DOG EYE - Drawspace
Level: Intermediate Flesch-Kincaid Grade Level: 7.0 Flesch-Kincaid Reading Ease: 67.2 Drawspace Curriculum 6.2.A15 - 8 Pages and 19 Illustrations
Shade a Realistic
DOG EYE
Sketch proportions, outline shapes, and use various shading techniques to draw a realistic animal eye
Resource: Module 3.1 Introduction to Shading Supplies: paper, pencils (2H, HB, 2B, 4B, 6B, and 8B), sharpener, sandpaper block, vinyl and kneaded erasers, blending tool
This activity has three sections: • Outline Canine Eye Proportions • Bring the Eye to Life with Shading
As an Aside
Tip!
This drawing is based on a photo of the eye of a Dalmatian named Shadow (Figure 1). With careful planning, you can adapt the techniques used in this lesson to draw animal eyes from other angles and under different lighting conditions.
• Add Fur and Final Details
As you work your way through this project, use whichever grades of pencils work best to achieve the lines and values you want.
Figure 1
Outline Canine Eye Proportions 1. Use slightly curved lines to sketch a three-sided shape (Figure 2). The lower line is more curved than the other two and the curved line on the right is shorter than the others. ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
2
6.2.A15: Shade a Realistic Dog Eye
2. Add another curved line inside the shape to represent a section of the perimeter of the white of the eye (Figure 3).
Figure 2
Note the points where this line intersects two sides of the threesided shape. Figure 3
Tip! Sketching accurate proportions is the foundation of realistic drawing. If the proportions are off, then no amount of beautiful shading or fancy pencil marks can save a drawing.
Figure 4
3. Add two more curved lines to represent the iris of the eye (Figure 4). The upper and lower sections of the iris appear to be under the dog’s eyelids.
Tip! Always place a piece of clean paper under your hand as you draw to prevent smudging and to protect the paper from oils in your skin.
4. Use your kneaded eraser to lighten all your sketch lines until you can barely see them.
Each time you work on a new section, move your paper so it’s always under your hand.
5. Redraw the outline of the iris with a freshly sharpened pencil (Figure 5).
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
6.2.A15: Shade a Realistic Dog Eye
6. Neatly outline the perimeter of the white of the eye (Figure 6).
Figure 5
7. Redraw the edges of the eyelids with curved lines (Figure 7). 8. Erase any remaining sketch lines. Figure 6
Tip! Constantly check the proportions of your sketch by visually measuring and comparing the lengths and curves of the various lines.
Figure 7
9. Lightly outline a circular shape on the upper section of the eyelid (Figure 8).
Figure 8
The inner edge of the upper eyelid is visible because of the angle from which the eye is viewed (peek ahead to Figure 21). This shape maps a section of light shading that helps create the illusion of a three-dimensional eyelid. 10. Very lightly sketch a line below the eye to mark the edge of the lower eyelid. 11. Outline a highlight in the upper right section of the iris (Figure 9). ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
3
4
6.2.A15: Shade a Realistic Dog Eye
The primary light source for this subject originates from the upper right.
Figure 9
12. Draw a circular shape inside the iris to represent the pupil (Figure 10). Note that the highlight appears to overlap the pupil. Figure 10
The pupil is closer to the right edge of the iris and is quite small when compared to the iris. 13. Use your kneaded eraser to lighten your lines again in preparation for shading.
Tip!
Tip! As you add shading, use faint lines and dark shadows to create the illusion that the eyelid is detached from the white of the eye. In reality, upper eyelids open and close to shield the eye from potential dangers such as objects, particles, or bright lights.
Tip! Closely examine the different values and shading techniques used in Figures 11 to 19. The shading used to draw a realistic eye from this angle needs to illustrate the textures and three dimensional forms of the iris, eyeball, eyelids, and the bone structures around the eye.
Lifelike drawings of animals’ eyes need to look anchored within their facial structures. Carefully placed shading graduations enable viewers to see the eye as a natural part of the animal’s face rather than a detached entity.
Bring the Eye to Life with Shading 14. Use curved lines that follow the circular shape of the iris to add light and medium values to the iris (Figure 11). The values are darker toward the outer edges so the cornea appears to bulge slightly outward from the white of the eye. ISBN: 978-1-77193-062-8
Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
6.2.A15: Shade a Realistic Dog Eye
15. Use crosshatching to add graduations of light-to-medium values to the whites of the eyes (Figure 12).
Figure 11
16. Illustrate the muscle of the iris with straight lines that radiate from the pupil outward to the perimeter of the iris. Figure 12
The function of this muscle is to dilate and constrict the pupil as lighting conditions change. 17. Use a 2B pencil to add darker shading to the pupil and all sections of the iris (Figure 13). Figure 13
18. Add darker shading to the sections of the white of the eye that are in shadow. 19. Gently blend the shading of the iris, pupil and the white of the eye (Figure 14). Figure 14
Begin with the lightest values and blend toward the medium values. When you get to the dark values, blend sparingly so you don’t rub off too much graphite. Be careful not to over-blend, or all the individual values will smudge together to become a single value.
