I'm going to share with you five key principles that I think are really going to help you
when drawing landscapes.
At the end of this free lesson, I'm going to show you how you can save big on my latest
landscape series and then also take advantage of five free pencils that come along when
you order this set.
But first, let's go ahead and take a look at those five key principles on drawing landscapes.
Objects in the distance and background are often more obscured by distance and atmosphere.
It's really important to realize that you have a lot of leeway.
Some variance is just fine, such as the mountains.
Front and back.
It's nice to have that irregular edge that gives the variety of terrain and also the
trees that are different sizes.
Without getting too detailed, we want to be able to create a value instead of trying to
outline things which would really take away a lot of our opportunity to show distance
from one object to the other.
We want to be able to show that they're separate.
But again, in drawing this, you want to make sure that you just feel comfortable with the
fact that you can just free up a little bit.
You don't have to get every little tree.
In fact if you did do detail in the trees and got too carried away with that you'd
probably start ending up with something that's going to be distracting.
It's not going to convey that this is in the distance.
Kind of influenced by the fog.
We would just have something that would almost become an edge and be a contradiction to what
we have in the foreground.
We want most of our detail to be there.
So again, we can enhance distance.
You can see how, now that that little mountain in the front is developing, it becomes just
a natural environment.
Things that we're used to seeing.
It's just not something that's odd because we tried so hard, we felt obligated to do
all the little trees.
But we can do just do them very generally.
As long as you're not making an outline we can keep that in the foreground and push
the other mountains back.
We're also creating some extra graphite on the paper.
I think that's going to be really handy in this particular instance because we have
clouds and fog and we want that detail in the mountains to be obscure.
The farther they go off into the distance the softer they'll probably appear too.
So the one in the front probably has more of an edge and detail.
But we can take our cotton ball now, with that extra graphite, we can use it to soften
up some of the grain of the paper even, and make sure there isn't too much focus on
any one detail.
As long as we're keeping it with a clean edge to value instead of having it blend into
the background.
A brush is really handy.
That brush, and/or the cotton ball is very soft and it doesn't damage or influence
the surface of the paper, and so it becomes a tremendous advantage, again to take advantage
of the graphite and to cast it into areas where you might want to lighten up something.
Now that there's tone in there, you could maybe make a lighter portion of the cloud
or brighten up the fog that's coming behind that foreground mountain.
Great opportunities as long as you know how to use your tools and when and what you're
trying to accomplish.
So these important principles, if we go over them like this, are an opportunity for us
to just become aware.
Look at these things.
Another important principles is everything gets smaller as it moves away, and as it goes
into the distance, they appears smaller.
Although we're talking about big mountains back here, they're still much smaller than
they would have been in reality.
And then we have the furrows of that, I guess farmed land, or little country road that's
getting smaller as it goes off into the distance and over and disappears.
All of these things are the same principles that are played out in our everyday life.
We're in a room, or in our yard, or everywhere we look, there's perspective.
So our minds are trying to assess where is something and as soon as we start adding some
of these important principles we have the opportunity to solidify what we're looking
at so that it starts making sense.
It actually adds such a wonderful interest to our drawings and again without getting
carried away with too much detail.
Something like this could be detailed to quite an extent, but on the other hand look at how
the general application of these principles starts playing out.
Variation again.
We're going to—I'll probably mention that several times, with the variation.
It's just the way it is in nature, it's the way it is usually naturally.
You're not going to have just straight lines and looking like it's manufactured and then
fabricated out there.
It's something that is conforming to a natural environment—conforming with nature.
So again if we have the principles down it's going to make sense even though we don't
have every detail incorporated.
You notice the values starting to make a big difference.
Things just like the trees I mentioned a little bit ago they don't have to be as detailed
but thing usually become darker as they come into the foreground when we're looking at
a light source like this.
The light's in the distance, the fog's there, things that are taking advantage of
the lighting and almost making a glow.
But in the foreground we're going to see things without all that obscuring, possible
diffusion, though they will get probably greater in value.
Another important principle is recognizing the direction of your light source.
