![]() ![]() The only conscious goal was to clearly differentiate between the two species. I had references to assist with the drawing of the central dark tree but all the others were imaginary and created without any prior planning. The interiors are simply squiggles, circles and random meandering of my pencil as it sought to reproduce the three-dimensional form and lighting that was in my mind. Again, most of the work was concentrated on the negatively drawn edges. These trees are merely a backdrop – something to contain the viewer, and to suggest locality and strength of light. Most contain very little internal “detail” so attention is thrown onto the outer edges, which suggest the species (usually imaginary!) and its leaf shape and size. To increase the depth, these midground trees were drawn with exaggerated sharpness and contrast. Midground trees drawn with clarityīehind these trees is a lake with morning mist rising from it. The outer leaves were not drawn, or even planned, but created as negative white shapes as I drew the shaded area behind them. But the outer edge of the right-hand bush is deliberately sharp-edged and intended to suggest the scale of its foliage. Here, no actual leaves exist, only suggestions of leaves. Those are the only clues my brain needs to understand the species of the tree, the leaf size and shape, and that all suggested foliage within it should be read as being identical. Although you described your Oak’s leaf to me, I was already aware of that, based on the shapes around the extremity of your drawing. Here you can be quite explicit about the leaf shape. The other equally important area is the outside edge of the tree itself. Edges are what most attract the viewer’s attention. When you create the shaded side of a mass and use that to negatively create the lighter edge of the adjoining mass, use that shade to create angular “maple-like” shapes. Very often, I find, using that clue around the perimeters of each foliage mass is all that’s required. Build in that clue and you send the intended message. In the case of the Maple, or my preference for Sycamore, the visual clue lies with the angular shapes of the leaves. ![]() Consider why you know it’s a Maple from that distance and then adapt your squiggles to reflect that knowledge. ![]() If I was to render a maple tree at the same distance, would I use a different size or shape squiggle? Perhaps angular shapes?Įxactly that. So you very quickly slip into working directly from your mind and sculpt what you expect to see. Personally, I think the beauty of working with squiggles and circles is that it allows you to explore an area without a break in concentration, unlike line that has to be continuously restarted. It has believable form, suggestions of detail, and an excellent sense of reality. This critique won’t take long □ For a midground tree, it does its job admirably. If I was to render a maple tree at the same distance, would I use a different size or shape squiggle? Perhaps angular shapes? The suggestion of leaves was done with irregular squiggles, for the leaves are about 2″ long and 1/2″ wide. I would appreciate your honest critique of my work and how I could improve it. Then I tried to capture the beauty of Florida’s Champion Live Oak, the Cellon Oak. I thoroughly read all I could find both in your book “Drawing from Line to Life” and on the web about drawing trees. Wassie on Why don’t you use colour? That’s much more beautiful!Īrtist Richard Devine submitted a query on my website to ask:.Mike Sibley on Why don’t you use colour? That’s much more beautiful!.Laurene on Troubleshooting Fine Art Printing.Wassie on Adjusting Values For Increased Three-dimensionality.Mike Sibley on Adjusting Values For Increased Three-dimensionality.The Pencil Artist’s view of Negative Space. ![]() Adjusting Values For Increased Three-dimensionality. ![]()
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