What problems did you find in executing perspective drawings?
I thought I would fly through this project as I’ve always been quite good with perspective, having studied design and communication at school but I struggled with the Angular Perspective exercise and did quite a lot of line correction, mostly due to the irregular shape of the temple roof and getting that wrong threw everything out.
Another problem I had was lining the wall up at the side and to the front of the temple which was like drawing another level at the same perspective.
My biggest problem is trying to get everything perfect rather than trying to keep the right perspective while simplifying the drawings.
Make notes on the merits of using, or not using, rulers to guide you.
I think that using a ruler for me would have to be the final solution for a smaller drawing but maybe a necessity for larger drawings.
For smaller drawings taking your pencil from A to B without wobbling all over the place isn’t that difficult and once you have the basic shape of the subject it can be developed with some correction and modeled to almost perfection.
I feel that using rulers on the other hand for anything other than technical or larger drawings, for me especially, may lead to overworking the drawing and even more correction trying to find the right angles, right lengths etc.
When I first started this course I went upstairs to the third floor of my school for a bit of sketching practise and did a couple of drawings of the outside of the school building from the balcony. When this exercise came up it was a good excuse to get back up there as the school has a great view of the temple next door.
I actually completed this exercise well over a month ago but for the last couple of months I have been concentrating on drawing rather than my online log as Townscapes as been quite a long project for me with the irregular shapes of Thai architecture making this part of the course quite difficult but also very interesting.
So anyway it was the start of the cool season and clouds were getting less and less in the sky and the only chance I got to go out on the balcony was 1:30 pm and the sun was beating almost straight down.
Study of Townscape Using Line first Drawing
The first preliminary drawing took me a little over 25 minutes with a Rotring Tikky Graphic 0.3 and even though it was quite messy I felt that that could have been the final drawing for this study. And reminded me of a couple of the pen drawings in the Urban Sketching Handbook, particularly Singapore by Kampong Glam by Paul Heaston and Nanjing Fuzimiao by Frank Ching, the latter drawn in 30 minutes roughly about the same time as my drawing.
2 Study of Landscape Using Line 2nd Attempt
The second drawing took me from a flowing line drawing to something a bit more technical, with the first drawing everything flowed, I didn’t worry about the marks I was making and I wasn’t trying at all, with the second drawing I started to think about perspective the marks I was making the shapes I was drawing, negative space and everything went wrong. Instead of drawing objects I was familiar with I started to draw them like I was seeing them for the first time and everything went wrong. One of the biggest notable errors is the spire of the temple in the second drawing making it look like a Tibetan temple rather than a Thai temple.
Study of Landscape Using Line – Final Study
The final study was drawn from both of the preliminary drawings, using the temple from the first drawing and the school building from the second drawing every thing else was a mixture of both.
I never had any doubts about what I would use for the fore, middle and background but what lines and marks to use was always going to stress me out. This is the second time I have had to do line drawings in an exercise and the second time I have found it hard not to hatch and even though I know a degree of hatching was needed I know I went over the top with it.
For this exercise we were given a copy of the pencil drawing ‘Rome’ by Sir Muirhead Bone, a drawing that uses perspective to draw the viewers eye along the street to create a busy street drawing rather than an architectural drawing.
We were instructed to copy a simplified version of the drawing into our sketch books to check the accuracy of the drawing.
Well to do this I realized that on completion of my copied version of his drawing I wouldn’t be checking the accuracy of his drawing but actually the accuracy of my copied version so I did both. I always enjoy producing very rough sketches so I made use of this by producing a very rough reproduction of the original drawing.
Rome – Sir Muirhead Bone – My Version
I checked the accuracy of my drawing first and was unable to find any common vanishing points to obviously mine wasn’t that accurate at all.
Rome – Sir Muirhead Bone Pencil
On checking the original I discovered that it was very accurate with the baseline of the building, third floor window ledge and roof all sharing the same vanishing point which is probably the reason he is able to bring the viewers attention to the street.
For this exercise I decided to use the temple next to my school, that my school gets its name from ‘Wat Makut’, Wat meaning temple. Temple’ grounds usually contain several buildings including monks quarters…dorms or whatever you would like to call them, the cremation furnace, schools for teaching student monks and a host of other buildings. After a walk around the temple I decided to draw what I think is a school room as it had a blackboard outside.
