4 Pages
Level: Intermediate Flesch-Kincaid Grade Level: 7.8 Flesch-Kincaid Reading Ease: 63.7 Drawspace Curriculum 3.3.A6 - 4 Pages and 5 Illustrations
Draw Fur on a Sheepdog’s Muzzle Use negative drawing techniques to outline and shade the muzzle section of an Old English Sheepdog
Figure 1: Old English Sheepdog © Mike Sibley
Resource and Prerequisites: • 3.3.R4 Understanding Negative Drawing • 3.3.A4 Exercise Negative Drawing Techniques • 3.3.A5 Combine Negative Space and Negative Drawing Supplies: drawing paper, 2B and HB pencils, pencil sharpener, vinyl art eraser, kneaded eraser (or Blu-Tack)
This activity has two sections: • Outline a Sheepdog’s Muzzle • Plan Your Approach and Add Shading
Outline a Sheepdog’s Muzzle The subject of this activity is a small section of the drawing Old English Sheepdog in Figure 1. This dog is an excellent candidate for dividing your work into manageable sections. The individual locks of dog hair (fur) provide you with suitable sections to divide with lines. 1. Lightly outline a vertical rectangular drawing space (box) 3 by 3.5 in (7.6 by 8.9 cm). This is the actual size of the selected section in the original drawing.
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
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3.3.A6 Draw Fur on a Sheepdog’s Muzzle
Tip! This exercise is about drawing hair. However, if you want, you can draw the nose and tongue, too.
2. Lightly outline as much or as little as you wish of the muzzle section of the sheepdog (Figures 2 and 3).
Figure 2
As the reference image is already a drawing, most of the work is done for you.
As an Aside You have two options for creating an outline drawing: • Print out the light gray, prepared line drawing with basic guidelines in Figure 5 on Page 4. • Refer to the following instructions and Figures 2 and 3 to draw the outlines on your drawing paper. The advantage of creating your own outline drawing is that the lines will be erasable.
Figure 3
Plan Your Approach and Add Shading Plan to work from the background toward the foreground, and try to keep all edges sharp. Begin by establishing a strong dark, such as the deep shading alongside the teeth beneath the top lip. Remember to save your darkest tones for the bottom lip and nostrils. Next, begin on those background and midground hairs that sweep horizontally from either side of the nose, working on one small lock at a time. Drawing only one small lock at a time keeps you in control. Later, work on the stray locks hanging in the foreground.
As an Aside If you don’t have time to draw everything in Figure 3, focus on carefully drawing just one section. I strongly suggest you concentrate on the area to left of the nose, and then down into the shaded area beneath the top jaw.
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
3.3.A6 Draw Fur on a Sheepdog’s Muzzle
The following can help you achieve realism in your drawing: • Use only the shaded hairs around the mouth to define the edges of the long, hanging locks of hair – not outline. • Where sharp edges and clarity are important, do not blend. • If you draw the nose, split it into six or more sections and work on just one. Your understanding will be much greater than if you attempt it as one object. • Indenting was used for the hairs on top of the nose and where the top lip overlaps the lower jaw and tongue. The detail-then-tone layering method was used for all other hair. • Split the tongue into two halves and use hatching to suggest the texture. • Remember, hard over soft. That deep tone at the base of the tongue is important. 3. Add shading to the line drawing of the dog (refer to Figure 4). Following is the process used to create the hair in the original drawing: Step 1: Lightly design the outline of the lock of hair you are about to draw. Step 2: Use line to draw the shadows and features inside and around that lock. Step 3: To achieve three-dimensional realism, carefully shade each lock independently. Step 4: Adjust the tones with Blu-Tack or a kneadable eraser as necessary. Step 5: Repeat these four steps to draw the next lock and the others until the hair is finished. Figure 4
Negative Space and Negative Drawing combine to make one powerful approach to drawing. Where to draw? What to leave for now? The answers will present themselves as you draw. Only during the act of drawing will you know if you have sufficient understanding to draw each area proficiently. Let logic rule, banish experimentation, and employ your inner sense of natural balance and realism. The more you draw, the more you will study the world around you, and the more you study, the greater will be your mental store of visual knowledge.
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
3
4
3.3.A6 Draw Fur on a Sheepdog’s Muzzle
These skills become easier with time – believe me!
Figure 5: Print this page if you decide to use this line drawing as your guide for shading.
Happy drawing...
