Drawing Lesson 2 - Trees

My last blog was about drawing using a simple pear as the subject.
This lesson follows the same methods but I'm using a more complicated shape of a tree for the example.

Big maple tree with light coming from the right side

In this "edges" drawing I'm studying the general edges of the tree but not the very details of every in and out of the shape. I always measure the height and width of the subject. Is the general shape a square or rectangle? In this case the rectangle shape is taller than it is wide.

Study the edges of the tree. The outline edges show the character of the tree's shape

This drawing is a controlled contour drawing. I drew all the detailed ends and out of the edges but unlike a true contour drawing I looked at my paper and guided the drawing along the lines of the earlier "edges" drawing.

Controlled contour drawing.

After sketching the contour I added cross-hatching marks to depict value. The sun is fairly high in the sky but on the right side of the tree. The left side of the tree will be in shadow.

Contour and value sketch

If you can change the reference photo into gray tone you'll be able to better determine the shading.

Gray tone photo

Fun little sketch of the deer, mostly black and white. 

Drawing Lesson

"It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover, to your surprise, that you have rendered something in its true character." - Camille Pissarro

"Drawing is the basis of art. A bad painter cannot draw. But one who draws well can always paint" - Arshile Gorky

Yes, drawing well is really important but the skill does not happen just because you wish it so. It takes practice, and more practice. 

The drawing book by Betty Edwards "Drawing on the Right Side of the Brain" is excellent and it's a drawing course classic. BUT you have to read it and DO the exercises.

Here's a couple of ways I practice drawing. 

Reference photograph: The Pear.

The first image is a photograph of a simple pear, but to draw the essence of the pear you have to see all the correct edges. Don't draw a symbol of a pear, but draw what you really see. You have to train your eyes to see and your drawing hand to follow what your eyes are seeing.

Drawing the edges of the pear

In this drawing I'm looking at the edges of the pear and the angle of every edge. How long is each line that composes the pear? What angle is that line? Is the pear sitting straight up or is it leaning? I draw a diagonal line to indicate the angle the pear is leaning.

Contour drawing of the pear

This is a contour drawing. Yes, it looks pretty funny but to do a contour drawing you don't look down at your paper at all while you're drawing. Follow the exact edge of the pear with your eyes and draw along as your eyes see each little variance of the edges of the pear. 

The purpose of this exercise is to train your eye to really see the shape and not just draw what you think it should be - when you just draw what you think it should be you'll fall back into the habit of drawing symbols instead of drawing the reality of the pear.

Shaded drawing

This is a drawing using shading to depict the 3-dimensional volume of the pear. 

First, I sketch in the angles of the pear, getting the leaning angle correct. Then, when I'm comfortable with the shape, I start looking at the shadow values. I draw the shadow lines as they depict the angles of the planes of the shape. 

More about planes later.

Buy a pear. Make sure it has an interesting shape, not a perfect shape. And practice, practice, practice.

Mingo Road

This is one of my favorite places in West Virginia.

In this painting I wanted to create a sense of atmosphere and nostalgia.

Here's the reference photograph which as you can see isn't very good, but sometimes that's better because it gives the artist room to interpret the scene.

Reference photograph

The watercolor underpainting is created with strong expressive colors which are generally darker than the planned pastels that go on top.

Step 1 - Watercolor wash underpainting

Start adding pastels but observe what has happened with the underpainting which can suggest an atmosphere of color.

Step 2 - start adding pastel especially in the sky
which sets the reflective color for the entire piece

Continue to slowly add pastel. Some of the underpainting can remain without pastel on top if the value is correct.

Step 3 - Adding more pastels to the point of interest - the road and cabin area

Finish adding pastel color - remembering to repeat colors in other areas of the painting. Try to establish a rhythm of color movement. 

Final step - Adding color and texture in the field and adjust colors throughout