The best thing about Thai buildings is that they are mostly right angles and so it’s quite easy to get the angles and perspective correct when drawing however the downfall is that Thai temples are really quite technical structures and there was a lot more right angles than I was hoping for.
I started out by drawing the roof and the windows and although I knew this was supposed to be an exercise using only line it did help to block in the windows and doors with solid shapes especially on the irregular shaped roof I also drew the wall at the side in the same way buy blocking in the square shapes in the wall and then erasing the solid shapes and going over the outlines again with just line.
Angular Perspective – Line Drawing
Although the drawing may look like I have used a ruler it was done completely freehand and it was by no means easy erasing and correcting every line in the drawing at least three times, and now and again erasing large sections of the drawing to start again. Getting things ‘just right’ seems to be my biggest weakness, it would have been a lot easier to do a tonal drawing of the building and I’m looking forward to doing so at some stage.
I marked on the drawing where I think the eye level is but I was sat on a chair outside the main temple building to draw it and I couldn’t really walk over and maintain the same level to check if I was correct. I thought I would have been able to do this at home but unfortunately the drawing fit too well on the paper and I couldn’t even check the vanishing points properly as the rings holding the paper wouldn’t let the ruler sit flat in order to draw the lines through to the other sheet of paper.
However from continuing the lines to where I think the eye level is it seems that the front of the building maybe slightly out which I can live with as I think I did quite well on this exercise. The drawing too me nearly three hours over two days and although the temperature here in Bangkok had dropped considerably over the last week the sun was still scorching hot.
I’m not sure whether I did the second part of this exercise correctly but with the very positive results of the second part of this exercise I chose not to change it and to leave it how it was.
Firstly the brief of this exercise was to draw an interior view through a door a doorway inside a building I chose to draw to draw the view in my apartment from the bedroom into the living room. I placed a rug in front of the doorway as instructed but thinking about it now I think I got the ‘wrong front’ with the rug in front of the doorway facing the other way.
I drew in line as well as tone, the main reason for this being that I found it quite difficult drawing straight lines without a ruler and using tone helped me to get the space right between the lines. I didn’t do much erasing and correcting lines as I was quite happy with the first attempt apart from the rug which seemed a bit wide. I realised afterwards that the reason why the rug seemed wide is because I made the door-frame wider than what it actually is and the negative space took the rug wider. This also meant that everything on the right and left of the door-frame was further apart but I didn’t think erasing and restarting was that much of an emergency so carried on.
Parallel Perspective – An Interior View
I live in a small 1 bedroom apartment in Bangkok with all the doors in irregular positions so the only real view I could draw was from the Bedroom into the Living room with the patio door into the kitchen on the right hand side, I didn’t think it would give me as many lines as it did but with the air-conditioning the open door and the patio door it gave me a great perspective.
Parallel Perspective an Interior View with Superimposed lines
When it came to the second part of this exercise the brief kind of confused me so the way I did things next probably conflicted with the brief in the coursework. I had a pack of gel-ball point pens in different colours. I used one colour to draw in the eye-level and then different colours for the groups of lines that met at different vanishing points.
I was very surprised by how accurate the angle of my lines were in the drawing I was also very surprised to to see which lines in the drawing met at the various vanishing points across the eye level line.
‘The aim of this exercise was to establish a foreground, middle ground and background in your drawing. If you can compose and structure your drawing to include these divisions you are then beginning to establish a sense of space in the structure of your drawing. This way of organising space is characteristic of the French classical painters Nicholas Poussin and Claude Lorrain, who in turn influenced the British landscape artist, Joseph Mallord William Turner.’
Now I had already had a glimpsed at some of Claude Lorrain’s paintings but one painting that really inspired me for this exercise was Frederic Edwin Church Heart of the Andes that I looked at in an earlier research point Different Artists’ Depictions of Landscape.
With the red shirts and yellow shirts kicking off here in Bangkok my school has been closed for 3 or 4 days every week for the last week, with them calling a truce just for today, the king’s birthday. Anyway with time off work we made the decision to go away to Sarabruri for a couple of days and so I decided to take my pencils, an A3 drawing pad and drawing board.
The view from our room balcony at Saraburi
The lodge where we stayed was overlooking some beautiful – what I would call – mountain shaped hills but when we arrived on the first day it was already knocking on so I set my alarm and got up at 6 am.
