drawing & painting painting trees in the landscape more than 70 species of trees
claudia nice | more than 400,000 books sold
I�����uc��o “To every thing there is a season” . . . and the seasons are reflected most vividly in the branches of the deciduous trees. Spring brings swelling buds, tender leaves, and blossoms that vibrate with the hum of insects. insects. The beauty of renewed life life beckons us out of doors. Some of us are clutching cameras and sketching tools. As spring spring slips into summe summer, r, the the decid deciduous uous trees shea sheathe the thems themselve elvess in folia foliage ge cloaks. The variety of leafy hues is almost endless. On our painting palette, yellows, blues and flecks of red are swirled together to produce olive green, chartreuse, emerald, viridian, and most everything in between. But alas, summer is fleeting and before the oil paint is fully dry on our pastoral treescape, the fruit is ripening in the orchard and the squirrels are gathering nuts. Autumn Autum n arrive arrivess with with fire fire in in her her hair. hair. The trees refle reflect ct the the radia radiant nt hues hues and excite our senses with burning color. Eagerly we dab and swish into our favorite painting medium, striving valiantly to capture the splendor of the fall scene. Subtly, leaf by leaf, the glory in the crown of the trees drifts to the ground. Winter glides in on a crystal snowflake and the deciduous trees bow before before her unadorned. Each defect, twisted limb and textured length of bark is displayed for us to contemplate and set down in detail. Pencil and pen move deliberately over the paper to suggest wood grains and knotholes. When our senses weary of grays and browns, the evergreen trees come to the rescue. This is their season of grandeur. They stand like noblemen, richly-clad green boughs stretched above the sleeping earth. They add life to our drawings and paintings as we work near the warmth of the hearth, whether in home or studio, and look forward for ward to the coming of spring. This book is about trees and how they relate to the landscape l andscape in all seasons. It’s a guide, intended to help you get better acquainted with trees artistically, so you can relax and have fun as you sketch and paint them. Just as the seas seasons ons chan change, ge, so do do the the moods moods and colors of the the trees trees.. There There is not one “perfect” medium or painting style with which to depict them. Therefore, within the pages of this book, you’ll find leaf, limb and bark techniques in a variety of mediums and styles. Choose your favorite or broaden your horizons and try them all. If finding the perfect foliage and bark hue has caused you anxiety in the past, the simplified color mixing charts included in each chapter and alongside each project will show you how to master the creation of color. I’ve heard it said that sometimes you can’t see the forest for the trees, but by increasing your observation skills and simplifying what you see, you can learn to see both tree and forest clearly clearly and paint them as well. I invite you to walk with me down the wooded path, through the seasons, and we’ll share the adventure of drawing and painting trees.
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The Turning Turning of the Leaves | W��ercl, W��ercl, 12˝ × 16˝ 16˝ 23 23 × 30c�)
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T�bl� �� Co�ent� I�����uc�� 5 CHAPTER 1
beginning with pencil and pen 6 CHAPTER 2
foliage colors and techniques 32 CHAPTER 3
creating textured tree trunks 64 CHAPTER 4
rugged evergreen landscapes 78 CHAPTER 5
portraying the graceful hardwoods 94 CHAPTER 6
spring flowering trees 110 CHAPTER 7
the splendid colors of autumn 124 CHAPTER 8
the beauty of winter contours 138 I�de� 156 Ab� ��� ��� ���� ���� & Dedi Dedica�� ca�� 158
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sketching trees in pencil The graphite lead of your sketching pencil can smudge easily, easily, whether or not it’s intentional. Protect your work by resting your hand on a separate piece of clean paper. Spraying finished areas with workable fixative is a good idea. However, However, controlled or intentional smudges work beautifully to create smooth, solid areas, to make gradated blends, and to soften edges. Simply rub the graphite marks to make them smear. Fingers work, but using a paper stump or tortillion is less messy and more accurate. Blended tones add a soft look to the branches of this tree, while a few final scribble lines suggest individual leaves.
