Essentials of Landscape Composition

Essentials of Landscape Composition

Leonard Richmond

Language: English

Pages: 26

ISBN: 0486469115

Format: PDF / Kindle (mobi) / ePub


Anyone who has mastered the art of writing can learn to draw, according to this accomplished artist and author of several fine art books. Confident that most people have the ability to express themselves artistically once they have acquired the right techniques, Richmond offers his tried-and-true methods of drawing and composition in this easy-to-follow guide.
"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.

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material in the brush will prevent it from working smoothly. FIG. 2 FIG. 3 FIG. 4 FIG. 5 FIG. 6 FIG. 7 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

scenery, or undulating country, bears witness to a pleasant elliptical foundation. PLATE XI FIG. 21 FIG. 22 PLATE XII 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. FIG. 23 The geometric arrangement of

illustration. The other brush-work drawings below, are all based on the principle of radiation, or a series of miniature curves springing from a given point. PLATE XXVII This method of handling is noticeable in a modified form in the tall trees on Plates X and XXVI, but it should be practised apart from tree studies until the necessary mastery is gained. FIG. 26 The line-work in the different stages on Plates XXVI, XXVII, XXVIII, and XXIX indicate the constructional growth of a landscape. The

formed tree on the right cutting across the horizontal lines in the landscape. PLATE XXXIII PLATE XXXIV PLATE XXXV Although the bridge in Plate XXXV appears small in relation to the surroundings, it is really an important feature, since so many compositional lines in the landscape lead the eye that way. CHAPTER XI HILLS AND MOUNTAINS THERE is plenty of scope for decoration in the planning of hills in a pictorial design. The type that is partly covered with forests and bracken, or

much to learn in pictorial design before attempting other problems. “The Wind on the Wold,” by George Heming Mason, A.R.A., on Plate XLVII, shows an unusual composition. The general direction of somewhat parallel lines and curves, sloping downwards from the right towards the left side of the picture, is indicated more clearly in the line drawing below. The feeling of movement is well expressed, more especially through the pose of the girl carrying the sloping stick, and the arrangement of the

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