- Drawing: Flowers allows artists to develop their drawing skills.
- Demonstrating how to start with basic shapes and use pencil and shading techniques to create varied textures.
- With a wealth of detailed step-by-step projects to both re-create and admire.
- With tips on choosing materials, building with basic shapes, and shading to develop form and realism.
- A variety of beautiful flowers in graphite pencil.
Product Description
-------------------
Discover how to draw majestic trees in realistic detail, step by
easy step, with Drawing: Trees with William Powell.
The qualities we most admire in trees are also what we value in
ourselves or other people—strength, dignity, and perseverance.
Perhaps this is why we’re naturally drawn to them as artistic
subjects. From basic shapes to final details, this book teaches
the step-by-step process of drawing a wide variety of trees. With
just a little practice, you can create many different types of
trees, each with its own unique qualities and elegance.
With tips on drawing root patterns, branches, fallen trees, and
bark and simple techniques for rendering cast shadows and ground
foliage, Drawing: Trees with William F. Powell teaches artists
how to draw a wide variety of trees in graphite pencil, from
basic shapes to final details. Learn about basic tree shapes and
leaf types, as well as the fundamentals of shading, composition,
and perspective.
Some of the step-by-step lessons included in this book are:
* Tree Trunks
* Branches & Boughs
* Root Patterns
* Foliage Textures
* Fallen Trees
* Majestic Oak
* Sierra Pines
* Sycamore Lane
The How to Draw & Paint series offers an easy-to-follow guide
that introduces artists to basic tools and materials and includes
simple step-by-step lessons for a variety of projects suitable
for the aspiring artist. Drawing: Trees with William F. Powell
allows artists to develop their drawing skills, demonstrating how
to start with basic shapes and use pencil and shading techniques
to create varied textures, values, and details for a realistic,
completed drawing.
About the Author
----------------
William F. Powell was an internationally recognized artist and
one of America’s foremost colorists. A native of Huntington, West
Virginia, Bill studied at the Art Student’s Career School in New
York; Harrow Technical College in Harrow, England; and the Louvre
Free School of Art in Paris, France. He was professionally
involved in fine art, commercial art, and technical illustrations
for more than 45 years. His experience as an art instructor
included oil, watercolor, acrylic, colored pencil, and
pastel—with subjects ranging from landscapes to portraits and
wildlife. He also authored a number of art instruction books,
including several popular Walter Foster titles. As a renowned
master of color, Bill conducted numerous “Color Mixing and
Theory” workshops in various cities throughout the U.S. His
expertise in color theory also led him to author and illustrate
several articles and an educational series of 11 articles
entitled “Color in Perspective” for a national art magazine.
Additionally, he performed as an art consultant for national
space programs and for several artist’s paint manufacturers.
Bill’s work also included the creation of background sets for
films, model making, animated cartoons, and animated films for
computer mockup programs. He produced instructional painting,
color mixing, and drawing art videos.
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Excerpt. © Reprinted by permission. All rights reserved.
--------------------------------------------------------
*************
Drawing Trees
*************
**************************
Learn To Draw Step By Step
**************************
By William F. Powell
The Quarto Group
----------------
Copyright © 2019 Quarto Publishing Group USA Inc.
All rights reserved.
ISBN: 978-1-63322-779-8
Contents
--------
Tools & Materials, 2,
Foliage Shapes, 18,
Shading Techniques, 4,
Tree Trunks, 20,
Surfaces & Textures, 6,
Branches & Boughs, 22,
The Importance of Values, 7,
Root Patterns, 26,
Trees in Perspective, 8,
Foliage Textures, 28,
Pictorial Composition, 9,
Fallen Trees, 30,
Sketches & Notes, 10,
Majestic Oak, 34,
Basic Shapes, 12,
Sierra Pines, 36,
Tree Shapes, 14,
Sycamore Lane, 38,
CHAPTER 1TOOLS & MATERIALS
Drawing is just like writing your name. You use lines to make
shapes. In the art of drawing, you carry it a bit further, using
shading techniques to create the illusion of three-dimensional
form. Only a few basic tools are needed to draw. All the tools
necessary to create the drawings in this book are shown here.
Pencils
Pencils are labeled based on their lead texture. Hard leads (H)
are light in value and great for fine, detailed work, but they
are more difficult to erase. Soft leads (B) are darker and
wonderful for blending and shading, but they smudge easily.
Medium leads, such as HB and F, are somewhere in the middle.
Select a range of pencils between HB and 6B for variety. You can
purchase wood-encased pencils or mechanical pencils with lead
refills.
