Drawing Hills in Landscapes

 

EPSON MFP image

With the soft contours of rolling hills, it is more difficult to distinguish the main masses of light and shade which emphasize solidity. It helps to look at the landscape with half closed eyes.

In contrast to the sharp angularity of mountains, most hills have soft, slightly blurred edges, because they are covered with trees and vegetations. If the hills are covered with trees, it is enough merely to suggest the texture of the foliage by using a subtle range of textures.

The overlapping planes of the hills recede works well in the design of a landscape.

The principle when drawing distant landscapes is your best means of creating the illusion of three- dimensional space on a flat piece of paper.

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Figure Drawing

EPSON MFP image

Rodin drawing rendered at the Met.

 

Life drawing, the representation of the human figure, requires both technique and an understanding of human anatomy.

  1. apply expressive drawing techniques in capturing the human figure
  2.  draw the characteristic shapes and proportions of the human skeleton
  3. capture the basics of posture and motion through gesture drawing
  4. capture shapes and proportions of human anatomy and muscle mass
  5.  use contour and blind contour drawing to capture the shape of human subjects
  6. draw the proportions of the human face in frontal, profile, and three-quarter views
  7.   apply the concepts of volume, perspective, and shading
  8. apply tips for composition, including texture, balance, rhythm, variety, unity, and emphasis
  9. apply expressive drawing techniques in capturing the human figure 

     

     

Working Edges

st-nicholas-painting

Diffused Edges
The contour of forms can become completely lost, leaving little or no definition. Use diffused edges for the following to:
• Indicate foliage in the last plane in your background
• Create ethereal cumulous clouds
• Create realistic waterfalls that appear to be moving
• Indicate crashing waves in seascapes

Soft Edges
The edge is recognizable, but blurry.
• Distant trees and evergreens in backgrounds
• Distant hills
• Things in the peripheral areas of a painting
• Water reflections

Hard Edges
Clearly defined with no sense of being out of focus.
• Rocks
• Buildings
• Rocky mountains

Principles in the light group

cast shadow

Color is brighter in the light. The shadow color should not compete.

More detail and texture is in the light source.

Light can any color. If a little of the light color is in all the painting your colors will harmonize. I usually glaze a light color over the whole surface to hold every thing together.

All forms within your picture should appear to be lighted by the same source and be lighted consistently with one another. Shoot your own reference that has clear light and shadow. You can multiple light sources make one primary and or make one warm and on cool to compliment  each other.

Brighter light, the spotlight. tends to make drama  a softer light. This light tends to be more dreamy and spiritual.

Working on Projects

Staples Perforated Note Pads, Wide/Letter Ruled, White, 8 1/2" x 11 3/4", 12/Pack (23643/26785)

  1. Take a goal-first approach to solving problems. Prioritize always. Align new work against your goals.
  2. Look at the big picture.
  3. Solve one simple problem at a time. Don’t be all things to all people: Tackle one problem.
  4. Admit what you don’t know.
  5. Say “no” with confidence. Explain why ideas won’t work.

Highlights

IMG_3020

Highlights tell all. They tell you what kind of surface and texture the object has. The more reflective a surface is the sharper the highlight.  Highlights are shapes. They should decrease in value as they move away from the light source. They also should never be brighter then the light source. The color of the light should be in the highlight. When there is warm light , they will have cool shadows.  When there is cool light, they will warm shadows.

Color is duller than light group.  It will show less detail and texture.  You might let shadow be almost flat to simplify the design and put emphasis on the light group.

Reflected light belongs to the shadow group. They should not be lighter or brighter than the light group or they will flatten your form.  Also reflected light can be a shadow that changes values with out competing  with the light group. It usually looks like fog or mist and creates atomsphere.

Shadows are shapes. Good value patterns make good design. Good design mades good impact to the eye. By running shadows together by connecting them, will simplify your design. This will help your eye move through the composition.

The quicker a plane changes direction the crisper the shadow. The slower the plane changes direction the softer the shadow.

Three types of value compositions that have strong impact.

  1. light object on dark background
  2. dark object on light background
  3. dark or light objects on grey background

 

Just Another Veterans Day by Franklin Price

Image result for USA Flag

Just another Veterans Day
As one, I have something to say:
We answered to the drum and fife,
For a time, another kind of life.

To march in step and learn to shoot,
Follow orders or get the boot,
Right in the butt; at least we thought
Respect and discipline we were taught.

Our drill instructor not our friend
Yet one on whom we could depend
Trained us well for what would come
So far it was than started from

Some did enlist. Some draft did call.
Once in the same, yes, one and all
No matter color, race or creed
All were there to fill a need

Some to combat would report
Would give their all to hold the fort.
Suffer wounds of body, mind,
Will never leave that life behind.

I wrote this poem to commemorate
The Veterans that we celebrate
And at it’s end I have to say
For us, it’s never: “ Just another Veterans Day”

Autumn Breeze Critique Day

New Jersey

 

NJ-SCBWI FALL BREEZE CRITIQUE DAY

Saturday, November 11, 2017
10:00 a.m. – 3:00 p.m. 
Princeton Theological Seminary,
Stuart Hall

Princeton, NJ 08542

  • One (single) fifteen minute critique session for full picture book or first 15 pages (+ 2 page synopsis) of a novel or portfolio review.
  • Two (single) fifteen minute critique sessions with two different faculty choices for full picture book or first 15 pages (+ 2 page synopsis) of a novel or portfolio review.
          OR
  • One (double) thirty minute critique session with same faculty choice for first 40 pages (+ 2 page synopsis) of a novel only.
  • You will not be able to sign up for more than two critiques. One double session counts as two critiques.

This event is open to all SCBWI members and Non-SCBWI members (with a non-member surcharge).

Still Painting Water

calm water

The calmest water can have ripples or swell. When this happens, reflections become elongated and distorted forming abstract patterns. This is one area where a camera can be very useful for “freezing” the pattern of moving reflections. The photographs enable you to study the patterns more closely.

Backruns

EPSON MFP image

Watercolor painting, backruns are those dreadful hard-edged shapes that sometimes creep into a clear wash when the paper dries unevenly. The backrun effect can, however, be used to advantage in a controlled situation,  producing textures and effects that would be diffcult to obtain with normal painting methods. The technique consists of dropping water or wet pigment into a wash that has lost its shine but is not yet dry. This loosens the paint and causes it to flow into the surrounding wash, accumulating in an irregular, hard-edged shape.

Several drops of water is allow to spread and diffuse, create a mottled texture suggesting a weathered appearance.  As in a winter landscape, delicate stokes of clear water applied with a soft brush will convey the impression of frost-covered trees in the distance.

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