Y-02 ADVANCED: CREATING IN COLOR pdf

Brenda Hoddinott

Y-02 ADVANCED: CREATING IN COLOR
Drawing an adorable puppy with colored pencils, illustrates
how to shade textures and forms with a focus on identifying
and rendering the light and shadow areas of diverse colors.


CONTENTS
Introduction……………………………………………………………………………………… 3
Suggested drawing supplies…………………………………………………………………4
Skills presented…………………………………………………………………………… 4
Glossary of art terms used………………………………………………………………… 4
Part One: Planning and Outlining………………………………………………………….……7
Lesson Y-02-1: Setting up your format and grid……………………………………………7
Lesson Y-02-2: Outlining Wobby with help from a grid……………………………………8
Part Two: Adding Wobby’s Fur………………………………………………… ………… 13
Lesson Y-02-3: Mapping dark blue values………………………………… 13
Lesson Y-02-4: Hatching middle values of blue fur.……………………………………… 14
Lesson Y-02-5: Hatching light blue fur…………………………………………………… 16
Lesson Y-02-6: Hatching yellow fur……………………………………………………… 18
Part Three: Shading Eyes and Nose………………………………………………………… .20
Lesson Y-02-7: Drawing compelling dog eyes………………………………… 20
Lesson Y-02-8: Shading Wobby’s shiny nose………………………………………………23
Part Four: Shading a Rainbow…………………………………………………………… … 24
Lesson Y-02-9: Setting up for stripes……………………………………………………….24
Lesson Y-02-10: Shading rainbow stripes………………………………………………… 26

Part Five: Adding Final Touches……………………………………………………………… 27
Lesson Y-02-11: Grounding Wobby with a cast shadow……………………………………27
Lesson Y-02-12: Finishing the drawing of Wobby………………………………………….28

28 PAGES – 24 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, 2004



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-2 -
INTRODUCTION

Wobby is “painted with colored pencils” using primary and secondary colors. Because
his face looked so sad in my preliminary sketch, I chose to use mostly blue for his fur. To
keep the drawing bright, I used other primary colors for this puppy, yellow for the insides
of his ears and the under pads of his paws, and red (almost pink) for his nose. I chose
stripes of both primary and secondary colors for his rainbow ribbon (bow).
SKILLS PRESENTED
1. Adding shading with graduated hatching values
2. Blending colors with burnishing
3. Sketching within a simple grid
4. Planning shading strategies

5. Illustrating various textures
6. Drawing the forms of a cartoon body
7. Identifying and shading light, shadows, and cast shadows
GLOSSARY OF ART TERMS
Burnishing: is the application of one layer(s) of color (or white) over another, by
applying pressure to your pencil to blend colors together. Burnishing colored pencils can
also be done with a tortillon or a firm plastic eraser.
Cast shadow: is a dark area on a surface, adjacent to where the light is blocked by
an object.
Contour drawings (also called line drawings): are comprised of lines which
follow the contours of the various components of a drawing subject and define the
outlines of its forms.
Contour lines: are created when the shared edges of spaces and/or objects meet.
Contour lines can define complete objects or small sections or details within
drawing subjects.
Contrast: measures the degree of difference between the light and dark values
within shading, and creates the illusion of three-dimensions in a drawing.
Curved lines: are created when a straight line curves (or bends). Curved lines can
be drawn thick or thin.
Drawing: is the application of art media to a surface so as to produce an image, which
visually defines an artist’s choice of drawing subjects from his or her unique perspective.
Drawing space (sometimes called a drawing format): refers to the area of a
drawing surface within a specific perimeter, outlined by a shape of any size, such as
a square, rectangle or circle.

