This week more than drawing techniques, I want to talk about confining your landscape, general feature of composition and unevenness.
I went for an outdoor drawing this week to Park Skaryszewski (Warsaw) and found a damp trunk overthrown over the lake and settled down on it started my uncomfortable sketching session (don’t drop the mobile, don’t drop the mobile!)I had a wide view and I drew a big section of the photo above, with little cuts from left and right sides both.
Well, where I observe the area from is obviously on the left down part and what I see is that there is a flow between the green wall (let’s say) and water; that green wall surrounds the lake. On the left side trees are closer to as so we are able to see them more detailed with their leaves; getting closer to the observing point there is an overthrown trunk, some of its branches are submerged into the water.
Drawing out in nature made me think about how easily I am lost in details (maybe as a result of using fine tips -graphite and sketching pencils actually, it could have been a different result with painting) and when I realize that when that happens I force myself to see the bigger picture and general feature; though, nature is a rest for our eyes from city and is peace, but that organic feature seems so chaotic to me and can be the intuitive reason of complicity on paper.
Though landscapes are zero point perspectives but for drawing ripples I did a grid in the second step, which has a vanishing point at the exact right up point of the paper. I had first met grid in first year of my arhitectural studies. It is very helpful sometimes.
In the third frame I set ripples partly for darker areas and used blending tortillon partly.
In the forth frame you can also see reflections on water surface which are drawn according to ripples moves; like the trunk appears in a wavy way on ripples.
And here comes another composition from the same landscape. Same view closer this time. The trunk occupies a bigger place on paper this time; trunk is detailed.
And one more step, small addition to the left part to the leaves.In this wide frame you could chose to draw water texture, tree and cloud reflections on it; a far far point a single tree or two; part of the trunk from very close, or anything you say as well; standing above a landscape or under a tree -worm and bird’s eye views; that shows you have many options actually.
And about evenness; you could simply draw a horizonal line where the lake and foliage meet and draw it; the composition would have a more even look, so straight. But when you add something so close in the view, and a lot wider in comparison to the rest in scale; it breaks that even mood some, or sometimes a lot.
Ignore details and focus more on the general feature of your drawing, from what point you chose to draw what. Tell me if you went out to practice a nature composition, what it was and how it went, I’d love to hear.