Pencil Pictures
Pencil Pictures
Pencil Pictures
OF FLORIDA
LIBRARIES
LYRASIS
http://www.archive.org/details/pencilpicturesguOOkaut
PENCIL PICTURES
PENCIL PICTURES
A
Guide
to
BY
THEODORE KAUTZKY
PUBLISHED BY
REINHOLD PUBLISHING CORPORATION
NEW YORK
ARCHI.
TECTURE
BOOK ROOM
Copyright 1947
York, U.S.A.
in the
TABLE OF CONTENTS
INTRODUCTION
PRELIMINARY THOUGHTS
Plate:
vs.
Symmetry
PICTURE SYNTHESIS
Plate: Balance Angular and
Curved Forms
VALUE ARRANGEMENT
PLANNING
Plates:
PICTURE
of Interest
Beach Scene
SEACOAST REFLECTIONS
Plates:
14
Rocky
Inlet
THEFISHINGPORT
Plates: Boats and
In the
20
Water
Harbor
26
Fish Pier
More Waterfront
32
Topics
38
Cottages in Sunshine
New England
Vista
44
TABLE OF CONTENTS
THE WINTER
Plates:
Snowy
L A
x\
DSC APE
50
Contrasts
Country Church
THEFARMGROUP
Plates: Balancing
The
IN
(Continued)
56
Forms Details
Sheltering Tree
ROLLING COUNTRY
62
Roadside Farm
THEHILLFARM
Plates: Nature's
68
Moods
Vermont Farmhouse
INTHE FOREST
Plates:
Woodland
The
Silhouettes
Birch Grove
MOUNTAIN SCENERY
Plates:
74
80
Rugged Forms
Castellated Crag
THELOFTY PEAKS
Plates: Alpine Heights
High
Sierra
86
INTRODUCTION
Like every other
many
very
artist,
tell
of
at
they
of paper
sit
try to
is
right.
all
when
and
satisfies their
lect
that will
There
rhythm,
ance,
pictures.
fess
this process
to
do about
them
like to set
productive
would
like to help. I
from the
free
give
if
they want to
quality of
limitations of re-
and
line
know what
and
book
do with
The
make
devoted
with a
this
wedge-shaped
flat,
point.
made
demonstrated
tures of the
common
trees
were
number
the rendition of a
of different types of
am assuming
that he
may now
more important
namely, the
some pro-
so
ability to
make pleasing
way
as to
draw.
The
thing
would like
it is
is
addressed.
is
illustrations of this
to teach
here
is
how to
se-
Each Lesson
how
as to the
it
has
arrangement of
made with
the same
and
wharves
as the
aim
to
and
my
from
and moun-
rocks,
making the
illustrations
is
it
was
picture material
by selecting
them to suit his
artist can,
beauty
others
however,
There are seventeen of what may be called Lesson Plates and fourteen carefully studied Picture
tain
illustrated.
to
is
number
belief,
by
my
making of
light
to
is
the
the
good design.
In my first
my efforts
It
oils in
dance
art.
medium somehow
this
and
would
arrangement of pattern of
shadow
makes
worthy works of
art, to
believe
to
we
it.
these people
It is
a limitation
applied
results.
know
what
artists.
all
Somehow,
tastes.
view includes.
normal
and white,
their
to all
so that
go
to
may enjoy
it.
before
him
so that
work together,
seriously, to
make
pictures.
PRELIMINARY THOUGHTS
In making any kind of a picture, obviously the
first
thing to be done
Most
is
much
for
difficult.
You
however,
will,
if
at first
size of the
it
will be decided
paper you
You
use.
are
which
12,
more
or
less
thought. Perhaps
you by the
flat
that
be perfectly
may
the distance. It
is
wrong
if
fact
or
as trees,
depth
in a picture
is
eflFect
of
tree-
be straight or winding, lead the eye into the distance as nothing else will do.
The
artist
makes
you accept this proportion at first. As you develop greater sensitivity to proportion, you can re-
will
taste.
