W06 - Hallie Kate PDF

Brenda Hoddinott
W-06 Advanced: Studio Series

This heavily illustrated diary demonstrates the
process of drawing my favorite style of caricature,
affectionately referred to as a gigglecature (a word
you will probably not find in any dictionary). As you
explore the creation of this lifelike gigglecature of a
young child, a complex grid will help with such
challenges as rendering believable proportions.
If you are very familiar with setting up and working from a grid, you may wish to consider using
photos of someone special to you, and just follow along with my guidelines. If you decide to
work from a photo, make sure you choose a large one in which the facial features are clear and in
focus.
This lesson is divided into the following three sections:
PLANNING THE DRAWING AND SETTING UP THE GRID: Using the lines of the
graph paper as guidelines, I use an HB mechanical pencil and a ruler to draw a rectangle, and
divide it into 48 squares
OUTLINING FACE, HAIR, AND CLOTHING: I lightly sketch the outline of the facial
features, the yarn-textured hair, and the unique clothing.
GRADUATIONS, TEXTURES, AND INTRICATE DETAILS: I add shading to the
entire drawing, according to a dominant light source from the right and above.
ADDING FINAL TOUCHES: I lighten some sections of shading with my kneaded eraser,
and darken others with a 2B pencil to enhance the overall contrast.
This project is recommended for artists with strong drawing skills, who have a well-trained eye
for details and an incredible amount of patience. The actual drawing time on this project will be
20 to 40 hours. Curriculum is designed for advanced students of home schooling, academic and
recreational fine art educators.
30 PAGES – 44 ILLUSTRATIONS
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – December, 2005
2
PLANNING THE DRAWING AND SETTING UP THE GRID

This caricature came to mind as I watched a movie on TV, starring a young child actress with an
incredibly endearing face. You may know Hallie Kate Eisenberg from her numerous acting roles,
including soft drink commercials and The Miracle Worker.
The drawing of her wonderfully animated face is

based mostly on memory, from which I retrieved
this rough sketch. One of an artist’s best friends is
a sketchbook, in which I often capture creative
thoughts as visual images.
I drew her freehand, but wanted to make it into a
lesson; therefore, I made numerous scans of the
work in progress.
The grid is added to the drawing simply to help
students accurately render such intricacies as her
clothing and curly hair. However, not everyone
likes working with a grid, so feel free to draw
freehand. As you draw, simply ignore any
references to the grid.
To accentuate her most distinctive

feature, her eyes, I plan a tightly
cropped composition.
The dark shading of the background,
hair, and clothing will surround and
frame her very fair face. Hence, her
dark eyes will become the focal point.
Feel free to use your

creative license to modify this lesson
any way you wish. Maybe you would
prefer to do a caricature of someone
you know, or simply make up a
character from your imagination.
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
To set up the grid, I

first carefully tape the
corners of my Arches
140lb. watercolor
paper to a large sheet
of graph paper.
My drawing is quite
small, 6 by 8 inches
and the grid is made
up of 1 inch squares.
For a
larger drawing use
1.5 inch squares (9
by 12 inch drawing),
or 2 inch squares (12
by 16 inch drawing)
Using the lines of a

sheet of graph paper
as guidelines, I use an
HB mechanical pencil
and a ruler to draw a
rectangle and divide it
into 48 squares.
Starting from the left,

I number the vertical
squares along the top
and bottom with
numbers 1 through 6.
Starting from the top, I letter the horizontal squares down both sides with letters A through H.
Always draw grid lines VERY lightly, preferably with an HB mechanical pencil.
For increased accuracy, draw diagonal lines in the grid squares to help you place the
features more accurately.
Only the weight of the pencils themselves 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.
By the way, this entire project is rendered with 0.3mm and 0.5mm mechanical pencils, from 4H
to 2B.
4
OUTLINING FACE, HAIR, AND CLOTHING

I lightly sketch the outline of the face, and then add the intricate strands of hair around the
perimeter of forehead (refer to the drawing on the next page for a close-up of the hair).
Drawing the contents of one grid square at a time is much simpler than trying to
tackle a whole section at once.
5
I lightly outline the eyes, nose,

and mouth.
The placement of the facial
features of this child, follow
the same proportional
guidelines as realistic
portraiture.
Strong drawing
skills and a good knowledge
of facial anatomy are
important aspects of drawing
both caricatures and
cartoons of people. When you
know the rules, you know
how to break them
successfully!
As I work, I constantly double

check both sides of my drawing
to make sure her features are
symmetrical (see the close-up
drawing on the next page).
6
My favorite methods of
checking a drawing for
problems are to turn it
upside down, or hold it in
front of a mirror.
An accurately rendered
preliminary drawing,
helps make the shading
phase of this artwork
seem much simpler.
I continue adding strands

