New Heroine Sketch for Character Development

Vree, graphite, charcoal and chalk

Yesterday I wrote about creating characters, putting them on the story stage, and watching them act. In that post, I included a sketch of my current main character, Vree Erickson. I draw with all sorts of pencils, including charcoal and chalk pencils. I like using watercolor paper to draw on because it allows me to scratch into it using knives and razor blades. This technique is great for rendering hair.

You can read about Vree in my Night of the Hellhounds e-novel (available at Amazon and Barnes & Noble).

NotH

Sketching Critters

I enjoy watching small animals skittering and dashing about with their daily activities. I have my favorites, like chipmunks and squirrels, that I try to capture with pencil and paper. But lately I have been studying birds more than usual. Although I’m not a bird painter, per se, I have done a few paintings with birds in them based on life sketches from my wildlife sketchbooks. And I did a finch painting based entirely from reference sketches.

Sketches in the Sun
Sketches in the Sun, Oil Painting, circa 2001

With so many species of animals, each with its own particular charm and beauty, the wildlife artist never lacks a subject. No matter where you live, there are always animals to sketch—in cities, gardens, parks, forests and farmland. Sketching them in their natural habitat gives you an opportunity to study their fascinating behavior. Whether sitting in a park, at a roadside, at the edge of a river or lake, sketching critters is a wonderful way to spend a day. And your sketches give a rich source of reference for your paintings.

When you have found a subject and settled down, spend a few minutes looking hard at the animal, in the same way as you would carefully consider a still life before starting to paint it. Ask yourself questions such as, “How long is the neck and how much of it disappears when the animal stands up?” This will help you understand the form better. Then, when the animal adopts an interesting pose, begin sketching. You’ll find this is when your patience is tested. The subject moves all the time, so you have to wait until it returns to either the original pose or something close. It might even scurry off or fly away and leave you with an unfinished sketch.

If the animal changes pose quickly and a lot, don’t continue with the sketch—it won’t be precise, and therefore useless for reference. To use your time well, have several sketches of different poses going at once, and dart around the page as the subject shifts position. This is challenging, but you should end up with a page of interesting studies. Don’t worry if the animal you’re sketching doesn’t return to the same pose—just a few lines can be full of information. And get down those shadows too. Their shapes help describe form and make your sketches more convincing.

Spend some time looking at the pattern of fur and feather masses, too—this is essential reference when you come to paint. Try to catch the “personality” of the animal by noticing any characteristic features that make it unique as a species.

Critters
You might find it useful to use cubes, oblongs and cylinders to describe the general body shapes. You can also use these to show the relative shapes and sizes of different species. If you are sketching many ducks on a lake, for example, do a whole page of these simple shapes. This is invaluable information when it comes to painting various ducks together. Try to show the size of an individual duck—or any animal, for that matter—by sketching its surroundings.

It goes without saying, of course, that you should take a note of the date, place, and time of day in your sketches—these will help you recall the scene later when working in your studio. Also, note the colors of the animal if you’ve not sketched it in color.

My favorite sketching tool is a box of watercolor pencils, but you should use whatever feels comfortable to you.

So make a day of drawing critters … and happy sketching.

Some Sketchbook Drawings

I like to draw. Figure drawing, cartooning, doodling … you name it. Graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses. Line drawing, shading, hatching, cross-hatching, broken hatching, stippling, entopic graphomania (you make a dot at the location of each imperfection in the drawing paper, then connect the dots using straight or curved lines) — the list could go on if I had more time.

Drawings 01

I have no favorite medium, drawing instrument, or even subject matter. I like to draw … period. As artist Grayson Perry said, “Until we can insert a USB into our ear and download our thoughts, drawing remains the best way of getting visual information on to the page.” But I don’t draw haphazardly unless I’m doodling ideas. And even then I’m aware of what I’m doing, which is usually observing size and viewpoint. The drawings can look childish, but I never toss out any childlike drawing. Most children instinctively draw objects from the viewpoint that gives the most information. So they draw a house from the front, but a truck from the side — because it’s from there that you can see the truck’s cab, trailer and wheels. I still draw that way today; whichever drawing has a viewpoint that gives the viewer the most information is going to be the easiest to understand. That’s what I look for in my artwork (and my writing).

Drawings 02

Everyone has their own ways of expression, and finding ways to say it can be a battle. The power of any kind of art is keeping it simple and understandable. Anyone who can do that can make the uninteresting things in life look complex, advanced, and largely exciting. That’s the true power of art.

Throwback Thursday Drawings, 1983

Here is a go at this week’s Throwback Thursday at my Facebook page. The 3 drawings below are some of the bests of my art from 1983. Enjoy this peek into my past.

Graphite on paper. The cat’s name was Mittens and the Spaniel’s name was Rags. I was studying fur when I drew this. I even wrote a short story about them, but I haven’t been able to find it. I probably threw it out after college when I went on a major cleaning spree.

India ink illustration for an ad. I used Chinese brushes to apply ink in both fill and washes. This exercise strengthened my watercolor painting techniques, which strengthened my acrylic painting techniques. As for the illustration (which seems awkward because it wasn’t photographed with all sides in correct proportion), it isn’t bad for a first attempt at drawing with ink.

girl ink portrait drawing

India ink illustration. My first portrait ever attempted with ink. I was very pleased with the results then, though it would take me a few years of practicing to illustrate realistic looking hair in ink.