The
do with
it,
Most landscapes
of this horizon
it
sides
the river or the road carry your eye into the distance.
is
With few
exceptions,
it
circumstances be placed
as
the case.
the top
picture, as indicated in
satisfactory results
somewhat
picture, as in
sketches 2, 4, and 6.
is
also to be
how awkward
it
is
to
placed.
same
with similar
The two
size
trees
elements symmetrically
and lacking
this
book and
The
may
if
you
how
will
often
sketch 2,
have used
it
to
make
it
flank
make good
converging sides of
Symmetry about
can
6, the
midway between
The most
opposite.
1,
commonly
You
will be seen as
and
is
Observe how,
fit
its
distant land
planned
in sketches 4, 5,
where the
well
proportion of about 3 to 4.
in the
in interest. It
is
hills of the
in-
terest."
point of focus
For
in
giving the
is
unpleasing
balance, not
sym-
either above or
them
it is
and
is
Symmetry
is
only
picture
to
will notice
how
this
you
artists.
Learn
You
into
it
to go.
*^'^'
^ #>-^ ,^
Si-'
THE LANDSCAPE-BALANCE
VS.
SYMMETRY
PICTURE SYNTHESIS
Balance has been emphasized as one of the prin-
any
cipal desiderata in
picture. It
must be present
mind
is
elements or contains
It
may
One
be attained
it
always
in
as
you proceed.
that a small
is
By
is
psychological
important
matter.
making
in picture
Actually, you
as-
the arrangement
wish to
its
own
direction.
For example,
in sketch
op-
call
and dark
so.
it
areas, of
will
not nearly so
is
in
mood.
keeping
pattern a design,
if
you
its
forms and
its
light
lines, into a
its
balanced
effect.
in sketch 2.
This
is
mass of the telephone poles serves to counterbalance the large dark mass of the house and
may have
a feeling that
direction or another. If
it
at a picture,
overheavy
is
in
its
you
one
some small
ognizable objects,
art.
may
be a satisfying work of
ligible to the
is
called to the
way
to sketch
in
little
3,
which the
go
to
house
at
scale, all
the left
is
seem
lines
its
Even
to
at
larger
his pictures,
what elements he
is
going to include
to be placed.
fill
else,
somewhere
how
intelligently they
smaller building.
The
that reason.
the
left
not only
is
ground
roof,
and
to break
up the sky
area.
The
barn
is
to leave out.
is
out to be
by the
rectilinear
little
led to
it
value of
The
of
is
its
analysis, 6,
is
show one
no implication
better than
another just
ence in the
is
mood produced by
in-
It is
hill.
It is
worth
It is
more fun
something but be
a certain differ-
in
balance
,_^^'*^^%%**?-e^'*|j
0ii
;W3
-'fc=-5!!ji
fc
^P
".-- ""(WW^-*'"
^)
^MKtLK. <.^^
VALUE ARRANGEMENT
Most landscape pictures consist to use the terms
often heard among artistsof a foreground, a
middleground, and a background. While the
by these
good
is
he makes them
if
no rule about
this,
found
pictures will be
howwhich
in
Most
your eyes
close
in
looking
Its
at
if
them, you
may be low
in the
shadow of a
in the
is
sky so that
behind
hill
hillside
and we make
is
so.
it
The
the possibilities
last of
you half
of
is
in full sunshine,
while a cloud
seen
from time
of these condi-
all
to time, but
have prob-
can see the light areas, the dark areas, and the
medium
in this
seem
merge
to
into
we may assume
that
distance.
them
and
This
not the
is
middleground,
way you
will find
make
them
all at different
is
in
mind
in
No
if
six possible
them
you wish
to produce.
have
said,
may
may
so on.
