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"The short road to success" begins with a brush. Richmond advises novices to forego the use of a pencil, since it demands a higher degree of accuracy than the beginner possesses. When a brush is used, the ink glides over the paper easily and is more likely to bring desired results. Starting with simple lines and curves, then moving on to various elements—from clouds and trees to castles and cottages—Richmond offers exercises to train the eyes and hand to work together. In step-by-step pictorial sequences, he effectively illustrates how to construct a successful landscape, offers tips on perspective—and even uses several great works of art for lessons in composition. Invaluable for students and teachers, this guide will help artists at every level bring landscapes to life.
Product Details
| ISBN-13: | 9780486139005 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 04/05/2012 |
| Series: | Dover Art Instruction |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 112 |
| Sales rank: | 444,589 |
| File size: | 17 MB |
| Note: | This product may take a few minutes to download. |
Read an Excerpt
Essentials of Landscape Composition
By Leonard Richmond
Dover Publications, Inc.
Copyright © 2008 Dover Publications, Inc.All rights reserved.
ISBN: 978-0-486-13900-5
CHAPTER 1
SIMPLE LINES AND CURVES
VERY few artists' materials are necessary for the numerous examples in this book. All that is required is paper, a bottle of vandyke brown waterproof ink, four paint brushes, and a bottle of water.
For the paper a light buff or yellowish tinted writing-pad, priced at one shilling, is sufficient. The vandyke brown waterproof ink is about the same price, whilst the four small sable brushes should be numbers 0, 1, 2, and 3. A bottle of pure water is essential, as the water-colour brushes occasionally need cleansing during the making of a picture, and always require a thorough wash before being put away for future use. The slightest suggestion of any gritty material in the brush will prevent it from working smoothly.
The line examples in Fig. 2 should be practised without making any attempt at drawing. Use a No. 2 sable brush, and let it move very easily and swiftly along the smooth surfaced paper. A series of quickly executed lines somewhat parallel in direction is admirable practice for the beginner. Take the brush rapidly off the paper when nearing the end of a line or curve. It helps to give a decisive finish, whereas if it is taken slowly off the paper the result will be a heavy finish.
It is surprising how many expressive forms can be made with horizontal lines and curves as shown in Fig. 3; similar variations can be obtained with lines sloping vertically or at different angles.
The same easy method of brush drawing should be used for this example as before, and experiments tried to achieve different types of lines and curves.
The next demonstration consists of curves which radiate from a given point as depicted in Fig. 4. Here again rapidity in handling is of great importance. Mistakes do not matter at first. Confidence will soon come if there is no struggling to achieve perfection.
Next try a series of intersecting lines as seen in Fig. 5, once more allowing the brush to move at ease, and letting the drawing take care of itself.
When practising vary the thickness of your lines.
Now draw similar shapes, using curves only (see Fig. 6).
Thoroughly master Figs. 5 and 6, and then become acquainted with the demonstrations in Fig. 7 by practising in the first instance the six inverted curves and the straight lines as seen in the first and second row, and finally fitting together the elements above, so as to complete the study as depicted in the four examples at the foot.
Memorize all the elements of brush drawing in this chapter so that no further reference will be necessary.
CHAPTER 2ELEMENTARY SPACE FILLING
IF the precaution has been taken of thoroughly practising all the demonstrations in Chapter I, no difficulty will be found in handling the various examples of simple space filling set out in Chapter II.
It is advisable to work on a fairly large scale, as small drawings are not only difficult to manage but are apt to cripple a sense of freedom or fluency in brush handling.
The rectangle marked A in Plate I shows two intersecting curves. (See also Fig. 6 in Chapter I.) In example B the same two curves are shown with two smaller but similar curves placed on top of the first-named curves.
Example C, like B, is reinforced with another pair of intersecting curves. D has also received the same treatment. The two pictorial looking demonstrations, E and F, are most instructive, as the drawing of each is exactly the same as D.
It is astonishing how two drawings which are precise replicas of each other can be made so different in appearance. The flat dark tone in E gives solidity to the space occupied by the intersecting curves in front. In F the flat shadow in the lower part of the drawing, supported by the parallel line treatment, presents a totally different aspect to the example immediately above.
In the six drawings in Plate II the same arrangement of curves as seen in Plate I was used, but placed in the top portion of each rectangle instead of the lower end as before. A similar formula was also adopted of additional curves, whilst the same scheme of flat tones was used in E and F.
The three drawings in Plate III, A, B and C, should be very easy to copy after mastering the demonstrations shown in Fig. 7. Notice that they are so arranged that two forms are placed on the left side and only one on the right, thus giving some piquancy to a pattern which would look rather dull with two similar shapes on either side, as seen in Fig. 8.
Fig. 9 also contains four upright shapes, but one is taken away from the right, and placed on the left side, thus giving an agreeable feeling of interesting proportion.
