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Pencil Sketches Of Landscapes Tutorial.

Ever frame in with glass, I would always frame in with glass, simply I would also pass the extra money for the UV safekeeping glass. However, I would never use non-glare glass or plexiglas.

It`s how your finished artwork is presented that makes all the difference. Although it`s teasing to simply area your drawing in a ready-made frame, there are numerous things that you must take in musing before framing your artwork to insure it is adequately fortified over the years.

The glass must be exceptionally clean and must be tested for finger prints, dust, hair, or other far-off material, before securing it permanently in the frame. You can have to do this more than once.

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 required and preferred in the industry for this buffer or barrier. The same reasoning must 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.

Add a protective dust cover, After attaching the art and framing materials to the definite frame, a dust cover should 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 happen of the molding all the lane around the perimeter. Then a piece of brown-colored paper is laid down on the adhesive draw nearer as it is extended flat as you press it onto the adhesive occur . You then trim the outer edges of the brown-colored paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.

The drawing must be cleaned well, removing smudges, dust, or eraser fragments. To see if there are any small fragments on your paper or drawing, you must look at the proceed closely from a terrible angle, so that you should see them contrasting from the paper`s fall as they rise up. You could use a brush or compacted air to remove the fragments from the framing material.

Utilisation acid- gratuitous materials, Whatever matting, mag tape or adhesive, barriers, or financial backing that you utilization in the framing of your artistic production or drawing should be entirely acid free. Acidic materials, after long times of time may actually damage the artwork in the frame by distorting the actual paper or by turning the paper a yellowish color.

Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it may work if is part of a color attribute 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 selected to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

Let your artwork breathe, In attaching the drawing to the backing or whatever secures its situation 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 continually and the paper has to have freedom to flex, expand, and contract. Otherwise, the paper will ripple or develop rows if it is contained in any pathway spates in the paper become very apparent 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 plastic 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 scheme for a number of years.

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I carefully chose this photo reference to minimize compositional adjusting. Our intent on this assignment is to concentrate on combining our new knowledge on drawing clouds and skies, rocks, water and trees together to make a complete landscape drawing.

So…how do we get started? The important thing is not to be overwhelmed. By dissecting the landscape into sections, you will find your landscape will start magically appearing onto your paper.

Landscape – Putting it all togetherThe Grand Finale The lessons I have been sharing have focused on specific elements in nature, clouds/skies, rocks, water and trees. Now it is time to put all of these elements together into a complete landscape composition.

While plein air offers it’s own unique qualities to drawing, it is not always feasible. I prefer to work from photos and in the comfort of my own studio. When I’m out scouring the Iowa countryside ‘barn hunting’, my goal is to compose my landscapes with the use of my digital camera.

It is common for me to take as many as 100 or more photos of one barn or of a tree. Every possible angle, close-up and far away are taken – anything to help me as references to use when back in the studio.

Is it okay to use photos just as they are composed? Absolutely. Prior to this digital era, thumbnail sketches were used to compose our artwork. Now much of the compositional issues can be resolved through the lens of the camera or through manipulation in computer photo editing softwares.

Most landscape photographs will benefit from minor adjustments to improve the composition and sometimes multiple photographs merged together may be beneficial.But how do you know what adjustments should be made? What makes a good landscape composition? Here are some tips when working with compositions for landscapes.

The simplest guide is – if it is pleasing to your eye, it is probably going to be pleasing as a landscape. Use the rules of thirds. Overlap the elements and make sure they sit on the planes correctly (apply proper perspective) Adjust the horizon line for interest.

Try a low horizon line for emphasis on the clouds. Atmospheric perspective – items in the distance will be lighter and less detailed Value composition should be considered as well. Creating a tonal map of the landscape will help unify the landscape.

If the darks are scattered throughout the entire scene, it is not going to look as good as balancing the tones. Identify the light source. Identify what direction the sun is and apply shadows consistently through out the scene.

This applies to overcast days too!