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
5
6
6.2.A15: Shade a Realistic Dog Eye
20. Darken the pupil and the shadow sections again (Figure 15).
Figure 15
Small amounts of graphite are naturally removed during the blending process and usually need to be reapplied to the darkest sections. 21. Use a kneaded eraser molded to a wedge to erase some tiny slivers of white on the upper left. These slivers become white fur that grows downward from above the eye. 22. Use squirkling to add values and texture to the rim of the lower eyelid (Figure 16).
Figure 16
23. Use squirkling to add texture to the right section of the eyelid. The shading of this circular shape (refer back to Figure 8) needs to remain relatively light in value.
As an Aside 24. Use curved hatching lines of various lengths and thicknesses to add the fur around the upper section of the eye.
The techniques used to draw the eye of a dog can be used for many other types of animals.
Pay close attention to the various directions in which the hatching lines curve.
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
6.2.A15: Shade a Realistic Dog Eye
Add Fur and Final Details 25. Use curved lines to map guidelines that identify the various directions in which the fur grows (Figure 17). Figure 17
26. Add light and medium values to the fur (Figure 18). The hatching lines are unevenly spaced and vary in length and thickness. Note that all hatching lines are curved – some more so than others. 27. Add several tiny, short lines and small spots to the fur around the lower sections of the eye (Figure 19).
Figure 18
The fur close to a dog’s eye is short and thin with areas of skin showing through. Short fur is rendered with thin, short lines.
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
7
8
6.2.A15: Shade a Realistic Dog Eye
28. Use curved hatching lines to add medium-to-dark values on the sections of longer fur that are in shadow. Note the darker section of fur that is a large “black” spot (refer back to Figure 1). The fur is shaded with curved hatching lines that define the forms of the bones of the orbital socket beneath the fur. 29. Add darker values to the spot, the pupil, the corners of the eye, and the sections of the eye and fur that are in shadow. 30. Compare your drawing to Figure 19 and change anything you’re not happy with. To make a section of shading darker, add more shading with a soft pencil. To make a section lighter, use your kneaded eraser (molded to a point or wedge) to slowly and gently pat off some graphite. Figure 19
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
Shade a Realistic
DOG EYE
Sketch proportions, outline shapes, and use various shading techniques to draw a realistic animal eye
Resource: Module 3.1 Introduction to Shading Supplies: paper, pencils (2H, HB, 2B, 4B, 6B, and 8B), sharpener, sandpaper block, vinyl and kneaded erasers, blending tool
This activity has three sections: • Outline Canine Eye Proportions • Bring the Eye to Life with Shading
As an Aside
Tip!
This drawing is based on a photo of the eye of a Dalmatian named Shadow (Figure 1). With careful planning, you can adapt the techniques used in this lesson to draw animal eyes from other angles and under different lighting conditions.
• Add Fur and Final Details
As you work your way through this project, use whichever grades of pencils work best to achieve the lines and values you want.
Figure 1
Outline Canine Eye Proportions 1. Use slightly curved lines to sketch a three-sided shape (Figure 2). The lower line is more curved than the other two and the curved line on the right is shorter than the others. ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
2
6.2.A15: Shade a Realistic Dog Eye
2. Add another curved line inside the shape to represent a section of the perimeter of the white of the eye (Figure 3).
Figure 2
Note the points where this line intersects two sides of the threesided shape. Figure 3
Tip! Sketching accurate proportions is the foundation of realistic drawing. If the proportions are off, then no amount of beautiful shading or fancy pencil marks can save a drawing.
Figure 4
3. Add two more curved lines to represent the iris of the eye (Figure 4). The upper and lower sections of the iris appear to be under the dog’s eyelids.
Tip! Always place a piece of clean paper under your hand as you draw to prevent smudging and to protect the paper from oils in your skin.
4. Use your kneaded eraser to lighten all your sketch lines until you can barely see them.
Each time you work on a new section, move your paper so it’s always under your hand.
5. Redraw the outline of the iris with a freshly sharpened pencil (Figure 5).
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
6.2.A15: Shade a Realistic Dog Eye
6. Neatly outline the perimeter of the white of the eye (Figure 6).
Figure 5
7. Redraw the edges of the eyelids with curved lines (Figure 7). 8. Erase any remaining sketch lines. Figure 6
Tip! Constantly check the proportions of your sketch by visually measuring and comparing the lengths and curves of the various lines.