That's important, again, regardless of what you're drawing.
If I'm drawing a portrait I also want to know where my light source is so my shadows
and everything else starts making sense.
And then when we establish the source, you'll notice that it's going to have a perspective
to it, just like we have in any other part of this drawing.
I've laid some pencils out so that we can see the direction and you can also see the
contrast.
If we didn't pay any attention to a light source and we just randomly put pencils on
there it wouldn't make any sense.
So we don't want one light beam or a shadow to conflict with what we are creating in another
area.
Otherwise it's going to create such a conflict that it doesn't make sense.
You'll notice that every one of those beams will change a little in angle because of where
we are in relationship to that shadow.
So perspective is going to play out each and every time.
Watch as these trees will become a little bit darker as we come forward.
We want them to become somewhat diffused because of that gathering of light where the sunbeams
are going to be coming through.
But as they come forward and we get on this side of the light then we're going to have
more of a silhouetted tree just like that bigger one that we're going to add.
But again, this brings consistency to our perspective, our distance.
It helps us to be able to realize what we're looking at in the background is way off.
Almost giving it an ethereal look.
You can imagine what might be there.
We don't necessarily have to see it.
And then the shadow that's being created from the tree, you'll notice it's conforming
to the terrain, there might be rocks and little furrows.
bushes or all kinds of different things.
And this is all adding to the realism, the feeling like you're there.
Instead of just trying to have a concept sketch where you have a few lines and you're trying
to tell people what will be.
It's starting even in a simple level, starting to really look like we're becoming part
of this environment.
That's the exciting part about this.
Now you'll see the pencil being used like this.
It's just a reminder.
Whenever you're questioning how intense a shadow should be, do that little pencil
trick.
Placing the point of the pencil on the paper, watching how intense, and the value is increasing,
as it's closer to where it's making contact with the paper.
As it comes away and the pencil is lifted up, and you can even see it as I am handling
it there you can see the shadow getting lighter and lighter and wider and wider.
That's exactly what's going to happen with the shadows as they're coming towards
us, even though they're at an angle they're still going to become a little lighter and
wider just like the road is as it goes off in the distance.
Sometimes it's hard to think about that because we're still working with a different
value.
The light beams and the shadows will still have the same principles apply.
Now we're working on that foreground tree and it's darker because it is blocking our
light effectively.
It's wider, it's bigger, and being closer it's like putting your hand in front of
your face, you are blocking a lot of what you're going to be able to see with your
eyes.
And when it's off in the distance like the smaller trees, they're going to give us
the opportunity to see more and more light coming through both because they're smaller
and because they're off in the distance.
Another important principle is light and dark, that contrast can be used to create depth
and dimension.
Very important to have a good sense of the values you have at your disposal.
The better you can manage your values the more you're going to be able to do with
any subject.
I'm using a dry eraser pad.
We can go ahead and kind of pinch it.
You can't really see that.
I have it in my hand and you can see that.
It's pinched into a narrower place but it has soft edges.
It allows us to do something that isn't such a precise streak through there, because
again the light is being diffused by the atmosphere and doesn't have a clean edge in this case.
And then we want to be able to have perspective.
I wish I had maybe put a little more perspective in mine, and had that source as from the spoke
of a wheel a little more but still these are things to think about.
You don't want to get too exaggerated with some things because it'll look odd and bring
attention to the wrong thing.
And we don't want to just disregard the rules because we're going to end up creating
conflicts.
Like having those pencils representing sunbeams, having them all different directions it just
wouldn't make sense because we'd have to have several different light sources.
But when we have this contrast and we have that graphite we can create sunbeams by taking
away something instead of trying to draw it.
And that gives us an opportunity to not see the trees through that streak of light and
it's all diffused much better and it's like it's real.
Now we can keep adjusting a little bit here and there but you want to remember too, this
is another important principle, things in nature are rarely uniform.
They just are more random and varied.
Again it should help you feel more comfortable about how you are going to be able to interpret
your drawing because don't have to be so exact.
Now let's look at some of the principles in the drawing that I did for this project.
