V03 - Photorealistic Dagger

PHOTOREALISTIC
Brenda Hoddinott
V-03 ADVANCED: NATURE AND STILL LIFE
In this project featuring a detailed drawing of a dagger rendered from a
photograph, artists use contrasting values to identify its forms, textures and
patterns according to the lights and darks created by the dominant light source.
This lesson is divided into the following three sections:
BEFORE THE DRAWING BEGINS: I briefly discuss the
processes of taking reference photos, and choosing a composition.
FROM PHOTO TO DRAWING PAPER: The goal of the initial sketch is to put the dagger
on the paper proportionately correct. You stretch your visual skills as you follow along with
drawings that illustrate each important stage.
SHADE IN THE BLADE AND GUARD: From this perspective, the blade is farther away
from the viewer than the handle. Hence, the shading of the blade needs less contrast in values
than the handle, which is the focal point. The handle sections are drawn with more intricate
details than the blade.
ADD THE PATTERN AND SHINY TEXTURE TO THE GRIP: You create a shiny
texture and an intricate pattern with a full range of values, by progressively layering medium
and dark hatching and/or crosshatching over some sections of lighter values.
ADD SHINE TO THE POMMEL: You complete the drawing by shading the end of the
handle. Light values are added before the medium and dark.
You need 2H (light values), HB (middle values), and 2B (dark values) mechanical pencils, good
quality drawing paper, and erasers. If you plan to use regular wood pencils instead of
mechanical, you also need a pencil sharpener and a sandpaper block.
This lesson is recommended for artists with a lot of patience and/or strong drawing skills, as well
as home schooling, academic and recreational fine art educators of advanced students.
11 PAGES – 23 ILLUSTRATIONS
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2006
2
BEFORE THE DRAWING BEGINS

In this section, I briefly discuss the process of taking reference photos, choosing a composition,
and enhancing the primary photo in Adobe Photoshop.
To take a photo of the dagger, I first placed it on a flat surface in front of a brightly lit window. I
took several photos from various angles, and downloaded them to my computer. After examining
them closely, I finally settled on this one.
However, I wasn’t thrilled with the idea
of drawing the dagger from this angle, so
I rotated the photo in Adobe Photoshop
until I was happy with the composition.
I also changed the image to black and

white instead of color, so the individual
values were easier to distinguish.
I then digitally erased the
background and enhanced the
contrast, to make the pattern on
the handle stand out more.
Using photos as
references is rarely as reliable as
drawing from actual objects.
However, if you have no choice,
make sure you take lots and lots
of photos from every conceivable
angle. Also, take numerous close-
ups of the more intricate parts of
your subject, so you won’t be left
guessing which parts connect to
what and how!
As an aside, my fascination with

medieval history motivated a friend
to give me this wonderful replica of an
old dagger. Ever since I removed the gift wrap,
I’ve wanted to try to capture its fascinating
forms, textures and pattern in a drawing.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may
not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
3
FROM PHOTO TO DRAWING PAPER

Set up your drawing supplies, make sure you have good lighting, and get comfortable. In this
lesson you need to stretch your visual skills to their limit, and follow along with drawings that
illustrate each important stage. However, just so you don’t feel totally abandoned, I do offer a
few tidbits of information and suggestions along the way.
The goal of the initial
sketch is to put the
dagger on the paper
proportionately
correct.
The lines need to be

sketched so faintly that you
can barely see them.
When you
are happy with
your sketch, begin
adding more details and
refining the outlines of the
various parts of the dagger (refer
to the drawings on the next page).
Remember to keep the outlines very light so they
will eventually blend into the shading.
4
The guard section of the handle of a dagger (also called a hand-

guard) is the section between the handle grip and the blade, and
is designed to prevent the hand from slipping toward the blade.
The grip is the cylindrical section that
is held to safely control the dagger.
The pommel is on the end of
the handle and is often
distinctively shaped, giving the
dagger its charm and status.
SHADE IN
THE BLADE
AND GUARD
From this perspective, the blade is
farther away from the viewer than the
handle. Hence, the shading of the blade needs
less contrast in values than the handle, which
is the focal point. The guard is drawn with
more intricate details than the blade.
5
A 2H pencil and hatching lines work well

