![]() ![]() A few identifiable pine shapes are spotted throughout, creating the illusion of a mountain range covered with snow and pines. The tree-lengths were varied throughout the picture. The trees were indicated with short lines at the peaks and upper parts of the mountains. All were executed with the same pencil, demonstrating what you can accomplish with one pencil, varying the pressure as you work. I used an HB graphite pencil on a sheet of Strathmore sketching paper. In all three of these sketches, the sky was first shaded, then stomped. As I work to the foreground, shapes get larger and darker, creating a sense of depth and perspective. In the close-up view of Hunter Mountain in New York state (Sketch C), I darkened the tree line on the left, gradually lightening it as it moves to the right. Notice how the tree shapes were used to create designs across the mountain range. It had these beautiful snowy peaks with thousands and thousands of trees breaking through the snow. On a trip to Yellowstone National Park, I sketched this mountain range (Sketch B), which was different from my mountains back home. Vary your angles and shapes to create more interest. Mountain ridges with trees offer many opportunities for creating interesting shapes and designs, but be careful not to make ridges parallel to each other or make trees all alike. I can see part of the Catskill Mountains from my studio window, and when I look at the skyline, I see a line of trees silhouetted against the sky that, to me, resembles the stubble of a beard (Sketch A). Keep the sky soft to contrast the trees and sharper angles of the mountains.Snow-covered mountains present a variety of shapes and patterns to compose beautiful winter landscapes. Add the Detailsįinally, add any extra elements - trees, snow, reflections in the water. It’s best to do this in graphite, so you can easily erase as needed. Sketch in GraphiteĪfter placing the biggest elements and differentiating between light and dark areas, use broad pencil strokes to mark the general position of the darkest values and fill in the sky (and water, if your landscape has any). ![]() Take the drawing above: the nearest mountains sit low and have a bit of vegetation, while the mountains in the distance have no detail and are lighter in value. The up-close mountains should be darker, brighter and more vividly detailed than those in the distance. The same approach applies to your use of values. To depict up-close mountains, try contour and scribble lines or crosshatching to give the impression of greater detail. Notice that every area has a unique stroke direction. For far-away mountains, use parallel strokes to suggest distant trees and rock surfaces. In the drawing above, the mountains are sketched with an ultra-fine black felt-tip marker. ![]() ![]() If you’re working from photos (or taking your own to reference later), use images that convey a lot of information, showing the depth of field as well as the ideal lighting conditions. Photographs can be great reference tools, or you can work en plein air if you live in a mountainous area. Shade the darkest areas first, building contrast between the foreground and background to make the picture more eye-catching. Divide Each Peak into Two Major Plainsĭivide your mountains into two plains to create volume: light and dark. The more distant the mountains, the simpler and lighter they look. Usually a mountain range has a layered appearance, with peaks overlapping each other. Determine the Horizon Lineįirst, figure out where you want the horizon line to be on your page and draw the outline of a mountain range above it. Good to Know: These tips works no matter what medium you’re using - graphite, pen and ink, colored pencil or painting. And when you draw them, you want that feeling to come to life on the page. Whether up close or far away, covered in snow or in trees, rounded or jagged, they tend to symbolize something vast and vital. Artists have taken inspiration from mountains since … forever. ![]()
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