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How To Draw Tree Branches.

E`er frame in with glass, I would always couch with glass, simply I would besides drop the supererogatory money for the UV safety glass. However, I would never use non-glare glass or plexiglas.

It`s how your completed artwork is presented that makes all the difference. Although it`s tempting to just place your drawing in a ready-made frame, there are several things that you must take in meditation,brooding,mulling over,reverie,brown study,concentration,debate,speculation,rare cerebration before framing your artwork to insure it is adequately shielded over the years.

Let your artwork breathe, In attaching the drawing to the backing or whatever secures its position within the mats or frame, it can only be secured at the top and allowed to hang if an adhesive or tape is used. It should not be secured fervently at all four corners or around its perimeter, because the humidity changes constantly and the paper has to have freedom to flex, expand, and contract. Otherwise, the paper will ripple or develop lines if it is localized in any wont chains in the paper become very obvious when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large synthetic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as many of my drawings and illustrations using other media on paper, have been framed this use for a number of years.

The drawing must be cleaned well, removing smudges, dust, or eraser fragments. To notice if there are any petite fragments on your paper or drawing, you can look at the fall neatly from a critical angle, so that you can notice them contrasting from the paper`s draw near as they rise up. You can use a brush or compacted air to remove the fragments from the framing material.

Utilisation acid- gratuitous materials, Whatever matting, videotape or adhesive, barriers, or championship that you utilization in the frame of your artwork or drawing should be completely acid free. Acidic materials, after long periods of time should actually damage the artwork in the frame by distorting the definite paper or by turning the paper a yellowish color.

The glass should be wonderfully clean and must be tested for finger prints, dust, hair, or other strange material, before securing it lastingly in the frame. You can have to do this more than once.

Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it can work if is part of a color street with a particular molding and if it is not overpowering the drawing. It`s great to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame can all be chosen to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

Add a territorial dust cover, After attaching the art and framing materials to the definite frame, a dust cover must be used on the back to keep additional dust, spiders, or bugs from entering the framed picture compartment. This is usually done by using a two-sided tape on the back present itself of the molding all the route around the perimeter. Then a piece of brown-colored paper is laid down on the adhesive crop up as it is not stopped until flat as you press it onto the adhesive occur . You then trim the outer edges of the brown paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.

Use matting, I prefer using mats with the framing of my drawings. If an acidic matting is use, it can be backed by an acid-free material that will act as a territorial barrier between the matting and the drawing. There is a standard thickness that is compulsory and preferred in the industry for this buffer or barrier. The same reasoning should be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is avoidable . Some framers use a foam-core board for backing.

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One more little thing I noticed is that I needed to give myself extra space.  I would usually run out of space for the tree much quicker then I thought I would.

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There you go! My trees are all done.  Now go and practice some trees of your own! Play around, and draw some amazing trees!

I kept working on the leaves, occasionally using my eraser to add highlights, until I was somewhat happy with it.

As before, I drew the line and the crown, but this tree is being bent by the wind, so the tree will be bending down a bit.

Shade the trunk with straight lines. Decide on where the sun will be and add shadows to the areas facing away from the sun.

I extend the trunk shape up.  As before, it’s thicker towards the bottom, and comes to a point on top.

This tree was especially fun to draw.  I started to draw it by drawing the ovals for the leaf parts.  I decided on four, but if you want more, that would be quite awesome too! Then I added some squiggly lines coming down to the same area for the tree trunk.

The same thing with the branches. They are thicker toward the base and narrower towards the tip.  Easy-peasy.

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I decided that the tree shouldn’t just hang in the air, so I gave it more grass, and shaded in the background.

This tree is more of a bush.  All the branches are coming out from the bottom, and growing to about the same size.  I start with five main branches.

A bit of grass, and some textures on the ‘umbrellas’, also make the ‘umbrella’ textures thicker on the bottom and thinner on top.

Define the leaf areas in the foreground, and add some branches coming up behind them, also a few roots.

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Then I went all out and decided I am going to use my eraser and add some sun rays coming out of the corner.

With the side of my pencil I added some shadow to where the leaves are going to be.

Alright, now leaves are squiggly lines drawn with the side of my pencil.  Some of them are flying off, so more small squiggles.  I also add a horizon line: where the water meets the sky and some grass on the hill.

…but no, I had to go and add squiggly lines to indicate leaves.

Even more smaller branches splitting off from the bigger ones.  I also pick an spot where the sunshine is coming from.  I also shade the trunk a bit, using long straight lines.

This tutorial is my take on drawing trees.  For these drawings I used a regular sketching pencil, though the same principal applies to other mediums as well.  I also adjusted all the sketches in Gimp 2 so that they are more visible, so there will be a slight variation between the photos.

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Alright, here is tree number one.  I call this one “Tree # 1”.  🙂

And keep working on the crown.  Just doodling away until you feel your tree crown is complete.

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I keep working on the crown, now by adding some layers, and outlines. I also erased the line that was giving me the initial crown shape idea.  When shading, keep in mind where the sun is coming from: areas facing the sun should be lighter then the areas facing away from it.

Add some main branches.  Because the wind is blowing, many of the branches are leaning to the right.

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This was the first tree I actually drew, and I wasn’t too thrilled about it, but here it is anyway.  I start as before, a line for the trunk, and a circular shape for the crown.

Even further, I got eraser happy and made more rays coming out through the tree and on the ground below it.  Tree # 1 is all done!!!

I added some more detailed leaves, but they could also be berries, or flowers, or what ever else you would like.

I erased the stump line and gave the tree a few branches, but instead of doing the way I did the above trees, I ended them half way and will cover them up with leaves.

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Now each one of the main branches gets a few branches of their own, but smaller and added a squiggle on the bottom to indicate a bit of grass.

Even more small branches, making the bush thicker and thicker.

I add a small triangular shape on top with straight lines all moving to the top.

Here is more branches.  Here is the thing about the branches.  The thick, main branches are stronger, so they will not be as affected by the wind, but the smaller branches will all point in the direction of the wind.

I added more details to the trunk, made more squiggly branches, and added some shading to the ‘umbrella’ portions.

I added more lines to create thicker trunk branches, added more branches going out to the ‘umbrellas’ and added a few empty branches as well.

I added some clouds, shaded the water, drew a sand line, and some tall grass on the hill.  The tall grass is also leaning in the winds direction.  I also darkened some of the leaves a bit.

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Shade the trunk a bit, and then start shading the leaves that are towards the back.

Too often kids (and adults) draw trees which ends in a stump, and has a semi round crown on top of it.  Here I start by doing that, and then work on it some more.

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Make the branches thicker, and add some more small branches.

For me drawing trees is all about branches and the crown, and fining a balance that you are happy with.  There are many amazing artists, books and tutorials out there all about drawing trees.  For example, THIS BOOK is very good, and my kids and I enjoyed it in the past.

Putting my pencil sideways, I shade in the area in the crown where the leaves are.  I am going in a sort of irregular pattern of peaks and troughs.

Keep adding the branches with needles to about half way, and then sketch a few empty branches.  Thicken the trunk.  Add a shadow to the tree.

I start with a line and the general shape that I would like the crown to be.

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Make the trunk thicker.  It is thick towards the bottom and the roots, and narrows closer to a point toward the top.

If you’re feeling adventurous, you could even add shadows that the branches are casting on the rest of the tree.  Actually, at this point, I really liked what this tree was coming out like, and maybe I should have kept it as a winter tree…

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