You
be in both
in
middle-
them with
mood
have
in
them to
some
cases I have shown the same subject as it would
be with values changed about. It is good training for you to experiment with little sektches like
fluence the
In sketch
1,
produced.
opposite, a cloud
and the
it
hill is re-ceiving
hillside
is
enough
to give
perhaps early
it is
completely in shadow.
bright
is
enough sunshine
The
control over
The
conditions in
mak-
it,
pictures. In
make
my
again
is
sky
wooded
me
reflected light to
ing the
give
in sketch 4,
we
again have a
to
draw.
make
Many
more
by reversing the value relafrom what you actually see before you.
satisfactory picture
tionships
But
it
it
under
in
is
a cloud shadow.
The
sky
is
rendered gray
way
to
r-.Ac
-l^-'
t--
.ik^
5|
nm^
FOREGROUND, M
D D LEGRO U N D
BACKGROUND
PLANNING A PICTURE
Now we
come
to
sume
that
attracted
we
is
many
which we
shadow which
inforced by a gray
left
tide,
The
rocks ex-
bits of drift-
by the
we
direction.
light-
fullest
as-
make
and
shadow.
in
Even
To
in-
movement
we
things
include
of the sky.
itself,
little to
Now
shadow
the
them
solidity.
We also
make
remem-
we begin
We
importance, complete
its
We
to introduce
can
now proceed
angles to the
at full size,
lines
at right
row of old
to contribute to
aground
eye control,
these
Most
boats, the
notice,
this
entire design.
it.
To
and put
where we
we
in a
feel
few
they are
may make
in
give
stop
At
3, 4,
and
S, I
essentials that
our
that
The im-
bits
is
We
mooring
We
this
at
are used to
what we want.
in
light areas.
at strategic points
Working
convey our
We
idea.
make
things sure
we
the horizon.
Now we
little craft
we
playing
at
to contribute
in
and plausible
moving them
to
at
is some bathers
4 an old pictur-
introduce a small
principles of building
same
its
at 5 a fore-
holds
our design.
it
from escaping;
values are
at
the vital
it is
wanted.
w
m-
W
^^
It /
~Z'
''
^.f.vi.
,'t.
s?
'^;
'
/.
"
i
^:!s
W
z
w
>
'i
I
V'5,
V.
K
-..".^:
*i
<
SEACOAST REFLECTIONS
Now we
same
We
sail
moored
depends on the
waters.
down on
center of interest a
in
rocky
bit
the scene, so
little to
and
well to prac-
gain versatility.
in.
we
fail
to
drawn or
ly
outward
and
4, opposite, I
have sketched
a couple of
to the left
in relation to
It is
Often, however,
promontory
lines leading
at several sizes to
in
your picture
to sketch in the
drawing
less
we
tice
We
size of
much
of detail
about tidy-
The amount
detail.
midstream, one
in
men move
part.
movement toward
this
from the
rocks.
To
we emphasize
counter movement,
little
strengthen
the
of optics
little
the pier.
low lying
seen
As
plan
in line
now
we
to yahie^distnbution,
is
it,
and
gray
there
we
Refer
little
reflections in the
The
some small
to go.
phasize or subdue
its
at
you
it.
tilt
As you
it
at
how
far out
many more
little
have
to
put
to
will
it
down more
little
zigs
and
and
take in
is
it.
tical
This
effect of tides
importance.
or adjacent to
of contrast
it
far
skill in delineation.
The degree
image of
Seldom, how-
down on
craft
it
When
exactly like
upon
is
Here comes
in details as before.
is
ever,
waves
at final size,
and
it
objects
ing
in
flat
and unrufiled
work
absolutely
effect of
surface of the
to sketch 2.
can proceed to
The
for
From
mirror, at least.
by the
allow
this opportunity.
all are
is
and
1.
in
water
Our
By
have
the
in
is
in
14
kept
in
S>S tl^f!!^;*^.
..-iSSr*-''-'-^'
svife
I
ST'
in
subjects to
some
side
do a sketch
upon
to
is
Our
tied up.
attention
looking craft
like
did
make
decide
am
trouble. I
what
going to leave
it
to
modulating values
at
if
much
to figure out
reason.
is
and
without
you
scale,
vincingly.
way
Across the
is
out,
sky.
