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OUTDOORS

Brenda Hoddinott
F-06 BEGINNER: HATCHING
Sketching is an action word, and you can only
learn this skill by actually sketching.

In this lesson, I first offer suggestions for putting together a portable studio for your outings. I
then take you step-by -step through the process of rendering a sketch of an outdoor scene. The
style you choose for sketching is a matter of personal choice. Some artists prefer lines, more
prefer only shading, and others (like me) prefer a combination of values and lines.
INTRODUCTION: Outdoor enthusiasts often enjoy making art while enjoying their
surroundings A quick sketch done on location from a portable studio provides an excellent
reference for a more detailed drawing when you return to your home studio.
PACKING UP YOUR PORTABLE STUDIO: Sometimes, you may want to draw
outdoors, and it’s convenient to have a set of drawing materials packed and ready to travel. In
this section you explore various suggestions for planning your portable studio.
SETTING UP YOUR PLAN OF ACTION: The instructions in this lesson offer
suggestions for rendering a sketch in three simple stages: sketch the overall composition of
the scene proportionately correct; outline the shapes of important objects in the scene; and
add values.
SKETCH PROPORTIONS: The first goal of sketching is to sketch a proportionately
correct map of where the different parts of the scene are in relation to one another.
OUTLINE SHAPES: You focus on outlining the shapes of your subjects by implementing
perspective, adding more details, and refining your drawing!
DEFINE VALUES: You implement your strategies, planning, and creative ideas into a
completed sketch! Light affects the placement and value of every section of shading. A full
range of values gives contrast between the light and the shadow areas.

14 PAGES – 27 ILLUSTRATIONS
This project is recommended for artists from age 10 to adult, as well as home schooling,
academic and recreational fine art educators.
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (Revised 2006)
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INTRODUCTION
Outdoor enthusiasts often enjoy making art while enjoying their surroundings A quick sketch
done on location from a portable studio provides an excellent reference for a more detailed
drawing when you return to your home studio. A sketch is a quick, rough representation or
outline of a planned drawing subject. A sketch can also be a completed work of art.
Only a few simple lines can quickly and efficiently illustrate the important shapes and values of
any scene. The language of sketching can also serve to faithfully documents your formative
years of artistic development. Sketching refers to the method used for creating a quick, rough
representation or outline of a planned drawing subject.
The instructions provided in this lesson can apply to any sketching style. However, to help
prepare you for sketching on your own, I have provided step-by-step illustrations of one of my
own sketches. If you have little or no sketching experience, you are wise to draw along with my
project. It’s easier to draw from another sketch than an actual scene.

PACKING UP YOUR PORTABLE STUDIO


Sometimes, you may want to draw outdoors, and it’s convenient to have a set of drawing
materials packed and ready to travel. In this section you explore various suggestions for planning
your portable studio.
DRAWING SURFACE: Unless you have a really big
knapsack, your kitchen table just won’t fit inside! Nonetheless,
a lightweight portable surface, on which to draw when you’re
out and about, is an integral part of your portable studio. If you
prefer sheets of paper rather than a sketchbook, a drawing
board is a wonderful portable surface. You can buy very
reasonably priced boards in most art supply stores.
If you (or someone you know) are handy with tools, you can
make your own; just cut a lightweight smooth material (such as
plywood or Plexiglas) to any size you prefer, and sand it until
it's smooth. Drawing paper then needs to be taped or clamped
to the drawing board. At most art supply stores you can find
special tapes, specifically designed for this purpose, or clamps
which come in various sizes.
Sketching on large sheets of paper enhances your skills by
allowing you the freedom of drawing from your shoulder rather
than your wrist. Keep your wrist fairly still, and move your
entire arm from your shoulder, to sketch long flowing marks in
one continuous movement.
A large hardcover sketchbook is a great alternative to carrying
a drawing board in that it comes with its own drawing surface,
and depending on the size, may fit inside a brief case or
knapsack.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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PORTABLE EASEL: While many artists are comfortable in simply propping up their drawing
surface; others like to use an easel. A sketchbook or drawing board can easily be set up on an
easel, but you have to use your creativity to make sure it stays in place as you draw. A gust of
wind or even the drawing process itself can easily tip an unsecured easel onto the ground and
(gasp!) deposit the drawing into a big puddle of mud.
DRAWING MATERIALS: Fill up your pencil case with pencils, erasers, pencil sharpener,
sandpaper blocks, and anything else you think you may need. Soft media, such as graphite,
conté, or charcoal works best for sketching.
CARRYING CASE: You need something in which to carry your drawing materials. An old
briefcase, knapsack, or a fabric bag with handles is great for holding supplies, including a small
sketchbook and some paper.
EXTRAS FOR THE PORTABLE ARTIST: Consider the
following for customizing your portable drawing studio to suit
your own individual needs:
You may want to carry an old blanket to sit on.
A viewfinder frame may come in very handy!
If you use large sheets of drawing paper, you need to bring
your portfolio in which to store and protect your completed
drawings and drawing paper.
A portable music player with headphones is helpful for
blocking distracting noises. It also helps keep spectators
from interrupting!
Plastic bags can protect your drawings (or you) in case of
rain, and are great for sitting on if the ground is damp.
Bring along some beverages, snacks, and/or a lunch as well
as some wipes or paper towels for clean-up.
You can also bring along a small camera to take photos of inspirational scenes and objects.
Depending on where you go, you may need bug repellant, and don’t forget your sunscreen!

