com F06 - Sketching Outdoors

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OUTDOORSBrenda Hoddinott

F-06 BEGINNER: HATCHING

Sketching is an action word, and you can onlylearn this skill by actually sketching.

In this lesson, I first offer suggestions for putting together a portable studio for your outings. I

then take you step-by -step through the process of rendering a sketch of an outdoor scene. Thestyle you choose for sketching is a matter of personal choice. Some artists prefer lines, more

prefer only shading, and others (like me) prefer a combination of values and lines.

INTRODUCTION: Outdoor enthusiasts often enjoy making art while enjoying their

surroundings A quick sketch done on location from a portable studio provides an excellentreference for a more detailed drawing when you return to your home studio.

PACKING UP YOUR PORTABLE STUDIO: Sometimes, you may want to draw

outdoors, and it’s convenient to have a set of drawing materials packed and ready to travel. In

this section you explore various suggestions for planning your portable studio.

SETTING UP YOUR PLAN OF ACTION: The instructions in this lesson offersuggestions for rendering a sketch in three simple stages: sketch the overall composition of

the scene proportionately correct; outline the shapes of important objects in the scene; and

add values.

SKETCH PROPORTIONS: The first goal of sketching is to sketch a proportionatelycorrect map of where the different parts of the scene are in relation to one another.

OUTLINE SHAPES: You focus on outlining the shapes of your subjects by implementing

perspective, adding more details, and refining your drawing!

DEFINE VALUES: You implement your strategies, planning, and creative ideas into a

completed sketch! Light affects the placement and value of every section of shading. A fullrange of values gives contrast between the light and the shadow areas.

14 PAGES – 27 ILLUSTRATIONS

This project is recommended for artists from age 10 to adult, as well as home schooling,academic and recreational fine art educators.

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (Revised 2006)



Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott andmay not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.

E-mail [email protected] Web site http://www.finearteducation.com or http://www.drawspace.com

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INTRODUCTION

Outdoor enthusiasts often enjoy making art while enjoying their surroundings A quick sketch

done on location from a portable studio provides an excellent reference for a more detailed

drawing when you return to your home studio. A sketch is a quick, rough representation oroutline of a planned drawing subject. A sketch can also be a completed work of art.

Only a few simple lines can quickly and efficiently illustrate the important shapes and values of

any scene. The language of sketching can also serve to faithfully documents your formative

years of artistic development. Sketching refers to the method used for creating a quick, roughrepresentation or outline of a planned drawing subject.

The instructions provided in this lesson can apply to any sketching style. However, to help

prepare you for sketching on your own, I have provided step-by-step illustrations of one of my

own sketches. If you have little or no sketching experience, you are wise to draw along with myproject. It’s easier to draw from another sketch than an actual scene.

PACKING UP YOUR PORTABLE STUDIOSometimes, you may want to draw outdoors, and it’s convenient to have a set of drawing

materials packed and ready to travel. In this section you explore various suggestions for planning

your portable studio.

DRAWING SURFACE: Unless you have a really bigknapsack, your kitchen table just won’t fit inside! Nonetheless,

a lightweight portable surface, on which to draw when you’re

out and about, is an integral part of your portable studio. If youprefer sheets of paper rather than a sketchbook, a drawing

board is a wonderful portable surface. You can buy very

reasonably priced boards in most art supply stores.If you (or someone you know) are handy with tools, you canmake your own; just cut a lightweight smooth material (such as

plywood or Plexiglas) to any size you prefer, and sand it until

it's smooth. Drawing paper then needs to be taped or clampedto the drawing board. At most art supply stores you can find

special tapes, specifically designed for this purpose, or clamps

which come in various sizes.

Sketching on large sheets of paper enhances your skills byallowing you the freedom of drawing from your shoulder rather

than your wrist. Keep your wrist fairly still, and move yourentire arm from your shoulder, to sketch long flowing marks inone continuous movement.