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Form: 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.
Foreshortening: refers to the visual distortion of a person or object, when viewed
at extreme angles. As the angle of viewing becomes more extreme the level of
distortion becomes more pronounced.
Geometric perspective (sometimes called linear perspective): is a method of
representing drawing subjects so they seem to recede into distant space, and appear
smaller the farther they are away.
Graduated shading (also known as a graduation or graduated values): is a
continuous progression of graduated values from dark to light or from light to dark.
Grid: is a framework of vertical and horizontal reference squares on an image
and/or drawing paper, used by artists to either enlarge or reduce the size of the
original image.
Hatching: is a series of lines (called a set) drawn closely together to give the
illusion of values.
Light source: 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.
Outline drawings (also called contour or line drawings): are comprised of lines
which follow the contours of the various components of a drawing subject and
define the outlines of its forms.
Overlapping: refers to the position of an object when it visually appears to be in
front of another object.
Perspective: is the rendering of a three dimensional object or space within a two
dimensional drawing space.
Proportion: is the relationship in size of one component of a drawing to another or
others.
Shading: refers to the various values that make drawings look three-dimensional.
Shadows: are the areas on an object that receive little or no light.
Shape: refers to the outward outline of a form. Basic shapes include circles, squares

and triangles.
Sketching: is the rendering of a quick, rough representation or outline of a planned
drawing subject. A sketch can also be a completed work of art.
Texture: is the surface detail of an object, as defined in a drawing with various
shading techniques. The senses of touch and sight help identify the surface texture
of drawing subject.
Values: are the different shades of color created when you draw by varying both the
density of the shading lines, and the pressure used in holding your pencils.


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SUGGESTED DRAWING SUPPLIES
1. Heavy drawing paper or mat board, preferably a light color
2. Sandpaper block or fine sandpaper for keeping your pencils sharp
3. Ruler
4. HB graphite pencil
5. Vinyl eraser
6. 24 colored pencils similar to the following:
ILLUSTRATION 2-01


1 2 3 4 5 6 7 8 9 10 11 12

13 14 15 16 17 18 1 9 20 21 22 23 24


1 ORANGE

13 WHITE

2

LIGHT ORANGE

14 LIGHT GRAY

3

YELLOW

15 DARK GRAY

4 DARK OCHRE

16 DARK BROWN

5 DARK GREEN

17 MEDIUM BROWN

6 LIGHT GREEN

18 RUST

7 LIGHT SKY BLUE

19 PINK

8 MEDIUM BLUE

20 LIGHT PURPLE

9 SAPPHIRE BLUE

21 LIGHT RED

10 DARK BLUE

22 MAUVE

11 DARK VIOLET

23 DARK RED

12 BLACK

24 MEDIUM RED


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-5 -
PART ONE: PLANNING AND OUTLINING

In this section you plan your drawing and outline Wobby within your drawing space.
LESSON Y-02-1: SETTING UP YOUR FORMAT AND GRID
I’ve chosen a lightly textured acid-free mat board as my drawing surface. Wobby is
drawn in a grid format to help you set up proportions. I’ve chosen 4 squares across by 5
squares down. My drawing is 4” x 5”, which is quite tiny, but you can do a larger
drawing by using larger squares.
ILLUSTRATION 2-02

1. Draw your grid lines VERY lightly, preferably with your HB mechanical
pencil.
2. Add numbers along the top and letters down the side as illustrated.

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LESSON Y-02-2: OUTLINING WOBBY WITH HELP FROM A GRID
Don’t press too hard with your pencil or your lines won’t erase later.
ILLUSTRATION 2-03

3. Start by roughly sketching the basic outline of the head, ears, body, and
tail VERY lightly with your HB pencil.
Use Illustration 2-03 as a basic guideline for placing the overall shape within the
grid format. The next four illustrations show close up views of the fine details
within each section.

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ILLUSTRATION 2-04

4. Lightly draw the outline of Wobby’s head and ears as in Illustration 2-04.
5. Add the tuffs of fur on the top of his head.
6. Draw the outlines of his eyes, in which you will draw the individual parts.
Note the distinctive overall shapes as being almost triangular.
7. Draw all the parts of his eyes inside the outlines.
Take a moment and become familiar with the names of the parts of an eye:
 Iris: the large colored circular shape.
 Highlight: a bright spot that defines where light bounces off the eye.
 Pupil: the dark circle inside the iris.


