GOLDEN ROSEBUD Brenda Hoddinott Y-01 ADVANCED: CREATING IN COLOR Overlapping and burnishing colors, and rendering believable shadows, contribute to the realistic three- dimensional forms of a golden rosebud. The diversity of colored pencils is explored in this non-traditional approach to drawing a rosebud. The dark gray drawing surface challenges artists to pull the forms of the drawing subject from darkness into light. CONTENTS Introduction……………………………………………………………………………… 3 Suggested drawing supplies…………………………………………………………………3 Skills presented…………………………………………………………………………… 4 Glossary of art terms………………………………………………………………… 4 Part One: Drawing the Outline……………………………………………………………5 Lesson Y1-1: Choosing a format and drawing supplies ……………………………………5 Lesson Y1-2: Outlining a rosebud………………………………………………………… 6 Part Two: Coming Out of the Dark ……………………………………………………….8 Lesson Y1-3: Laying down some foundation colors………………………………… 9 Lesson Y1-4: Shading the rosebud ……………………………………………………… 10 Lesson Y1-5: Shading the stem and leaves ……………………………………………… 13 Part Three: Adding Final Touches……………………………………………………….14 Lesson Y1-6: Guidelines for colors in shadows ………………………………………… 15 Lesson Y1-7: Shading medium and dark values………………………………………… 15 Lesson Y1-8: Shading the darkest shadows……………………………………………… 18 17 PAGES - 19 ILLUSTRATIONS Recommended for artists with good drawing skills from age 12 to adult, as well as home schooling, academic and recreational fine art educators Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada, Revised 2004 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 site http://www.finearteducation.com or http://www.drawspace.com - 2 - INTRODUCTION The diversity of colored pencils is explored in this non-traditional approach to drawing a rosebud. The dark gray drawing surface challenges artists to pull the forms of the drawing subject from darkness into light. This lesson is divided into three parts:  PART ONE: setting up your drawing format and drawing a detailed outline  PART TWO: shading light and medium values on the petals, stem, and leaves  PART THREE: adding realistic shadows by mixing a specific recipe of colors. SUGGESTED DRAWING SUPPLIES 1. Good quality dark drawing paper or mat board 2. White colored pencil 3. Five other colored pencils, as shown in Illustration 1-01. ILLUSTRATION 1-01 YELLOW ORANGE / RED MEDIUM BLUE PURPLE BLACK SKILLS PRESENTED 1. Drawing with detailed curved contour lines 2. Adding shading with graduated values 3. Blending colors with burnishing 4. Understanding the theory of color in shadows GLOSSARY OF ART TERMS Burnishing: is the application of one layer(s) of color (or white) over another, by pressing hard with a pencil, to blend colors together. Burnishing of colored pencils can also be done with a tortillon or a firm plastic eraser. Color wheel: is a method of arranging colors within a circular format to easily reference colors and their components such as primary, secondary, and complementary colors. Complementary colors: are colors which are opposite one another on the color wheel. 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 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 site http://www.finearteducation.com or http://www.drawspace.com - 3 - drawn thick or thin. Drawing: is the application of an art medium to a surface so as to produce an image, which visually defines an artist’s choice of drawing subjects from his or her own 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. 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. 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. 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. Primary colors: are the fundamental colors or pigments of red, yellow, and blue. Secondary colors: are the pigments or colors, orange, green, and purple created by combining any two of the primary colors. Red and yellow make orange, yellow and blue make green, and red and blue make purple. 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. 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. PART ONE: DRAWING THE OUTLINE Throughout this section you place your rosebud within your drawing space and draw a detailed outline in preparation for adding shading. LESSON Y1-1: CHOOSING A FORMAT AND DRAWING SUPPLIES I used a very dark gray drawing paper with a slightly textured surface. You can use any dark colored drawing paper, but keep in mind that the color of your paper will show through the colored pencils in some places. 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 site http://www.finearteducation.com or http://www.drawspace.com - 4 - Draw a rectangular vertical (sometimes called a portrait format) drawing format. Mine is 3 by 4 inches, but you may choose any size you wish, such as 4.5 by 6 inches, 6 by 8 inches, or 9 by 12 inches. You need only one colored pencil for the first part of this project. Choose a yellow close in color to Illustration 1-02. ILLUSTRATION 1-02 LESSON Y1-2: OUTLINING A ROSEBUD Find a quiet place where you will be uninterrupted for a while, sharpen your yellow pencil and get ready to draw! ILLUSTRATION 1-03 ILLUSTRATION 1-04 1. Very lightly draw a simple outline of a rosebud, as in Illustration 1-03. The rosebud is at an angle within your drawing space, tilted towards the right. Observe the curve of the stem. 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 site http://www.finearteducation.com or http://www.drawspace.com - 5 - 2. Pressing a little harder with your yellow pencil, go over your outline. Refer to Illustration 1-04 and refine the shape of your rosebud by adding a few more details with curved lines. ILLUSTRATION 1-05 ILLUSTRATION 1-06 3. As in Illustration 1-05, outline more petals in the center cluster. 