They either produce awkward and unmake them fail to sit properly on
true shapes or
the water.
until
trick.
In sketch 3, here,
cipal
them
it
support.
We
see that
we
you would
by
will
it
as
see
it
in
it
and learned a
have indicated
looking right
a boat as
down on
it
little
top of
These
side.
and
I,
will be
by
downwards.
we stand
that the
posts
form
at
Our scheme
of principal lines
is
If
it
now
movement
ing the
it
set
a little lighter
make
our
it
final
drawing.
at
By doing
this
at
them
time to
the study
we
in position or
to
it
same
To
lines in reflec-
drawing
essential horizon-
we have only
to follow nature
and
in-
in-
that in the
all in
sketch 4)
can verify
troduction of details.
made
reflection
Note
the bottom
we
.?
The
at least as tall as
as in sketch 2.
this
it
convincing.
might be interesting
preliminary study
the ends.
way from
to
a little
and
highest points
make
draw
will first
figure eight,
at the
is
little
you
in sketch 1.
bowed
a little to avoid
and turns
its
them
tilt
terestingly.
shown
we
little
actually vertical,
stiffness as
Dissecting this
not
advantage
made them
parallel,
20
have
closer
<.^
Pi
o
M
<
X
h
one day
fish pier
dark triangle of
sail
level.
Some white
It is
low
and
tide
One we
belonging to a fishing
of the
is
The
food.
place so that
wing
its
is
way we
the
The break
drawing
it
that way.
in
We
sail
where we can
we break
left
and some
in other places
and leave
and
sails
edge
its
so
little to
it
put
in
softens
when we
be
sail
sail will
and we
the edge
tip crosses
sail.
We consider care-
That
and
moored alongside
boat
in a little seaside
tures that
it is
worth while
few
effect.
in seaside pic-
time to
to take a little
They
which we stand
The
pier
upon
is
its
positions they
be ready to insert
in
it
a chance to
over
in front of
it,
we see
move
it
get added interest and so
our sail in a position that will, we
agonal of the
sail
all nicely
arranged
spars
to
it.
downward from
of focus.
The
the
sail at
would
structure,
gulls and
we
we can arrange
its
them un-
the picture
ground.
Now we
we
an
in
any
have so far
except to refer to
it
of several
kinds of value, of
They
and
interest
artist
feel
26
is
line,
increase or de-
throughout your
as usual, in
from
we proceeded to analyze
crease emphasis
it
or final, whichever
final
it
is
work may be
is
you may
to deal
have noticed
in passing, as
Our
sail in
supposed
time to time
felt its
value arrangement
is
uses, but as
fact
This chapter
Note
are
many
a little,
wing
and
aid
There
in relation
It is fair
gull against
intersect.
compact bodies.
tremendous wing-spread
their
Note
the eye
will
di-
you
used some
as in
assume
Now we
can memorize
is
You
calking or repairs,
precision.
pic-
The
what he
felt as
he
set
down
his impressions.
LINE OPPOSITION-GULLS
seeming
risk of
the seaside,
at
to
am going to
some
incorporate
of the things
it,
we
mooring posts
les-
enough
will try to
we have
ground
already
at the center as
it is
known
far
Massachusetts so
and
is
is
it
thus that
Even
if
solidity.
we
can
We par-
and
to
be precise
we would
spaced,
be too
a rich
to
so that they
not
range of values
it
We
even
a treasury of geometrical
we have opportunity
we
at least
hold attention
to help
or sketcher
fore-
fa-
artists
as
strong
is
The
that
which
mous
fish
gulls which
wings.
part of
you
know
right.