We'll see again that little video didn't go as far, but we can see I was able to even
brush some of that extra graphite into the sky.
Now, naturally, more could be done, but look at the mountains, they get softer as it comes
down to the fog.
And so we have contrast.
This is maybe a little darker in the foreground than it is back there.
The foreground here, and this horizon in the foreground, or halfway in between, is a little
darker than this.
And yet we watch the trees.
They should be getting just a little bit darker and a little bit darker until we get to that
foreground tree, which is really obscuring the light, blocking it from our view.
And we just see the effects of light instead, as it comes from behind, somewhere from behind
the trees.
Now again these things, you could take these things much farther, still very general with
the principles but we still have solid perspective going here.
And those are things again that surprisingly even show up on a face when you are drawing
a portrait.
If we don't have perspective—things become—what is it, oblique?
I forget what the term is.
But without perspective it just becomes a mechanical measurement and there's no depth
and dimension to it in a real sense.
Because even when we are looking at a face there's perspective.
Depending on which way we turn our faces, it may not be straight on, we may have one
eye in the distance on the far side smaller than the one in the front.
Maybe one nostril is bigger than the other one just because.
And so we have our centerline changing.
All those things.
But we have so many wonderful principles, well not so many really, it's really simple.
We don't have something that is going to be so complicated but this gives us a chance
to isolate some of those, use them in a very effective way and come up with something that
you could really feel good about.
It might be something that you decide you want to hang on your wall, and demonstrate
how principles, and not always the detail, can become extremely effective.
We can create a mood, we can have something that makes sense in our minds compared to
what we normally see.
I hope you enjoy this project if you choose to work on it or if you do another landscape,
anything else you're drawing, try to think about these things.
This is a good opportunity for us to just get them isolated so we can identify and you'll
be surprised at how many times this is going to play out again in regardless of the subject.
You know, I think art in general is therapeutic.
It has a lot of experiences for us to just relax, and also project us into an environment
that we may not have an opportunity to be in.
Maybe we want to remember something, or if we're working a hard job at an office or
a factory, or whatever we happen to be doing, it's really nice to just be able to have
some time to just experience a different environment.
And realizing you can actually create this to give the emotion and the feeling you'd
like to be able to convey, is not only for you but for others as well.
I just think it's a wonderful opportunity that we have to create and to express something
that is just a better place.
One of the things that I have the opportunity to do in helping you is not just to say, "One,
two, three, go!" and you're on your own.
I know people have talked about classes that they've had that that's pretty much what
happened.
Maybe somebody walked around and told them, "you might want to put a tree there,"
or whatever it is, and that's all valuable information.
But I like to try to explain things, but also to show you.
I want you to be able to see results and have the opportunity to try it again if you want
to, and again if you want to.
And each time you can add something new that you've learned, but even on the simplest
levels, the most basic levels, I would hope this gives you the opportunity to say, "That
was worth it.
I really enjoyed that, and look what I've done!"
You can show it to somebody and see whether it takes them to a place that either you're
thinking of or that they imagine and remember.
It's always exciting to be able to tell you we've actually finished another DVD
series.
We work so hard to get these out and it takes a lot of effort and time, so when we finally
finish it, it's nice to be able to really let you know.
This one is from our Studio classes and it's called Morning Mist: Landscape Drawing Simplified.
It's now available in a four DVD set and/or digital download, which will save you the
shipping.
For a very limited time, we're making it available for just $59.95 instead of the $99.99.
That's forty percent savings if you take advantage of that soon.
Again it's going to be a limited time.
Plus we're going to include a set of Blick Studio professional drawing pencils, the five
that we use in the Five Pencil Method classes, and that's going to come with every order.
So again this is available for only a short time.
I'd hate to have, if you had hoped to get it, we're going to try to make sure that
everybody can see and hear about this, but it will only be for a short time.
There are six classes in total.
We're going to have a few critiques from some of the students and it's going to be
over ten hours of drawing experience.
I guess in site, I'm going to do my best to try to explain things to you, and give
you the opportunity to get started on maybe something brand new.