The other three examples, D, E and F on Plate III, are arranged in preclsely the same manner as the first three on the left side, but the upright elliptical curves are treated in a much more interesting way by varying the contours of the outlines, which now give a suggestion of tree formation.
The evolution of elliptical shapes gradating to natural tree formation is shown in Fig. 10.
Do not try to copy the demonstration examples exactly as depicted in this book. The spirit of the subject is far more important than a slavish imitation. Enjoy liberty in drawing, and never "struggle" when endeavouring to achieve something.
The first three plates are of extreme importance, and should be committed to memory. The elementary principles of composition or pattern designing, in addition to the necessary knowledge of proportion such as two versus one, or three versus one, are all clearly indicated in Plates III and IV, as well as Fig. 9. After breaking away on Plate III from the upright elliptical forms we should now have far more freedom in drawing. The large trees depicted in Plate IV convey some feeling of aesthetic pleasure, since they are no longer arranged in exact vertical formation.
The elements of light, shadow, and tone are noticeable in some of the examples in Plates III and IV. A simple tree in outline, with a correspondingly simple tree painted flat and placed immediately behind it, affords a striking contrast of light versus shadow. If a tree in light has two dark trees in shadow, one on either side, the central tree, although only drawn in outline, assumes a solid appearance, which is entirely lacking when it is isolated from a dark background.
Fig. 11 represents a tree in simple outline, whilst in Fig. 12 a similar tree is shown supported by two dark trees on each side.
Hitherto trees in the foreground only have been dealt with. It is advisable at this stage to deal with trees that recede in the picture. The four examples on Plate V show an approximate perspective of trees converging from the foreground to the distance. In examples A and C the lines ab and cd represent the horizontal line or the height of the eye above the ground. The other dotted converging lines help to suggest the perspective heights of the receding trees. The old rule that receding horizontal lines above the eye go in a downward direction, whilst receding horizontal lines below the eye level appear to converge upwards, can be plainly seen in A, B, C and D.
The two finished pictures, B and D, are treated in a naturalistic manner with light and shadow on the trees and foreground, both of which are strengthened by the support of the dark sky beyond.
In Fig. 13 the perspective problem of trees is made clearer by denoting the position of the spectator at the spot marked S. The horizontal line or height of the eye above the ground is marked H—L. P is the vanishing point where the various receding lines meet on the horizontal line.
Precisely the same remarks apply to the street scene subject in Fig. 14. Once again S denotes the position of the spectator. All the buildings on the left side are approximately the same height, so as to simplify the problem
CHAPTER 3ADVANCED SPACE FILLING
BEFORE attempting to draw any of the examples on Plates VI and VII, the simple forms in Fig. 15 should be carefully studied and memorized.
It will be found very easy to copy the shape marked A.
B is only a repetition of A.
C is similar to B, but the horizontal line is replaced by a curved line.
Avoid the incorrect rendering of D—remember the material resting on the curved line should be at right angles to it.
Let a little daylight into the lower part of each solid mass as seen in E.
These few demonstrations are invaluable as a foundation for future progress. On looking at Plates VI and VII, it can be quickly seen how ingenious these simple forms appear when placed in a landscape, and assume also the characteristic formation of trees, grouped in the distance. The principle of intersecting curves, demonstrated in Plates I and II, is again used, but in more pictorial surroundings. The series of converging lines in the foreground of the four lower pictures make a lively surface as well as an interesting contrast to the sky and middle distance.
Figs. 16 and 17 show the compositional arrangement of horizontal lines and curves, depicting the simple basis on which the various trees, fields, and distant scenery in Fig. 18 was planned.
Fig. 19 displays some groups of trees spaced at varying distances in the landscape.
Like many of the previous demonstrations, it is advisable to memorize these four examples since they represent an important feature in pictorial designing. On referring to Plate VIII the truth of this statement is obvious. A, B, and C are based solely on Figs. 16, 17, and 18, whilst D, E, and F are each planned on the same constructional lines as Fig. 19.
Four arbitrary designs of space filling, drawn on Plates IX and X, are each planned with rigid severity. The naturalistic pictures depicted below retain the rectangular formation above.
It is a fascinating pastime to evolve pictures from what might appear at first glance to be unsympathetic material. The drastic formation of lines at right angles leave no loopholes for weak compositions, yet charm can be introduced by using some of the more tender aspects in nature—without in any way losing the original conception.
Since trees have now become a feature in some of the foregoing landscapes it would be profitable to study Figs. 24 to 28 in Chapter VIII.
CHAPTER 4ELLIPTICAL FORMS
DIFFERENT shaped curves in a picture, provided they are designed so as to convey harmonious relations to each other, inevitably produce pleasing compositions in landscape drawings and paintings. The movement in the clouds depicted on Plate XI owes its origin entirely to a foundation of elliptical—or tangential curves—that can be clearly seen in the two top examples.
