com V01 - Light Beyond the Trees

8/3/2019 com V01 - Light Beyond the Trees

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LIGHT BEYOND

THE

Brenda Hoddinott

V-01 ADVANCED: NATURE & STILL LIFE

Using both geometric and atmospheric perspectives, you create a three-dimensional space within

a forest. Emphasis is also placed on several techniques for rendering textured values.

The rendering of textures, and geometric and aerial perspectives, focus on the following:

Texture is defined with various tools and shading techniques which illustrate the surfacedetails of the trees and ground foliage.

Geometric perspective is applied to create the illusion that the closer trees are larger thanthose farther away. Also, the bases of each tree seem to recede into the distance by drawing

each, from foreground to background, progressively higher within the drawing space.

Atmospheric (sometimes called aerial) perspective is utilized by illustrating the componentsof the atmosphere, such as tiny particles of dust, pollen, or droplets of moisture. The trees inthe foreground are more detailed and have brighter highlights and darker shadows than the

ones farther away. Trees which are far away appear lighter in value and less detailed becauseof the presence of more atmospheric components between them and the viewer.

Suggested drawing supplies include 2H, HB, 2B, 4B and 6B pencils (but a complete set from 6H

to 8B would be advantageous), vinyl and kneaded erasers, and 90 lb. cold pressed (heavily

textured) watercolor paper.

This lesson is recommended for artists with strong drawing skills, as well as home schooling,

academic and recreational fine art educators of advanced students.

14 PAGES 25 ILLUSTRATIONS

Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada 2002 (Revised 2006)


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Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and maynot be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.

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

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PLANNING THE COMPOSITION

Fourteen trees create the illusion of depth in this drawing. Assume that all the trees in thisdrawing are, in reality, approximately the same size. However, in viewing them within the rules

of geometric perspective, they will be drawn various sizes.

Compare the following two illustrations to gain further insights into the process of creating thisdrawing. To help identify which trees are closer to you, each one is numbered, therebyestablishing a guide for shading.

ILLUSTRATION 01-01

Tree number 1 is closest tothe viewer and number 14

is the farthest away.

Each tree is drawn

progressively darker fromthe distant ground toward

the foreground, until you

get to number 1, which isthe darkest of all

Conversely, the higher

numbered trees have more

light values.

.

ILLUSTRATION 01-02

The trees with low numbers

are more detailed and havebrighter highlights and

darker shadows.

The light source in this

drawing is from behind andto the right.

The shadow side of each

tree is shaded slightly

darker on the left.

PLANTING THE TREES WITHIN A DRAWING FORMAT

In the first few steps of this project, before you begin shading, you draw the outlines of all

fourteen trees. Remember to draw the base of each tree a little higher as the numbers get higher.

Also, the trees should become progressively smaller, as the numbers become higher.
mailto:[email protected]://www.finearteducation.com/http://www.drawspace.com/http://www.drawspace.com/http://www.finearteducation.com/mailto:[email protected]


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1. Outline a drawing format that is proportionately the same as mine.My drawing is 4 by 6.5 inches. Other options include 6 by 9.75 inches or 8 by 13 inches.

2. Draw the outlines of the three trees closest to the viewer.Tree 1, the largest tree, is the focal point of this drawing. Observe its location to the right ofthe center of your drawing space. Its base is close to the bottom of the drawing space.

Tree 2, the second largest tree, is sketched close to the left edge of the drawing space, and

is smaller than the first tree. Its base is slightly higher than tree 1.

Tree 3, the third largest tree, is located on the right side of the drawing space. The base is a

little higher than tree 2.

ILLUSTRATION 01-03

3. Outline trees 4, 5, and 6.Trees that are in front of others sometimes overlap trees behind them, providing an obvious

clue that one is in front of the other. Note how tree 4 appears to be in front of tree 6. Also,trees appear smaller the farther they are away from you. Conversely, the closer they are to

you, the larger they look.

Tree 4 is not as wide as 1, 2 or 3, and has a base higher within the drawing format.

Tree 5 is sketched slightly to the left of 3.

Tree 6 is slightly behind 4, so you only need to indicate its right side and base.


