Silly Faces: Brenda Hoddinott

SILLY FACES
Brenda Hoddinott
E-02 BEGINNER: PERSPECTIVE ONE
Pretend you’re inside a spaceship, flying through the galaxy, while looking outward into space
through a square window. Suddenly, you see a whole bunch of silly faces floating toward you!
They appear bigger and bigger the closer they move toward you.
In this fun lesson, a group of silly faces seem to be floating through space. Overlapping, as a
component of geometric perspective, is introduced as a means of creating depth.
Four elements of perspective are used in this lesson: Overlapping: Most silly faces in this
project overlap others; Size Differences: The farther away objects are, the smaller they appear to
be; Atmospheric Perspective: The outlines of the faces need to become gradually lighter in
value as they appear to recede into distant space; and Arrangement: Those faces that are closer
to the viewer are drawn closer to the bottom of the drawing space.
This lesson is divided into the following two sections:
 INTRODUCTION: An illustrated discussion explores the process of creating the illusion of
three-dimensional reality with four elements of perspective.
 OVERLAPPING SILLY FACES: You draw nine overlapping faces, from the closest to the
farthest away, which appear to recede into the distance as they float through space. As for
their individual shapes and facial features – feel free to use your imagination.
Suggested drawing supplies for this project include HB, 2B, and 4B graphite pencils, a vinyl
eraser, a ruler, and good quality drawing paper
This project is recommended for artists of all ages, as well as home schooling,
academic and recreational fine art educators.
9 PAGES – 13 ILLUSTRATIONS
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2003 (Revised 2006)
2
INTRODUCTION
Suggested drawing supplies for this project include HB, 2B, and 4B graphite pencils, a vinyl
eraser, a ruler, and good quality drawing paper
ILLUSTRATION 02-01
Assume that, in reality, all the
silly faces you are about to
draw are exactly the same size.
However, to create the illusion
of three-dimensional reality,
some need to be drawn large,
while others need to be quite
tiny.
Examine Illustration 02-01 to
get an idea of how the silly
faces should look when
finished. Each is numbered
from 1 to 9, according to the
sequence in which they will be
drawn – 1 is first and 9 last.
Refer to this illustration as you

read about how the following
four elements of perspective are
used to create the illusion of
depth in this specific drawing:
Overlapping: When one object is in front of another, it is obviously closer. Most silly faces
in this project overlap (appear to be in front of) others. Overlapping, as a component of
perspective, gives the illusion of depth in a drawing and refers to the positions of the
subjects, when one visually appears to be in front of another (or others).
A noticeable clue is provided when a section of one seems to be missing. However, it’s not
really missing - the one in front of it is merely blocking your line of vision.
Size differences: The farther away objects are, the smaller they appear to be. As the numbers
get higher from 1 to 9, each face is rendered progressively smaller – number 1 is larger than
number 2 and so on. Number 9 is the smallest of all!
As you progress through each step of this project, make sure every silly face you draw is
slightly smaller than the previous one.
Atmospheric Perspective: The farther an object recedes into the distance, the lighter in
value it seems to become due to the presence of various particles in the atmosphere. Values
are the different shades of gray created in a drawing by various means, such as using
different grades of pencils, varying the density of the shading lines and/or the pressure used
in holding a pencil.
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
In this drawing, the outlines of the faces need to become gradually lighter in value as the
numbers get higher. To create this illusion, use a 4B pencil (dark) to draw number 1 and 2, a
2B pencil (medium) for numbers 3 to 5, and an HB (lighter) for numbers 6 to 9.
Arrangement: When subjects are viewed below the horizon line, objects that are closer need
to be drawn closer to the bottom of the drawing space. The horizon line: (also known as eye
level) refers to an imaginary horizontal line that divides your line of vision when you look
straight ahead.
In this drawing, the horizon line is not marked, but is above the silly faces. Hence, those faces
that are closer to the viewer are drawn closer to the bottom of the drawing space. Conversely,
those that are farthest away are drawn closer to the top of the drawing space. The higher the
numbers, the higher up each face appears within the drawing space.
Drawing space refers to the area in which you render a drawing within a specific perimeter. It
can be the shape of your paper or outlined by any shape you choose, such as a rectangle or
square.
OVERLAPPING SILLY FACES

In this fun lesson, groups of overlapping silly faces appear to recede into the distance as they
float through space. As for their individual shapes and faces – feel free to use your imagination.
1) Draw a square to represent your drawing space.

