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Brenda Hoddinott

T-01 ADVANCED: DIVERSE ANIMALS
A lovable Soft Coated Wheaton Terrier is the subject of this project, which features
advanced drawing techniques for accurately rendering both long and short fur, realistic
“puppy dog” eyes, and a shiny textured nose.
This project is divided into the following seven sections:






Setting Up the Format and Grid
Outlining Rosey’s Portrait
Shading a Section of Background
Using Hatching Lines to Draw Fuzzy Ears
Drawing Big Beautiful Brown Eyes
Shading the “Nosey” Of Rosey
Adding Lots of Long Fur to a Face and Chest

Suggested supplies: 2H, HB, 2B, 4B and 6B pencils; vinyl and kneaded erasers; ruler (if you choose
to work with a grid); and smooth hot-pressed watercolor paper (or another good quality paper).
Recommended for artists from age 12 to adult with advanced drawing skills, as well as students of home
schooling, academic and recreational fine art educators

14 PAGES – 18 ILLUSTRATIONS

Published by Drawspace.com, Halifax, NS, Canada – 2002 (Revised - July, 2009)

4) Draw the basic outline of the head. if you want a larger drawing). but feel free to do a larger drawing by using 1½ inch or 2 inch squares. Figure 101 Remember to press lightly with your pencil. Focus on only one square at a time and pretend this one square is the total drawing. You use careful observation of spaces and lines within the individual squares to measure for accurate proportions. to help you set up proportions (if you are not yet comfortable drawing freehand). As you draw. and shoulders very lightly with your HB pencil as in Figure 102. Examine the shapes.com Web site http://www.com . I’ve added a grid format. Divide your rectangle into 35 equal squares. Copyright to all articles. Illustrations that show the progression of my drawing are fairly self-explanatory. You can add a few diagonal lines to the grid to help you place everything more accurately. E-mail brenda@drawspace. if you want your final drawing to be 5 by 7 inches or larger squares for a larger drawing. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. 5 across by 7 down as in Figure 101. you find very little instructional text. projects. images.drawspace. or 10 by 14 inches. 1) 2) 3) Draw a rectangular drawing format 5 by 7 inches (or 7½ by 10½ inches. However. Mark numbers along the top and letters down the side. Use 1 inch squares. ears. because all grid lines and most sketch lines will need to be erased. don’t think about what the subject is. OUTLINING ROSEY’S PORTRAIT In this section you draw a detailed outline of Rosey within your drawing space in preparation for adding shading. Pressing too hard can also damage the tooth of the paper. text. I’ve chosen the size 5 by 7 inches with 1 inch squares. hence. and negative and positive spaces that define the actual lines and their positions within the perimeter of this one square.2 SETTING UP THE FORMAT AND GRID This drawing is done from a combination of photos and my memory.

com Web site http://www. mustache and nose (Figure 103). Copyright to all articles. 5) Draw the eyes.com . projects.drawspace. E-mail brenda@drawspace. Figure 102 Make sure you draw your lines VERY lightly. text. Take your time and check your proportions often. the lines are so light that you can barely see them. images. preferably with your HB mechanical pencil. Take note of the directions in which curved lines bend. no need to draw them! I’m writing this text after the drawing is complete. For my final drawing. so you may find a couple of other minor changes on upcoming pages. I chose to not include the bottom lip and teeth. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. Also. curved or angular.3 Observe whether the lines are straight. examine the areas where curved lines meet straight lines before you draw. and the length and angle of straight lines in relation to the sides of this particular square. So. My scanner software has darkened this sketch. so that you are able to see my lines (as in Figure 102). but on the actual drawing.

com . E-mail brenda@drawspace. Figure 103 Figure 104 SHADING A SECTION OF BACKGROUND Crosshatching is an ideal method of shading backgrounds. The values graduate into one another and seem to recede into distant space. I prefer to start my shading in the upper left hand corner. projects.drawspace. As an aside. text. and also the wisps of fur above her nose (Figure 104).com Web site http://www. and work my way across and down the page. Copyright to all articles. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.4 6) Draw the fur between her eyes (called her “fall” or “mane”). so I don’t smudge the completed sections as I work. images.

