Adult Arm

VIEW OF AN
Brenda Hoddinott U-04 ADVANCED: FACES & FIGURES

In this project you explore the basic shapes of a shoulder, arm, and hand, and then add graduated shading with hatching and crosshatching to illustrate their three dimensional forms. Skills incorporated into this lesson include: identifying accurate proportions, drawing with contour lines, and adding graduated values with hatching and crosshatching. This project is divided into two sections: OUTLINING SHAPES: You visually identify and sketch the exterior shapes and forms of a shoulder, arm, and hand, as defined by bones, fat, and muscles. DEFINING FORMS WITH SHADING: You identify where the highlights and the light and dark values are located, and use hatching and crosshatching to realistically illustrate the various forms. Suggested supplies include 2H, HB, 2B, 4B and 6B pencils, vinyl and kneaded erasers, pencil sharpener, sandpaper block, and good quality drawing paper, such as smooth hot-pressed watercolor paper.
9 PAGES - 17 ILLUSTRATIONS
This lesson is recommended for artists with advanced drawing skills and considerable experience with hatching and crosshatching. The curriculum of this lesson is easily implemented into instructional programs for home schooling, academic and recreational learning environments.
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007
OUTLINING SHAPES
Every artist who aspires to include people in his or her drawings needs to become proficient in drawing the various components of human anatomy. Arms come in many shapes and sizes, from the short chubby arms of a tiny infant to the long, well-defined, muscular arms of an athletic adult. This lesson focuses on the arm of an adult male with highly defined anatomical forms. 1) Use a ruler to outline a long thin rectangular drawing space, 2 by 8 inches. Add three horizontal lines to divide the rectangle into four squares, 2 by 2 inches. Lightly sketch the outlines of the individual shapes of the shoulder in the first square. Refer to Figure 4-01. Visually measure the proportions, how large or small some parts are when compared to others. 4) Outline the upper arm in the second square. Refer to Figure 4-02. 5) Add a line to mark the edge of the tiny section of the body on the right.
FIGURE 4-01 FIGURE 4-02
2)
3)
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
6)
Add the outline of the lower section of the arm. Refer to Figure 4-03. Most of the lower section of the arm falls within the third square.
7)
Outline the main section of the hand in the fourth square. Refer to Figure 4-04.
8)
Add the thumb and fingers. Refer to Figure 4-05.
9)
Sketch an oval-shape to mark the location of the form of the side of the hand.
FIGURE 4-05
10) Erase the horizontal grid lines (Refer to Figure 4-06). 11) Lighten all your sketch lines with your kneaded eraser, until they are very faint.
4
12) Neatly outline the shape of the arm and its various forms in more detail. Refer to Figures 4-06 to 4-10. Use the rough sketch only as a guideline. Very few of the sketch lines will be the same as this outline. The shapes inside the outlines of the arm mark the locations of the forms of muscles and bones. As you draw, examine the: lengths of the lines various directions in which the lines curve proportions of the various parts to one another
FIGURE 4-08
At this point you can either leave the rough sketch lines visible, or you can carefully erase them.
5 13) Lighten your lines again with your kneaded eraser, as in Figure 4-11.
FIGURE 4-09 FIGURE 4-10 FIGURE 4-11
6
FIGURE 4-12
DEFINING FORMS WITH SHADING

You need to be able to visually identify the exterior shapes and forms of a shoulder, arm, and hand, as defined by bones, fat, and muscles before you can draw them realistically. 14) Use hatching lines and 2H and HB pencils to shade the light and medium values of the shoulder, arm, and hand. Before you begin, examine Figures 4-12 and 4-13, and visually locate the highlights (left the white of the paper), and the light and medium values. Take note of how progressions of graduated values from dark to light or from light to dark realistically illustrate the various forms.
FIGURE 4-13
Practice drawing shoulders, arms, and hands from real life every chance you can. If your friends and family begin running away when you approach them with your drawing supplies, you can always draw your own. Set up your drawing materials in front of a large mirror, and draw your shoulders, arm, and hand from various angles.
7 15) Use crosshatching and 2B and 4B pencils to build up the darker values to further accentuate the forms. Crosshatching lines beautifully illustrate anatomical forms. Refer to Figures 4-14, 4-15, and 4-16.
Ive added dark lines around the edges of the shoulder, arm, and hand to exaggerate their shapes. Naturally there are no such outlines in real life, so feel free to leave them out.
By emphasizing the more complicated parts of a human body that characterize movement, (such as the elbow and wrist) with detailed, high contrast shading, they become important points of interest.
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16) Take a few minutes to compare your drawing to mine (Figures 4-16 and 417), fix any areas that youre not happy with, and sign your name!
CHALLENGE
Becoming familiar with how individual parts of bodies connect to one another helps you draw the human figure more realistically. Drawing from life is the best possible way to develop strong skills in this integral aspect of human anatomy. Find a willing model to pose for you or set up your drawing materials in front of a mirror and use yourself as a model. First of all, draw the shoulder and upper arm paying special attention to the sections where they seem to join. Next do a drawing of the elbow showing how it connects the upper and lower arm. Finally, sketch a hand and lower arm, with a focus on the wrist, which connects the arm to the hand. Dont worry if your drawings look all wrong at first. Just do your best and in time, you will get better! There are only three ways to improve your drawing skills Practice, practice and more practice!
Brenda Hoddinott
As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, cont 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. Biography
Brenda Hoddinott
Born in St. Johns, 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 Brendas twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brendas skills, including Royal Canadian Mounted Police and municipal 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 communitys recreational art department, Brenda hired and trained teachers, and designed curriculum for several childrens 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 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
Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiots Guide to Drawing People: 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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VIEW OF AN

Brenda Hoddinott U-04 ADVANCED: FACES & FIGURES

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007

Add the thumb and fingers. Refer to Figure 4-05.

DEFINING FORMS WITH SHADING

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