W01 - Karin

Brenda Hoddinott
W-01 Advanced: Studio Series

This diary explores the entire process of
choosing a photo, planning a composition,
and setting up grids on both the photo
and paper, to draw a fun portrait of a
beautiful child named Karin.
You will find no step-by-step directions in this heavily illustrated diary; rather I
simply share my drawing process, including my motivation for using various
artistic tools and techniques. You can follow along with me and gain a greater
understanding into my drawing processes, and also gather up your drawing
materials, and either draw Karin, or someone special in your own life.
The most important component of learning to draw is maintaining the

enthusiasm. Aspiring artists should feel comfortable in using whatever tools are
available to them, such as viewfinder frames and grids, so as to create drawings
that make them happy and subsequently motivated to continue onward. Grids
do not hinder artistic growth; rather, they serve as tools to make the learning
process more pleasurable by helping with such challenges as rendering
believable proportions and correct perspective.
21 PAGES – 25 ILLUSTRATIONS
Recommended for artists with advanced drawing skills, as well as home schooling,
academic and recreational fine art educators
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – January, 2005
2
Learning to draw is not a short term goal but rather a lifelong journey. 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.
If you
decide to
work from
your own
photo,
make sure
you choose
a large one
in which the
facial
features are
clear and in
focus.
I took this photo of my friend Kathleen’s daughter, Karin, several years ago,
always with a drawing in mind someday. Today Karin is 14 years old!
I prefer to make modifications to my photo in the planning stages, before I

actually start to draw. After playing with the photo for a few minutes, I decided
that the composition would be more expressive and aesthetically pleasing if her
head appeared to be more tilted in the drawing than in my photo. Therefore, I
taped my photo to a sheet of grid paper at an angle, rather than lined up with
the grid lines.
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
3
Using the lines of

the graph paper as
guidelines, I drew
the horizontal and
vertical grid lines
with a fine tip
ballpoint pen.
My graph paper has

one quarter inch
squares; hence, the
grid squares on the
photo are the same
size.
I placed a viewfinder
frame on my photo
and continuously
adjusted both
sections until I found
a composition I liked.
I usually keep a few

viewfinder frames of
various sizes handy,
for helping me with
choosing
compositions when I
work from photos.
4
I taped the perimeter of my

composition with masking tape, and
then used a pen to mark letters and
numbers on the tape to identify each
vertical and horizontal row.
Next, I carefully taped the corners of

my Arches 140lb. watercolor paper to
a large sheet of graph paper.
I wanted my drawing to be twice the

size of the photo, so I drew half inch
squares on my drawing paper. Hence,
four (2 by 2) of the graph squares on
the paper, represent one of the grid
squares on the photo.
As I drew the grid on the

paper with an HB pencil,
only the weight of the
pencil itself created the
very faint lines. Needless
to say, this illustration
has been scanned much
darker than the original
drawing, so you can see
it!
I added letters and

numbers to the drawing
paper to correspond with
those on the photo. I can
now identify each square
as I work; hopefully, I can
avoid drawing the wrong
image in a grid square.
5
When I work with a grid, I prefer beginning my drawing in the upper left and
then work downward toward the right (I’m right handed). Again, the following
illustrations have been scanned very dark so you can see my sketch lines, which
are in fact very light.
I used an HB pencil, and worked on one square at a time, while constantly

referring to my photo to make sure that I was working in the correct squares.
6
As I drew the lines inside each square, I visually measured the proportions, and
observed the relationships between the lines, shapes, and spaces.
7
8
9
10
Sometimes I add diagonal

lines in the grid squares of
those sections that have
more details. However, in
this case, my grid squares
are very small anyway, so
this is not necessary.
I’ve sketched the location of

her eyebrow even lighter
than the eye and nose; a
darker outline may be
difficult to completely erase.
The individual hairs of the

eyebrow will be drawn with
hatching lines.
11
After completing the initial

sketch, I took a break, then
came back and corrected a few
sections with which I wasn’t
completely happy.
I’m now ready to plan my

shading and get started on the
really fun stuff – adding values!
12
With
everything
in place, I
then
referred to
the photo
to map out
where I
planed to
draw the
light and
dark values.
And yes!
This scan is
much
darker than
the actual
sketch!
Next, I
erased the
grid lines in
the facial
area and
used my
kneaded
eraser to
gently pat
the
mapping
lines until
they were
barely
visible.
13
In my photo,
the light
source is from
the right. To
keep her face
looking soft,
I’ll use mostly
light and
middle values,
and use dark
values very
sparingly.
I began
shading with a
2H pencil. The
crosshatching
lines graduate
smoothly to
create the
various light
values
identified by
my shading
map.
I then used an
HB pencil to
add medium
values to the
shadowed
areas.
This foundation of shading has identified the facial forms; the next step is to
add more details to her individual features.
14
I completed her hair

and eyebrow with
hatching lines that
curve in many
different directions.
I used darker shading

to accentuate some
sections of her upper
face around her eyes.
I shaded her eye with

my usual techniques.
The iris and white of
the eye are darker
under the upper eyelid
and on the right. The
darkest shading is in
the pupil.
The
eyelashes
appear
thicker closer
to the
eyelids.
This effect
was rendered
by using
curved
hatching
lines of
various
thicknesses
and lengths.
15
I used HB and 2B pencils to add more contrast by adding darker values to the
face around the nose, lips, forms of the lower face, and the opening of her
mouth. I left a section around her mouth very light to further accentuate the
three-dimensional forms of her lower face.
16
I darkened the
shading of the
neck.
Then, to make
the mouth look
more realistic, I
completely
erased the
outlines around
the lips and
teeth, and added
shading to the
teeth.
17
I wanted the
entire facial
area to be the
focal point of
this drawing;
hence the
shading
needed to be
perfect.
Before I
continued on
to the clothing,
I took several
breaks, coming
back after each
and making
tiny
adjustments to
sections that
didn’t look
quite right.
To further
accentuate
Karin’s face, I
plan to use
various shades
of gray for the
dark sections
of her clothing
rather than
black.
18
At this point, I checked my drawing carefully to make sure all the grid lines
were erased from the clothing sections. I began shading the clothing by using
crosshatching to add light values to define the major forms.
19
I added darker shading to the shadowed areas of her clothing and hat, and to
the background sections on the right.
20
After shading in some polka dots and ribbons

on her clothing, my drawing is complete!
21
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.

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Brenda Hoddinott

W-01 Advanced: Studio Series

The most important component of learning to draw is maintaining the

I prefer to make modifications to my photo in the planning stages, before I

Using the lines of

My graph paper has

I usually keep a few

I taped the perimeter of my

Next, I carefully taped the corners of

I wanted my drawing to be twice the

As I drew the grid on the

I added letters and

I used an HB pencil, and worked on one square at a time, while constantly

Sometimes I add diagonal

I’ve sketched the location of

The individual hairs of the

After completing the initial

I’m now ready to plan my

I completed her hair

I used darker shading

I shaded her eye with

After shading in some polka dots and ribbons

BRENDA HODDINOTT - BIOGRAPHY

My philosophy on teaching art is to focus primarily

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

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