: (also called sanguine) A drawing medium made from a combination of clay and hematite or iron. Leonardo da Vinci is thought to be the first artist to use red chalk extensively for drawing toward the end of the fifteenth century.

Prepared paper: A paper coated with a substance that seals, colors, or alters its absorbency and/or tooth. The surfaces of many drawing papers used during the fifteenth century were coated with several layers of white lead and ground bone that was tinted with a pigment and then tempered with glue sizing. Primary colors: Yellow, red, and blue. All other colors originate from primary colors and no combinations of other colors can make primary colors. Primary colors are highintensity and go well together to create a drawing that looks incredibly bright. By mixing the primary colors with other colors in various combinations, millions of different colors can be created. Primary focal point: The single most important center of interest or focus in a drawing. For example, in a drawing of an animal, it may be the eyes. The face itself or an interesting section of the body may then become the secondary focal point. Proportion: The relationship in size between two or more components of an artwork. Pupil of an eye: The dark circular shape within the iris that constricts or expands under different lighting conditions. Purple: A secondary color that is spiritual, mysterious, exotic, and represents royalty, nobility, and enlightenment. Some shades of purple that feature more red than blue fall into the category of warm colors.

Red: A primary color considered to be the warmest and most energetic color. It is associated with love, energy, and danger (as in a red traffic light or warning sign). Reflected light: A faint light reflected or bounced back on an object from nearby surfaces. Renaissance: (from the French word for rebirth) A period in European history from the fourteenth century to the seventeenth century. The era is defined by great advances in education and intellectual pursuits and great social and political upheaval. During these centuries, visual art developed more than at any other time since the beginning of history. Between 1480 and 1527, during the period known as the High Renaissance, many of history’s most renowned artists created some of the greatest masterpieces in the history of art. Render: The process of making or creating something. For example, an artist can render a sketch by drawing lines on a sheet of paper. Resource files: (also called resources) A collection of information (such as books, articles, photos, and digital images) used by artists as references for writing about or creating art. Right angle: A geometric object that is formed when two straight perpendicular lines meet at a ninety-degree angle. Romanticism: A genre of art during the late eighteenth and early nineteenth centuries that celebrated nature rather than civilization.

Q Quill: A pen made from a feather. The hard, hollow straw of the feather is dipped in ink and then scratched across a surface. Quills were a popular drawing tool during the Renaissance and were usually made from goose, swan, or turkey feathers.

Rough sketch: A quickly rendered visual notation of an image or idea that illustrates the important elements of a subject using very few details. Rough sketches can capture a pose or gesture, establish values, suggest proportions, and/or arrange the major components of a composition.



Rough: The surface texture of abrasive, lumpy, irregular, or jagged objects. Rule of thirds: A compositional formula that identifies four ideal locations within a rectangular drawing space for a focal point. The rule of thirds is a variation of an old traditional compositional formula known as the Golden Mean.

S Sandpaper block: A block with tear-off sheets of fine sandpaper used to sharpen the points of pencils. Score: To cut slightly but not sever. Cardboard or matboard should be scored less than halfway into its total thickness. Sculptor: An artist who creates sculptures. A well-known sculptor of the Renaissance was Michelangelo (1475–1564) who created the statue of David. Sculpture: A three-dimensional artwork that is made of a material such as wood, bronze, rock, or marble. Secondary colors: The colors orange, green, and purple, which are created by mixing two primary colors together. Secondary focal point: One or more centers of interest in a drawing composition that are significant but not quite as important as the primary focal point. Sepia ink: A thin, brown liquid medium used for painting, writing, and/or creating drawings with refillable or rechargeable pens. Sepia: The popular brown colors used in various media. The word sepia (derived from Latin and Greek words for cuttlefish) was used in the Renaissance to describe an artist’s brownish-gray pigment made from the dried ink sacs of cuttlefish and squid. Set of lines: A grouping of several lines used to create shading. Set of straight lines: A grouping of two or more vertical, horizontal, or diagonal straight lines often drawn parallel to one another. Shading map: (also called a value map) A plan or blueprint for adding shading to a drawing. The shapes of various values are identified and lightly outlined on the drawing paper before the shading is added. Shading: The process of adding values to a drawing to create the illusion of texture, form, and/or three-dimensional space. Shadow: A dark area on an object or living being that receives little to no light. Shape: A two-dimensional geometric object that can serve as the outline of a three-dimensional object. For example, a circle is the shape of a sphere.