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Us� quic� �cribl� line� line� t �u�ges� �u�ges� ��� ��� cr� cr� �� ��� ranche� ranche�..
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Sf�e� Sf�e� ��� �ark� �ark� w� � ���li ���lio. o.
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Ad e��il� e��il� �uc� a� � fe� fe� �niviu �niviua� a� ��ig� ��ig� an� an� �eave�, �eave�, especia� especia�l� l� arn� arn� ��� si� si� ege� ege� �� ��� ����.
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Drawing & Painting Trees in the Landscape by Claudia Nice
Penci� �ark� Although simple Although simple in design design,, the the pencil pencil is a very versa versatile tile tool. By changing the shape of the point or the angle at which it is applied, you can create numerous line widths. To change the value from light to dark, dark, you can choos choosee a softe softerr lead, lead, apply apply more pressure or overlap the strokes. The illusion of texture is created by varying the pattern of the pencil strokes, as shown below. Stroking with the pencil point provides narrow, precise lines, while using a chisel edge or the side of the pencil will create broad lines that are good for loose sketching or fi lling in.
Penci� Penc i� ���n ���n� �
Chise� edg�
Sid� �� �enc �enci� i� �ea�
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N�. 2B an� 4B �encil� �er� �se� t sha� sha� an� an� e��i� e��i� ��i� ��i� rawn�. rawn�. T� mi�-gr mi�-grn� n� ���e� a� ��� ��s� �� ��� cli�f� cli�f� �av� ar� �ha� �ha� �alue� �alue� t pr��i� pr��i� g� c��as� c��as� f ��� f� grn� grn� ���� an� t �el� �el� emphasiz emphasiz�� ��� righl� righl� �unli� �unli� �i� �� �� ��liag�. ��liag�.
Cottonwood Canyon | 8˝ × 10˝ (20 × 25c�), graphi�� o �ape�
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Pe� blendin� Pen blending is the technique of stroking a technical pen over a damp surface so that the ink line frays at the edges and flares out in spontaneous spots. When applied over a dry layer of watercolor that has been re-dampened, the frayed ink lines look soft and aged, blending readily into the watercolor painting. A combination of regular ink lines l ines and pen-blended lines can create a textural effect that is perfect for suggesting rugged tree bark shown in detail. The following step-by-step demonstration shows you how to use watercolor and pen blending to create the weather-scarred trunks of two ancient Red Alder trees.
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Begin the painting with a light pencil sketch to set set down down the basic shapes of the trunks and background. Mix a light gray watercolor wash by combining a medial blue with a medial orange and adding an ample amount of water (refer to the bark color chart on page 73). Use the pale gray wash to block in the darker areas of the tree trunk.
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Warm the sky, lake and tree trunks with a very light wash of orange muted with blue. It should be tinted just a wee bit more than the white of the paper. Let it dry. Stroke the deeply scarred areas of the tree trunk with a pale wash of Burnt Sienna. Add a touch of Sap Green to the Burnt Sienna to make an olive brown and use it to color the large knotted scar. The moss at the bottom of the foreground trees is painted with a light wash of Sap Green/Lemon Yellow Yellow.. Block in the background areas with greens and blue greenss that green that have have been been muted by adding adding a little of their respective complementary color. Let dry.
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D�m� �ur� �ur��c� �c� �n� �ine �ine��
D�� D �� �ur� �ur��c� �c� �n� �ine�
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Using the same color mixtures, work more color into the tree trunks. Detail the trees on the far shore using a slightly deeper shade of the previous paint layer and the tip of a no. 4 round detail brush. Keep the background colors muted so that they retain a distant appearance. Let the paint dry. Use a no. 4 round brush and a mixture of blue-green and red-orange to create a leafy patternn behind patter behind the alder trunks trunks.. Keep Keep itit open open and lacy, allowing lots of sky to peek through. Let dry.
painting vibrant fall colors To achieve vivid coloration in watercolor, you must start with clean, bright hues. In the preliminary painting below, below, the light yellow-orange was laid down first and allowed to dry. The orange and red-orange were dabbed on next. The green birch leaves and foreground foliage were painted around the orange maple leaves, taking care not to overlap the two tones so they
Ph��al� Blu� + Ul��amarin� Blu�
maintained a crisp, clear edge. The blue sky is added using a flat brush. Last of all, the muted greens and purples are added. These dark, low-intensity colors seem to sink into the painting and pop the more vivid colors forward, providing a sense of depth.
