Sketch Book for the Artist

Landscapes

TREES ALONE OFFER MARVELOUS shapes to draw. They

are also good markers of receding space, especially

when making first excursions into aerial perspective.

This term simply means that as land rolls away into the

distance, details blur and colors grow paler and bluer.

It is the visible effect of the atmosphere between where

you stand and what you see in the distance.

Landscape drawings are traditionally arranged in three

parts: a detailed foreground; a less distinct middle ground

composed of shapes and textures; and an abstract, hazy

distance. Successful drawings often only suggest the

qualities of the scene without overdescribing them. On

pp.98-99 we noted that in response to visual stimulus,

our brains search for nameable things and will perceive

complete pictures from very little information. Ironically,

the less you describe, the more you encourage the viewer's

imagination to join in and see. Excessive detail can be

admired for its skill and achievement, but is often less

evocative and engaging. At its worst, it results in flat planes

of clutter. To experiment with drawing landscapes and the

use of charcoal, pack your materials (as advised below) and

set off for a local view or your nearest arboretum. Don't

worry if it is cloudy: clouds add drama and perspective

and make good subjects in themselves (see pp.212-13).

MATERIALS

Pack several thick and thin

sticks of willow charcoal,

a reel of masking tape, an

eraser your drawing book

or a board and paper fixative

(or hairspray), and a cushion

in a plastic bag to sit on. When

you arrive, begin by marking

out several small squares on

your paper, to contain each

of your compositions.

Seeing tones

In this first view there is only a

foreground and middle distance.

The long view is hidden behind

trees. I relaxed my eyes out of

focus to dissolve distracting detail

into abstract patches of light and

darkness. Then I drew the shape

of the tonal patches I perceived.

EARTH

AND

THE

ELEMENTS