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Sharpener: A tool for sharpening pencils. An ideal sharpener for artists is hand held, made of metal, and has two openings for regular and oversized pencils. Shiny: A texture that has highlights reflecting off its surface. Shiny objects can be glossy or highly polished, such as the surface of a new coin or polished brass. Sidebar: A section of text in a document that provides additional information about a topic. Many instructional art books have sidebars that provide readers with definitions of art-related words and terms. Single curved line: (also called a simple curved line) A curved line that curves in only one direction, either clockwise or counterclockwise. Sketch: (noun) A simple representation, outline, or drawing that captures the integral aspects of a subject quickly and efficiently. Sketch: (verb) The process of rendering a sketch. Sketchbook: Several sheets of drawing paper that are bound together and contained within a soft or hard cover. Skull: The skeletal part of the head made up of the bones of the face and cranium. Smooth: A texture with very few surface features. A hand run over a smooth surface feels little or no unevenness or roughness. Softcover: A flexible book cover that is usually made of paper. Softness: The numerical rating of B-grade media according to their ingredients. Softer mixtures have higher numbers. Sphere: A perfectly round geometric object (e.g., a threedimensional circle) in which all points on the surface are equal distance from the center point. Balls and globes are examples of spheres. Spinal cord: A cord of nervous tissue that extends from the bottom of the brain through the spinal column, transporting coordination and reflex impulses. Spiral line: A curved line that can never meet itself to form a shape. It can continue in either a clockwise or counterclockwise direction and simply becomes larger (or smaller) and less (or more) curved the longer it gets. Spray fixative: A transparent aerosol coating that is sprayed onto an artwork to help prevent smudging. Square: A parallelogram with four straight sides of equal length and four right angles. Squirkles: Randomly drawn, overlapping curved lines and shapes that are used to create a shading technique called squirkling. Squirkling: A shading technique in which randomly drawn, overlapping curved lines and shapes (squirkles) create values.


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Sticks: A type of drawing tool in which a medium is compressed into rectangular or cylindrical sticks. Sticks come in various sizes, which make them highly adaptable for diverse mark-making styles and techniques. Large sticks are great for large sketches, and smaller sticks work well for smaller works. Still life: An artwork that depicts representational, inanimate objects such as fruit, flowers, and/or bottles. Stippling: (also called stipple or stippled) A shading technique in which a series of dots are arranged in groups to create the illusion of values. Storage portfolio: A hard-sided foldable case in which artists store drawings and sheets of drawing paper to protect them from damage. Straight line: A geometric object that provides the shortest connection between any two points. Straight lines can be rendered thick or thin, long or short, and drawn in any direction. They are categorized into three basic types: vertical (straight up and down and at a right angle to a horizontal line), horizontal (level and at a right angle to a vertical line), and diagonal (slanting or sloping at an angle). Straight-sided shape: A geometric object such as a square, rectangle, or triangle that is created when three or more straight lines connect to form a shape. Stump: A pointed, solid stick of soft paper or leather used for blending and shading drawings. Style: An artist’s individual approach to his or her own art. An artist’s style is defined by an accumulation of her/his inherent preferences, life experiences, artistic philosophy, personal goals, and academic background. When an artist’s personal style is critiqued and/or examined by others, the resulting label may focus more on a particular historical period or artistic movement than the artist’s true style. Stylus: (also called leadpoint or metalpoint) A thin metal stick used for drawing that was popular before the invention of pencils. It was typically cast with a fine point at one end and a blunter point at the opposite end to provide artists with the creative freedom to vary the width of their lines as they worked. A stylus leaves a thin deposit of metal on the surface of paper producing a very fine line. Silver was very popular with Renaissance artists because it eventually tarnished and took on a beautiful, luminous, brown tone. Subject: Any object or living being that an artist chooses to capture in an artwork.

Symmetry: An arrangement of lines, shapes, and/or values on opposite sides of an often imaginary center line that appear to be duplications or mirror images of one another. Both sides are said to be symmetrical.

T Talent: A process of self-discovery throughout which artists acknowledge their interest and motivation to become exceptional in a specific area. Technical pens: Drawing tools available in both refillable and pre-filled (disposable) holders that work beautifully for creating the sharp, even lines used for detailed drawings, drafting, graphic design, and commercial art. Technique: A well-known method of accomplishing a particular activity or task (e.g., a specific way to render shading). Temporal lobe: One of the brain’s four main lobes, located below the lateral fissure. It processes memory and hearing. Texture: The surface details of an object that can be identified by sight, touch, or a general knowledge of the subject. Thumbnail: A preliminary sketch that is typically smaller than the planned size of the final drawing. Thumbnails are rendered before an artist begins a drawing and designed to work through potential problems with composition, values, perspective, or proportions. Tone: (also called value) The degree of lightness or darkness of an area in an artwork. Tone varies from the bright white of a light source through shades of gray to the deepest black shadows. Tooth: The surface texture of paper. Paper with a smooth tooth is flat with a silky texture; a medium tooth is uneven with a slightly rough texture; and a coarse tooth is bumpy with a very rough texture. Torso: The primary structure of a human body to which the head, arms, and legs are connected. Traditional realist: An artist who prefers to draw subjects as they exist in reality. Trapezoid: A four-sided shape in which only two sides are parallel. Triangle: A shape with three straight sides and three angles.