I know how hard it is and how intimidating it is to look at a blank piece of paper and
maybe not have the experience or you just don't know what to do.
It's really an intimidating thing.
I want to try to encourage you to let me help you.
I want to do everything I can to explain and to show you some things that will help you
start off with that step.
Then we'll add another one and another one.
I want you to realize that you too can do some of this and it'll just keep improving
all the time.
So go ahead and click on the button just below this video.
Let me go ahead and take your hand and pull you into this experience and give you the
opportunity to realize something that you may have always wished you could do, and now
here's at least an encouragement of an opportunity to do it.
I just think a lot of times we don't realize what we can do.
And as you keep going you find out, "Oh, I do have a knack for this," or, "I think
this is within my scope of possibilities."
And so I just think it's exciting to take that step, and if I can help you take that
step, that's what I'd like to do.
There's very few of us that have all the money we want, and when you go to purchase
something that seems like it's a lot of money, I try to think about myself when I
purchase a set of pots and pans.
I'm going to be using these things for years.
One of the nice things about having a set of classes like this is you get to come back
any time you want to and repeat the experience.
Catch those things you might not have fully remembered.
It's just like taking a trip.
You take it more than once, you see things you didn't the first time and it just goes
the same way.
It makes it a pretty economical cost.
I don't always like to be in the position of selling my stuff but I think that when
you really get down to it I'm glad for the opportunity to be able to create these.
The Five Pencil Method Team, all spends a tremendous amount of time putting these things
out and yet we always try to make them as economical as we possibly can.
And giving you a long lasting experience, not just a flash in the pan, like a vacation.
That's worth something, but it's not like a vacation where you have to come back home
and the money's spent and there you are.
Again, you can just continue to experience as many times as you want to and it just keeps
making you into a better and better artist yourself.
Even if it's not your profession, you still have the opportunity to continue to improve
or to reinforce what you thought and heard or just have the experience over again.
I think if you really look at the cost per experience is really quite a bit less.
You know, I think if you're ever questioning whether you have any creative ability, this
is a great opportunity for you to start seeing that you can have results.
It should be something that isn't so intimidating and I think a lot of people don't express
themselves because they're scared.
They don't know what to do.
So if you have just been influenced by the great pictures you've seen somebody else
do and, "Oh, I don't think I could even draw a straight line," here is an opportunity
for you to go ahead and be able to express yourself at whatever level you might enter
the project.
It could be so basic.
So simple.
And then you find out what can be accomplished in its simplicity and you might just want
to go further or, like I said, do it again and again.
If you're just in a situation where you've, maybe it's grief therapy.
I've had many students that have come into my classes over the years and lost a loved
one or had a terrible thing happen and have used it as an opportunity to get away just
experience something positive.
Something else.
Maybe it was that place you remember as a child.
Or you shared it with somebody at some point in your life.
That moment you were all by yourself and were so inspired.
Might depend on your livelihood, your work space, or your work place.
I'm in a studio right now that isn't that big.
I have other places to go, but I'm going to be drawing something that can take me beyond
these walls.
I think the possibilities are endless I think that each one of you, of course I'm just
making suggestions, but I think each one of you have an opportunity, to not only get our
of yourself or your space and do something you thought you might never be able to do
have a feeling, almost a deja vu, like you've been there before.
And you might be able to do something that interprets it a little different, something
maybe even more ideal than you remember, taking the basics a little further.
That's the wonderful thing about art, you can add a different sky.
You can add a tree.
You can put a little stream or whatever it is in a drawing.
Anyway, if you're a child, or you're retired, I want you to be able to have the opportunity
to say, "You know what?
One thing I'm always glad I did, and that is, I picked up those pencils.
And I actually did something about it."
It's real easy to procrastinate on fulfilling your dream.
There's so many people I meet and they say "I wish that I had drawn years ago."
It's easy to put it off, have it out of sight, out of mind, forget, you get busy,
get distracted, and you may not capitalize on this opportunity.
Go ahead and take that opportunity now and click on the button just below the video.
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