Drawing Trees - Mike Sibley

Drawing TREES Artists often ask me for assistance with the drawing of trees. As with most subjects this one can be broken down into easy-to-manage parts - as I shall explain...

Balance and Form First find your tree. This is not as easy as it might appear... trees have a habit of looking unbalanced awkward or just plain cra!y" #espite $ature%s best endeavours not all trees make good subjects. Finding one with the appearance of good balance can take some time. &aybe you prefer to design your own' The same rules apply. (nless a lean le anin ing g or gr gros ossl sly y un unsy symm mmet etri rica call tr tree ee is go goin ing g to be of so some me advan adv antag tage e to yo your ur dra drawin wing g yo you u wo would uld be benef nefit it fro from m fir first st stu studyi dying ng trees and their growth habits to learn the basic rules. )ersonally I nearly always work from photographs that I use as a base from which to work. I might occasionally draw one just as I saw it but often I will amal am alga gama mate te el ele eme ment nts s fr from om tw two o or mo more re tr tree ees s in into to on one. e. *u *ut t whatever your approach one aspect remains constant - trees posses three-dimensional form. For simplicity I will concentrate on common deci de cidu duou ous s tr tree ees s bu butt si simi mila larr ru rule les s an and d te tech chni ni+u +ues es wi will ll ap appl ply y to evergreens.

Overall Form and Structure

Tree ees s are not fla flatt str struct ucture ures s of ent entwin wining ing branches. ,ome branches will extend to each side some will recede beyond the trunk and yet other will be pointing straight at you. A country walk in inter offers a good opportunity to study this. ater when the trees are clothed in leaves you can study the same ones again but with a full knowledge of their internal skeleton. *rough *rou ghtt ri righ ghtt do down wn to ba basi sics cs a tr tree ee in le leaf af is li like ke a lo loll llip ipop op or candyfloss on a stick - a round or conical shape on a long pole. /ou

will see that these basic three-dimensional shapes conform to normal lighting expectations. They posses a shaded side a highlighted side and a shadow beneath. /ou may also incorporate reflected light on the dark side of the trunk if it will help you to better show it%s edge. 0eep this basic shape in mind as you work coupled with the chosen direction of light and the tree that you produce will possess an overall reality of form.

Analysing what you see There are to my mind three major aspects of a tree that make it what it is. ,urface texture and shape internal bough structure and gaps through which you can see through to the other side.

Texture and Shaping These are two major topics that I will return to later. For now just be aware that your tree must look as though it is clothed in believable leaves. It%s while you are drawing these 1leaves1 keeping the lighting direction in mind that you will introduce the external shaping.

Internal structure hether you are drawing hair or grass or the boughs of a tree one important point extends to them all 2 what you start you must finish. $othing looks more false to the eye than a bough that springs from nowhere or one that simply disappears. &ake your internal structure believable and the eye will accept what you draw as reality.

Holes and gaps - negative areas 3oles through the foliage are a great boon as they enable you to show the far side of the tree and add reality to your drawing. And these holes and gaps often expose the hard edges of the boughs using these in stark silhouette 4they rarely receive direct light5 contrasts well with the more enigmatic foliage and can be used to impart a softer look to the leaves. It is only by analysing what you see that you will gain the full understanding that allows you to draw realistically. A tree is not an amorphous collection of leaf-shaped items or random marks that you hope will fool the viewer%s brain into reading 1tree1. A tree is an ordered layered object with an outer covering 4often partial5 around an inner armature or core. 3ow you draw it the techni+ue you choose to use is determined largely by the position of the tree or bush in your composition - foreground 4where each leaf shape is discernible5 background 4where the leaves form a mottled pattern that describe the overall three-dimensionality5 or midground 4somewhere in between the two5. For the basis of this tutorial I%m going to choose the midground scenario with illustrations of the other two. ,o let%s pick up a pencil and draw tree...

Let drawing commence... Think of your tree not as a drawing but as a sculpture - a threedimensional surface wrapped around an internal armature. The first  job then is to create the armature with indications of where the major masses of foliage will be appear.

This tree was photographed with a 677mm !oom lens at a distance of about 897 metres. The lack of  detail is not important - indeed it is a bonus as it concentrates attention on the forms within the tree. The internal structure is nicely silhouetted allowing the eye to follow the major limbs through the structure. I incorporated this tree into the composition of my drawing Done Balin'.

The internal structure has been explored to some extent the major holes through the foliage mapped out and the main areas of shadow noted. $ote that the tree originally had two trunks. :ne has been removed and the emphasis placed on the centre and right of the tree as the composition re+uires other trees to overlap the left side. This is not drawn on the final working surface but is a separate sketch for later transferral. The benefit of this is that it allows unlimited exploration of the form - in this case the masses of foliage tend to have rounded tops when viewed straight on and others to the side sweep downwards as they decrease in depth. e can put this understanding to good use later.

The completed tree as it appears in Done Balin'. $ote that the left-hand side is invented the right hand side conforms only to the photograph%s outline and some of the holes through the foliage have been closed.

:nly the 1spirit1 of the tree has been used to depict it - the actual structure of the foliage masses has been altered to better suit my re+uirements. )hotographs can provide detail but they are better used as compendiums of overall information - they give a 1feel1 for the structure and add realism to your invention.

Demonstration... To make life easy the 1clothing1 of a tree can be broken down into a collection of similar elements. ;ust experiment with small sections until you arrive at a texture most resembling the effect you wish to attain. In this case the tree is in the midground so the 1leaves1 only need to appear as highlighted points where light reflects from their variously angled surfaces.

The basic guidance drawing. This exercise measures 61<6=1 and was completed in just over 8 hour.

3ere I%m establishing the darkest and lightest tones and beginning to get a feel for the form. #on%t add tone yet to the white negative points.

hen you%ve established and delineated the shadow and highlighted areas add overall tone to provide lighting that conforms to your chosen direction.

&y techni+ue 4as shown above5 involves three stages> 8. &ap out a loose framework for the internal and external structures. 6. orking in random patterns create a flat depiction of depth. *y this I mean vary the weight of your pencil marks graduating from dark to light leaving more negative space between the marks as you progress. This method involves a combination of negative and positive drawing - the shadows rely on the positive weighty pencil marks and the highlighted areas are produced by drawing around the

white 1leaves1. &ore leaf more highlight. ess leaf more shadow. ork +uickly - speed fools the brain. Tap into your creative side by working too +uickly for your logical side to keep up. ?. Finally reinforce your deepest shadows 4leave no negative spaces5 then add overall tone as re+uired to each area of foliage so it possesses a roundness that conforms to your chosen direction of lighting.

Adjustments can be easily made with *lu-Tack which is why I advocate placing the final shaping-tone on top. *lu-Tack can lift this off so gently that the detail below is left undisturbed and can be continually adjusted and re-adjusted with little harm to the underdrawing. ith practice some of the early stages can be dispensed with. For example the trees to the left of our example tree 4see below5 merely had their positions marked in my line drawing. The trees themselves grew organically as I worked. I had only to decide where the sun would catch their tops before starting out.

Done Balin' 2 limited edition print

Trees and Foliage examples...

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#on%t get obsessive about the time taken to complete a drawing. Taking longer doesn%t necessarily mean 1better1. If the drawing took three weeks to complete then that%s what it re+uired - it wouldn%t be any better for a month spent on it. In fact taking too long may result in the drawing being overworked. hen you begin a drawing don%t

have any preconceived ideas about how long it will take. It will take as long as it re+uires.