W05 - Robby & Rob

Brenda Hoddinott
W-05 ADVANCED: STUDIO SERIES

This heavily illustrated diary explores the process of planning and drawing a double portrait from
two photos of the same person, one as a child and the other as an adult. A complex grid serves as
a valuable artistic tool, for helping with such challenges as rendering believable proportions and
correct perspective.
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.
If you are very familiar with setting up and working from a grid, you may wish to consider using
two of your own photos of someone special (or two different people), and just follow along with
my directions as guidelines. If you decide to work from your own photos, make sure you choose
large ones in which the facial features are clear and in focus.
23 PAGES – 39 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 – November, 2005
2
My drawing is done from two different reference photos of my friend Rob, the first as a child
and the second as an adult. My goal is to create a drawing that includes both images.
If you are feeling brave, and are very familiar with setting up and working from a grid, you
may wish to consider using two of your own photos. Simply follow along with my directions
as guidelines for rendering your own project.
Using the lines of a sheet of graph paper as guidelines, I draw horizontal and vertical grid lines
on a copy of each photo with a fine tip ballpoint pen. I then mark letters (A to J) and numbers (1
to 10) on each photo to identify the vertical and horizontal rows.
Next, I carefully tape the corners of my Arches 140lb. watercolor paper to a large sheet of graph
paper. I work out the approximate size of my final drawing based on it being twice the size of my
photos. The grid squares on the photos are one-quarter inch, and I draw half-inch squares on the
drawing paper. My drawing is quite small, so I will use mostly 0.3mm and 0.5mm mechanical
pencils, from 4H to 2B.
Feel free to use whatever size squares you wish depending on if you would like a small or
large drawing. However, it is generally accepted that a drawing of a human face should be
smaller that life size.
I haven’t decided on the final composition yet, so the grid lines are drawn on the entire surface of
my paper. The section of the grid that I plan to use for the actual drawing is 19 squares across
and 10 squares down. Because the accuracy of the facial proportions and their relative size is
crucial to obtaining a good likeness, I have drawn diagonal lines on both the photo and the
drawing paper to further help me place the features.
Make sure you draw your grid lines VERY lightly, preferably with an HB mechanical
pencil. Only the weight of the pencil itself created my very faint lines. They are so light that
they barely showed up on the scan, so I had to adjust the contrast in Photoshop.
I decide to draw adult Rob first, on the right side of my drawing format. I number and letter only
this side of the drawing for now, using numbers along the top and letters down the side. I add
letters (A to J) and numbers (1 to 10) to the drawing paper to correspond with those on the photo,
and outline his face, hat and clothing.
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
I work on one square

at a time, while
constantly referring to
the photo to make
sure that I am
working in the correct
squares. I draw slowly
and check the
proportions often.
As I work, I carefully
observe the
relationships between
the lines, shapes, and
spaces inside each
grid square.
After completing the
initial sketch, I took a
break, then came back
and corrected a few
sections with which I
wasn’t completely
happy.
4
I’m now ready to

begin the fun stuff –
adding values!
Before I start the
hat, I erase the
vertical and
horizontal grid
lines. I leave some
of the diagonal lines
as reference for my
crosshatching lines.
With a kneaded
eraser, I gently pat
this section of the
drawing, to remove
any tiny eraser
crumbs, before I
begin the shading.
By the way, this
scan is considerably
more accurate for
the actual values of
the grid and the
outlines.
The images in this tutorial are fairly self-explanatory, so you’ll find very little text from this
point onward. Have a close peek at the actual crosshatching lines in the below illustration.
Before you start shading each section, remember to erase the grid lines.
5
The reference photo of adult Rob is incredibly “flat” due to outdoor lighting from above and a
flash. I have chosen a light source from the upper right and slightly in front of his face and will
attempt to add a little more dimension to his features.
I add the tiny section of hair on the left and the shading under the rim of the hat on his forehead,
and finish the hat.
The shading on
his forehead is
added with 4H to
HB pencils. I use
HB and 2B for his
eyebrows and the
hair on the right.
Contour hatching
lines work well
for both the hair
and eyebrows.
Examine the following three illustrations and take note that the overall shading of the eye
on the left is slightly darker than the other because it is farther away from the light source.
The irises and whites of the eyes are darker under each upper eyelid and on the right. Keep
your drawing relatively light at this point. It is simple to darken areas, but somewhat more
difficult to lighten areas which are too dark.
6
I first use 4H and 2H to add

