![]() ![]() Now I use a Q-tip or ear bud, as well as my fingers, to smudge the surface of the water. I then continue to lay in the reflections on to the lower part of the water. I am now pretty close to the tree trunk that is half submerged in the water so I roughly sketch in where I want it to go. To really sink the reflections into the water, use your pen shaped eraser to lift out a few horizontal ripples on the water. These vertical stroke make our pencil marks look like reflections as opposed to the genuine item. Notice I am working in mostly vertical strokes. To draw the main body of water I once again use my pen shaped eraser to lift out the lighter areas.įrom there I alternate between pencil and eraser to create the correct tonal values at the correct places on the surface of the water. This helps a lot with judging your heights, widths and positions. That way I only have to look left to right or up and down as opposed to diagonally. You will also notice that when possible I will keep my reference photo parallel or aligned to the drawing. I find that if you don't do this your proportions and positioning on the drawing gradually becomes less and less accurate until you find yourself in a world of trouble. It also helps me find my place in the drawing quickly. This helps me not to get lost between the various tree masses. Notice that as I work I keep my left hand pointing to the area on the reference photo that I am currently drawing. I'm also concentrating hard to match the overall tonal value in each area as it is the different tonal values that defined the various tree masses. I'm now going to do exactly the same procedure for the rest of the forest.Īs I move along I'm concentrating hard on getting the outer silhouette of the trees defined by making sure there is a contrast between the front and back trees. Nobody is ever going to notice that they are not the same because you won't hang the photo next to the final artwork. I am however not being pedantic about it. ![]() If you look carefully you will see that I am loosely using the lighter and darker areas on the reference photo to guide me where to go darker. Using the scribbling motion adds the texture we need to create the illusion of a mass of trees.Īs I build up the mass I gradually press harder and harder to create the impression of tree tops inside the mass. I can't just colour in the area despite it being very dark. I then gradually fill up the tree mass using a scribbling motion. I establish the silhouette of the tree line first as that is the easiest place to start. The trees at the back are very dark so I start off with a 6B pencil. If you are left handed then I recommend working from right to left. That way I am working over empty paper so cannot accidentally smudge the drawing. We can now start drawing the forest in the background.Īs I am right handed I will start on the left and gradually make my way towards the right.
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