Surrealism: An artistic style and movement that began in Europe during the early twentieth century in which the subjects of artworks are stylized, distorted, or reinvented.

Triptych: An artwork consisting of three related paintings or drawings.

Surrealist: An artist who creates artworks in the style of surrealism. One of the most famous surrealists was Salvador Dali (1904-1989).

U Underdrawing: A loosely rendered sketch or drawing created as a guide for a final artwork.



Unity: A balanced composition in which the various components of a subject come together to create a sense of harmonious integration.

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Visual perception: The ability to use one’s eyesight to interpret information in one’s surroundings.

Upper eyelid: A fold of skin that opens and closes automatically (blinks) to protect the eyeball.

Visual-object intelligence: One’s ability to process the visual properties of an object, such as texture, shape and color.

V

Visual-spatial intelligence: One’s ability to process the ways in which objects are spatially oriented and relative to one another in space.

Value map: (also called a shading map) A plan or blueprint for adding shading to a drawing. Value scale: A range of different values that are drawn in order from light to dark or from dark to light. Values: The various shades of gray in an artwork. A broad range of values can be achieved by using various grades of a medium and by varying the density of the shading lines and the pressure used when applying the medium to a surface. Vanishing point: (also called VP) Imaginary point(s) on the horizon line where perspective lines converge. Vertical line: A geometric object that is straight up and down and at a right angle to a level surface. Viewfinder frame: An adjustable, see-through frame that allows artists to look at a subject from various viewpoints. A viewfinder frame is invaluable when planning a composition for any type of drawing or painting (e.g., portraits, figures, and landscapes). An easily constructed viewfinder frame consists of two adjustable L-shaped pieces of heavy paper, cardboard, or matboard that are held together with paper clips. Vinyl eraser: A soft white eraser with a plastic texture used for erasing sections of drawings. Vision: (1) The sense of sight which enables you to see objects and living beings. (2) An artist’s creative aspirations. Visual art: Artworks that can be appreciated with the sense of sight (e.g., drawings, paintings, and sculptures).

W Warm colors: Yellow, orange, and red, as well as mixtures of any of these three colors with white or black or with one other. Warm colors are usually invigorating (e.g., the colors of fire). Weight of paper: The thickness of individual sheets of paper. Thin paper weighs very little but is easily torn and damaged. Thick paper is more durable than thin because it weighs more. White of the eye: The large visible section of an eyeball that is light in value and color but is not really white. Wings of a nose: The two softly rounded (often triangular shaped) forms extending from the sides of the ball of the nose. Wood-encased pencil: (also called a wooden pencil) A drawing or writing tool with a thin cylindrical stick of medium held inside a wooden casing. Woodless pencil: A thick cylindrical stick of graphite wrapped in a vinyl casing. Woodless pencils are ideal for large graphite drawings that require wider strokes than regular pencils can provide. When sharpened, they can also make thin lines.

Y Yellow: A primary color that is bright, cheery, and powerful. It is the color of happiness, sunshine, and many flowers.

Visual intelligence: (also called spatial intelligence and seeing as an artist) The ability to visually interpret and mentally store and retrieve visual information. Individuals with highly developed visual intelligence, such as Leonardo da Vinci and Steven Spielberg for example, are better able to retain information about what they see and then transfer these images to a visual art discipline.


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About the Author

primary focus of the Drawspace Certification

Brenda Hoddinott is an award-winning artist, author of art instruction books, graphic designer, art educator, and curriculum designer. As an internationally certified forensic artist, she worked with diverse police departments and investigative agencies for 25 years.

Program and are taught in Drawspace’s official interactive online classrooms. Featuring an abundance of illustrations and in-depth demonstrations, these lessons give students the foundational skills required by both commercial and recreational artists. Drawspace professional lessons are used by art students and educators all over the world and can be licensed for education purposes in digital format at www.drawspace.com.

Through the creation of a passion for the subject matter, the quest for knowledge is deepened. Brenda Hoddinott

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