Countryside Sketching by Frank J Lohan

By Frank J Lohan

Either skilled and aspiring artists can reap the benefits of this useful advisor, which exhibits the way to painting rustic settings from rural England to the yankee Southwest. Recalling the fashion of Eric Sloane, greater than four hundred distinctive illustrations hint the stairs from composition drawings to ultimate sketches. comprises basics for drawing timber, rocks, constructions, mountains, lakes, and different scenic components.

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You should practice these principles and you will learn by so doing. The basics introduced in this chapter will help you to draw some of the demonstrations and lessons in this book for practice before you strike out on your own adventures in countryside sketching. Horizon Figure 3-13 (A) The kind of distortion when the VPL is too (B) The close to the sketch. flat effect when the vanishing points are too far apart to the 4 Backgrounds, Composition, and Drawing Techniques Background and Middle Ground Pairing Subjects with Backgrounds Creating a Center of Interest When to Stop Drawing Different Techniques: Practice Exercises 41 42 Countryside Sketching Background and Middle Ground Types of backgrounds Backgrounds as white or mostly white trees or distant hills.

If the darks need to be darker, then you can add it easily. If they are too dark, well, there is not much that can be done without risking the drawing. Erasing ink is tough. Also, when you have lights next to darks, do not be too quick to put tone in those light areas. Just as I let the one board on the barn go until last, so you should be wary of toning light areas until near the end of your sketch. 17 28 Countryside Sketching Copying, Enlarging, or Reducing Using a Grid Overlay Son^etimes you may want change the size of a composition drawing or supply stores.

The most detailed of pen techniques are produced by stippUng using dots of ink rather than lines to tone the areas on your paper. Stippling can produce photograph-like images and the most subtle of shading differences. It is a created, the — somewhat laborious technique, however, since you put down so little ink with each dot. When you see good stipple work, you realize that the labor involved can be worth the effort. Figure 2-7 shows tone ranges created by ink lines (2-7 A and B), as well as tones created by stipple (2-7 C).

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