Drawing Landscapes

A Practical Course for Artists

Barrington Barber

• Publisher: Arcturus
• Year: 2018
• Print ISBN: 9781789503357
• eBook ISBN: 9781788885935
• Topic: Art
• Subtopic: Art General

For centuries, landscapes have captivated the imaginations of artists. For the amateur artist, the sheer scope of the landscape may seem daunting - whether it's a stunning view of unspoilt countryside, a city street, or the view outside your window. So where do you start?In Drawing Landscapes, artist and teacher Barrington Barber outlines the key areas to master and guides you through the skills you need to become an accomplished landscape artist.• Includes information on materials, techniques, and styles
• Explains the core fundamentals of perspective, foreground, middleground, and background
• Looks at the basic elements of a landscape such as sky, water, mountains, and vegetation
• Offers step-by-step drawings and exercises to practise

Basic Elements of Landscape

When we begin to study landscape the sheer amount of material available can be confusing and it can be difficult to know where to start. The first step is to identify the components we are contemplating drawing starting with the vegetation and how it clothes the landscape. Next consider the underlying structure of a scene, which is evident from the formation of rocks, hills and mountains. Water provides a large part of many landscapes. Still or moving, it is extremely important, on account of the brightness and reflection it gives within the shape of the countryside. At the edge of the land you may be able to view the sea and this can be considered almost as a separate entity, so great can be its role. The sky is the backdrop to everything and is constantly changing to give a new look to the substance of the landscape.

Your awareness of the make-up of the landscape will become second nature and part of the enjoyment you get from drawing. Keep looking and allow your view to both differentiate and harmonize all the various parts you are drawing.

Trees in the landscape

When tackling a landscape with trees, beginning artists often make the mistake of thinking they must draw on every leaf. Survey such a scene with your naked eye and you will discover that you can’t see the foliage well enough to do this. You need to be bold and simplify and observe the general appearance of different trees. The following series of drawings is intended to help capture the shapes of a range of common trees seen in full foliage and from a distance. You can see that differences in leaf type are indicated by marking the general texture and shape.

Oak

The Oak makes a compact, chunky cloud-like shape, with leaves closely grouped on the mass of the tree.

Ash

By contrast the Ash is much more feathery in appearance.

Lombardy poplar

The Poplar is indicated by long, flowing marks in an upwards direction.

Horse chestnut

Some trees, such as the Horse Chestnut, can be blocked in very simply, just needing a certain amount of shading to indicate the masses.

Elm

Lime

The Elm and Lime are very similar in structure. The way to tell them apart is to note the differences in the way their leaves layer and form clumps.

Cypress

The Cypress holds itself tightly together in a flowing, flame-like shape; very controlled and with a sharp outline.

Walnut

The Walnut requires scrawling, tight lines to give an effect of its leaf texture.

Holly

The Holly tree is shaped like an explosion, its dark, spiky leaves all outward movement in an expressive organic thrust.

Weeping willow

Cedar of Lebanon

You will also have to take note of where a darker or lighter weight of line or tone is required. Compare, for example, the weight of line needed for trees with dense dark leaves, such as the Cypress and Holly, with the light tone appropriate to the Willow and Cedar.

Foliage: the classical approach

Drawing trees can be quite daunting when first attempted. It is a common misconception that every leaf has to be drawn. This is not the case. In the next few examples you will find depictions by Italian, French and Dutch masters which demonstrate how to solve the problem of showing masses of small shapes that build up to make larger, more generalized outlines.

In these examples a lively effect of plant growth is achieved by the use of vigorous smudges, brushed lines and washes, and finely detailed penlines, often in combination.

Notice the soft, almost cloud-like outline given to the groups of foliage in this example after Titian (drawn in pen, ink and chalk). No individual leaves are actually shown. Smudges and lines of tone make patches of light which give an impression of thick bunches of leaves. The branches disappear into the bulging form, stopping where the foliage looks most dense.

Despite the minimal drawing, this example after Giovanni Battista Tiepolo (in pen and ink) is very effective. The solidity of the wall has been achieved...

Table of contents

• Cover
• Title Page
• Contents
• Introduction
• Starting Points
• Structure and Anatomy of Landscape
• Materials and Their Uses
• Basic Elements of Landscape
• Manipulating Space
• Special Places
• Imaginary and Symbolic Landscapes
• Creating a Landscape
• Copyright