4. Add a curved line from the center cluster down to the bottom of the rosebud. This curved line is not in the center, but rather closer to the left. 5. Refer to Illustration 1-06 and draw the outline of a thin leaf close to the bottom of your drawing space on the right. Observe how the leaf begins at the base of the rosebud, curves downward, and then curves toward the right and upwards. 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 site http://www.finearteducation.com or http://www.drawspace.com - 6 - ILLUSTRATION 1-07 6. Add another leaf under the rosebud on the left, as in Illustration 1-07. Observe how the leaf begins at the base of the rosebud and curves upward towards the left. 7. Outline the stem more distinctly. 8. Draw more small petals in the very center of the cluster. 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 site http://www.finearteducation.com or http://www.drawspace.com - 7 - PART TWO: COMING OUT OF THE DARK In this section you add shading to the petals, leaves and stem of the rosebud. LESSON Y1-3: LAYING DOWN SOME FOUNDATION COLORS Use your yellow and purple pencils to add the basic forms to the rosebud (as in Illustration 1-08). Practice drawing graduated value scales before you begin. ILLUSTRATION 1-08 YELLOW PURPLE ILLUSTRATION 1-09 9. Use your purple pencil to add shading to the shadow sections (the dark values) of each petal as shown in Illustration 1-09. The light source is from the right in this drawing. 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 site http://www.finearteducation.com or http://www.drawspace.com - 8 - ILLUSTRATION 1-10 10. Pressing lightly with your yellow pencil, completely color in each petal, including the purple sections. This is called overlapping or dry-mixing colors. LESSON Y1-4: SHADING THE ROSEBUD In addition to yellow, you will need a white pencil for adding highlights to the rosebud. 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 site http://www.finearteducation.com or http://www.drawspace.com - 9 - ILLUSTRATION 1-11 5. Use your white pencil to add light values to the tips and edges of the petals that are not in shadow (as in Illustration 1-11). You may need to press fairly hard on your pencil to get really light values. 6. Add an oval-shaped primary highlight on the largest petal with white. 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 site http://www.finearteducation.com or http://www.drawspace.com - 10 - ILLUSTRATION 1-12 7. With your yellow pencil, completely color in each petal again, including the purple sections, but excluding some of the white sections. Leave the center sections of the highlights white, as in Illustration 1-12. [...]... 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... effective and easy to remember Inherent in all shadows, no matter how dark, are the following three simple components: BLUE: Blue is a very cool color and is considered the color of darkness Believable shadows must have blue in their color mixture THE COLOR OF THE SUBJECT: The darkest values of the actual colors of the subjects add realism to the colors of their shadows In a drawing of a red rose this would... Hoddinott E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com - 13 - PART THREE: ADDING FINAL TOUCHES In this part, you mix colors together to enhance light and shadow areas, and then darken the shadows with your black pencil LESSON Y1-6: GUIDELINES FOR COLORS IN SHADOWS While many complex formulas exist for drawing (or painting) shadows, I prefer to use... 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... be in the shadow of a yellow banana In a drawing of a blue ball, dark values of blue would be in the mixture of the color of its shadow THE COMPLEMENTARY COLOR OF THE SUBJECT’S ACTUAL COLOR: Pairs of complementary colors are opposite one another on the color wheel, such as red/green, yellow/purple, and blue/orange As examples, consider the application of the above three components to the shadow colors... permission of Brenda Hoddinott E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com - 16 - ILLUSTRATION 1-19 16 Use your black pencil to add some hatching lines in the background My hatching lines are diagonal from the lower left to the upper right 17 Add a little black to the very darkest shadow areas of the rosebud, leaves, and stem as in Illustration 1-19... 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... Hoddinott E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com or http://www.drawspace.com - 15 - ILLUSTRATION 1-18 14 Add some red and purple shading to the shadow sections of the leaves and stem as in Illustration 1-18 15 Burnish the leaves and stem with yellow Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott... 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,... yellow areas more golden 13 Pressing fairly hard with your yellow pencil, completely color in all sections of the rosebud except the white areas This process, called burnishing, smoothly blends your colors Yellow makes the brighter colors more vibrant Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced . GOLDEN ROSEBUD Brenda Hoddinott Y-01 ADVANCED: CREATING IN COLOR Overlapping and burnishing colors, and rendering believable shadows, contribute to the realistic. PRESENTED 1. Drawing with detailed curved contour lines 2. Adding shading with graduated values 3. Blending colors with burnishing 4. Understanding the theory of color in shadows GLOSSARY. used in holding your pencils. PART ONE: DRAWING THE OUTLINE Throughout this section you place your rosebud within your drawing space and draw a detailed outline in preparation for adding