Your square can be any size you wish. Suggested sizes include 4 inches by 4 inches, 6
inches by 6 inches, or 8 inches by 8 inches.
ILLUSTRATION 02-02
2) Use a wiggly line to draw a big
sideways C in the lower one-
third of your drawing space.
Use a 4B pencil. The line does not
need to have its wiggles the same
as in my drawing.
However, pay attention to its size
and position within the lower
section of the drawing space.
Also note that one end of this line
touches the bottom side of the
square closer to the left than the
right. The other end touches the
right side of the square near the
bottom.
4
Before you attempt to draw these cartoon eyes, you need to be familiar with the names of each
part. Refer to the next drawing and the following terms:
ILLUSTRATION 02-03
A highlight is the brightest area where light
bounces off the surface of the eye.
The iris is the colored circular section of the
eyeball.
The white of the eye is the visible section of
the eyeball.
ILLUSTRATION 02-04
3) Draw eyes on the large face.
Begin by drawing two ovals and then
add a large circle (the iris) in the
upper section of each.
Outline a tiny circle (the highlight0
inside each large circle. highlights
helps make eyes look shiny.
4) Use your 4B pencil to completely
shade in the top half of each eye,
but remember to leave the
highlight white.
ILLUSTRATION 02-05
Don’t worry if your silly

faces don’t look exactly
like mine.
If you wish, you
can use your
imagination and
create your own
eyes (and
mouths) for
each of the nine
silly faces,
5
ILLUSTRATION 02-06
5) Draw an outline of a smaller silly face
behind the first.
This face appears higher within the
drawing space – the top is slightly above
the halfway point of the height of the
square drawing space. Each end touches
the outline of the first. Hence the first
face is overlapping (in front of) this one.
6) Draw the eyes and mouth on the
second silly face.
Note that the eyes and mouth on the
second silly face are at an angle.
ILLUSTRATION 02-07
7) Draw the outline of the third,

even smaller, silly face with a
2B pencil.
8) Add its eyes and mouth.
The eyes and nose on the third
silly face are also at an angle.
ILLUSTRATION 02-08
Take note that the three silly faces are

three different sizes with the largest in
the front, and the smaller ones
appearing to be behind it.
The first one you drew looks closer
than the other two, because it is largest
in size, lowest within the drawing
space, and overlaps the others.
6
ILLUSTRATION 02-09
9) Draw the outline of

the fourth face,
and add its eyes
and mouth.
The fourth face is
slightly smaller than
the third.
Its outline looks like
a backward C-shape
with its ends
touching the left
side of the drawing
space.
ILLUSTRATION 02-10
10) Add the fifth face,

eyes and mouth.
This face is on the
far right of the
drawing space, and
slightly above and
to the right of the
third face.
7
ILLUSTRATION 02-11
11) Draw the outline of

the sixth face, and
add its eyes and
mouth.
This face is slightly
smaller than the
fifth, and on the left
of the drawing
space, slightly
higher and a little
above the fourth
silly face.
ILLUSTRATION 02-12
12) Add the seventh

Happy (or is it
Grumpy) face
slightly behind the
fifth face.
8
13) Draw the two smallest faces.

The smallest is higher in the drawing space than all the rest, and its upper section is hidden
behind the upper edge.
If you want, you can use colored pencils to have some creative fun adding color to the
faces and background.
Sign your name, put the date on the back of your drawing paper, put a silly smile on your face
and give yourself a big hug!
ILLUSTRATION 02-13
9
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.
Fine Art Education http://www.finearteducation.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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SILLY FACES

Refer to this illustration as you

OVERLAPPING SILLY FACES

1) Draw a square to represent your drawing space.

Don’t worry if your silly

7) Draw the outline of the third,

Take note that the three silly faces are

9) Draw the outline of

10) Add the fifth face,

11) Draw the outline of

12) Add the seventh

13) Draw the two smallest faces.

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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