The mountains looked great with the mist glowing above and in front of them and I knew they wouldn’t look like that forever so I took a few snaps with the camera first and took a great shot, the one above, which was framed with a tree. Using my view finder I began to draw knowing that I could work from the photos later. I had decided to work entirely in Derwent watercolour pencil for the following reasons:
Less waxy than Derwent Artists’ Pencils
Easy to erase
Easy to blend
If I needed to I could use them wet
I decided to work from the background down to the foreground as I wanted to get the mountains and the sky just right, However I spent so long working on the mountains that the mist was clearing and I had to keep resorting back to looking at the photo on my Galaxy Tab.
1 – Mountains and Sky Backgrund
The second step was the middle ground, the mist had all but lifted by now but using the photo on the tablet as reference I blocked in the middle ground areas with a a blend of grey, violet and blue and then drawing in the trees in thew distance with a 2 shades of green and grey to depict the trees appearing out of the mist.
2 – Middle Ground Complete
Up until now everything was going well but I was about three hours in and so that I didn’t ignore the girlfriend I decided to finish off the foreground, frame the picture with a tree then finish the rest of the drawing off back home in Bangkok and too be honest I was a bit overwhelmed by how many trees I had to draw so needed a break anyway.
3 – Plotting Space through Composition and Structure – Watercolour Pencil Mostly Dry
When it came to drawing the big trees in the foreground I started by drawing the outlines of the trees in a lighter coloured pencil, then using irregular hatching for the branches from dark to light colours.
4 – Plotting Space through Composition and Structure – Sky finished
I noticed there is a project coming up called Drawing Trees, for me it would have been better to have done that first before this project as I have been drawing nothing but trees since A Sketchbook Walk and it has been a struggle. and this exercise was no different.
5 – Photo of drawing with no reflection
Due to me not using watercolour paper I refrained from drawing wet until I needed to and that was on the largest tree and three at the side that I framed the drawing with.
To be honest not much of this drawing turned out the way I wanted it to, background great, middle-ground great but then the foreground just changed everything and made the drawing look like some kind of dodgy cartoon. However I am not going to start again as I believe I have achieved the goal of this exercise which was to establish a foreground, middle ground and background in my drawing.
For this exercise I had to draw comprehensive tonal studies of cloud formations in charcoal, oil pastel and conte with the aid of a putty rubber.
It’s in the transition from rainy season to dry season here in Thailand but most of the rain happens in the afternoon and as I drew most of the following around mid day most of the clouds seemed to be developing into rain clouds.
I probably went about this exercise the wrong way, instead of drawing sketches in my sketchbook as it seemed a lot of other students have done I used separate sheets of paper and tried filling them up with not just the clouds but the blue skies behind the clouds to try and capture how the rays of light bouncing of the clouds effected the skies around them, and what a task.
1 – Cloud Formation in Oil Pastel
My first drawing was started in the morning from the car park at the Tesco Lotus shopping mall where I teach. I’m still really new to oil pastel so I started the drawing by drawing in the blue skies giving me the silhouette of the cloud then drawing in the dark parts of the cloud after. I could see it was going to take me a long time but luckily there was no strong winds, which is usually the norm here in Thailand during the rainy season, as the clouds just seem to form slowly through the course of the day, so I took a photo and finished the drawing at home.
The hardest part was depicting the sun shining behind the top of the clouds, I think I managed to do this by making the shadow of the cloud a lot darker in that area, so the white would look brighter.
I wasn’t going to be able to any more drawings until the next day so that night I decided to do something different. It was about 9 o’clock in the evening and I could see the moon shining through the sun so I took a photo of it from my window, When taking a photo of the night skies the camera seems to capture a lot more than what the eyes can see, I live on the 26th floor and I’ve often noticed that when taking photos of Bangkok at night clouds appear on photos that I didn’t think were there.
2 – Clouds at Night in Hard Pastel on Black Paper
I originally thought that I could do the drawing just in conte but I only had three colours a dark brick, black and white but then as I started to draw more and more colours began to appear so I highlighted the moon and the clouds in yellow and orange hard pastel, a move that would change the course of the exercise.
A Photo of the Moon at Night
The next drawings was done from my apartment window it was about half past two in the afternoon and the clouds were really starting to form now. One particular cloud caught my eye and because of the lack of wind I managed to get two drawings of it one using hard pastel for the blue skies.
