The Landscape chapter 13
Trees are infinitely varied in character, just as every human
face is a unique arrangement of form and features. The first
aspect to consider when drawing a particular tree is its ges-
ture—that is, the overall quality of its shape. This is where the
“feeling” of the tree comes from. Look for the main line, or
the sweep, from the trunk through the main branches. Also
avoid making your trees symmetrical; although this can
sometimes occur, too much symmetry in groupings of trees
will create a manufactured look in your landscape.
A common error when attempting to fit a monumental tree
on a small piece of paper is to discover, after drawing the
lower portion, that in order to fit the entire tree within the
format of the paper, the upper half has to be reduced in size.
The result is that a once-graceful form becomes clumsy and
artificial looking.
With careful observation, you will notice that in most cases,
tree trunks and branches taper very gradually, so that if a
tree’s trunk has a substantial girth, you can be sure that the
upper branches and foliage will also be very large.
This drawing of a grouping of three trees illustrates all of the
principles mentioned in this section. Each tree has its own
character, yet they work together as a natural grouping.
Careful observation will reveal that common rhythms
between forms in the landscape are frequent due to each
element having been exposed to the elements of nature,
including light, wind, and rain, in a similar way. Capturing
these subtle and interesting rhythms will help you to create
unity in your work.Stowe Barn,detail Study of Trees,by Dean Fisher