Then
used
its
mooring
any escape.
is
parts
we
Now we
tant
choose to
with trees
its
Anyway,
is still
shown
in the little
it
off into
it is
woods,
more
as will
be shown later.)
between the
light seen
down from
it
(You
made the
all
spaces of distant
how deadly
it
value, as
will give
artist
shade
in a
diagram, where
a pile-supported landing,
as a final barrier to
you
you can advantageously use the more dispiles, which are in full shadow, to silhouette
We
artistic license:
as at 4,
on that side
Use your
many
and destroy
to the left,
piles
many
re-
weighty
aided by the
in such
fection of spacing.
of
as a
not
you
to the
vertical
movement
You are
similar scenes
it.
see before
continually uses
common
sense in arrang-
pier,
32
You
and
can do likewise!
o
Q
<
X
in
<
CO
it
now
will
what we
village, perhaps
wherethe
New
and held by
we
streets until
we
our eye
else-
without interruption.
walk
it
caught
is
should
little
houses to the
shadows that
lie
want
it.
The
street
is
horizon
The two
picture,
in
we
This
low
fill
in
trees
we put
street.
in the
will complete an
have
it is
them
for a pur-
people in a picture.
4, opposite,
one
is
the same in
in the
sky and
left
houses
fill
made
the
in the
is
the
shadows on the
in
There
line.
and
would otherwise tend to lead
the right. Perhaps it would have
arrangement
of the light
sides of
background and
movement
though
At 3 and
up
and shadow
verticals of
in
Wherever you do
little
a useful point to
is
figures,
ing as in sketch
into
enough
The two
advantage
slight
are almost
The
it
They
overhead.
a lacy pattern
lets us
to break
it
and provide
ways by crossing
to
where we
presence
of center, so that
its
purpose.
to assert
tree
in various
street
say.?
left
up
if it
were allowed
of interest
put the
We
to lead the
little
a pair of
of a sketch a picture,
We
England, perhaps
some
would tend
can do with
The long
sidewalk, which
is
been better
Going now
hand corner, representshadow or a rut in the street, to direct attention upward to the left where the picture interest lies. However, I left things as they are.
At 5, on the facing page, I have made a picture out
of a couple of larger houses and a majestic tree,
shading one of them. Here, the front door and
fagade of the nearer house form the focus of in-
to full size,
we render
low sun
By
in late
this
yourself,
We
have assumed a
cally, that
it
have failed
is
to point
it
had inserted
few countering
ing a
if
out specifi-
The
dark and light within the center of inAs we get outside this area, we can make
fuzzier detail and softer contrasts. This, again, is
the way we actually see things in nature, and to
draw them thus increases the likelihood that the
trasts of
terest.
terest.
as a contrasting
it is
background which
is
kept from
it
up with foliage and reflected light. Notice how occasional breaks in the shadows on our main fagade
wanted.
in
38
l^'Vi 1/4/
TREE-LINED STREET
^^
K
CO
o
<:
h
h
o
o
There
tail
where there
Commonly, there
more or
it
At different times
this lesson,
down
we have chosen
to
extra
make
in
ferently
geometric
the
ceives
reflected light,
little
value diagram
and
as
yond.
The
gray areas.
pattern
is
in
where we want
is
also a
it.
and
made
The
roughly
elliptical,
interest
selves.
and
:
,
You
have
is
it
The arrangement
known
as
sort of
is
at
infinite
num-
little
is
another of the
Though
to
we
it is
its
it is
made
skill in indicating
middle
Here we
our
5, I
interest
all
to contribute to
upon
and
same
rectilinear forms.
in the
in-
it
in-
1 ,
and hold
light
are con-
dramatic contrasts.
full of
fall dif-
different
across
tricate
to the right.
line
You should
how the
beyond the
swung over
some
has
way give
it
face, the
have made
Yet the
sides.
cottages,
this, I
The
is
the observer. In 4,
demonstrate
few
The
To
rearranged.
feet out
pattern.
perspective.
look directly
falls interestingly
a little
several dif-
against light
ferent pictures
For
make
sun strikes
quite possible to
is
Where the
is
We
model the
suggest the contours and
regular in-
less
trunks and
is
de-
44
it
rest
upon
it.