A large hardcover sketchbook is a great alternative to carrying

a drawing board in that it comes with its own drawing surface,

and depending on the size, may fit inside a brief case orknapsack.

mailto:[email protected]

http://www.finearteducation.com/

http://www.drawspace.com/








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PORTABLE EASEL: While many artists are comfortable in simply propping up their drawing

surface; others like to use an easel. A sketchbook or drawing board can easily be set up on aneasel, but you have to use your creativity to make sure it stays in place as you draw. A gust of

wind or even the drawing process itself can easily tip an unsecured easel onto the ground and

(gasp!) deposit the drawing into a big puddle of mud.

DRAWING MATERIALS: Fill up your pencil case with pencils, erasers, pencil sharpener,sandpaper blocks, and anything else you think you may need. Soft media, such as graphite,

conté, or charcoal works best for sketching.

CARRYING CASE: You need something in which to carry your drawing materials. An old

briefcase, knapsack, or a fabric bag with handles is great for holding supplies, including a smallsketchbook and some paper.

EXTRAS FOR THE PORTABLE ARTIST: Consider the

following for customizing your portable drawing studio to suit

your own individual needs:

You may want to carry an old blanket to sit on.

A viewfinder frame may come in very handy!

If you use large sheets of drawing paper, you need to bring

your portfolio in which to store and protect your completed

drawings and drawing paper.

A portable music player with headphones is helpful forblocking distracting noises. It also helps keep spectators

from interrupting!

Plastic bags can protect your drawings (or you) in case of

rain, and are great for sitting on if the ground is damp.

Bring along some beverages, snacks, and/or a lunch as well

as some wipes or paper towels for clean-up.

You can also bring along a small camera to take photos of inspirational scenes and objects.

Depending on where you go, you may need bug repellant, and don’t forget your sunscreen!

SETTING UP YOUR PLAN OF ACTION

Ok, so setting up and getting organized isn’t the most exciting element of anything. But as with

most activities and projects, it’s a necessary evil! First of all, when planning to draw outdoorsyou need to take into consideration such factors as weather, lighting conditions, time of day, and

the angle from which you wish to capture your subject. Then make your plans accordingly.

When you arrive at your destination, stroll around until you find the best location from which to

draw. Look around and decide on a subject that you find incredibly intriguing; otherwise youmay get bored before you’re halfway done.

Make sure your proposed project isn’t more than you can handle. If you’re a beginner to

drawing, choose something very simple. You set yourself up for a frustrating experience by

taking on a project beyond your current skill level.











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Place yourself in a comfortable standing or seated position where the scene you plan to draw

presents the best compositional options. Composition refers to the arrangement of the variousfacets of a drawing subject within the borders of a drawing space. A strong composition brings

the eyes of the viewer into what the artist considers the most important elements. Set up your

drawing materials and relax.

Before putting your pencil into motion, you need to work out the following:

Decide which medium and type of paper best suits your subject.

Try using your viewfinder frame to help you choose an ideal composition (Check out Lesson

A-07: Making and Using a Viewfinder Frame in the Beginner section of my website).

Plan your drawing space. Drawing space (sometimes called a drawing format ) refers to the

area of a drawing surface within a specific perimeter. Choose an approximate size. Decide if your completed drawing should be horizontal or vertical, and whether a rectangular, square,

oval, circular or another shaped format is more appropriate for your subject.

Look closely at your subject. Sketches are based on careful observation, and with practice

they become quick and easy. A thorough visual examination of your subject is the mostimportant ingredient for making great sketches.

Note the light source and pinpoint the highlights and shadows. Light source is 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 andshadows. Squinting, to see the different values, often provides you with a map for sketching

the shapes you see. Values are the different shades of gray created when you draw by varying

both the density of the shading lines, and the pressure used in holding various pencils.

The method you choose for sketching is completely a matter of personal choice. Some artistsprefer lines, more prefer only shading, and others (like me) prefer a combination of values and

lines. Take time to experiment with different sketching methods. Your sketching style developsover time. Whatever method you prefer, is right for you.