Drawing from Line to Life by Mike Sibley • Foreword by renowned Artist David Shepherd • Over 280 pages of pencil drawing tips, tutorials, demonstrations and much more... • More than 625 illustrations • Tools, techniques, methods • Step-by-step instructions • For the Novice and Advanced student • From pure line drawing through to near-reality
Based on Mike’s experience of over 30 years as a professional artist and graphite pencil specialist.
www.SibleyFineArt.com/pencil-drawing-book.htm
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
Draw Fur on a Sheepdog’s Muzzle Use negative drawing techniques to outline and shade the muzzle section of an Old English Sheepdog
Figure 1: Old English Sheepdog © Mike Sibley
Resource and Prerequisites: • 3.3.R4 Understanding Negative Drawing • 3.3.A4 Exercise Negative Drawing Techniques • 3.3.A5 Combine Negative Space and Negative Drawing Supplies: drawing paper, 2B and HB pencils, pencil sharpener, vinyl art eraser, kneaded eraser (or Blu-Tack)
This activity has two sections: • Outline a Sheepdog’s Muzzle • Plan Your Approach and Add Shading
Outline a Sheepdog’s Muzzle The subject of this activity is a small section of the drawing Old English Sheepdog in Figure 1. This dog is an excellent candidate for dividing your work into manageable sections. The individual locks of dog hair (fur) provide you with suitable sections to divide with lines. 1. Lightly outline a vertical rectangular drawing space (box) 3 by 3.5 in (7.6 by 8.9 cm). This is the actual size of the selected section in the original drawing.
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
2
3.3.A6 Draw Fur on a Sheepdog’s Muzzle
Tip! This exercise is about drawing hair. However, if you want, you can draw the nose and tongue, too.
2. Lightly outline as much or as little as you wish of the muzzle section of the sheepdog (Figures 2 and 3).
Figure 2
As the reference image is already a drawing, most of the work is done for you.
As an Aside You have two options for creating an outline drawing: • Print out the light gray, prepared line drawing with basic guidelines in Figure 5 on Page 4. • Refer to the following instructions and Figures 2 and 3 to draw the outlines on your drawing paper. The advantage of creating your own outline drawing is that the lines will be erasable.
Figure 3
Plan Your Approach and Add Shading Plan to work from the background toward the foreground, and try to keep all edges sharp. Begin by establishing a strong dark, such as the deep shading alongside the teeth beneath the top lip. Remember to save your darkest tones for the bottom lip and nostrils. Next, begin on those background and midground hairs that sweep horizontally from either side of the nose, working on one small lock at a time. Drawing only one small lock at a time keeps you in control. Later, work on the stray locks hanging in the foreground.
As an Aside If you don’t have time to draw everything in Figure 3, focus on carefully drawing just one section. I strongly suggest you concentrate on the area to left of the nose, and then down into the shaded area beneath the top jaw.
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
3.3.A6 Draw Fur on a Sheepdog’s Muzzle
The following can help you achieve realism in your drawing: • Use only the shaded hairs around the mouth to define the edges of the long, hanging locks of hair – not outline. • Where sharp edges and clarity are important, do not blend. • If you draw the nose, split it into six or more sections and work on just one. Your understanding will be much greater than if you attempt it as one object. • Indenting was used for the hairs on top of the nose and where the top lip overlaps the lower jaw and tongue. The detail-then-tone layering method was used for all other hair. • Split the tongue into two halves and use hatching to suggest the texture. • Remember, hard over soft. That deep tone at the base of the tongue is important. 3. Add shading to the line drawing of the dog (refer to Figure 4). Following is the process used to create the hair in the original drawing: Step 1: Lightly design the outline of the lock of hair you are about to draw. Step 2: Use line to draw the shadows and features inside and around that lock. Step 3: To achieve three-dimensional realism, carefully shade each lock independently. Step 4: Adjust the tones with Blu-Tack or a kneadable eraser as necessary. Step 5: Repeat these four steps to draw the next lock and the others until the hair is finished. Figure 4
Negative Space and Negative Drawing combine to make one powerful approach to drawing. Where to draw? What to leave for now? The answers will present themselves as you draw. Only during the act of drawing will you know if you have sufficient understanding to draw each area proficiently. Let logic rule, banish experimentation, and employ your inner sense of natural balance and realism. The more you draw, the more you will study the world around you, and the more you study, the greater will be your mental store of visual knowledge.
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
3
4
3.3.A6 Draw Fur on a Sheepdog’s Muzzle
These skills become easier with time – believe me!
Figure 5: Print this page if you decide to use this line drawing as your guide for shading.
Happy drawing...
Drawing from Line to Life by Mike Sibley • Foreword by renowned Artist David Shepherd • Over 280 pages of pencil drawing tips, tutorials, demonstrations and much more... • More than 625 illustrations • Tools, techniques, methods • Step-by-step instructions • For the Novice and Advanced student • From pure line drawing through to near-reality
Based on Mike’s experience of over 30 years as a professional artist and graphite pencil specialist.
www.SibleyFineArt.com/pencil-drawing-book.htm
ISBN: 978-1-77193-264-6 Copyright © 2016 Mike Sibley (http://www.sibleyfineart.com) and Drawspace Publishing (http://www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form or by any means, including electronic, digital, mechanical, recording, photographing, photocopying, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.