"^!W^-~,
'
LIGHT DIRECTION-SHADOWS
<
h
en
Q
iz;
<
iz;
arri\al of winter
in
It
it
sunshine
in
The
shadows they
tours of the
around
in
our
car, if
we come from
On
until
we
find
rather than
can drive
trees,
distant
have made
of simple elements.
few
where
of contrast
its
In sketch 3, opposite,
we
light
The degree
what we want.
came upon
focal center.
become
plowed highways
mould
We
the city, or
direction
exactitude.
We
a picture out
and
hill,
snow-covered
a gracefully
thought
little
to
make them
barn door, a
have made
The
little to
sun
fell
The low
winter
little to
down
The
build a design.
the
trees;
all
in
and the
how
while of
cast
We
fully
the
other lessons.
those which have shed their leaves and the evergreens, which seem to
we follow
same
is
tion of gray, in
important part.
Snow
as to help carry
roof.
and the
from the
left,
shadow
across the
the roadway.
long
its
Some naked
made
to
stone fence
tree
into
relief to the
and
the
enframe the
same
diagonal
Beyond
1,
sort
developed
many
in
from
formed
at
powerful accent
.'^.s
The
Below,
is
snowy
steeple
for values,
in
sketch 5,
you
elliptical
standing on
hill
and the
profile of the
dark be-
you
ground of forested
it.
This
is
spectacularly.
woods and
picturesque subject.
contrast, appears in
in settings of
as in sketch
eye.
movement and
to
well as performing
of
down
little
itself
as
The
foreground
Another
trees
with light
ruts,
page
6.
in
our analysis on
all
the
fication
50
they belonged
to.
It is
well to do
this.
lb
Jtki.A.. L.
SNOWY CONTRASTS
o
D
O
>^
Pi
o
o
||:M
their
picturesque.
The
barns,
in
somehow always
buildings
accessory
new and
come
to rest
farm
that
seems
life
to
demand
on that
tell a
and around
our big
number
limited
when he
of patterns
is
is
just
your picture,
puts their
foil for
whenever there
tree. Incidentally,
we
side,
in a
at
usually
are
it
is
especially perti-
be in
New
England and
is
There
is
dering the
Some
Your arrangement
final.
to
is
all set
and
gable are
made dark
the other,
it is
already learned.
planted a
branches on the
its
make an
excellent
as the
We
way we look
and sketch
eye-controlling lines as
objects.
sit
An
we
in
find
our important
them
at
our
in
it is
we
curves
downward toward
from
first
it,
fits
The
itself,
The road
it
series of
make
a "picture,"
The
a picture.
is
that
below
we have
the sur-
to the tex-
to
to put
thing
as that
museum,
light
than
same
esting job of
a sharp
it
and shadow
We
though
in
a succession of steps
at
down.
matter which
it.
a picture!
face will
travels
form
No
call
we have
silhouet-
it,
across the
which
both ways.
the tree.
at
back-lighting,
vanishing
photographers
we have
nearby
left as
winter, and
particularly
cate.
When
fully
it
is
when
the modelling
a subject so lighted
full of life
is
in a
is
deli-
drawn
skil-
sunshine
and
tree.
it
56
becomes
flat
itself
and
loses "color,"
may
be extremely brilliant.
AV-
BALANCING FO RM S- D ETAILS
Pi
a
I
Pi
M
M
-^<..-l
ROLLING COUNTRY
IN
Most
of the pictures
in
itself
has been
Now
see
go out
let us
profiles
and
and
strong
more
First of
we
curved
trees but
its
adds
pelled to go where
it is
in
is
com-
wanted.
As before,
ject can
Our first
and past
The
principal line, as
we
which
it, is
left to right,
down
hill,
its
it
At
disappears
down
we have
4,
dominant elements of
The
movement
its
the
a strip
breaks
we have
silo,
sides,
its
level base.