SETTING UP YOUR PLAN OF ACTION


Ok, so setting up and getting organized isn’t the most exciting element of anything. But as with
most activities and projects, it’s a necessary evil! First of all, when planning to draw outdoors
you need to take into consideration such factors as weather, lighting conditions, time of day, and
the angle from which you wish to capture your subject. Then make your plans accordingly.
When you arrive at your destination, stroll around until you find the best location from which to
draw. Look around and decide on a subject that you find incredibly intriguing; otherwise you
may get bored before you’re halfway done.
Make sure your proposed project isn’t more than you can handle. If you’re a beginner to
drawing, choose something very simple. You set yourself up for a frustrating experience by
taking on a project beyond your current skill level.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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Place yourself in a comfortable standing or seated position where the scene you plan to draw
presents the best compositional options. Composition refers to the arrangement of the various
facets of a drawing subject within the borders of a drawing space. A strong composition brings
the eyes of the viewer into what the artist considers the most important elements. Set up your
drawing materials and relax.
Before putting your pencil into motion, you need to work out the following:
Decide which medium and type of paper best suits your subject.
Try using your viewfinder frame to help you choose an ideal composition (Check out Lesson
A-07: Making and Using a Viewfinder Frame in the Beginner section of my website).
Plan your drawing space. Drawing space (sometimes called a drawing format) refers to the
area of a drawing surface within a specific perimeter. Choose an approximate size. Decide if
your completed drawing should be horizontal or vertical, and whether a rectangular, square,
oval, circular or another shaped format is more appropriate for your subject.
Look closely at your subject. Sketches are based on careful observation, and with practice
they become quick and easy. A thorough visual examination of your subject is the most
important ingredient for making great sketches.
Note the light source and pinpoint the highlights and shadows. Light source is the direction
from which a dominant light originates. The placement of this light source affects every
aspect of a drawing. The light source tells you where to draw all the light values and
shadows. Squinting, to see the different values, often provides you with a map for sketching
the shapes you see. Values are the different shades of gray created when you draw by varying
both the density of the shading lines, and the pressure used in holding various pencils.
The method you choose for sketching is completely a matter of personal choice. Some artists
prefer lines, more prefer only shading, and others (like me) prefer a combination of values and
lines. Take time to experiment with different sketching methods. Your sketching style develops
over time. Whatever method you prefer, is right for you.
Begin your sketch with very light simple lines to simply establish the scene on the drawing
paper. Don’t erase any of these initial sketch lines. They show the actual drawing process and
give character to the sketch. Simply make your final lines darker so they stand out more.
Practice sketching with a pen so you won’t be tempted to erase any lines as you work. Working
efficiently is more important than working fast.
Continue looking at your subject, as you sketch. Identify specific shapes and visually measure
the proportions. Shape refers to the outward outline of a form. Basic shapes include circles,
squares and triangles. Proportion is the relationship in size of one component of a drawing to
another or others.
The instructions in this lesson offer suggestions for rendering a sketch in three simple stages,
based on my personal favorite style:
 Sketch proportions: sketching the overall composition of the scene proportionately correct
 Outline shapes: outlining the shapes of important objects in the scene
 Define values: adding simple hatching lines to shade in the values

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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SKETCH PROPORTIONS
The first goal of sketching is to very lightly sketch a proportionately correct map of where the
different parts of the scene are in relation to one another.