Paper
Paper has a tooth, or texture, that holds graphite. Papers with
more tooth have a rougher texture and hold more graphite, which
allows you to create darker values. Smoother paper has less tooth
and holds less graphite, but it allows you to create much finer
detail. Plan ahead when beginning a new piece, and select paper
that lends itself to the textures in your drawing subject.
Wooden Pencil The most common type of pencil is wood-encased
graphite. These thin rods — most often round or hexagonal when
cut crosswise — are inexpensive, easy to control and sharpen, and
readily available to artists.
Flat Carpenter's Pencil Some artists prefer using a flat
carpenter's pencil, which has a rectangular body and lead. The
thick lead allows you to easily customize its shape to create
both thick and thin lines.
Mechanical Pencil Mechanical pencils are plastic or metal barrels
that hold individual leads. Some artists prefer the consistent
feel of mechanical pencils to that of wooden pencils; the weight
and length do not change over time, unlike wooden pencils that
wear down with use.
Woodless Graphite Pencil These tools are shaped like wooden
pencils but are made up entirely of graphite lead. The large cone
of graphite allows artists to use either the broad side for
shading large areas or the tip for finer strokes and details.
Graphite Stick Available in a full range of hardnesses, these
long, rectangular bars of graphite are great tools for sketching
(using the end) and blocking in large areas of tone (using the
broad side).
Paper
Paper has a tooth, or texture, that holds graphite. Papers with
more tooth have a rougher texture and hold more graphite, which
allows you to create darker values. Smoother paper has less tooth
and holds less graphite, but it allows you to create much finer
detail. Plan ahead when beginning a new piece, and select paper
that lends itself to the textures in your drawing subject.
Blending Tools
There are several tools you can use to blend graphite for a
smooth look. The most popular blenders are blending stumps,
tortillons, and chamois cloths. Never use your finger to blend —
it can leave oils on your paper, which will show after applying
graphite.
Stumps Stumps are tightly rolled paper with points on both ends.
They come in various sizes and are used to blend large and small
areas of graphite, depending on the size of the stump. You can
also use stumps dipped in graphite shavings for drawing or
shading.
Tortillons Tortillons are rolled more loosely than a stump. They
are hollow and have one pointed end. Tortillons also come in
various sizes and can be used to blend smaller areas of graphite.
Facial Tissue Wrap tissue around your finger or roll it into a
point to blend when drawing very smooth surfaces. Make sure you
use plain facial tissue, without added moisturizer.
Chamois Chamois are great for blending areas into a soft tone.
These cloths can be used for large areas or folded into a point
for smaller areas. When the chamois becomes embedded with
graphite, simply throw it into the washer or wash by hand. Keep
one with graphite on it to create large areas of light shading.
To create darker areas of shading, add graphite shavings to the
chamois.
Erasers
Erasers serve two purposes: to eliminate unwanted graphite and to
"draw" within existing graphite. There are many different types
of erasers available.
Kneaded This versatile eraser can be molded into a fine point, a
-edge, or a larger flat or rounded surface. It removes
graphite gently from the paper but not as well as vinyl or
plastic erasers.
Block Eraser A plastic block eraser is fairly soft, removes
graphite well, and is very easy on your paper. Use it primarily
for erasing large areas, but it also works quite well for doing a
final cleanup of a finished drawing.
Stick Eraser Also called "pencil erasers," these handy tools hold
a cylindrical eraser inside. You can use them to erase areas
where a larger eraser will not work. Using a utility razor blade,
you can trim the tip at an angle or cut a fine point to create
thin white lines in graphite. It's like drawing with your eraser!
SHADING TECHNIQUES
Shading enables you to transform mere lines and shapes in your
drawing into three-dimensional objects. As you read this book,
note how the words shape and form are used. Shape refers to the
actual outline of an object, while form refers to its
three-dimensional appearance.
Gradating with Hardness Because different pencil hardnesses yield
different values, you can create a gradation by using a series of
pencils. Begin with soft, dark leads and switch to harder, grayer
tones as you move away from the starting point.
Gradating with Pressure A gradation is a transition of tone from
dark to light. To create a simple gradation using one pencil,
begin with heavier pressure and gradually lighten it as you
stroke back and forth. Avoid pressing hard enough to score or
completely flatten the tooth of the paper.
Stippling Apply small dots of graphite for a speckled texture. To
prevent this technique from appearing too mechanical, subtly vary
the dot sizes and distances from each other.
Scumbling This shading method involves scribbling loosely
to build up general tone. Keep your pressure light and consistent
as you move the pencil in random directions.