3 – Cloud Formation in Charcoal
To be honest I don’t think I captured the full body of the cloud very well in charcoal and it could have looked a lot fluffier than what it did. The next drawing in hard pastel was a lot better.
4 – Cloud Formation in Hard Pastel and Charcoal
The next three drawings were done in my sketchbook in soft pastel. a medium that I wasn’t instructed to use in the brief but I really wanted to have ago in another medium as I wasn’t very keen on oil-pastel and because of the soft cloud formations and blue skies outside my window I thought it was very suitable, plus I haven’t done much work in soft pastel so far so it gave me a chance to use it.
6 – Sketchbook Drawng in Soft Pastel5 – Sketchbook Drawing in Soft Pastel
The final drawing was done in the early evening and it looks like wain was on the way but it was a really nice evening the problem was lack of selection of colours in the soft pastel set that I bought so this is something I have to correct.
7 – Sketchbook Drawing in Soft Paste (Evening)
I haven’t done as many studies I would have liked to in this exercise but with the amount of work I have had on lately I’ve slipped right behind and I want to get moving with the final exercise in this module but I’ll hopefully be doing more cloud studies throughout this part of the course and adding them later.
For this research point I was to look at artists who worked in Series such as Monet, Pissarro or Cézanne and make notes in my learning log about the challenges they faced and how they tackled them.
Camille Pissarro
I thought I would look at Camille Pissarro first as I remembered his various paintings of The Boulevard Montmartre through different seasons and different times of day.
The Boulevard Montmartre 1897
I suspect that the first painting in this series would have been the Boulevard Montre 1897 above which from the shadows on the chimneys on the right looks like the scene is set in late afternoon or early evening.
Looking at the Boulevard Montre in Spring below I think it’s obvious that Pissarro’s biggest challenge was depicting the weather and he has tackled this by using a totally different colour pallet barring the chimneys on the right. Another challenge that I’m guessing he would have been thinking about while he was painting this would be duplicating the buildings so they seem to appear the same as in the original painting, however with different shadows and light shining from different directions he could add shadows where necessary to correct the shape of the buildings.
The Boulevard Montmartre Spring 1897
With Boulevard Montre in Spring Rain Below the biggest challenge for him would have been to make it look like the floor was wet, to give the effect of water it looks like he may have used a pallet knife as well as using colours that he has used in the sky so that it looks like it is reflective. With this painting it seems he has taken shelter lower to street level maybe with the balcony he was painting in earlier paintings above him to shield him from the rain but I’m wondering how long it took him to paint this and where his starting point was. If he has started from the flooded road he may have been painting in his original spot finishing at the rooftops and so the buildings look higher.
The Boulevard Montmartre Spring Rain
The Boulevard Montre at Night below seems to have been painted on a wet rainy night and it looks like he has used a palette knife for the entire painting in order to get that effect.
Boulevard Montmartre at Night
In The Boulevard Montre in Cloudy Weather below he has used a similar technique completing the painting with thicker brushstrokes and palette knife (I think) to create a blurry effect. I have also noticed that on clouded days some of the colours you see are a lot deeper probably due to lack of light being reflected off the buildings he seems to show this by using deep colours in certain places such as the rooftop on the right.
The Boulevard Montmartre Cloudy Weather
Claude Monet
Really spent quite a while trying to continue what I had been doing in earlier research points and that is finding new artists to look at, unfortunately my keyword searches let me down this time so I went with the recommendations from the brief and looked at Claude Monet’s Series of paintings ‘Haystacks’. This series of 25 paintings were painted in the fields near his home in Giverny, France, he begun painting them at harvest time (end of summer) 1890 and continued painting through to the Spring of 1891.
Grainstacks in the Sunlight, Morning Effect, 1890
The challenge that Monet faced, like Pissarro was to depict the different times of day as well as the different seasons, while still maintaining the texture of the haystacks and portraying the landscape in the background, he tackled this with a clever use of colour, different size brushstrokes and palette knife.
Haystacks, (Midday), 1890-91Wheatstacks, Snow Effect, Morning, 1891Haystacks on a Foggy Morning, 1891Grainstack. (Sunset.), 1890-91
For this exercise I was to choose an expansive landscape where I had an open view in all directions, then using my viewfinder to find a focal point and to frame my view I was to complete a fifteen-minute drawing.
From there I was to turn my stool on the same spot to face West, South and East, each time repeating the process of finding a focal point and completing another fifteen-minute drawing.
