Tree Stump

Sometimes it's relaxing to do a simple drawing. I have been wanting to do this old tree stump for a couple of years and I finally got around to it. About 10 hours on Fabriano watercolor paper.

Enjoy!

Trail to Lake Ediza

Here is an update.... the foreground has been layed in and surprisingly it ended up quite dark. I really didn't want the foreground to hold the viewers attention for long, but let it gradually follow the water up thru the trees and into the background.



Here is a small update as I didn't have much drawing time this week. Continued to work on the middle-area rocks, crevices and shadows. I've also sketched in the foreground rocks and placement of the wildflowers.



Expressive lines

At first glance of the scene, the cracks in the rocky landscape may "visually look" like nothing more than a line. But if you observe closer, you will see the irregularity of the crack or crevice. It will be darker and wider where the crack is more open and thinner and lighter where it is narrower. Closer observation and understanding of "what" you are looking at will help you determine that a straight and evenly applied pencil stroke will not realistically represent that crevice.

Let's take a focused look at a crevice in this rocky landscape. Here is a section enlarged. Mentally describe to yourself what you are seeing. "The ends of the crevice taper. There are darker shadows where the drop off is more vertical. The edges are not all smooth." This mental description will help you coordinate your eye to mind to hand dexterity. You will not just draw a straight line to represent it because you now know it's not just a straight line.

The more you observe, the more you understand what you are drawing, the more realistic your drawing will become.



The background is proving to be a challenge. Balancing the shadows and level of detail is so important. The scene is slowly coming together.







My son lives just 4 hours south of Yosemite National Park. Labor Day weekend, he and a friend went day backpacking through the Ansel Adams Wilderness just east of Yosemite. It was a tough hike, but they made it to Ediza Lake, camped overnight and then hiked back to Agnew Meadows. Matt got some really awesome photos for me. What a beautiful scene of my favorite subjects, rocks, water and trees!

Enjoy!

Rick's - Japan Water Wheel - Update

I posted an update to Rick's drawing, Japan Water Wheel under the following post:

Pushing into the Shadow

Indiana Barn

Wip 8: Added a bit more shadow to the left and shaping of the foreground bush....



Wip 7: Shaded the face of the barn even darker, especially behind the bush and putting some detail back into the barn boards.Starting to define some of the grass in the foreground. The bush to the left if starting to be defined as well.

Drawing Stats:

the paper is mellotex

size: 7" x 8"

pencils: 2B and 4B 2mm clutch pencils

approx. 30 hr...so far

Wip 6: Really working on the deepest shadows to the right of the barn. Darkening that corner has really pushed the barn right out the page!

Wip 5: The background trees are adding depth to the scene...little spaces of sky peak through to keep the trees 'airy'.

Wip 4: Starting to take shape. I really like the splash of highlights on the left upper tree. And I'm starting to shape the trees in the background. I'm slowly texturing in the ivy and the barn face is deepening in shadow as well.

Wip 3: Again, I am really trying to force myself into creating dark areas and practicing some negative drawing as well. The entire left side of the tree will be deep in shadows...eventually

Wip 2: Working my way up the barn and into the shadows under the roof line. The holes in the edging of the roof line creates beautiful jagged shadows across the side of the barn.

Wip 1: Starting with a light outline of the barn and placement of the trees and bushes. I started in the center of the drawing where the most detail and contrast of values reside. My goal of this drawing is to work on tonal continuity/composition and really pushing the darks. I'm forcing myself to use some pretty dark/stark negative drawing to get me jump started.

This photo was one of the only barn shots I got traveling to Indiana....but what a shot it is! The lighting was great and the overgrowth of ivy incredible. This was is a true 'drive by shooting', taken while we were driving on Interstate 80 at 70 mph!

Pushing into the Shadow

UPDATE: Sept 5, 2009

Diane: Using the 2H to burnish the dark areas, creates a nice rich and solid dark. What a great finish!!

Rick: I've enclosed the latest touch up effort using a 2H pencil and dropping the water into the wheel. Although I can still see area's that require additional touch-up I realize the for now the time has come for me to leave well enough alone and apply everything that I've learned from this drawing to my next effort.

Once again, thanks to you this drawing has been pure pleasure for me and I look forward to starting my next one.



Rick: I finally found the nerve to pick up the 4B pencil and give your "push the blacks" a go and I will be danged! "Henrietta began emerging right off the paper." Thank you much young lady! I may be an old dog but I see that even I can learn new tricks by paying attention. I still have a log way to go (I'm shooting for the moon) but as Neil Armstrong might say "That's one small step for man, one giant leap for Rick"

Diane: Wow....look at the difference!