1. Study your subject.


Look at the contours and the
proportions. Observe how all the
parts in your scene interact with
one another. Take note of the areas
that you consider important.

2. Now look at your drawing paper


and imagine this subject on your
paper.

3. Observe which objects are in the


foreground, middle ground and
distant space, and note objects
that overlap others.
The foreground is the part of the
scene that is closest to you. The
middle ground is the space or
section of the scene beyond the
subjects in the foreground.
Distant space refers to the
components of the scene that are
farthest away such as a distant
mountain range and/or the clouds
in the sky.

4. Use loose sketch lines to draw the


outlines of the shapes in the
foreground.
I have started by sketching a
section of land and the trunk of the
trees in the foreground of this
scene.
Visually break the subject down
into shapes and measure the
proportions.
Draw slowly. Accuracy is more
important than speed. Your speed
will automatically improve the
more you practice.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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5. Choose what you consider


to be the most important
element(s) of the scene
(focal point), and decide
how to emphasize it within
the composition.
I have chosen the three trees
in the foreground and the
section of land from which
they are growing. I’ll add
extra detail to this section to
emphasize it.

6. With simple sketch lines,


indicate the basic shapes
and outlines of the objects
in your scene in proper
proportion to one another.
A few simple lines, along
with careful observation of
your drawing subject, can
visually describe anything.
For example, sometimes one
curved line is all you need to
record the curve of a section
of land. Look for ways to
define depth with
overlapping and perspective.
Fine detail isn’t as important
as capturing the overall
essence of your subject.
7. Continue adjusting your
drawing until you are
happy.
Confirm that objects, spaces,
and perspective elements are
drawn correctly. Pay close
attention to the shapes
created by the negative space.
Check the relationships of
objects to one another,
observe that angles, sizes,
and proportions are accurate,
and adjust as needed.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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OUTLINE SHAPES
Your preliminary sketch is complete, everything is where it should be, and you’re happy with
your composition. Time to focus on outlining the shapes of your subjects by implementing
geometric perspective, adding more details, and refining your drawing!

8. Look at the objects in your composition and decide which would benefit from
geometric perspective, such as buildings, fences, paths, or roads.
Choose a viewpoint for the viewer of your drawing and work out the position of the
horizon line. Plot the vanishing points, and draw objects according to the rules of
perspective. No objects requiring geometric perspective are in my sketch.

9. Beginning with the foreground sketch the shapes of the various aspects of the scene,
such as trees and foliage.
The following illustrations take you through each step of my sketching process.

Keep in mind that this is my personal favorite process for sketching. You are a unique individual
with your own preferences. Experiment with various sketching techniques until you find the style
that works best for you!

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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10. Sketch in the shapes of the various sections of your scene that are in the middle
ground and distant space.

A wide open space


representing a lake is in the
middle ground of this
sketch. In the distant space
you see the outlines of two
hills, and above the hills is
the sky.
Before you get into the
really fun stuff, you now
have one last chance to
make any drastic changes.
First, take a short break and
then come back and have a
fresh look at your drawing.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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DEFINE VALUES
This is it! The moment (or hour) you’ve been waiting for! Time to implement all your strategies,
planning, and creative ideas into a completed sketch! When you sketch values, your eyes are
your most important drawing tools.
Remember, light affects the placement and value of every section of shading. Keep in mind that
a full range of values gives contrast between the light and the shadow areas. You can achieve
different values by using various pencils, varying the density of the lines, and varying the
pressure used in holding your pencils

11. Sit back (or step back) from your scene, relax and take a few moments to examine the
section of your scene in the foreground.
In addition to simply drawing what you see, you need to spend a few moments planning
how you want your shading to look.
Decide what types of shading, such as hatching, squirkling, or crosshatching, best
represent the subjects in your scene. In the interest of speed and simplicity, I prefer to
use only hatching.
Take note of your dominant light source, and look for the brightest and darkest values.
Identify cast shadows in foreground objects, as potentially having the darkest values.
Choose the areas you want to draw in detail, such as your focal point, and plan
strategies to best represent their various textures with shading
Experiment, with drawing the different types of textures you plan to use in your
drawing, on a piece of scrap paper, before incorporating them into your actual drawing.