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-8 -
ILLUSTRATION 2-05

8. Add Wobby’s nose, his chubby cheeks, the bottoms of his ears and his tail.
ILLUSTRATION 2-06

9. Draw the outline of his bow and the rose (see Illustration 2-06).
To keep the drawing a little simpler, feel free to leave out the rose.

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ILLUSTRATION 2-07

10. Finish drawing the details of his body, legs and tail.
11. Draw his paws.
One of his back paws seems to be hidden behind his belly, but don’t worry, you add
it later!
12. When you’ve finished drawing these detailed sections, take a moment to
check carefully that everything is in the correct place.
Refer back to Illustration 2-03 and confirm that your proportions are correct.
13. Erase your grid lines and redraw the sections of the sketch, which were
erased.
A helpful hint when erasing: Use the edge of your vinyl eraser to erase the lines and
then very lightly brush away the eraser crumbs with a clean soft paintbrush. Then
use your kneaded eraser to gently pat the paper surface. It will pick up any
remaining eraser crumbs.


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-10 -
ILLUSTRATION 2-08

14. Use your kneaded eraser to lighten all your pencil lines until you can
barely see them.


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-11 -
PART TWO: ADDING WOBBY’S FUR

You are ready to begin adding color to the fur. Use a sandpaper block or fine sandpaper
to keep your pencil points very sharp. You use short hatching lines to represent fur.
LESSON Y-02-3: MAPPING DARK BLUE VALUES
Use pencil 10 (dark blue) to map out the darkest colors.
ILLUSTRATION 2-09

The light source is slightly from the left front, so the shading will be slightly lighter on
the left side of the drawing. Watch for the locations of dark shadowed areas such as under
his brows, on his neck and on the side of his nose.

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-12 -
ILLUSTRATION 2-10

15. With a freshly sharpened 10 (dark blue) pencil, draw the darker areas of
blue fur with short curved hatched lines.
Add darker shading to the areas that are farther away from the light source. Observe
how the curved hatched lines define the three dimensional shapes of various parts of
Wobby’s body.
LESSON Y-02-4: HATCHING MIDDLE VALUES OF BLUE FUR
You use two middle values of blue in this section. Depending on the brand of colored
pencils you are using, some colors may be different than mine. Test your 9 (sapphire
blue) and 8 (medium blue) pencils (or two similar colors) and determine which is lighter
and which is darker.


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ILLUSTRATION 2-11

16. With the darker of pencils 8 and 9, add more fur graduating from the
darkest values toward the lighter values.
17. Continue adding fur to the areas of Wobby closer to the light source, with
the lighter of these two pencils.

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LESSON Y-02-5: HATCHING LIGHT BLUE FUR
Working from the darkest to the lightest colors establishes a strong value range.
ILLUSTRATION 2-12












Before you add the lightest values, have a look at the close up view of fur in Illustration
2-12 and take note of the following:
 The different directions of the shading lines define Wobby’s forms.
 Hatching lines are short, but of slightly different lengths.
 Several different values of blue pencils are in each section of fur.
 The light color of my drawing surface shows through in the light areas.
 Hatching lines with a white pencil make some of the light areas even lighter.
 The shading is lighter on the left side of the drawing.
 Dark shading, in such places as the flaps under the ears and the creases of the
stitching, creates the illusion of depth.

 An element of realism is created by drawing the hatching lines in the directions in
which the fur appears to “grow”.






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-15 -
ILLUSTRATION 2-12

18. Use your 13 (white) and 7 (light sky blue) pencils to add the light values to
the fur.
Pencil 7 (light sky blue) works well to graduate medium values towards the lightest
sections.

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-16 -
LESSON Y-02-6: HATCHING YELLOW FUR
Work from the darkest to the lightest shades of yellow to establish a strong value range.
ILLUSTRATION 2-13

Have a close look at Illustration 2-13. The shading is lighter on the left side of the
drawing and is very dark in the shadow areas such as his back foot and under the upper
section of the flap of his right ear.