Rick, a dear artist friend of mine, graciously shares his love of drawing landscapes with me. He sent me a drawing of his most recent accomplishment and asked me to critique it.



When asked if I could share this, Rick said “Posting the drawing along with your comments/improvements on your blog and on the DLL site would be terrific for me and certainly helpful for others. I am pleased that you asked.” I’d like to thank Rick for his generosity as this is an excellent instructional sample that others can benefit from.



Rick: “The below description of Mike and his instructions to you on drawing the hen really struck home when I remembered your critique of my water wheel drawing "Just keep pushing those darks. You will find a wider range of values to work with and objects will emerge with even more dimension."



"Every time he would walk by, he'd be gently coaching me to "go darker". This didn't really sink in until I started working on this final exercise. Henrietta is emerging out of a dark area and most of her body is in the shadows. As I started drawing the hen, I couldn't get this figured out. Mike stood behind me and kept saying "push the back of her body into the shadows". Through a leap of faith, I shaded the body into the shadows and like magic, Henrietta began emerging right off the paper." That was a terrific way to describe your success. I would love to look at my drawings and be able to see the same thing occurring.



Will you take another look at the water wheel drawing and apply your comment "Henrietta began emerging right off the paper." to my drawing?”



Diane: I love it! I can see that you are really enjoying drawing. This drawing has a beautiful feeling to it. The trees are so soft and atmospheric. I can see you are delving into the depths of shadows! Just keep pushing those darks. You will find a wider range of values to work with and objects will emerge with even more dimension.



Before I start, remember that I think your drawing is beautiful as is. Here are a few comments that I hope will apply the comment "Henrietta began emerging right off the paper." to your drawing:





This bottom area would also benefit from pushing into the shadows. There should not be delineation between the wheel and the shadows here.


Really work on building up the darks here. Use a 4B 2 mm clutch pencil and layer and layer. Use a clutch pencil with the sharpest tip you can make (something else I learned from the workshop! I bought a staedtler pencil sharpener on my way home!)

Be careful of obtrusive dark pencil strokes – instead “feel” your way into the darkest darks with circular or irregular small movements of your pencil.

Look at my exercise from Mike’s workshop…under the cart, the weeds behind the wheel. I kept pushing the weeds into the shadows.

Rick: I really appreciate you taking the time to look over the drawing and adding your comments. Now that you have brought certain things to my attention, I can readily see how these changes would add to the drawing, and I appreciate the fact that they will surely help me improve. That is exactly what I was looking for. I usually find that I am reluctant to go over a drawing once I complete it for fear of messing it up. This might be my one exception; however I will think about it a bit more before proceeding.

Diane: Don’t hesitate to practice on another piece of paper before making changes to the original drawing! You always want to draw with confidence as your hesitancy will be reflected in your rendition.

Drawing Old Weathered Wood

Close observation of old barn boards can help you see and identify common characteristics of old weathered wood. Adding these "clues" as you draw can help create a realistic rendition.

- knots in wood

- grain of wood

- weathering (lighter areas)

- small cracks between the boards

- the bottom edges of the boards are more worn and uneven

- nails and old hinges, etc.

While it is tempting to use blending to create tone on old wood, there is a better way. I use a 3 layer approach to drawing weathered wood.

Layer 1 - Using a B or 2B .5mm mechanical pencil , sketch linear lines to match the direction of the grain. These are the areas of the wood where moisture has darkened the wood the most. Also add in knots, grain patterns and "flaws" in the wood. Add all the dark cracks or dark spaces between the boards using a 2B or softer lead. (rich blacks are recommended in these areas)

Layer 2 - Using a 2H chisel point on a 2mm clutch pencil, burnish a layer of graphite over the board. Use a firm even pressure in the same direction as the grain of the wood. This creates a light even-tone over the wood without losing any of the detail previously sketched in.

Layer 3 - Add any additional dark areas on top of layer 2. I like to add a few horizontal marks to "roughen" up the texture of the wood. Also, using a tacky eraser to drag in some highlights to create weathered areas can be done at this stage.

Diane

Fire Sky

Les and I were dining at one of our favorite restaurants downtown, Hessen Haus. It was a beautiful evening so we were on the patio and the sun was setting. Les told me to look over my shoulder and this is what I saw....the Des Moines skyline was on fire! Actually the clouds were reflecting the sunset....these are the real thing, no alterations in photoshop!

It lasted for only a few minutes and then it was gone. I just so happen to carry a Nikon Coolpix camera with me all the time.