With not much choice of expansive Landscapes in Bangkok I knew I would be going back to the park where I did the sketches for the last exercise ‘A Sketchbook Walk‘ but I wasn’t sure when I would get the chance to go back. Then with a stroke of luck the Thai government tried bringing an ‘Amnesty Bill’ in so exiled former president Thaksin Shinawatra could come back Thailand without being strung up, so the protesters hit the streets again and I got three days off.
Well to start with I didn’t have a stool and I would have looked a bit silly getting in the taxi with a buffet but it hadn’t rained for 2 days so I decided I would sit on the floor, so armed with my artist’s wrap, my A4 sketchbook, my small viewfinder and my small drawing board I headed to Suan Rot Fai again. I’d already decided where I was going to sit and I started drawing what I thought was North and what happened next was a series of accidents.
It was pretty clouded and I was pretty positive the direction I was looking was south and there was no need to look at the GPS on my phone so I pulled out my charcoal pencil from my artist’s wrap and started drawing, two trees in I realised I had forgot my cutter and a pencil sharpener was just not going to do the job so I finished the drawing in compressed charcoal hence the two bushes in front of the trees in the background came out looking more like coal slacks than bushes.
Exercise 360 Degree Studies: South
This first drawing did take me spot on 15 minutes and although I am not happy with the finished drawing as it looks more like Autumn in England than Rainy season in Thailand I thought I did quite well drawing the landscape with this medium for the first time.
Exercise 360 Degree Studies: East
As I turned 90 degrees anti-clockwise to draw what I thought was West I realised that the Sun had come out from the clouds behind me and it was nearly three in the afternoon so I was actually facing East, I’m usually great at guessing where North is…however I decided to carry on. East was very tricky it was the first time I had drawn water and I was facing a lake so I chose not to carry on in Charcoal but to switch to a 4B pencil, a decision I now regret.
Focusing on the tree directly in front of me, that looked like it was bending towards the water to get a drink, I began to draw. The whole process from beginning to end was a rush trying to finish in the 15 minute time frame and I was very lucky that it came out looking anything near the view I was drawing, I was going to leave the buildings in the background out but then decided to add them at the end. I wasn’t looking at the time but I reckon the drawing took me about ten minutes over the 15 minute time frame, the problem…too many trees!
Exercise 360 Degree Studies: North
As I turned North to face more trees, I decided to switch mediums again and this time began to draw in my trusty ball point pen, even though the sun was shining by now and I think I depicted this quite well in the sketch, it probably does look more like an Autumn Scene. It took no time at all to sketch everything out but then another 15 minutes to get the trees looking anything like trees. I feel now that a fine marker would have been a better choice of Medium.
Exercise 360 Degree Studies: West
The fourth and final drawing, which I thought would be the easiest was left incomplete dead on 15 minutes and after going over it about three times in charcoal, the medium that I thought was the safest for this type of landscape given the 15 minute time frame.
I am not impressed with my performance on this exercise, However I do feel that I have learnt something very important from it and that is choosing the right medium for the right job…the job being a 15 minute sketch in this type of environment.
What I did like about this exercise though were the notable changes in the landscape just by shifting my view a little, I could have got many great and very different drawings just by sitting in the same spot. I took advantage of this by finding the focal points that I thought would be best to start from given the 15 minute time frames.
The Brief for this exercise was to ‘Go for a walk in your local park, around your garden or somewhere you normally walk. Find a view that you like or are familiar with and use your viewfinder to help you focus on a point of interest. This could be a trees, a gate or a road.’
I had been working irregular hours over the last month as schools were on holiday and I had been working in the language center and with pretty earlier sunsets in Thailand I spent most of the day time I had left doing cloud drawings for the third exercise in this project. Finally I dropped on lucky with two days off which it turned out I needed for this exercise alone.
The only suitable place for this exercise and probably most of the others in this module is a place called ‘Suan Rot Fai’ (Suan=Park, Rot Fai = Train) which is basically a large park on the outskirts of Bangkok with lots of trees, lakes, grass, sculptures and a rotting train. So I set out armed with my artists wrap, filled with different pencils and charcoal and my viewfinder that I made in the first part of this course to see what I could draw. After a long walk around the park getting familiar with the sites, sculptures, trees and other landmarks, I decided that it was more like Disneyland than a park with scaled down replicas of famous Thai landmarks and a kind of theme park with traffic lights and statues of strange looking Asian Cartoon figures. Being spoil- for-choice on what to draw I made the decision to get some sketches of more natural looking subjects.