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-17 -
ILLUSTRATION 2-14

You need the following pencils for drawing
yellow fur:

 2 (yellow)
 4 (dark ochre)
 13 (white)
 16 (dark brown)
 17 (medium brown)
 18 (rust)

19. Begin shading the darkest areas
with pencils 16 and 17.
Remember, LESS IS MORE”! Use
VERY few dark shading lines. The
yellow fur will actually look yellow
(rather than yucky brown) if you use
mostly light colors.
20. Add middle values very sparingly
with pencils 4 and 18.
21. Use lots of 3 (yellow) to shade the
light values.
In the lightest areas, leave some
sections of your drawing surface
showing between your hatching lines.
22. Use your 13 (white) to add some
very light areas to the lightest
sections of the yellow fur.

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-18 -
ILLUSTRATION 2-15
















23. As in Illustration 2-15, add shading to Wobby’s paws using the same
techniques as used for shading the inside of his ear.

PART THREE: SHADING EYES AND NOSE

Wobby’s personality is illustrated by your handling of the shading of his eyes and nose.
Remember, you have a certified artistic license to use your creativity and make any
changes you wish, including the colors of his eyes and/or nose. Use a sandpaper block or
fine sandpaper to keep your pencil points sharp. But remember; don’t press too hard with
your pencils!
LESSON Y-02-7: DRAWING COMPELLING DOG EYES
Before you begin your shading of the eye refer to Illustration 2-16 and observe the
following:
 Note that the shading of the iris is darker at the top and on the side where the larger
highlight is drawn.
 Observe that the shading of the lower eyelid is a dark gray.
 Take note of the large highlight (on the left) and a lighter area (a smaller highlight) on
the opposite side of the iris.
 The lightest value of the shading on the iris is around the smaller highlight (on the
lower right).

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ILLUSTRATION 2-16

Following are the colors I used for shading Wobby’s eyes:
a) Irises: the larger colored circular shapes.
o 5 (dark green)
o 3 (yellow)
o 16 (dark brown)
o 18 (rust)
b) Pupils: the dark circles inside the irises.
o 12 (black)
c) Highlights: bright spots that define where light bounces off the eyes.

o 13 (white)
d) Lower eyelid: the lid (or rim) of the eye below the irises.
o 14 (light gray)
o 15 (dark gray)

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ILLUSTRATION 2-17















24. Identify the locations of the two large and two small highlights and fill
them in with your white pencil.
Note that the larger highlights are not touching the tops of the irises, but rather
are a little below. This is because the upper sections of the eyes are in the

shadows of the brows.
25. With your 16 pencil, add a very thin border of dark shading around the
inside edge of the lower half of each iris.
26. With your 12 pencil, outline the circular perimeter of the irises.
27. Shade in the upper section of the iris with your 16 pencil.
28. Add shading to the lower sections of the irises.
Use 18 for the section on the left of each iris and 5 for the section on the right. Use
burnishing, and your 3 pencil to blend these two colors and 17 together so the iris
seems shiny.
29. Outline the lower edge of the rim of each eye with your 12 pencil.
30. Use 15 to shade in the rim of the eye.
31. Burnish the center of the rim (or eyelid) with 14 to make it look shiny.
32. With your 12 pencil, shade in the pupil.
Compare your drawing of Wobby’s eyes to mine and make sure you’ve
forgotten nothing. Touch up any areas you are not happy with.



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LESSON Y-02-8: SHADING WOBBY’S SHINY NOSE
The technique of burnishing over your shading helps create the shiny texture of the nose.
ILLUSTRATION 2-18

33. Refer to Illustration 2-18, and fill in the four highlights on the nose with
your white pencil.
Two circular highlights (a big and a small) are located on the top of the nose,
and two small oval highlights are on the lower left sections of the nose
34. Add shading to the nose and the dark section of fur (the shadow created
by the nose) in the lower right.
Don’t forget to leave the highlights white. Take note of the reflected light
sections on the left and bottom section of the nose and remember to leave them
very light. Use the following colored pencils for the various values:
 12 (black): the darkest values on the inside of the nostrils, and for the
darkest shadow section of the fur on the lower right.
 15 (dark gray): the outline of the left perimeter of the nose and the
shading of the shadow sections of his nose on the right.
 23 (dark red): the dark values on his nose.
 21 (light red): the medium values
 19 (pink): the light values
35. Burnish the entire nose leaving the round highlights white, and the oval
highlights and reflected light sections light.
Use 13 to burnish the light values, 19 to burnish the middle values, and 23 for

the darker sections of the nose.