Burnishing It is difficult to achieve a very dark tone with just
one graphite pencil, even when using a soft lead. To achieve a
dark, flat tone, apply a heavy layer of soft lead followed by a
layer of harder lead. The hard lead will push the softer graphite
into the tooth of the paper, spreading it evenly. Shown at left
is 4H over 4B lead.
(A) Draw the basic leaf shape and vein pattern using a pointed HB
pencil. (B) Add more vein pattern. (C) Begin middle-value shading
using the side of the lead. To create the vein patterns, leave
areas clean or use a kneaded eraser to lift out highlights. (D)
Add darker shading using a 2B pencil.
APPLYING GRAPHITE WITH A BLENDER
Chamois Using a chamois is a great way to apply graphite to a
large area. Wrap it around your finger and dip it in saved
graphite shavings to create a dark tone, or use what may be
already on the chamois to apply a lighter tone.
Stump Stumps are great not only for blending but also for
applying graphite. Use an old stump to apply saved graphite
shavings to both large and small areas. You can achieve a range
of values depending on the a of graphite on the stump.
Indenting To preserve fine white lines in a drawing, some artists
indent (or incise) the paper before applying tone. Use a stylus
to "draw" your white lines; then stroke your pencil over the area
and blend. The indentations will remain free of tone.
"Drawing" with an Eraser Use the corner of a block eraser or the
end of a stick eraser to "draw" within areas of tone, resulting
in light strokes. You can use this technique to recover lights
and highlights after blending.
Hatching Hatching is considered one of the simplest forms of
shading. Simply apply a series of parallel lines to represent
darker tones and shadows. The closer together you place the
lines, the darker the shading will appear.
Crosshatching To crosshatch, place layers of parallel lines over
each other at varying angles. This results in a "mesh" of tone
that gives shaded areas a textured, intricate feel. For an added
sense of depth, make the lines follow the curves of your object's
surface.
The higher the light source, the shorter the shadow will be; the
lower the light source, the longer the shadow will be.
Light source
Cast shadow
SURFACES & TEXTURES
A variety of techniques can be used to render the surfaces and
textures found in landscapes. Use a razor blade or to
sharpen leads into chiseled, uneven, or jagged points; these
points create unique lines, textures, and patterns. To vary the
line thickness, try changing the direction of your strokes, as
well as the angle at which you hold the pencil.
Look at the position and pattern of the leaves to draw the
general character of the tree.
Sketch smaller shapes within the foliage.
Use light vertical strokes to create contrast.
Use short strokes for depth.
THE IMPORTANCE OF VALUES
The term value refers to the relative lightness or darkness of a
color or of black. Values are important in both painting and
drawing because the variation among lights and darks creates the
illusion of form. In pencil drawing, the shape of the subject
dictates where to place the values to create the form.
Begin the trunk with a simple line drawing using the blunt point
of an HB pencil.
Start shading the middle values with the side of the HB.
Continue shading the darker values to bring out the roundness,
the grooves in the bark, and the twisting branches. Leave some
areas white to represent sunlight on the trunk and branches.
TREES IN PERSPECTIVE
The technique used to represent depth or three-dimensional
objects on a flat surface is based on the principle of
perspective. The rules of perspective are guides for keeping
objects in proper proportion to one another in a composition.
To draw other trees, place a top and bottom guideline. Repeat
this procedure for as many trees as you need.
USING THE VANISHING POINT
All objects appear smaller as they recede into the picture toward
the horizon. In order to draw all the trees in proper proportion
to one another, use some simple tools of perspective. First, draw
a line to represent the horizon. Then draw two guidelines to a
point on the horizon line, one from the top of the tree and one
from the bottom. Place a point where these lines meet the horizon
line. This is known as a vanishing point. You can now draw trees
anywhere along this plane (between the two guidelines) in proper
proportion to the first tree.
PICTORIAL COMPOSITION
When drawing, be sure to arrange the elements in a way that
creates a pleasing design, or composition. The overall design is
determined by the placement of different shapes and lines. The
composition should direct the viewer's attention to the most
important area of the drawing.
The landscape (horizontal) composition above represents a
panoramic view. The large trees on the left are balanced by a
group of smaller trees on the right.
By placing the major elements on the right and left sides of the
drawing, the center appears serene.
For the vertical landscape composition, the tall tree in the
foreground is complemented by the clouds, ains, and smaller
trees in the distance.
TIP SKETCHES & NOTES
Because many species of trees look similar, the best way to tell
them apart is to draw them. Carefully observe and then sketch the
distinctive shapes and characteristics of different trees. Make
notes about your observations to trigger your memory when using
the sketches for reference in the future.