light and medium values to
the irises and the whites of
his eyes, and the forms of the
face around his eyes.
Remember, the overall values
on the right are slightly
lighter due to the location of
the light source.
I then use slightly darker
shading (2H, HB, and 2B) to
complete the eyes and
accentuate the shadow
sections of his face around
his eyes. For the pupil I use
6B very lightly and sparingly.
The hatching lines of the
eyebrows and eyelashes
curve in many different
directions. Also, darker
shading close to the upper
eyelid helps make the
eyelashes appear thicker.
When you draw eyelashes,
keep your pencil point very
sharp. Use slightly curved
hatching lines of various
thicknesses and lengths.
7
As I finish the shading of his nose and ears, and the center of his face, I am finally beginning to
achieve a likeness, which is always exciting.
I have added some background shading on the right with

2H and HB pencils and have also begun the shading on a
small section of his jacket.
8
The photo I am working from was taken during a ski trip and I really like his facial expression.
You may have noticed a little beard stubble on his lower face, which I have chosen to include
because it implies a casual mood.
To make the mouth look more realistic, I erase the outlines around the lips and teeth, before
adding shading. A smiling mouth is always a challenge. Teeth are very difficult to draw and it is
very important to keep the initial shading very light.
Take note
that his
lips are
shaded
without a
distinctive
outline.
The teeth
are not left
white, but
rather
shaded
very
lightly
with 4H
and 2H
pencils.
9
Shading is added
to the neck,
sweater, jacket,
and the lower
section of his face.
After establishing
basic values on
the darker side of
his jacket, I now
touch up a few
sections of his
face by darkening
a few of the
shadow areas.
This young man
has a gentle nature
and I have
decided to keep
the contrast of
darks and lights
on his face
minimal to
accentuate this.
Take a few
minutes and check
over your drawing
and make any
adjustments
needed.
There are several
methods of
checking your
drawing for
problems.
My favorites are
turning the
drawing upside
down or holding it
in front of a
mirror for a fresh
perspective.
10
Finally I have the basic drawing of his face completed.
I add light shading to his jacket on the left. I plan to made value adjustments when the other half
of the drawing is finished. Later, I will also need to touch up other sections, but for now I am
interested in starting the other half of this drawing.
11
Before you start the second portrait of the child, examine the drawing of the adult closely
and make any changes you feel are important.
If you are among those brave souls who are working from your own photos, sketch a to-
scale outline drawing of the second person on a piece of tracing paper before you work on
the actual drawing. By placing the outline over the drawing you can choose the best
placement and even change the size if you are not happy with it.
It’s now time to draw the little angel. I establish my grid, and number it from 1 to 9 along the top
and letter it from A to J down the left side. I add diagonal lines to assist me with more accurate
placements of the facial features.
I draw a to-scale sketch of the outline of the little angel on a piece of tracing paper, and then lay
it over the left side of my drawing paper. When I have confirmed where I want the second face to
be, I very lightly mark the corresponding grid squares on both the photo and the drawing paper.
12
Once I remove
the tracing
paper, I know
where to draw
the child.
I then take my
time and very
lightly outline
his various
parts,
including the
wings.
Draw the
outline very
lightly! My
scanner
software has
darkened this
sketch, so
that you are
able to see my
lines.
My next goal
is to add the
light and
medium
values.
I’ll then
compare the
values to the
adult Rob and
then add
darker
sections of
shading.
I add light and
medium
values to the
hair and
background,
taking care to
leave the halo
the white of
the paper.
13
I indicate the halo by

shading only the
negative space around
its oval shape.
His hair needs to be
fair, soft and wispy;
hence, I use freshly
sharpened 2H and HB
pencils and keep my
hatching lines light.
I add more
crosshatching to the
background, finish the
hair, and add shading to
his eye on the left and
the section of the face
around the eye.
More light and medium
values are added to the
face and his second eye.
I add a subtle image into the shadows. If you find my image disturbing, just leave it out or draw
something else.
14
I finish the
background and his
ear, and begin
working on his face,
neck, and clothing.
I draw rose leaves on
the wings instead of
feathers. The
symbolism of a rose
seems perfect for this
drawing.
15
I finish the face, neck, and background. I also draw a small rosebud in the background. If you
prefer, you can add something of special meaning to you.
Generally the shading on the face of a child