to add light values to the blade.
Light values
are added along
the edges of the
triangular-shaped
form of the blade to
enhance the illusion
of three dimensions.
A highlight, on the section of
the blade close to the guard,
is left white.
Hatching lines become

crosshatching and the texture of
the blade becomes smoother.
In preparation for
adding shading to the
hand guard section of
the handle, a shading map
is lightly sketched, based
on the different values I see
in the reference photo.
6
The process of adding values to the hand guard is demonstrated in the following three drawings.
2H (light values), HB (middle values), and 2B (dark values) mechanical pencils are sequentially
layered to create a full range of values. I also vary the density of the shading lines and the
pressure used in holding the pencils.
The shading process focuses on

values and forms rather than lines
and shapes.
Very few lines

separate (or outline)
the many different
parts of the dagger, in
either the reference
photo or the drawing.
Rather, contrasting values
help define the edges of the
hand guard to visually
separate it from the blade.
7
ADD THE
PATTERN AND
SHINY TEXTURE
TO THE GRIP
The hatching lines run
along the contours of each
individual form of the grip.
You create medium
values by layering
hatching or crosshatching
lines over some sections
of light values. Make sure
you leave lots of light
values close to the
highlights on the grip.
The cast shadow and the

pattern on the grip are shaded
with an HB pencil.
As you work,
continuously go back over your drawing
and adjust the values. To make a section lighter,
pat the shading lines gently with a kneaded eraser
that is molded to a point. To make a section darker,
simply add more shading lines and/or use a darker pencil.
8
If you are using regular pencils,

make sure you sharpen the point of the pencil
with a sharpener and/or sandpaper block after
each tiny section of shading is added.
The outline of the shape of

the cast shadow is very
similar to that of the upper
edge of the handle. Light
and medium values are
added to the cast shadow
with crosshatching.
As you
work, focus
on the broad
range of values that
exists in between the darks and
lights. Very light and very dark values
are fairly easy to achieve. The real challenge
is creating graduations of medium values.
9
The dark values of the cast shadow

graduate from very dark close to the
dagger, to slightly lighter farther away.
Many more curved lines make up

the striped pattern in the darker
sections of the grip than in the
lighter areas.
No white paper is visible in the
darkest of the dark values. Very
little white paper is showing
through in the sections with light
and medium values, except for
the highlights of course, which
are left completely white.
10
ADD SHINE TO THE POMMEL

In this section, you complete the drawing by shading the end of the handle. Light values are
added before the medium and dark.
Compare the final drawing to the

photo (below) and make changes to
any sections of your drawing with
which you are not happy.
I took a little artistic license

by lightening some sections
of the dagger that are hidden
in the shadows of the photo;
hence the illusion of depth is
enhanced.
As you develop stronger technical skills,

you feel more confident to make changes
and adjustments to your drawings.
11
Try this same technique to draw another object (or small

section of an object) from either a photo or life.
BRENDA HODDINOTT - BIOGRAPHY

As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda 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.

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PHOTOREALISTIC

BEFORE THE DRAWING BEGINS

I also changed the image to black and

As an aside, my fascination with

FROM PHOTO TO DRAWING PAPER

The lines need to be

The guard section of the handle of a dagger (also called a hand-

A 2H pencil and hatching lines work well

Hatching lines become

The shading process focuses on

Very few lines

The cast shadow and the

If you are using regular pencils,

The outline of the shape of

The dark values of the cast shadow

Many more curved lines make up

ADD SHINE TO THE POMMEL

Compare the final drawing to the

I took a little artistic license

As you develop stronger technical skills,

Try this same technique to draw another object (or small

BRENDA HODDINOTT - BIOGRAPHY

My philosophy on teaching art is to focus primarily on the

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

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