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ILLUSTRATION 01-04

4. Sketch trees 7, 8, and 9.Tree 7 is very slightly to the left of 1. Tree 8 is to the left of Tree 7 (with a space inbetween them). Tree 9 has a higher base than 8, and has only one vertical line to create the

illusion that its behind 7.

ILLUSTRATION 1-05


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ILLUSTRATION 01-06

5. Add trees 10 and13 to the left of 7,

8, and 9.

Keep in mind that thetrees are drawn

progressively higher

in the drawing spaceas each number gets

higher, and each is a

little smaller as thenumbers get higher.

6. Draw the outlinesof trees 11 and 14

(to the right of 1).

ILLUSTRATION 01-07

7. Draw tree 12 on the far left of yourdrawing space (refer to the

illustration on the next page).

8. Compare your drawing to mine andmake any changes you want.Check the bases of all fourteen trees,beginning with tree number 1 (the

largest tree), and working your way

back to number 14 (the smallest tree).Make sure each base is drawn slightly

higher than the last.


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ILLUSTRATION 01-08

CREATING DIVERSE TEXTURES

This section offers suggestions for rendering the various textures in this project.

ILLUSTRATION 01-09

The tooth of heavily textured watercolor papercan help create many of the textures of the trees

and foliage! Hold your pencil sideways and use a

gentle circular motion as you add the shading.

Dont press too hard with your pencil! The

gorgeous texture of this paper can be easily

flattened. Please be careful!

ILLUSTRATION 01-10

Remember to leave more

white paper showingthrough, on the lighter

sides of the trees.


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If you have a full set of pencils, use them to their full advantage, to draw many different values

without damaging the tooth of the paper. Refer to the following chart to help you choose pencilsfor each value in this drawing:

ILLUSTRATION 01-11

6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B

ILLUSTRATION 01-12

Squirkling is a fun

way to rendervarious textures,

including trees,plants, and groundfoliage.

Leave lots of the white of your paper showing through for the lighter values by making your

squirkle lines lighter and farther apart. In the darker values, the lines are darker and closer

together.

ILLUSTRATION 01-13

Take note

of the widerange of

values

used fordrawing

the texture

of theground

foliages.

ADDING DEPTH AND TEXTURE TO A FORESTIn this section you add the shading that creates the illusion of numerous textures within aperceived three-dimensional space

9. Shade in the sections behind the smaller trees, graduating from white at the top todarker values towards the bottom.

Note that the shading only goes down as far as the base of the background trees.


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10. Shade in trees 11, 12, 13, and 14.ILLUSTRATION 01-14

ILLUSTRATION 01-15

11. Shade in trees 6, 7, 8, 9 and 10.Refer to the illustrations 01-15 to

01-18 (on the next page).Note that each tree is darker on

the left,

Keep in mind that the lower the

numbers become, the darker theshading needs to be.

12. Use a combination of hatchingand squirkles to draw the

texture of the distant ground

foliage.

Also, add a little darker shadingto the bases of the trees.


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ILLUSTRATION 01-16

ILLUSTRATION 01-17 ILLUSTRATION 01-18


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13. Finish the shading of all the trees except the big one in the very front.Use whatever pencils work best for you, and refer to illustrations 01-19 to 01-21, as youadd the following:

More textured shading at the base of the trees (to look like ground plants). More contrast to the trunks of the trees. A few small branches (growing downward) in the upper sections of some of the trees in

both the background and foreground.

ILLUSTRATION 01-19


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ILLUSTRATION 01-20

ILLUSTRATION 01-21

14. Use various pencils and a full range of valuesto finish the largest tree.

Refer to the following four illustrations.

15. Add darker values with very dark pencils tothe shadow side.

16. Add more high contrast, textured shading tolook like ground plants in the foreground.

ILLUSTRATION 01-22


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ILLUSTRATION 01-23


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ILLUSTRATION 01-24

17. Check over your drawing and make any adjustments needed. Then sign your nameand go hug a tree!

ILLUSTRATION 01-25


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BRENDA HODDINOTT - BIOGRAPHY

As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizesdiverse 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 theenjoyment 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

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