Figure 7
9. Lightly outline a circular shape on the upper section of the eyelid (Figure 8).
Figure 8
The inner edge of the upper eyelid is visible because of the angle from which the eye is viewed (peek ahead to Figure 21). This shape maps a section of light shading that helps create the illusion of a three-dimensional eyelid. 10. Very lightly sketch a line below the eye to mark the edge of the lower eyelid. 11. Outline a highlight in the upper right section of the iris (Figure 9). ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
3
4
6.2.A15: Shade a Realistic Dog Eye
The primary light source for this subject originates from the upper right.
Figure 9
12. Draw a circular shape inside the iris to represent the pupil (Figure 10). Note that the highlight appears to overlap the pupil. Figure 10
The pupil is closer to the right edge of the iris and is quite small when compared to the iris. 13. Use your kneaded eraser to lighten your lines again in preparation for shading.
Tip!
Tip! As you add shading, use faint lines and dark shadows to create the illusion that the eyelid is detached from the white of the eye. In reality, upper eyelids open and close to shield the eye from potential dangers such as objects, particles, or bright lights.
Tip! Closely examine the different values and shading techniques used in Figures 11 to 19. The shading used to draw a realistic eye from this angle needs to illustrate the textures and three dimensional forms of the iris, eyeball, eyelids, and the bone structures around the eye.
Lifelike drawings of animals’ eyes need to look anchored within their facial structures. Carefully placed shading graduations enable viewers to see the eye as a natural part of the animal’s face rather than a detached entity.
Bring the Eye to Life with Shading 14. Use curved lines that follow the circular shape of the iris to add light and medium values to the iris (Figure 11). The values are darker toward the outer edges so the cornea appears to bulge slightly outward from the white of the eye. ISBN: 978-1-77193-062-8
Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
6.2.A15: Shade a Realistic Dog Eye
15. Use crosshatching to add graduations of light-to-medium values to the whites of the eyes (Figure 12).
Figure 11
16. Illustrate the muscle of the iris with straight lines that radiate from the pupil outward to the perimeter of the iris. Figure 12
The function of this muscle is to dilate and constrict the pupil as lighting conditions change. 17. Use a 2B pencil to add darker shading to the pupil and all sections of the iris (Figure 13). Figure 13
18. Add darker shading to the sections of the white of the eye that are in shadow. 19. Gently blend the shading of the iris, pupil and the white of the eye (Figure 14). Figure 14
Begin with the lightest values and blend toward the medium values. When you get to the dark values, blend sparingly so you don’t rub off too much graphite. Be careful not to over-blend, or all the individual values will smudge together to become a single value.
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
5
6
6.2.A15: Shade a Realistic Dog Eye
20. Darken the pupil and the shadow sections again (Figure 15).
Figure 15
Small amounts of graphite are naturally removed during the blending process and usually need to be reapplied to the darkest sections. 21. Use a kneaded eraser molded to a wedge to erase some tiny slivers of white on the upper left. These slivers become white fur that grows downward from above the eye. 22. Use squirkling to add values and texture to the rim of the lower eyelid (Figure 16).
Figure 16
23. Use squirkling to add texture to the right section of the eyelid. The shading of this circular shape (refer back to Figure 8) needs to remain relatively light in value.
As an Aside 24. Use curved hatching lines of various lengths and thicknesses to add the fur around the upper section of the eye.
The techniques used to draw the eye of a dog can be used for many other types of animals.
Pay close attention to the various directions in which the hatching lines curve.
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
6.2.A15: Shade a Realistic Dog Eye
Add Fur and Final Details 25. Use curved lines to map guidelines that identify the various directions in which the fur grows (Figure 17). Figure 17
26. Add light and medium values to the fur (Figure 18). The hatching lines are unevenly spaced and vary in length and thickness. Note that all hatching lines are curved – some more so than others. 27. Add several tiny, short lines and small spots to the fur around the lower sections of the eye (Figure 19).
Figure 18
The fur close to a dog’s eye is short and thin with areas of skin showing through. Short fur is rendered with thin, short lines.
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
7
8
6.2.A15: Shade a Realistic Dog Eye
28. Use curved hatching lines to add medium-to-dark values on the sections of longer fur that are in shadow. Note the darker section of fur that is a large “black” spot (refer back to Figure 1). The fur is shaded with curved hatching lines that define the forms of the bones of the orbital socket beneath the fur. 29. Add darker values to the spot, the pupil, the corners of the eye, and the sections of the eye and fur that are in shadow. 30. Compare your drawing to Figure 19 and change anything you’re not happy with. To make a section of shading darker, add more shading with a soft pencil. To make a section lighter, use your kneaded eraser (molded to a point or wedge) to slowly and gently pat off some graphite. Figure 19
ISBN: 978-1-77193-062-8 Copyright © 2017 Drawspace Publishing and Brenda Hoddinott. 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 prior written consent of Brenda Hoddinott and Drawspace Publishing.