is much softer, lighter in value, and has less
contrast than of an adult.
Take your time drawing the lips and the
shading around the mouth. Check your
proportions carefully as you work.
As you can see in the next illustration, I
have finished drawing the other wing and
the clothing.
16
I now add darker shading and final touches. Examine the next four detailed illustrations of the
facial sections of the angel. My changes and additions include the following:
Add darker shading to the nose and lips.
Use a 6B to add darker shading to the pupils of the eyes.
Accentuate the muscles between the eyebrows with HB.
Exaggerate the facial expression by moving the inside upper edge of the eyebrows upward.
Move the corners of the mouth downward slightly.
Add more stress to the chin area by tightening the muscles with more detailed shading.
Lighten the iris of the eye on the side opposite the highlight, with a kneaded eraser molded to
a point.
Add more crosshatching to the lighter sections of his face and features with 2H and 4H.
17
Before I add darker values, and

do a few final touchups, I check
the drawing for any problem
areas, and make any changes that
I feel are important.
If you are drawing this little
angel, take a few minutes to
compare your drawing of the
facial section to mine and fix
any areas that you are not
completely happy with.
Sometimes, turning the
drawing upside down or
holding it in front of a mirror,
provides a new perspective.
18
I use HB to darken
the background in a
few places.
I add darker values
and more details to
the shirt, neck,
wings, rose, and the
hair on the shadow
side.
Take your time

with these sections
of shading.
Refer to the
illustration on the
left, and the three
illustrations on the
next two pages.
19
20
I have darkened several areas of shading on the young man’s face and clothing including the:
Hat, hair and eyebrows (2B).
Pupils of the eyes (6B) and the upper eyelashes (HB).
Teeth closest to the outside corners of his mouth (2H).
Corners of his mouth (2B).
Lower lip and just under his lower lip on the left (HB).
Small section of his sweater under his ear on the right (HB).
Shoulder areas of his jacket and the lower area of the collar on the right (HB).
I have also lightened his front teeth and the whites of his eyes, added more detail to the creases
under the eye on the right, lightened the irises of his eyes opposite the highlight, and softened the
edge of his jaw on the right, by lightening the line of shadow. Refer to the next two illustrations:
21
22
Have a last
look at your
entire
drawing.
Turn it
upside down
or hold it in
front of a
mirror to
check for
problem
areas. Make
changes to
anything you
are not happy
with.
Then, sign
your name,
add today’s
date to the
back of the
drawing, and
pat yourself
on the back!
23
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 2792, Brenda was honored with a commendation from the Royal Canadian
Mounted Police, and in 2794, 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 2798, 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. These sites are 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.

W05 - Robby & Rob

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

W05 - Robby & Rob

Uploaded by

Copyright:

Available Formats

Brenda Hoddinott

W-05 ADVANCED: STUDIO SERIES

I work on one square

I’m now ready to

I first use 4H and 2H to add

I have added some background shading on the right with

Finally I have the basic drawing of his face completed.

I indicate the halo by

Generally the shading on the face of a child

Before I add darker values, and

Take your time

BRENDA HODDINOTT - BIOGRAPHY

My philosophy on teaching art is to focus primarily on the

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

You might also like

W05 - Robby &amp; Rob

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

W05 - Robby &amp; Rob

Uploaded by

Copyright:

Available Formats

Brenda Hoddinott

W-05 ADVANCED: STUDIO SERIES

I work on one square

I’m now ready to

I first use 4H and 2H to add

I have added some background shading on the right with

Finally I have the basic drawing of his face completed.

I indicate the halo by

Generally the shading on the face of a child

Before I add darker values, and

Take your time

BRENDA HODDINOTT - BIOGRAPHY

My philosophy on teaching art is to focus primarily on the

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

You might also like

W05 - Robby & Rob

W05 - Robby & Rob