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Brenda Hoddinott

M07 INTERMEDIATE: ANIMALS & FANTASY


Feathers define the structural form of a swan, in much
the same way as clothing defines the understructure
of a person.
In this project, you outline the various shapes of the swan, refine the contour drawing, add
shading to define both form and texture, and use horizontal hatching lines to indicate the swans
reflection in water.
This project is divided into the following five sections:
INTRODUCTION: Shading the feathers on a bird requires special attention to light and
shadows as well as texture. My reference photo indicates a soft diffused light source from
the upper right.
SKETCHING BASIC PROPORTIONS: Which came first, the chicken or the egg?
Well, even though this is a swan, not a chicken, you start this project by drawing an egg
shape.
DRAWING A MORE PRECISE OUTLINE: You add additional details to the swan as
you outline him (or her) with thin neat lines in preparation for shading.
SHADING THE SWAN: You add shading to the swan with lines of various lengths;
some are straight, but most are curved.
DRAWING WATER: Calm water looks more realistic when the shading lines are
horizontal and parallel. An exception to this is when an object or living being (such as a
swan) creates ripples in the water.
Supplies include 2H, HB, and 2B pencils, erasers, good quality drawing paper, and a ruler.

10 PAGES 20 ILLUSTRATIONS
This lesson is recommended for artists with good drawing skills, as well as advanced students of home
schooling, academic and recreational fine art educators.

Published by Hoddinott Publishing for Drawspace.com, Halifax, NS, Canada - 2008

INTRODUCTION

Figure 701

Feathers define the structural form of a swan, in


much the same way as clothing defines the
understructure of a person.
Shading the feathers on a bird requires special
attention to light and shadows as well as texture.
My reference photo (Figure 701) indicates a soft
diffused light source from the upper right. Note
the dark cast shadows on her neck under her
head, and in the water under her body.
A swan is relatively easy to draw; its head,
neck, and body are made up of only three shapes
(Figure 702), and a fourth shape captures the
essence of the bill (Figure 703).
As you draw the swan, keep in mind that you
need to indicate the form of the folded wings as
well as the texture of the feathers.
Wings come in a vast range of shapes and sizes,
from the tiny delicate wings of a Humming Bird
to the magnificent strong wings of a Bald Eagle.
Figure 704 shows the basic structure of a
nonspecific wing that is similar to those of a
swan.

Figure 703

Figure 702

Figure 704

Figure 705 shows a generic feather


that I drew from my mind. The wide
end of the shaft (the long skinny
thing in the center) of a feather is
called a quill. A quill has a hollow
center, and many years ago, people
dipped them into ink and used them
as pens to write with.

Figure 705

Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

ART SPEAK
Form, as applied to drawing, is the illusion of the three-dimensional structure of a shape, created in a drawing
with shading and/or perspective.
Shading (noun) refers to the various values that help make drawings look three-dimensional; (verb) refers to the
process of adding shading to a drawing.
Light source refers to 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.
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.
Cast shadow is a dark area on a surface, adjacent to where the light is blocked by an object.
Shape refers to the outward outline of a form.

SKETCHING BASIC PROPORTIONS

Figure 706

Which came first, the chicken or the egg? Well,


even though this is a swan, not a chicken, you start
this project by drawing an egg shape. Grab your
sketchbook, follow along with me, and draw a
swan.
1)

Use a ruler to very lightly draw a square


the size youd like for your final drawing.

2)

Draw an egg shape close to the bottom of


your drawing space.
See Figure 706 and refer back to Figures 701
to 703 to remind yourself of the shapes and
their positioning within the drawing space.
Allow plenty of room to later add her long
neck and head.

Figure 707

Note that the smaller end of the egg shape is


tipped downwards slightly towards the left
lower corner of your drawing space.
Keep your lines light for now, because they
need to be erased later.
3)

Draw her neck.


Notice that the end of her neck that is closer to
the water is wider than the top where the neck
joins her head.

Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

ART SPEAK
Proportion is the relationship in size of one component of a drawing to another or others.
Drawing space 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.
Outline drawings (also called contour drawings 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.

4)

Add a small circle at the top of her neck.

Figure 708

This will be her head (Refer to Figure 708).


Figure 709

5)

Draw in her bill (you may call it a beak).


Refer to Figure 709.