drawspace. In addition.5 7) 8) Erase the grid lines in the sections in which you are working and then redraw the sections of the actual sketch. and very lightly brush away the eraser crumbs with a soft paintbrush. Add graduated shading in the upper left corner. E-mail brenda@drawspace. projects. The hatching lines are different lengths and values. Start with your HB pencil and then use your 2B until you are happy with the texture and values. The fur is lighter in some places with white paper showing clearly. Remember to erase your grid lines with either your vinyl or kneaded eraser before you begin each section of shading. Examine the various directions of my hatching lines.com Web site http://www. or add sections as you draw each section of fur (as I did). use your kneaded eraser to gently pat the paper surface to pick up any remaining eraser crumbs. A few individual wispy and untidy hairs are rendered with thin lines. and the right side of her nose. You can add all the background shading now. Use the edge of your vinyl eraser to erase the lines. text. 9) Using short hatching lines to represent fuzzy shading on the ear. so the shading is lighter on the left. images. and a HB for the lighter values. to keep the fur looking soft and natural. Copyright to all articles. Figure 105 Use a 2B pencil for the darker areas closer to the edges. My choice of light source also affects where I place the values in her eyes and on her nose.com . Refer to Figure 106. cast shadows need to be added to her neck on the right. which were erased. Then. USING HATCHING LINES TO DRAW FUZZY EARS I have chosen a light source slightly from the left front. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.

when compared to the top section of her fuzzy head (Figure 107). add the light shading on the top of her head and draw the fur on the top half of her other ear. The rest of her fur. text. from the top of her head back to the tip of her tail was a soft reddish wheaten color.6 Figure 106 10) With your HB pencil. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. images.com Web site http://www. projects. 11) Continue with the background shading along the top section of your drawing. light fur needs to be rendered with lighter values. you use mostly dark hatching lines. and her lower face and beard were a combination of dark gray and black fur. On the other hand.drawspace. Take a moment and observe how dark the fur on her ears looks.com . Rosey had dark gray ears. Figure 107 As with most Soft Coated Wheaton Terriers. Copyright to all articles. When you draw dark fur. E-mail brenda@drawspace.

by drawing her gorgeous eyes. images. shade in the sections of the pupil that are really dark. Figure 109 16) Continue drawing the fur between her eyes and around her other eye. you begin to give personality to Rosey’s face. 13) Shade in the iris (on the left). 15) Complete this eye with HB and 2B pencils. leaving a white spot for the primary highlight and a light area for the secondary highlight. Figure 108 The shading of the iris is darker under the upper eyelid and on the side where the highlight is drawn.com Web site http://www. Use a 2B pencil to add dark areas around the eyes. text. projects. 12) Draw the fur around the eye on the left. E-mail brenda@drawspace.drawspace. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. Copyright to all articles.com . Don’t forget the shading in the “white” of the eye. 14) With your 6B pencil.7 DRAWING BIG BEAUTIFUL BROWN EYES In this section.

18) Add shading to the lower section of her other ear (on the right). Observe closely the direction in which the fur grows in this section. 22) Shade in the fur on her back. images. Figure 111 By the way. I moved the outline of her back (on the right) up closer to her ear. text.8 Figure 110 17) Draw the fur under and between her eyes and down toward her nose (Figure 110). projects. This is the section of fur on her back that needs to be shaded. E-mail brenda@drawspace. 20) Add the fur around this eye and make her “eyelashes” a little darker on both sides.com Web site http://www.drawspace.com . Copyright to all articles. 19) Complete the shading of the other eye (Figure 111). lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. Rosey actually had eyebrows and fur over her eyes that looked like eyelashes! 21) Add more shading to the background on both sides (Figure 112).

