| All the principles of drawing that apply to still life hold true also for landscape drawing from nature. They apply to drawing the figure as well, as you'll see when we come back indoors. As a matter of fact, the drawing principles we've been discussing from the very beginning apply to everything you draw. | |
 |
NATURAL LIGHT
One of the fundamental differences between drawing indoors and outdoors is the difference in light. Light outdoors plays a vital part in landscape drawing. After searching for the best angle of artificial light on a still life, it was you who made the decision about the light's direction, its distance, and even its intensity. Now you're going to work outside with whatever natural light is available. You cannot change its distance or intensity. LIGHT AT DIFFERENT TIMES OF DAY However, you won't be in a completely helpless position. You can still select the angle of light you may prefer. In the morning there's horizontal light which creates long cast shadows that can unify a composition better than most other devices (Fig. A). The diagonal light of mid-morning imparts solidarity to the elements of a landscape, and the cast shadows it creates clearly define the ground plane. With the overhead light of high noon, cast shadows almost disappear. There are diagonal angles of light in the afternoon (Fig. B) until once more the horizontal light of the setting sun is reached. |
 |
OBSERVING THE EFFECTS OF LIGHT
When you find a motif that you think has the making of a picture, study it at different times of the day. Make rough sketches just to see which angle of light gives you the most interesting or descriptive shadow pattern. Observe the cast shadows of elements in nature - trees, rocks, etc. Remember a cast shadow is sharpest and darkest at its source. Study the crisp edges of a cast shadow as it leaves the base of a tree, for instance, and how the shadow's edges become softer and its value becomes lighter as the cast shadow travels away from its source. Note that the shadow on the trunk of the tree isn't a flat, even tone, because light, reflected from the ground, is bounced back into it. Remember to give this luminosity to your shadows; if you render them in a flat, even tone this luminosity is lost and your shadows will look lifeless and dull. |
Reflected light occurs outdoors just as it did in your still lifes. The difference is that you can control the intensity of reflected lights indoors by changing the value of the surface off which they bounce - from a white piece of paper, through several grays, to black. Outdoors you must abide by the tone of the ground reflecting the light. Its color depends to a great extent on the seasons, from the white of snow which has the greatest reflective power, to bare ground, or green grass. SEARCHING FOR BASIC FORMS You started by drawing boxes, canned goods, and bottles because these were things I knew you had within reach and could observe and analyze anywhere in your room. Now we're going out to study the form, shape, and texture of trees, houses, boats, etc. You must not forget that these, too, are subject to the same laws of drawing. A house is cubic, no matter how complex; a tree is an arrangement of cylinders; a hill is usually half a sphere - modified greatly sometimes, but still based on the sphere.
REFLECTED LIGHT
USING A VIEWFINDER Confronted by the seeming confusion of nature's ever-changing forms, the student may find it difficult to isolate a suitable subject for his or her drawing. A viewfinder is a useful device that you can make yourself which mechanically cuts down this confusion. There are two types. One you can make by cutting a 3" X 5" opening in an 8" X 10" piece of cardboard. A more flexible type can be fashioned from two L-shaped strips of cardboard held together by paper clips to form a square opening. The paper clips allow you to adjust the size of your viewing area. By holding the viewfinder before your eye, either type will block out distracting elements and allow you to focus on an object or simple group of objects. It will "frame" possible subject matter for you, creating a "picture" from amid the confusion. DRAWING ON THE SPOT Now go out into the area around you and begin to draw. Draw everything you like several times. Draw these scenes at different times of the day. Practice, practice, practice! See you again soon!
When you draw nature and outdoor objects be aware of the eyelevel and the quality of light and shadow. Consider also the textures and negative versus positive shapes. Put into practice these and all the other drawing principles we've explored.