Page 206 - sarah-simblet_sketch-book-for-the-artist

EARTH AND THE ELEMENTS206
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
p p . 9 8 - 9 9 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.