Figure 710

6)

Pat your
sketch with a
kneaded
eraser until
the lines are
so faint that
you can
barely see
them.
Refer to
Figure 710.

DRAWING A
MORE
PRECISE
OUTLINE
In this section, you
add additional
details to the swan as
you outline him (or
her) with thin neat
lines in preparation
for shading.

Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

7)

Draw the swan in


detail with fuzzy
lines; use your
sketch as a guide.

Figure 711

Do not draw
directly over your
sketch lines. Rather,
refer to my drawing
in Figure 711 and
the photo in Figure
701 to adjust the
lines to better
represent more
precise proportions.
Note that the outline
is drawn with fuzzy
lines rather than
smooth ones. This
helps to indicate the
texture of feathers.
Figure 712

Outline her bill, eye,


wings, those big beautiful
tail feathers, and the
reflection in the water.
8)

Use the corner of a


vinyl eraser to
erase (or lighten)
the initial sketch
lines.

9)

Redraw any lines


that were
accidentally
erased.

10) Make changes to


anything you
arent happy with
before you
continue.
Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

SHADING THE SWAN


In this section, you add shading to the
swan with lines of various lengths;
some are straight, but most are curved.
11) Lightly shade in the
forms of her body and
head with hatching lines
of different lengths.

Figure 713

ART SPEAK
Hatching is a series of
lines (called a set) drawn
closely together to give
the illusion of values.

Use 2H and HB pencils to add


light values with mostly curved
hatching lines.
This light shading indicates
the texture of feathers all
over her body, her wings
and her tail. Remember, the
light source is from the
right and above.
12) Add more detailed
shading to the feathers
on the swans head.
Refer to Figure 714. Use
whatever pencils you prefer.
Observe the light areas
(highlights) on the front of her
head, and her cheeks. Notice how
the shading on her head defines
the form of her head.

Figure 714

13) Shade in her bill, using high


contrast shading with
crosshatching.
14) Draw the shading of her eye.
The highlight stays white. Also,
the shading is darker in the upper
section of her eye.
15) Add darker values to her neck in
the sections that are in shadow.
Use HB and 2B pencils. Refer to
Figures 714 and 715. The shading
is darker directly under the cheek
and on the right side of the neck.
Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

Also, take note that the feathers at the bottom of her neck
appear larger than those close to the top of her neck. The
hatching lines are longer, farther apart, and more curved.

Figure 715

16) Add darker values to the remainder of her body,


tail feathers, and wings.
Refer to Figures 715 and 716.
Figure 716

Figure 717

DRAWING WATER
Calm water looks more realistic when
the shading lines are horizontal and
parallel. An exception to this is when
an object or living being (such as a
swan) creates ripples in the water.
17) Draw lots of very light, straight
lines all through the
background, parallel to the top
and bottom of your drawing
space.
Refer to Figure 717 on the right.
Use a ruler.
Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

Figure 718

18) Shade in the reflection of the swan in


the water.
Figure 718 shows the water around the
lower body of the swan. Focus on the
various values used to show the light and
shadows.
19) Use parallel hatching lines to add
shading to the rest of the water.
Refer to Figure 719 on the next page.

Look closely at the water in


Figure 719 and take note of
the following:
The water is shaded with hatching lines that are parallel to the top and bottom of the
drawing space.
The hatching lines extend beyond the drawing space on both sides.
Hatching lines also extend into the shading of the reflection, but not the swan.
The shading is lighter in value closer to the top of the drawing space, but is a little darker
closer to each side.
The ripples close to the swan are shaded to show that she is moving through the water.
The shading style is still parallel hatching lines, but different values define the circular
ripples in the surface of the water.
Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

Figure 719

Congratulations!
Youve just
completed another
project. Sign your
name and put
todays date on the
back of your
drawing.

Figure 720

Now, pat
yourself on
the head and
give
yourself a
great big
hug!

Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

10

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, cont 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. Johns, 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 Brendas twenty-five year career as a
self-educated civilian forensic artist, numerous criminal investigation departments have
employed Brendas 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 communitys recreational art department, Brenda hired and
trained teachers, and designed curriculum for several childrens 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: Wiley Publishing, Inc., New, York, NY, this 336 page book is
available on various websites and in major bookstores internationally.
The Complete Idiots Guide to Drawing People: 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.

Copyright to all articles, images, text, projects, lessons and exercises within this document 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 brenda@drawspace.com Web site http://www.drawspace.com

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