images. Observe closely the direction in which the fur grows in each section. 25) Draw the fur on the left. text. Figure 112 24) Finish the background shading. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. Use your own discretion as to which pencil you use for each area. 28) If you drew the mouth. 2B and 4B pencils. 27) Erase the lower section of the nose and redraw it a little higher on the face. erase it now (Figure 112). Copyright to all articles. I decided the nose was too low on the face.com . Keep the values light.com Web site http://www.9 23) Add more fur to her lower ear on the left. and add more details to her moustache. projects. Yet one more change. 26) Draw the small section of chest fur on the left (under the chin). to make it look a little longer.drawspace. SHADING THE “NOSEY” OF ROSEY The rest of this drawing is done with HB. E-mail brenda@drawspace.

add squirkles and dots to represent the texture of a dog’s nose.  The fur grows in many different directions. projects. Note the areas that are lighter than others. closely examine a close-up of the completed drawing of the furry texture of her chest.  Some sections of fur overlap others. Observe the following as you plan your shading strategy and decide which pencils (HB. 30) With your 2B pencil. face. E-mail brenda@drawspace.  The shading of the fur on her chest is darker. 2B or 4B) you should use for each area:  The hatching lines are all curved. mustache and beard are quite dark.10 29) Use squirkling to add the shading to the nose.  The tips of the fur on her mane. closer to her face. because of the cast shadow created by her head. ADDING LOTS OF LONG FUR TO A FACE AND CHEST Before you begin the step-by-step instructions in this lesson.com . mustache and beard. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.drawspace. Figure 113 Refer to Figure 113. text. 31) Draw the fur on the left section of her moustache. Copyright to all articles.com Web site http://www. images.

Refer to Figures 114 and 115. projects. E-mail brenda@drawspace.com . also called a muzzle). images.drawspace. watching closely the direction in which it grows (Figure 116). 34) Add her beard under the opening of her mouth. text.com Web site http://www. Copyright to all articles.11 Figure 114 32) Add the shading on the upper right under her mane (the long fur growing from the center section of her snout. Figure 115 Take note of the dark shading used to define the opening of her mouth and on the ends of her beard. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. 33) Draw more fur on the left side of her chest.

E-mail brenda@drawspace. Note how dark the fur is in the shadow area on her neck and chest.12 Figure 116 35) Add the rest of the fur to her chest (Figure 117). projects. Copyright to all articles. text.com . images. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. Figure 117 36) Refer to the final drawing (Figure 118) and finish drawing the fur on the right side of her face and beard.drawspace. under her face.com Web site http://www.

E-mail brenda@drawspace. 2000 Died of a genetic illness (PLE) that is very common today in purebred dogs.com Web site http://www.drawspace.com . 37) Correct any areas that you’re not happy with and sign your name! Figure 118 In Loving Memory ROSEY (Windyflats Rose Dohmit) December 16. projects.December 30. text. to pull a few lighter areas of beard fur from the dark shading.13 Use your kneaded eraser molded to a narrow wedge. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. Copyright to all articles. images. 1998 .

she was awarded a Certificate of Membership from “Forensic Artists International”. portraitist.com Web site http://www. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. projects.14 BRENDA HODDINOTT As a self-educated teacher. This site is respected as a resource for fine art educators. forensic artist (retired).drawspace. NY) and The Complete Idiot’s Guide to Drawing People (Winner of the Alpha-Penguin Book of the Year Award 2004. Brenda retired from her careers as a forensic artist and teacher to work full time writing books and developing her website (Drawspace. John’s. E-mail brenda@drawspace. >Brenda Hoddinott< Born in St. images. Indianapolis. New York. lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. including the Royal Canadian Mounted Police. Brenda was honored with a commendation from the Royal Canadian Mounted Police. Hence. various criminal investigation departments have employed Brenda’s skills. and in 1994. text. Brenda grew up in the small town of Corner Brook. Newfoundland. During her twenty-five year career as a self-educated civilian forensic artist. Copyright to all articles. Inc. IN). home schooling programs. She developed strong drawing and painting skills through self-directed learning. and educational facilities throughout the world. the quest for knowledge also becomes enjoyable. and illustrator. Alpha .Pearson Education – Macmillan. in creating a passion for the subject matter. visual artist.com .. She is currently writing two books on classical drawing.com). In 1992. In 2003. Brenda is the author of Drawing for Dummies (Wiley Publishing. Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint.

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