Begin your sketch with very light simple lines to simply establish the scene on the drawingpaper. Don’t erase any of these initial sketch lines. They show the actual drawing process and

give character to the sketch. Simply make your final lines darker so they stand out more.

Practice sketching with a pen so you won’t be tempted to erase any lines as you work. Working

efficiently is more important than working fast.

Continue looking at your subject, as you sketch. Identify specific shapes and visually measure

the proportions. Shape refers to the outward outline of a form. Basic shapes include circles,

squares and triangles. Proportion is the relationship in size of one component of a drawing toanother or others.

The instructions in this lesson offer suggestions for rendering a sketch in three simple stages,

based on my personal favorite style:

Sketch proportions: sketching the overall composition of the scene proportionately correct

Outline shapes: outlining the shapes of important objects in the scene

Define values: adding simple hatching lines to shade in the values











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SKETCH PROPORTIONS

The first goal of sketching is to very lightly sketch a proportionately correct map of where the

different parts of the scene are in relation to one another.

1. Study your subject.

Look at the contours and the

proportions. Observe how all theparts in your scene interact with

one another. Take note of the areas

that you consider important.

2. Now look at your drawing paper

and imagine this subject on your

paper. 3. Observe which objects are in the

foreground, middle ground and

distant space, and note objects

that overlap others.

The foreground is the part of the

scene that is closest to you. The

middle ground is the space or

section of the scene beyond thesubjects in the foreground.

Distant space refers to the

components of the scene that are

farthest away such as a distantmountain range and/or the clouds

in the sky.

4. Use loose sketch lines to draw the

outlines of the shapes in the

foreground.

I have started by sketching a

section of land and the trunk of the

trees in the foreground of thisscene.

Visually break the subject down

into shapes and measure the

proportions.

Draw slowly. Accuracy is moreimportant than speed. Your speed

will automatically improve the

more you practice.











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5. Choose what you consider

to be the most important

element(s) of the scene

(focal point), and decide

how to emphasize it within

the composition.I have chosen the three trees

in the foreground and the

section of land from whichthey are growing. I’ll add

extra detail to this section to

emphasize it.

6. With simple sketch lines,

indicate the basic shapes

and outlines of the objects

in your scene in properproportion to one another.

A few simple lines, alongwith careful observation of

your drawing subject, can

visually describe anything.For example, sometimes one

curved line is all you need to

record the curve of a sectionof land. Look for ways to

define depth with

overlapping and perspective.Fine detail isn’t as important

as capturing the overall

essence of your subject.

7. Continue adjusting your

drawing until you are

happy.

Confirm that objects, spaces,

and perspective elements aredrawn correctly. Pay close

attention to the shapescreated by the negative space.

Check the relationships of objects to one another,

observe that angles, sizes,

and proportions are accurate,

and adjust as needed.











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OUTLINE SHAPES

Your preliminary sketch is complete, everything is where it should be, and you’re happy with

your composition. Time to focus on outlining the shapes of your subjects by implementing

geometric perspective, adding more details, and refining your drawing!

8. Look at the objects in your composition and decide which would benefit from

geometric perspective, such as buildings, fences, paths, or roads.

Choose a viewpoint for the viewer of your drawing and work out the position of the

horizon line. Plot the vanishing points, and draw objects according to the rules of

perspective. No objects requiring geometric perspective are in my sketch.

9. Beginning with the foreground sketch the shapes of the various aspects of the scene,

such as trees and foliage.

The following illustrations take you through each step of my sketching process.

Keep in mind that this is my personal favorite process for sketching. You are a unique individualwith your own preferences. Experiment with various sketching techniques until you find the stylethat works best for you!











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10. Sketch in the shapes of the various sections of your scene that are in the middle

ground and distant space.

A wide open space

representing a lake is in the

middle ground of thissketch. In the distant space

you see the outlines of two

hills, and above the hills isthe sky.

Before you get into the

really fun stuff, you now

have one last chance tomake any drastic changes.

First, take a short break and

then come back and have afresh look at your drawing.