12. Beginning with the objects closest to you in the foreground section, use a full range of
values to add shading.
Begin to add shading to
define the forms of the
objects in your drawing.
Form, as applied to
drawing, is the illusion
of the three-
dimensional structure of
a shape, such as a
circle, square or
triangle, created in a
drawing with shading
and/or perspective.
The light is coming
from the upper left in
my sketch. Note the
various values used to
shade the leaves.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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Remember to use various


pencils to help you with the
shading. I have used a 2B for
the foreground sections.
Add stronger lines for some
areas of the contour of the
various components of your
subject.
Note how the shading of the
section of land graduates from
light at the top to dark in the
lower sections.

Take your time.


If you begin to tire or feel
frustrated, take a break. When
you return have a fresh look at
your drawing and touch up
anything you’re not happy
with.
Have a peek at the shading I’ve
added to the undersides of the
foliage on the tree branches.

Step back from your drawing


from time to time and have a
look at the overall values.
You may need to make some
areas lighter and others darker.
Examine how the shading of
the tree trunks is darker on the
right sides, which are in
shadow and farther away from
the light source.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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With only a few simple hatching lines, I have indicated the values of the other sections of land in
the foreground.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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13. Add shading to the middle ground and distant space.


Keep in mind that objects and spaces become lighter in value the farther they are away
from you. Therefore, use lighter pencils to add shading to these sections.
Don’t be afraid to try different shading techniques. Drawings you don’t like, present
opportunities to spot problems, and seek new ways of doing things. Even a totally
disastrous drawing can teach you not to try that particular approach again!
Take note of the adorable little tree in the foreground created with only a few simple lines
and shapes. A few horizontal hatching lines define the reflection of the trees and a few
gentle ripples in the lake. Vertical hatching lines work better to sketch the values of the
trees on the distant shoreline.

Save your sketches for


later reflection. Your
confidence grows when
you reflect back on your
drawings.
The more you practice -
the faster your skills
improve! Doing sketches
on a regular basis trains
your brain to see as an
artist, which can be a lot
of fun!.
The process of sketching
quickly simply isn’t
conducive to allowing
your analytical left brain
to kick in and begin
analyzing what you are
doing.
You may even find that
your imaginative right
brain likes to exercise its
creative license and
exaggerate certain areas
of your subject. You may
not even notice this is
happening until you later
examine your sketches.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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Give some thought to what you wish to do with your completed


drawing. You may wish to have it framed or simply store it
away in a safe place for future reference and reflection.

Keep in mind that the more you practice sketching the better
and faster you become. On a good day, you may be creating
several different and wonderful sketches within an hour!

Sign your name, write today’s date on the back, and


put a smile on your face.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com
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BRENDA HODDINOTT - BIOGRAPHY


As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda
Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk
pastel, charcoal, conté crayon, and oil paints.

My philosophy on teaching art is to focus primarily on the


enjoyment aspects while gently introducing the technical and
academic. Hence, in creating a passion for the subject matter,
the quest for knowledge also becomes enjoyable.
>Brenda Hoddinott<

Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She
developed strong technical competencies with a personal commitment to self directed learning,
and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a
self-educated civilian forensic artist, numerous criminal investigation departments have
employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police
departments. In 1992, Brenda was honored with a commendation from the Royal Canadian
Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic
Artists International”.
Her home-based art career included graphic design, and teaching recreational drawing and
painting classes. As supervisor of her community’s recreational art department, Brenda hired and
trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda
chose to end her eighteen-year career as an art educator in order to devote more time to writing,
drawing, painting, and developing her websites.
Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to
curriculum development. This site offers downloadable and printable drawing classes for
students of all abilities from the age of eight through adult. Students of all ages, levels and
abilities have praised the simple step-by-step instructional approach. This site is respected as a
resource for fine art educators, home schooling programs, and educational facilities throughout
the world.

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT


Drawing for Dummies (2003): Wiley Publishing, Inc., New, York, NY, this 336 page book
is available on various websites and in major bookstores internationally.
The Complete Idiot’s Guide to Drawing People (2004): Winner of the Alpha-Penguin
Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN,
this 360 page book is available on various websites and in major bookstores internationally.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and
may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com