By James Horton
Similar to different books released through Dorling Kindersley, this one is profusely illustrated via closely-spaced drawings and images that nearly crowd out textual content. it is a brief e-book, at seventy two pages, however it covers, although in short, artists' fabrics utilized in drawing, in addition to numerous drawing ideas and matters.
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Additional info for An Introduction to Drawing
The trunk of an older tree often reveals the crackling of the bark as well as broken or twisted branches near the base of the canopy. Often, a portion of the roots at the base of the trunk is revealed as the soil near it is slowly eroded away. These characteristics are a result of careful observation and recording. Every artist should have his or her own way of observing and looking out for details and special features. They must also find a personal way of recording the results. Recording is how sketching begins.
A good landscape sketch is a careful composition of some or all of the above components. We seldom sketch a single tree, a lonely hill, or a body of water without including its surroundings. It is hard to imagine a hill without trees unless it is in a desert environment. Therefore, we must train our eyes to see these landscape components as a picture of good composition. This means first selecting an appropriate viewing angle. When and if nature fails to give us that kind of ideal setting, we must then move the components around in order to achieve a good composition.
Time to return from getting too philosophical and Zen-like. There are actually a few tricks one can learn in the exploration of pressure and force. The key here lies in the grip. Since pressure emanates from the fingertips, the grip and the contact between the fingers and pencils are extremely crucial. For example, using the Position B grip, when the thumb is the only finger that exerts the force, the third finger becomes the receiving side and must offer some form of resistance. This knowledge can be taught and learned.