of hair to the upper
section of hair on the left
(see the following two
illustrations).
I find it very helpful to follow each

strand of hair from its origin to its
ending, over, under, and behind other
strands.
By now, you have no doubt,
discovered why this drawing is
considered advanced.
You not only need an incredible
amount of patience, but a little OCD
would be considered a definite
advantage.
☺
7
I complete the outlines of the hair on

the left. Even though all the individual
strands of hair are curved, many are
thicker than others. They overlap and
intertwine throughout the hair.
Draw slowly and check

the proportions often. Carefully
observe the relationships between
the lines, shapes, and spaces inside
each grid square.
Take time each day

to capture your creative
thoughts as visual images in
your sketchbook.
8
I draw the little section of the

ear that is showing, and the
hair on the right.
The hair is not quite as curly
on this side and is therefore
easier to draw.
I decide to take a little break

from drawing hair and work
on the clothing for a while.
Refer to the close-up of her
clothing on the next page.
When I originally envisioned this

character, I wanted her clothing
to have a natural, aboriginal, or
native look… to compliment her
casual hairstyle. Yet I wanted to
add a contemporary touch as
well.
I achieved my goal with a
combination of lace, fabric, and
feathers.
Also, the unusual texture of the
neck of her garment adds a touch
of mystery and fantasy as to her
origin.
9
I’m close to finishing the outline and well into my second day of working on this drawing
(including making scans of the drawing in progress, of course). I’m beginning to get bored with
the outline drawing and am looking forward to the shading.
I finish drawing the hair on the right and add the outline of the shoulders (visible only in small
segments behind the strands of hair). Refer to the drawing on the next page.
Constantly refer to my drawing to make sure you are working in the correct
squares. Compare the placement of everything with your drawing. Continue making any
changes needed until you are completely happy with everything.
10
11
12
GRADUATIONS, TEXTURES, AND

INTRICATE DETAILS
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 begin the fun
stuff – adding values!
Before you begin adding values, examine

the completed drawing on the right to get an overview
of the shading goals.
The dominant light source is from the right and above.
Remember, the shading of the hair is lighter in some
places with the white paper showing through. The strands
of hair are generally thicker, lighter in value, and more
detailed closer to the face.
I use the edge of my vinyl eraser to
erase the vertical and horizontal
grid lines in the sections in which I
plan to work.
I leave some of the diagonal lines
as references for my crosshatching
lines. The background is shaded
with crosshatching graduations. All
my crosshatching lines are
diagonal rather than horizontal and
vertical. This is a matter of
personal preference and style.
Before you begin

each section, pat the drawing
with a kneaded eraser to lighten
the sketch lines, and remove any
remaining eraser crumbs.
A 2H pencil works well for the
light values, and an HB for the
darker areas in the upper corner
and toward the bottom.
The images in this tutorial are
fairly self-explanatory, so you’ll
find very little text from this point
onward.
13
Experiment with different techniques to find a

comfortable style for shading the hair before you begin.
Remember, this drawing has a LOT of hair, so, if you
don’t have an extraordinary attention span, choose a less
tedious style of shading.
I first added shading to the

darker hair on the left with
curved hatching lines that
follow the perceived form
of each strand of hair.
I have attempted to give the
hair a yarn or dreadlock
texture.
Before you
start shading each section,
remember to erase the
grid lines
14
I add light and

medium values to
the hair with 0.3mm
and 0.5mm
mechanical pencils,
from 4H to HB.
The darkest values
will be added later
with a 2B pencil,
when the drawing is
almost complete.
Generally speaking,
the hair in the
background is dark
and the strands
become
progressively lighter
in value toward the
foreground.
15
I add shading to
the section of the
ear that is
showing on the
left, with 2H and
HB pencils. This
shading graduates
darker closer to
the side of the
face.
I add more
textured shading
to the hair strands
on the left side of
the bangs.
The very dark
shading that is
peeking out from
under and below
her ear is rendered
with an HB
pencil.
16
With 2H and HB pencils, I add

shading to the sections of hair in front
of and around the ear.
The different values give form to the
hair, and the technique of shading with
curved hatching lines, adds the texture.
I complete the background shading on
this side, graduating the values to dark,
closer to the bottom of the page.
17
I complete more
strands of hair
on the left.
An HB pencil
works well to
add dark
shading to the
tiny section of
the neck.
With 2H and
HB pencils, I
add a little
shading to her
clothing, paying
close attention
to the different
values, which
give the illusion
of depth to the
gathers of the
fabric.
I add the texture and design of the band of trim on