Most of the illustrated plates in this book are drawn in progressive stages, so as to enable the student to appreciate the underlying composition of a picture.
Considerable portions of the Sussex Downs in England are based on the suavity and charm of harmonious curves. Pastoral scenery, or undulating country, bears witness to a pleasant elliptical foundation.
Fig. 20 shows the effect of a lengthy group of trees situated on undulating ground which—together with the trees—recedes towards the distance. Since the laws of perspective demand that nearer objects appear larger than similar objects in the distance, so, in this group of trees, the nearer ones are taller than the more distant examples.
The geometric arrangement of circular curves in Fig. 21 should be carefully copied so as to comprehend its ordered arrangement before proceeding to the more enjoyable task of drawing the groups of trees shown in Fig. 22. In this sketch particular attention should be given to the top portion of the foreground trees receding towards the middle distance. Although naturalistically drawn and loosely handled they still retain the same formation as the geometric demonstration.
When sketching similar subjects out of doors the inexperienced artist—unless some previous information has been obtained—is liable to suffer through lack of competent knowledge on the handling of woodland scenes.
Three demonstrations of parallel lines, curves, and dots are shown in Fig. 23. Considerable variety can be achieved by this method in brush technique. Again—as in previous examples—mastery must be obtained before adopting a similar treatment as shown in the finished landscape designs on Plates XI, XII, and XIII.
Students who go to the trouble of copying these three plates would be well repaid by using precisely the same elliptical formula as depicted on the top line of each plate, and then invent a landscape more in keeping with their own creative impulse. This book is written solely for the purpose of arresting students' attention to original ideas in composition. It is a guide for that purpose, with the devout hope that the guide is only a stepping stone to greater things for the young explorer.
It is surprising the number of decorative examples that can be evolved from elliptical formations only. The finished pictures in this chapter suggest certain poster qualities that could be made quite telling in colour on the hoardings.
CHAPTER 5CLOUD COMPOSITIONS
CLOUDS can be controlled and organized so as to make a design in a picture, equally as well as the floral details of a curtain hanging, or the incidental decoration of a carpet. Aimless sketches, therefore, of clouds, with no coherent intentions as to their proper setting in a landscape, is a tiresome waste of time.
The two simple studies on Plate XIV were drawn so as to show that some definite planning is required even though only a few clouds are involved. The three gradated stages on the left side require little analysis. The little clouds at the foot of the sky balance the effect of the large circular group placed in the top left corner.
The three examples on the right give an illustration showing how the sky is evenly distributed by the sweeping curve of clouds, commencing from the horizon, and spreading upwards towards the left side.
The four stages of Plate XV suggest an easy way of subduing the bright effect of clouds by washing a fairly flat tone over the whole of the sky and clouds in the final stage. The shape of the clouds are still noticeable in the finished picture, despite the flat wash. The dark background helps to accentuate the light on the rock quarry and foreground material.
Plate XVI demonstrates the method for building up a cloud composition, the result of which is seen in the finished landscape of thin layers of clouds, radiating outwards to the right and left respectively.
In Plate XVII the clouds were drawn with a clear and somewhat hard definition, done more for the purpose of acquiring knowledge than for a display of artistic handling. It is a welcome change to paint in the looser style of Plate XVIII, using plenty of water with the brown ink so that the brush could function with a luscious water-colour effect.
CHAPTER 6OLD CASTLES AND COTTAGES
THERE are many varying styles of architectural buildings one would like to include in this chapter, but for the sake of expediency three examples are selected of ancient castles or ruins, and one of country cottages.
The light and shadow on Plate XIX are so arranged that the silhouette form of the castle—although cut into by the glancing angle of light on the tower and walls—is still definite enough to show its general formation. The more or less parallel lines drawn on the distant part of the picture help to give some contrast to the solid masonry in the foreground.
Plates XX and XXI are each represented in two stages so that the original line work can be studied before discovering the secrets of shadow spacing. The disposition—or arrangement—of large masses of shadow is very important. Shadows can make or mar a subject. In this instance they were used to accentuate the antiquity of the subject, as well as the feeling of crumbling material.
Cottages with their attendant out-buildings have long been a source of pleasure to artists—especially amateur artists. There arc some cottages, of course, which are just pretty and nothing else. They should be avoided in a picture, or else, if necessary for the subject, drawn with more distinction than is generally displayed in the original scene. An attempt in Plate XXII was made to avoid a commonplace rendering of cottages. As regards windows, if they are on the large side, it is a wise policy to keep them light in tone, otherwise they break up the flat surface of a wall and assume too much prominence.
On the other hand, open or closed doorways—when depicted with dark colours—add artistic interest to the subject, and also act as a link between the ground and the adjoining walls.
(Continues...)
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