I haven’t gone into much detail on any of these items. Each one could be a lesson on their own! Here are some reference books that go into further depth and illustrations: “14 Formulas for Painting Fabulous Landscapes” by Barbara Nuss ISBN: 1-58180-385-0 “Design & Composition Secrets of Professional Artists” by International Artist Magazine ISBN: 1-929834-09-8 “Painting Better Landscapes” by Margaret Kessler ISBN: 0-8230-3575-1 “Drawing Made Easy: Dynamic Composition” by William Powell ISBN:1-56010-998-X “Drawing from Line to Life” by Mike Sibley ISBN: 978-0-9551578-0-6 The first three books are “painting” books, but their discussions and concepts regarding compositions are excellent and are just as applicable to drawing.

STEP BY STEP The following is my step-by-step description of my rendering of this beautiful scene: I lightly sketch in an outline of the horizon, bluffs, rocks and lighthouse using a 2H .5 mechanical pencil.

I keep the outlines light as they are used only as guidelines.THE SKY : Using a F lead .5 mm mechanical pencil and the loose-hold hand grip, I cross-hatch multiple evenly applied layers of graphite over the entire sky area.

I use a chamois to blend the graphite smooth. I make sure to overlap into the bluffs, behind the trees and into the water area as it is easier to erase the overlap than to fix a missed spot later. The sky tone gradually lightens as it reaches the horizon line, it is the darkest at the top and behind the trees.

I “draw” the whitest clouds using a white plastic eraser, erasing the sky. The more subtle areas are lifted out using a Blu-Tack eraser. Additional shading and blending (using a tortillon) is done to create the darker formations.

I use the plastic eraser and a ruler to eraser the over-blending around the edges of the drawing. I also use a fine tipped eraser to erase the lighthouse structure, cliff bluffs and the horizon line.Where the sky meets the water is the horizon line.

In this particular scene, this recession is dark. I do not draw a solid line, but I shade from dark to lighter using short horizontal strokes with an F grade .5 mm mechanical pencil. The strokes become larger and more ‘wavy’ as I continue to the foreground.

The rocks are formed using a 2B .5 mech pencil. Since these rocks in the distance, detail is kept to a minimum. I leave a white area between the rocks and the water. This gives the impression of ‘water’ foam and provides just a bit of separation between the two objects.

Create an Outline Draw a light outline on your paper. If necessary, use a light box, tracing paper or projector to get the overall shapes, positioning and placement of the cliff, lighthouse and rocks. As you attack this landscape, review each of the previous lessons, apply those techniques to each section of this scene, and you will be amazed how the landscape will emerge on your paper.

Assignment: Split Rock, Minnesota What a beautiful photo reference! Betty Wilson has so graciously granted the use of her photograph of a lighthouse located in Split Rock, Minnesota. This image can be located in the Wetcanvas Reference Image Library.

THE LIGHT HOUSE AND CLIFF: The lighthouse is a simple structure. The sun is kissing its surface, creating both the lightest value (white) in the scene as well as our focal point. I use a HB, .3 mech pencil and draw in the squares for the windows, I shade in the side of the building and create a dark roof on top.

Most of the structure is left the white of the paper.The rock cliff is next. I keep the details fairly indistinct, I use a 2B .5 mechanical pencil to shade in the crevices and some of the details. I then use a 4H chisel edge 2 mm clutch pencil and burnish a layer over the cliff.

Blu-tack is used to lift out highlights where the sun is hitting the surface.Foliage is added between the lighthouse and the cliff. Using the under-hand pencil grip and a scribble pencil stroke, the foliage is quickly drawn in using F 0.

5 mm mechanical pencil.I continue on with the large boulders on the shoreline. Creating angular planes on the rocks and consistent shading to the left of the rocks provide consistency and give the illusion of rocks.

The darkest area in the water is at the shoreline. I use a HB .5 mech pencil in this area. Smaller rocks glisten in the sunlight at the shoreline. Drawing only the shadows of the rocks (negative drawing) makes easy work of them!The two rocks in the water in the foreground are dark and richly textured.

I use a 2B mechanical pencil to shade them in, then burnish with an additional layer using 2H chisel point clutch pencil to create the rich dark tones. A touch of a battery-operated eraser creates the highlights of the sun hitting the rocks.

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