TIP
To help with your sketches, create a personal reference library
by collecting pictures of trees from guidebooks or nature
magazines. You will also find it helpful to explore scenic areas
on your own. Carry a sketch pad and pencil, and draw a variety of
trees in their natural environment.
Make strokes that follow the shape of each trunk.
Lightly suggest background.
BASIC SHAPES
As you draw trees either from this book or outdoors, first work
out the basic shapes with simple line drawings. For example, this
tree is loosely sketched with straight lines for the trunk and
branches and curved lines for large groups of leaves.
Sketch the basic shapes using the tip of an HB pencil.
Begin to refine the shapes.
Add darker values.
Suggest the leaves with small, curved lines.
Create depth in the final drawing with varying values.
Make light, sketchy lines with the side of the lead.
Add landscape elements to make the tree look firmly ed.
TREE SHAPES
Tree shapes vary tremendously. Some are tall and thin, while
others are short and wide. To provide an authentic quality to
your drawings, you must render the many subtle differences —
especially among tree families. Each tree has its own
characteristics and structural growth pattern. Study the
different tree shapes on the following pages.
As you draw, notice the different techniques used for each tree.
First sketch the trunk, and then draw the general shape of the
whole group of leaves before shading the foliage.
Use the side of the pencil lead for the basic layout sketches.
Variations of value create the thick, dense foliage of the red
le.
Here the foliage is less dense, and the branches and trunk are
visible.
Sharp, pointed leaves radiate from the branches.
Use short, thick strokes to create texture on the trunk and
branches.
Make short, quick lines with a blunt HB pencil to draw the palm
fronds.
Use bold lines to draw the Monterey cypress and thin, delicate
strokes for the weeping willow.
Use the sharp point of an HB pencil to draw the needles. Dark
variations should be applied using the side of a 2B pencil.
FOLIAGE SHAPES
Like differences in tree shape, differences in bough and foliage
shapes are important for illustrating a tree's distinctiveness.
Pay close attention to the subtle variations among different tree
types. Combinations of bough shapes make up a tree's mass, and
slight differences in these shapes are important to the tree's
character.
Notice that the slender bough pattern of the sugar pine differs
from the dense foliage of the spruce.
The canyon oak has dark bark and draping foliage.
Sugar pine needles form in clusters of five.
The quaking aspen leaf has a round shape and jagged edges.
The red le has a large trunk and strong branching to support
the large mass of leaves.
TREE TRUNKS
A tree trunk is basically a long cylindrical shape. Likewise, the
branches are longer cylinders that extend from the trunk. Draw
light elliptical lines around the trunk at strategic points to
indicate changes in the trunk's direction.
Use broken elliptical lines as guides for drawing the tree trunk
and branches.
Use heavy, bold lines to show the tree's sinewy form.
Use the side of an HB pencil to draw the smooth birch trunk.
Dark values indicate grooves and cracks in the bark.
Use variations of lines and values to shade the hollow areas of
the tree.
BRANCHES & BOUGHS
As trees grow, they become both taller and thicker. Notice the
different growth patterns of the different types of trees. With
broad-leaved trees, the trunk divides into many crooked spreading
branches, while the pine grows upward with shorter branches at
somewhat regular intervals.
Draw a rough sketch of the individual branches, showing where
they change directions.
Block in the branch shapes.
Add shading to convey the roundness of the twisting limbs. Your
shading strokes should be loose and broken because continuous,
smooth shading tends to make an object appear shiny and metallic.
Use cylinders, circles, and ellipses to develop the shape of each
branch.
Use the blunt point of an HB for the leaves of the pepper tree.
Sketch the general shape of the tree with the blunt point of an
HB pencil.
Use the sharp point of an HB pencil for the young mulberry
foliage.
The foliage is made up of small, continuous strokes, and the
boughs grow upward.
Use a 2B pencil for the dark areas, and pull out highlights with
the point of a kneaded eraser.
Use the side of an HB pencil for the cottonwood foliage.
The texture of the cottonwood leaves is similar to the mulberry,
but it is more irregular, broken, and wider. Pay attention to the
random branch pattern of this tree.
Use a kneaded eraser to create soft highlights in the leaf areas.
(Continues...)Excerpted from Drawing Trees by William F. Powell.
Copyright © 2019 Quarto Publishing Group USA Inc.. Excerpted by
permission of The Quarto Group.
All rights reserved. No part of this excerpt may be reproduced or
reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal
use of visitors to this web site.
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