dabbing motion to lighten areas, Darken some of the underneath areas with the iB pencil,
4. tn the third section make the marks, foliage masses and light and dark areas even larger. This makes each part of the tree look as though it is getting nearer as your eye moves dowm it. Render the dark shadow- and fluting on the trunk with the 6B pencil. Use the 2B and 4B pencils lightly on their sides to finish the background foliage and the
3. Using the same mark making technique, but with a slightly larger flat on the end of your 2B pencil, work the second section. Along with the larger marks, make the clumps of foliage a little larger. The thick, twisted trunk showing in this section will have light and dark areas oil it. Use your 4B and 6B pencils to get good contrast in its shadow areas. The darkest, areas should be worked with the 4B and 6B pencils.
190 x 275mm (7Vix lOVtin)
After working the three sections from top to bottom, work all over the drawing for the final effect. Work the light and dark areas as required to complete the impression that the light is coming from above right. Use the putty eraser to lighten areas by dabbing it rather than rubbing, since this tends ib smudge soft grade pencils.
tree, the drawing should contain enough information, in the form of marks and the. variety of tones, to retain the viewer's interest The individual marks can be quite abstract, but as a whole they can strongly suggest reality. The initial sketches for this drawing were done in an arboretum in Wales. As with the much larger scale Sequoia drawing, photographic reference was used because of the length of time it takes to complete a work with this amount of detail. For a piece of work
Trees in the landscape: Bankside Birches
Landscape drawing will sometimes involve capturing tree reflections. In gently moving water, reflections can break into all kinds of abstract, fragmented shapes. The distance that a reflection extends below the waterline can be taken as equal to the height of that object above the waterline. The size of object and reflection can be taken as equal, . However, the reflection may be earned further by water movement.
You will need
Pencils: 2B and 4B Putty eraser
Heavyweight cartridge paper Tracing paper Paper nibbing stump Scrap paper
1, Using the 2B pencil, lightly mark our. the proportions and placement of the landscape features. Progress the landscape area to a fairly complete state by carefully placing a variety of tonal marks using a 4B pencil. Reinforce and lilt tones as required. Only after you are fairly satisfied with this step should you consider worldng the water and reflections.
2. Use your pencil its a gauge to mark the lengths (if the reflections below the waterline. Using short, vertical strokes with the side of your 2B pencil, start laying in some broad areas of light tone for the reflections.
4. Turn the tracing upside down and use it as a guide only to check your drawing of the reflection.
6. Continue with the 2B and 4B pencils, adding tone to give a stronger reflection. Then, using a putty eraser pinched to a thin edge, remove some areas of tone at the far edge of the water. Work in the same direction as the tipple marks. Increase the width of the removed areas as you come forward in the picture. Note that parts of the reflections are carried away along the line of the ripples.
7. Using your 4B pencil with a small flat on its end, apply some further tone to the front edge of the areas that you previously cleared with the putty eraser. This will add depth to the ripples.
8. With the rubbing stump, gently smudge some pencil marks to hide the grain of the paper, adding another texture to the water surface| Continue adding and removing areas of tone, making these features more prominent by means of size and contrast the nearer you move towards the foreground.
210x297mm (S'Ax 1 W4n)
The drawing merely creates an impression oj the scene. For rougher- water the reflections would he even more fragmented, phereas for smoother water the reflection would show more detail, almost like a muror image.
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