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-22 -
PART FOUR: SHADING A RAINBOW

Graduations are the primary ingredient in realistic shading. Some individual stripes
of the ribbon have more than one value of a specific color, requiring a graduation
from one value to the next. The goal is to keep the transition between the different
values flowing smoothly into one another.
LESSON Y-02-9: SETTING UP FOR STRIPES

In this section you discover how to create three values of each of six different colors
by using various pencils. The light source is from the left front, so the shading of
each color in the bow will be slightly lighter on the left side of the drawing.
ILLUSTRATION 2-19

For each color you use a light, a medium
and a dark value:
 Light value: for the areas closest to
the light source.
 Medium value: for the areas farther
away from the light source.
 Dark value for the darkest areas in
shadow such as the sections on the
right and under his chin.
The first number in the list below represents

the pencil I used for the darkest value, the
second number the medium, and the third
the lightest value:
1) Purple: 11, 22 and 20
2) Blue: 10, 8 and 7
3) Green: 12, 5 and 6
4) Yellow: 16, 4 and 3
5) Orange: 16, 1 and 2
6) Red: 16, 23 and 24

This numbered list of colors also represents the order in which the stripes are drawn.
Have a look at Illustration 2-19 and identify the beginning of the ribbon (at the bottom).
Note that purple is the first color, then blue, and so on in the same order as the above list.


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-23 -
36. Find a piece of scrap paper and try out each of the pencils you will use to
shade the rainbow ribbon.
You may need to apply a lot of pressure with your pencil to make the dark values. If
the light colors are not quite light enough, you can burnish them with white.
ILLUSTRATION 2-20

Have a close look at Wobby’s ribbon in Illustration 2-20. Each color in the bow is lighter

on the left side of the drawing, closer to the light source. Take note that there are very
few light values used for shading the section of the ribbon on the right.


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LESSON Y-02-10: SHADING RAINBOW STRIPES
Using three different values of each color provides the illusion of depth. Find your
pencils and draw a rainbow!
ILLUSTRATION 2-21

37. Draw lines on the ribbon to identify the location of each stripe.
Refer to Illustration 2-21. Proper use of geometric perspective and foreshortening
helps create the illusion of three dimensions. As a ribbon curves in different
directions some sections are closer to the viewer than others. Foreshortening creates
the illusion that some stripes appear to be wide and others are quite narrow.
38. Shade the rainbow ribbon.
Refer to the guidelines in lesson Y-02-9 for more information.
39. Add shading to the rose (if you have included it in your drawing).
Keep in mind that the rose is optional. You can draw it as is, leave it out,
change the color, or replace it with something else such as a nametag or dog
biscuit. Use your imagination!

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-25 -
PART FIVE: ADDING FINAL TOUCHES

With a tiny section of the fourth paw showing under Wobby’s belly, he seems to be
sitting more firmly on the ground. A few final touches, including a cast shadow, complete

this gorgeous cartoon puppy.
LESSON Y-02-11: GROUNDING WOBBY WITH A CAST SHADOW
Cast shadows give the illusion of weight by making it appear that the subject of your
drawing is sitting on a surface. In this section, you add Wobby’s other back paw, and
some shading with horizontal hatching lines to create a cast shadow.
ILLUSTRATION 2-22

40. Before you begin adding shading for the cast shadow, first outline and
then shade in a tiny section of his right back paw (as in Illustration 2-22).
Refer back to Part Two for guidelines on choosing colors and drawing fur.