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DEFINE VALUES

This is it! The moment (or hour) you’ve been waiting for! Time to implement all your strategies,

planning, and creative ideas into a completed sketch! When you sketch values, your eyes are

your most important drawing tools.

Remember, light affects the placement and value of every section of shading. Keep in mind thata full range of values gives contrast between the light and the shadow areas. You can achieve

different values by using various pencils, varying the density of the lines, and varying the

pressure used in holding your pencils

11. Sit back (or step back) from your scene, relax and take a few moments to examine the

section of your scene in the foreground.

In addition to simply drawing what you see, you need to spend a few moments planning

how you want your shading to look.

Decide what types of shading, such as hatching, squirkling, or crosshatching, best

represent the subjects in your scene. In the interest of speed and simplicity, I prefer touse only hatching.

Take note of your dominant light source, and look for the brightest and darkest values.

Identify cast shadows in foreground objects, as potentially having the darkest values.

Choose the areas you want to draw in detail, such as your focal point, and plan

strategies to best represent their various textures with shading

Experiment, with drawing the different types of textures you plan to use in yourdrawing, on a piece of scrap paper, before incorporating them into your actual drawing.

12.

Beginning with the objects closest to you in the foreground section, use a full range of values to add shading.

Begin to add shading to

define the forms of the

objects in your drawing.

Form, as applied todrawing, is the illusion

of the three-

dimensional structure of a shape, such as a

circle, square or

triangle, created in adrawing with shading

and/or perspective.

The light is coming

from the upper left inmy sketch. Note the

various values used to

shade the leaves.











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Remember to use various

pencils to help you with theshading. I have used a 2B for

the foreground sections.

Add stronger lines for some

areas of the contour of thevarious components of your

subject.

Note how the shading of the

section of land graduates fromlight at the top to dark in the

lower sections.

Take your time.

If you begin to tire or feel

frustrated, take a break. When

you return have a fresh look at

your drawing and touch upanything you’re not happy

with.

Have a peek at the shading I’ve

added to the undersides of the

foliage on the tree branches.

Step back from your drawing

from time to time and have alook at the overall values.

You may need to make some

areas lighter and others darker.

Examine how the shading of

the tree trunks is darker on theright sides, which are in

shadow and farther away from

the light source.











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With only a few simple hatching lines, I have indicated the values of the other sections of land in

the foreground.











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13. Add shading to the middle ground and distant space.

Keep in mind that objects and spaces become lighter in value the farther they are awayfrom you. Therefore, use lighter pencils to add shading to these sections.

Don’t be afraid to try different shading techniques. Drawings you don’t like, present

opportunities to spot problems, and seek new ways of doing things. Even a totally

disastrous drawing can teach you not to try that particular approach again!

Take note of the adorable little tree in the foreground created with only a few simple linesand shapes. A few horizontal hatching lines define the reflection of the trees and a few

gentle ripples in the lake. Vertical hatching lines work better to sketch the values of the

trees on the distant shoreline.

Save your sketches forlater reflection. Your

confidence grows when

you reflect back on yourdrawings.

The more you practice -

the faster your skills

improve! Doing sketcheson a regular basis trains

your brain to see as an

artist, which can be a lotof fun!.

The process of sketching

quickly simply isn’tconducive to allowingyour analytical left brain

to kick in and begin

analyzing what you are

doing.

You may even find that

your imaginative right

brain likes to exercise its

creative license andexaggerate certain areas

of your subject. You maynot even notice this ishappening until you later

examine your sketches.











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Give some thought to what you wish to do with your completed

drawing. You may wish to have it framed or simply store it

away in a safe place for future reference and reflection.

Keep in mind that the more you practice sketching the betterand faster you become. On a good day, you may be creating

several different and wonderful sketches within an hour!

Sign your name, write today’s date on the back, and

put a smile on your face.











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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. Shedeveloped 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 haveemployed Brenda’s skills, including Royal Canadian Mounted Police and municipal policedepartments. 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 andpainting 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 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 tocurriculum 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 andabilities 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-PenguinBook 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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com F06 - Sketching Outdoors