The first subject that caught my eye was some kind of park keepers shed, which was a bad choice for me really because when it comes to drawing any kind of structure like this I like the perspective to be perfect and although I followed the brief and didn’t erase any mistakes I might have made, I drew very slowly and the shed itself took me at least 30 minutes. It was in a great location and the trees above cast some lovely shadows which I think I did well to catch and I think I managed to do a great job depicting the light reflecting off the glass shutters at the side. When it came to drawing the trees I think I also did quite well but I could have chosen a better technique on drawing the leaves on the trees although the focal point of the picture, the shed, takes your mind off the rubbishy bits.
A Sketchbook Walk First Sketch : HB Pencil
Bangkok is very flat and the first time I rode around this park on a mountain bike this year I realised that this was probably the only place in Bangkok that had sloping paths so I took the opportunity to make the second sketch of a path swooping round a bend it was about 4:30 in the afternoon by now and in Thailand time that’s nearly twilight so I had to work a lot faster now and I realised that this was probably going to be my last sketch of the day, not just because I didn’t think I’d have enough time to do another before it got dark but also because the park was filling up with people jogging and on bikes as the Thais don’t like to get sun tans and so they come out as the sun is going down.
A Sketchbook Walk Second Sketch : HB Pencil
This time I started by drawing the snaking outline of the cycle path and the trees on the left hand side of the road. There was a hell of a lot of trees here for my liking and it was difficult to see where the trees in the background came up to behind the trees in front but to be honest I think I did quite well drawing them and the light that shone down the short grass behind them. I also think I did quite well drawing the trees at the back on the right hand side of the road but totally messed up drawing thee trees closest on the right. However like the first drawing with the road acting as the point of focus it kind of takes your mind off how badly drawn they are.
The light shining on the road through the branches and leaves above was a challenge so I decided to go about this by hatching across the road to show the shadows coming off the trees, smudging the pencil lines with my finger and then erasing the areas of light with a putty rubber then where needed hatching again over the top for more shadow.
Day 2
To do the last two sketches I came out again the next day which was unfortunately a public holiday so I was limited for where I could sketch in peace as the park was full, so much for not wanting to get a sun tan.
My third subject was something that I thought would be a lot easier to draw and found extremely difficult, logs against a tree. I sketched in the tree first to give myself a starting point with the logs and taking advantage of the negative space started work on the chopped down chunks of tree. However the hardest thing was making the logs look like logs as the texture was quite difficult to replicate in a quick sketch the tree behind however was a different kettle-of-fish I spent more time on that and I think I managed to pull off the texture quite well.
A Sketchbook Walk Third Sketch : HB Pencil
Behind the tree was a miniature junction painted on the floor-fail! I did love drawing the shape of the big trees in the background though, I can’t wait to start drawing trees later on in this module, there are some great eucalyptus trees in the park. The grass was also a task as it was very patchy and the grass in Thailand is very different from the grass in the U.K., more like a weed than grass. Overall I am not very happy with this drawing but it was the quickest so far I just have to improve before I start drawing the 360 degree studies in 15 minutes per drawing!
With the park being pretty full I found myself in places where the Thais wouldn’t go or at least wouldn’t be distracting me walking around in the background so I found myself looking at this clearing and with the sun beating down and everything in the foreground looking very dark it was the perfect opportunity to pull out my charcoal pencil. I had been using an HB pencil for the first three pencils and just wanted to use something different so I began with a charcoal pencil to draw in the tree, which when I finished reminded me of a Klimt painting for some reason then I drew in shadows with an EE, taking the shadows up to the road, drawing in the road with HB and then taking the shadows over the road.
A Sketchbook Walk Fourth and Final Sketch : Charcoal Pencil, EE and HB
Unlike the previous picture the grass here was real grass and perfectly cut so instead of having to draw individual blades i simply shaded then smudged. This time for the branches of the tree itself I left the squiggles alone and used and drew the leaves with marks similar to those used by Albrecht Durer in my previous post Research Point: Different Artists’ Depictions of Landscapes and then resorted to the squiggles for the trees in the background to give the effect that they are in the distance. Their is a small like at the back on the left I found this quite difficult to draw you can tell there is something there but you can’t quite make out what it is.
My Drawing Course 