��� Y�l� + Ph��al� Blu� ��� Y�l� + Ul��amarin� Blu� + � c� �� Camiu� Re� Ligh�
Quinacri� Rs� + Gam���
Gam��� + Camiu� Re� Ligh�
Ul��amarin� Blu� + Camiu� Re� Ligh�
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Drawing & Painting Trees in the Landscape by Claudia Nice
T� righ� righ� ���� ��liag� ��liag� �� ��i� ��i� �a�ercl �a�ercl �ain �ain��n� ��n� �� �sel� �sel� renere� renere� �sin� �sin� � �n�-ru �n�-rus� s� abin� abin� �echni �echniqu� qu� an� righ� righ� �ayer� �ayer� �� glaze� glaze� �ashe�. �ashe�.
Burning Bushes | Layere� Layere� �a�erc �a�ercl l �ashe�, �ashe�, 10˝ 10˝ × 14˝ (25 × 36c�)
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a gallery of trees through the seasons
W��ercl,, 16˝ 16˝ × 12˝ (41 × 30c�) 30c�) Dogwood and Cherry Blossoms Blossoms | W��ercl
Snowy Fields and Alder Trees | W��ercl W��ercl,, 9˝ 9˝ × 12˝ (23 × 30c�) 30c�)
Banks of the North Fork | W��ercl, W��ercl, 12˝ × 16˝ 16˝ (23 (23 × 30c�) 30c�)
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Drawing & Painting Trees in the Landscape by Claudia Nice
Simpl� fla�-�as� ��liag� A “flat “flat wash” wash” is a very fluid mixtu mixture re of of water water and pigme pigment nt that is brushed quickly and evenly across the surface of the watercolor paper to form a smooth, colored area of uniform tone. Small flat washes can be applied to a dry surface. Before applying washes to a large area, the paper should be taped to a backing board, and the area to be painted should be moistened, with the excess water blotted away. Working on a damp surface will help the pigment dry more slowly and spread more evenly. Use either a mop brush or flat brush of the appropriate size, loaded generously. Stroke across the paper horizontally, working from the top of the painting toward the bottom. Raise the top of the board a couple of inches so that the excess paint gathers at the bottom of the wet area after each stroke. This gathering of fluid is called a bead . Each new new brushstroke should pass through the bead to pick it up and redistribute it. This keeps the wash moving along smoothly. Important:
Fla� �as�
don’t overwork the flat wash. When finished, wick up the bead with the tip of a damp brush. Lay the paper flat and let it dry dr y undisturbed. A colorcolor-chan change ge flat flat wash wash is produc produced ed by by simply simply dipp dipping ing the the brush in a new hue as you lay down the flat wash as described above. For a smooth transition, the brush should be blotted but not rinsed out between colors. To free-flow or “charge” a new color into i nto a wet, freshly laid wash, fill the brush br ush with the new color, lightly blot it, and touch it to the edge of the wash area. The pigment will flow and spread spontaneously, producing an uneven mingling of the two colors. If a generous amount of paint fluid or water is introduced into a wash area that has begun to “settle,” a bloom or run may occur. These frilly-edged spots can add nice texture to foliage areas, even if they happen unintentionally.
Chargin�
Fla� �as�
Bea� �� flui� Clo-chang� fla� �as�
Bl� Chargin�
Bl�
W��e�� �p� W��e
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Clo chang� fla� �as�
Coastal Fog |
10" × 8" (25 × 20c�), �a�erclo �ape�
In this watercolor painting, a series of flat washes was used to suggest the background trees as seen through the mist. The gray color used is a mixture of Dioxazine Purple with a touch of Ultrama Ultramarine rine Blue and Gamboge added. Each wash was allowed to dry thoroughly before the subsequent subseq uent stand of trees trees was added added..