The
curving
is
at
is
shadow on the
left,
which
The
cupola and
silo are
allowed
at
to sil-
tall
See
its
if
by
and
ent
left.
skyline.
silo.
is
down
"V"
silhouette.
light
This
inverted
gives us a strong
and made
The
into the
little,
of center.
turned around a
silo,
a close-up picture
poles, vanishing in
up by
in a
movement.
line
The
a gray
immediate
and
coming from
a poetic twilight
of stone fence,
is
light
make
of the
sun
The
hills
The telephone
form
it
light.
barns
way and
to
The curve
now made
sil-
silo
an S-curve fol-
is
the right
make
its
and you
grades.
sil-
diagonal leads
all,
windblown
will be
expressive
downward thrust as it throws its long encircling arm around the central area. In the foreground we insert a gate of chestnut rails into our
of which to
them
our objective.
arcs that
jects of
now
hill-
You
control over
62
differ-
it
are certainly by
and acquiring
Is
it
not so?
real
.-Pi.:
^..^^^5-^
^-*/
J.
CURVING PATTERNS
'j^
Pi
<
i
-'
2^
D
<
c
^'
J^
,_
GO
'
't
w
D
'
&
OS
one
nearer hill and the big tree and smaller ones for
In the highlands, up
good
the green
The
picture material.
hills,
rectilinear
forms of
The
foreground objects.
The
in
drawing
cussed earlier.
mont and
decided to use
The
it
for the
developed
final picture
You
lesson plates.
hillsides
as
shown
have used
accompanying
form and
hills.
The
sented
and
in
its
this,
the
hills in
these and
made
low horizon
keep
we took
its
bit to
the
it
The
exhaust
sloping pro-
1 felt
storm
and
so I
moved
its
is
interest, as well as to
To add
it.
scene.
have
At
3,
lighted up
is
a peace-
hills.
At
5,
drawn
at a different scale,
fields
ground
is
beyond the
where
you master
master and
all
artist if
that one
to
to give reality.
show you
Just to
is
left.
That
picture.
it
as
more
all
in out-
little flecks
straight, but
little to
edges
gram as at
The road,
ell,
Choosing
in the full
hilltops.
conceive of others.
The
fore-
variations
was
me
my
its
by
ward movement
like
photograph
is
not
just as
it is
is
why
how-
real artist.
The camera
is
make quick
to
the
hill
its
interesting roofline
line.
to
artist, for
it
enables
him
to
visit. It
records
should
to
68
s.-^'C
^'^
~:
^A^Wf^'*
'?>.
^.-b^--
NATURE'S MOODS
-.*a
4J^ ^5
THE FOREST
IN
There
are people
see the
woods
who
to see both.
He must know
To
at
the
know how
and
affect each
is
at
unmistakably expressed.
teristics are
draw
to
that
group of
It is
produce
it
in-
a strong dark
will
throw the
it
little
another
we put
we
which helps
left,
artistic instinct
a pleasing balance.
The
trees
As an
trees,
By
exercise in
We draw our tree trunks in lightly and then proceed to render them with clean strokes; mostly
The
move-
ment must be
ground
We
in the
it
may
suit
our convenience.
interestingly. Character
lot of
wood
find
is
to
make
the
in
is
and help
clearly silhouetted
What we
we
shape of
Where
fur-
can ar-
their roundness.
over where
model
ful to
add
shadows closer
as
We are care-
by spacing these
us.
among the
tops in
nearer trees, so
principles.
At
3, I
my subject
We
little
choose to
make what we
interest,
on either side
see
The
and place
two
at
the left
of the
pond
is
line
this
is
means.
You
can
tell at
of wind-beaten everis
Our
moose wading
In the picture at 5,
by
include.
entirely
it
in three clusters,
right.
through the
by describing
it
my
never
diagram
jects
prominently
or five
74
make
in a
group.
a pleasing
One
or two or four
r
>r^':-:;t^'
^^^m-^^mm
I^S-
'<;\\}-U
WOODLAND SILHOUETTE?