her sleeve.
18
Most of the hair on the other side of her head is lighter in value because it is closer to the light
source. I use mostly 2H and HB pencils.
19
I erase the grid

lines from the
face in
preparation for
shading.
I begin with
the forehead
and slowly
progress down
the face to the
chin and neck.
All the
delicate facial
shading is
done with
diagonal
crosshatching
lines.
To render intricate crosshatching lines,

you need to keep your pencil point very sharp.
I use my 2H pencil for the lighter areas on the face,
and my HB for the darker shadow areas.
The shading that defines the forms of the forehead,
eye sockets, cheeks and chin is slightly darker on the
left. The areas in the shadows of the nose, corners of
the mouth, and the strands of hair on the forehead, are
indicated by darker shading.
20
Before I began shading the facial features, I fix a lock of hair over the eyebrow on the right,
which I just didn’t like. I erased the section touching the brow, and shortened and straightened it.
Using a shading style similar to that of the hair, I shaded the eyebrows and added a shadow
under each brow. I outline the pupil, iris, and the highlight of each eye, and add shading to the
nose. The shading of the nose is similar to shading a sphere. Remember to leave the highlight
white, and to leave a light area along the shadow edge of the nose to represent reflected light.
21
The iris of each eye is shaded with

an HB pencil, and the pupil with a
4B.
The irises are darker on the side
where the highlight is drawn.
The shading on the face around and
between the eyes is darker on the
side of the face further away from
the light source.
The dark shading on the ear

creates the illusion of the ear
being under the hair and set
further back than the edge of
the face.
With HB and 2H pencils, I
continue with more shading
in the background, noting
that it is becoming
progressively lighter as it is
drawn diagonally towards the
lower left corner.
I added dark shading to the
strands of hair under her ear
behind the side of her face.
22
I add several more strands of hair on

the right.
HB and 2H pencils work great for

adding more graduated shading to the
background.
At this point, the values become
gradually darker toward the bottom of
the page.
The shoulder on the right becomes
more clearly defined when I add the
shading to the background and draw
more strands of hair.
23
With 2H, 2B, and HB pencils, I

continue shading the clothing, varying
the shading techniques for the different
textures of the fabric, trim, lace, and
feathers.
As you can see in the below

illustration, I am almost finished
shading the lace around her neck, the
fabric on the shoulder and sleeve with
its decorative band, and the feathers.
I complete the lower section of
background shading on this side.
24
I finish the hair on this side of the drawing.
ADDING FINAL TOUCHES

At this point, the shading is comprised of mostly middle values; hence, I need to lighten some
sections with my kneaded eraser and darken others with a 2B pencil to enhance the overall
contrast.
First of all, I go over the entire drawing and pull out the lightest values, such as the highlights in
her eyes, and on her nose, chin, and cheeks.
25
26
With freshly
sharpened
2B and 4B
pencils, I
darken tiny
sections of
shading,
especially in
the shadow
areas.
Refer to the
close-up of
her face (on
the right)
and the
following
five
illustrations.
27
Practice gigglecatures on your family and friends either from life, sketches, or
photographs. Even though they are a lot of fun, you are still learning valuable drawing
skills.
The secret to drawing a likeness to an actual person is to exaggerate prominent features.
Strong observation skills and a creative mind will result in an exciting project. Only
practice, practice and more practice will help you improve.
28
Take a few
minutes
and check
over your
drawing
and make
any
adjustments
needed.
Sign your
name and
put today’s
date on the
back of
your
drawing.
29
30
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. 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.

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Brenda Hoddinott

W-06 Advanced: Studio Series

PLANNING THE DRAWING AND SETTING UP THE GRID

The drawing of her wonderfully animated face is

To accentuate her most distinctive

Feel free to use your

To set up the grid, I

Using the lines of a

Starting from the left,

OUTLINING FACE, HAIR, AND CLOTHING

I lightly outline the eyes, nose,

As I work, I constantly double

I continue adding strands

I find it very helpful to follow each

I complete the outlines of the hair on

Draw slowly and check

Take time each day

I draw the little section of the

I decide to take a little break

When I originally envisioned this

GRADUATIONS, TEXTURES, AND

Before you begin adding values, examine

Before you begin

Experiment with different techniques to find a

I first added shading to the

I add light and

With 2H and HB pencils, I add

I add the texture and design of the band of trim on

I erase the grid

To render intricate crosshatching lines,

The iris of each eye is shaded with

The dark shading on the ear

I add several more strands of hair on

HB and 2H pencils work great for

With 2H, 2B, and HB pencils, I

As you can see in the below

I finish the hair on this side of the drawing.

ADDING FINAL TOUCHES

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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