Designin� � �ist� �andscap� A vista vista is a distant distant view seen throu through gh a windo window-lik w-likee opening opening or at the far end of some sort of passage, which may take the form of a tree-lined pathway, a stream, a steep-sided canyon or a street edged with buildings. The pathway and the distant focus area form a combined center of interest that is strongest at the point where they meet. Part of the allure of a vista landscape is the great depth that can be achieved. To maintain the illusion, distant forms must be simplified and the colors toned down. The passage leading to the vista will take up a majority of the foreground, so make it appealing. Remember that curved lines are more artistic than straight ones. Use color, con-
trast, texture, lightplay, interesting shapes and perhaps a figure or two to lure the viewer into the depth of the scene. The photos on this page represent a variety of vista landscapes. How would you develop them for a painting? Below are some thoughts I had.
Scene 2 Scene 1
Add a distant distant build building ing and wildflo wildflowers wers along the wall walls. s.
The foreground needs a bit of greenery or a colorfully attired person.
Scene 4 Scene 3
Add a walki walking ng figure figure to the the road. road. Remo Remove ve signs signs and poles.
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Subdue the far shore a bit more to show distance. Remove the car.
drawing & painting painting by trees in the landscape claudia nice features • More than 100 full and mini-demonstrations mini-demonstrations show how to accurately draw and paint a wide variety of evergreen, deciduous, tropical and flowering trees known the world over. • All the popular mediums mediums are used: watercolor, watercolor, oil, acrylic, pencil, pen, colored pencil and pastel. • Covers a range of styles from realistic realistic botanical studies to loose, flowing watercolor renderings. • Complete color color charts show how to mix the many shades of green found in tree foliage as well as the browns and grays of tree bark and the vivid colors of autumn foliage.
table of contents 1
about the author
| Beginning with Pencil and Pen . . . . . . . . . . . . . . . . .
2 |
Fo Foliage Co Colors an and Techniques . . . . . . . . . . . . . . . .
3 | Creating Bark Textures 4 |
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Ru Rugged Ev Evergreen La Landscapes . . . . . . . . . . . . . . . .
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6 | The Flowering Trees of Spring
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113
Autumn Splendor . . . . . . . . . . . . . . . . . . . . . . . . . . 127
8 | Winter Contours
NORTH LIGHT BOOKS
an imprint of F+W Media, Inc.
artistsnetwork.com ideas. instruction. inspiration.
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5 | The Graceful Hardwoods
7 |
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Claudia Nice is a proven winner with more than 400,000 books and DVDs sold. The author of more than 20 successful North North Light Light books, books, includ including ing Sketching Your Favorite Subjects in Pen and Ink and Creating Textures Textures in Pen and Ink with Watercolor , Claudia is well-known by creative and fine artists everywhere. With a friendly voice and clear instruction, Claudia shares her expertise in how to observe the natural world with a clear eye and an open mind—the key to expressive, realistic painting.
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ISBN ISBN 13. ISB ISBN 10. UPC. . . EAN. . . SRN . . .
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. . 978978-11-44 4403 03-0 -053 5377-55 . . . . 1-44 1-4403 03--0537 0537--4 . . . 0 35313 64972 1 . . . 9 781440 305375 . . . . . . . . . Z7400
Category . . . . . . . . . . Art Techniques Pric Pricee . . . . . . US $26.99 $26.99,, CAN CAN $30.99 $30.99 Trim. . . . . . . . . 8.25"w × 10.875"h 10.875"h Page count . . . . . . . . . . . . . . 160 Binding . . . . . . . . Hardcover, no jacket
by Claudia Nice Drawing & Painting Trees in the Landscape by
Publica Publication tion month month . . . . Septemb September er 2011 Word count . . . . . . . . . . . . .30,000 # of color illustrations illustrations . . . . . . . . . 300 # of b/w illustrations illustrations . . . . . . . . . . 80 Interior color . . . . . . . . . . . . . . 4c