>
O
Pi
53
O
(4
p
PQ
K
h
MOUNTAIN SCENERY
When we
travel about in
we
country,
tainous
encounter striking
often
many
The
houettes.
more intimate views we have been dealing with. How shall we ever put these huge vistas
onto a 9" X 12" sheet? Well, it can be done by
attention to
some
As you will
was not so difficult
skyline
make
of the leafy
is
few wind-battered
added character.
have seen by now, the change in
after all. It
is
scale
just a matter of
relativity.
before are
cliffs.
What
a small mountain,
now looms up
naked rocks
soil
its
well-placed strokes.
romantically
washed
The
we weave with
the pattern
clear of
Out
sil-
broken up with
is
than the
ment
As a case
of trees
short
as
The mass
reach.
few
is still
and values.
lines
terial are
shown
directed
differently
at 3
and
4.
in
each.
them
Analyze
making.
The
a
that
At
choose to
accentuate
We
the right.
have depicted
We
The elements
In rendering
somewhat
lively
to
it,
and sparkling,
as befitted
its
shadowed
its
See
made more
nearness. The
5, 1
if
scheme
line
as
from
it
us.
makes
curves,
sketch 2,
we arrange our
and
Then
lines in opposition.
try to
make
cliffside
and surround
intended emphasis.
close against the
is
to
it
The
deepest black
is
placed
of picture building.
is
something
balanced by another
as
we went
Grays are
important thing
Rendering the
in
the areas
final
worked
drawing
we have
is
model the
shadows
and putting
to define the
deep
fissures
and
in
have tried
words.
to ex-
The most
making drawing
after
drawing and
efforts
this consistently
over a
it,
and
that
We
at
is
a matter of filling
gate to
crevices
80
at
least a little
*--^;>*^~
5...-^
^^
...:j=*v^"
RUGGED FORMS
-,^;3w;.
<
Pi
u
Q
W
h
<
w
<
is
we
since
among
rate,
view
in the
ject a
scenery
last
water
sub-
High up among
we
where
group of
stands out
The mass
peak.
foreground tree
we have here
and the
to
make
sail
trifle to
cone a
flat,
We decide
Our
Where
tree
same
direction.
To
The
at
the
left,
the
in
more or
'
.
make and
I
we
will leave
it
have
to
you
few
enough room
just
to
in this
to interpret
book
knew how
Our
down and
from the
in
them.
in
with
and
trees
bits of
more
them.
The dark
reflections in the
ledge
do
to
hope that
what the
so,
mental
artist's
and executes
to con-
maimer
in
such a
of
it
together
That
work and presupposes
finished artist.
shadows around
them and
selecting
you
left.
at 2,
to give
directing attention
remarks to
final
vertical. Its
them
make them.
your
to yourself, for I
to
in-
is somehow more
much for the tech-
grown
fir
well to use
it
progress.
the
nical points.
mould
the
foreground rocks
we
of the
little
The trunk
and a
in the rectangle
measured up
is
by the
to that furnished
nearer
somewhat akin
contrast
gulls
by
Through them we
little
tall firs
and
placid
across to
The
exist,
pure silhouette,
best expressed
is
reflections.
is
in
At any
handled almost
trees are
we want them
line.
at
The
is
have.
you
also in-
into a
a better
When
our scheme
satisfies
at full size.
Clean
have accomplished
this
detail
of success in both
and draw.
to read
much,
I
my
time and
86
If
better
let's say!
ALPINE HEIGHTS
Octe Due
f^^im]
NV
ft
fl
vjgj
noT -lr'3--*''*^
i Q Ova
-B&*
MOV 1 ?
,=*r'T
MftD
TlAK
;d
'1Q8&,
IQWrV
*>
lOQft
IJau
M;,R2 6i399
mo^OT
SEP 2
ifjfr
^^
im
,^
HAkoeH
W..
^^-^JJW
rt
ir
199(1
^;-y^
'
'MAP
JUI
:^
?0I
pUN
tfiO
7^
tr<i
21 105
u^
Pencil pictures,
afa
741,24K21pC.3
TECTURE
BOOK ROOM