That process was repeated several times until the desired look was achieved. Left: after the basic proportions are laid down further detail was added.The eraser was used to rework some dark areas with structures. Typical for pines are also those short, dark dead branches below the tree top. I also tried to imitate the quirky growth of the pine branches and twigs. Short dark strokes or dots were added to enhance the impression of the short needle bundles. Again the eraser helped to put in light strokes into areas already covered with charcoal pigments. By varying the pressure on the charcoal one can create parts in shadow or parts in light. The form of the charcoal pieces is very well suited to represent the structure of the typical needle bundles in pine tree tops. Then more details and structures are added until the final stage of the drawings is reached. At that stage corrections can be made easily and indeed I wiped out some initial lines once or twice in this case. This exercise begins in the same way as the previous ones: With light touch the bigger forms and Proportions of tree tops,the position and length of the trunks and the surroundings are explored. Left: Finished study Right: detail of the trunk base Exercise 3 Drawing a group of pine trees As the light moved fast in the evening I had to study the form of the shadows at some other trees because the shadows on my study subject had gone already. Left: Initial state, adding dark lines and the deep wells right: The dense pattern of bark pieces and dark wells in between.Īt the end I tried to add some shadows by moving a bigger piece of charcoal over those parts that I saw in shadows.
On the right : the Initial outline drawing Up to then I had not paid attention to the shadows on the tree trunk. Thus I could create an irregular, light pattern that resembles the appearance of the bark.
To represent the surface of the bark pieces I rolled a charcoal pieces slightly with my index fingers over the white paper (see video below). Over time the structures got more and more dense and the impression of pine tree bark developed without painstaking efforts to copy each and every detail.
My guideline were the dark wells, that I drew between the bark pieces. Instead I started with characteristic forms at the base of the trunk and then worked upwards by adding structures from the sides working inwards. I did not try to copy what I saw exactly one to one, that could take a very long time to do and often such drawings look stiff later. Towards the viewer the bark appears as a more or less regular pattern of stretched,vertical irregular forms with more or less deep,dark wells in between. Typically one can see the many layers of the bark pieces on pine trunks at the two sides or outline of the trunk. At first I roughly marked the outlines of the tree trunk but started to add characteristic structures of the bark very soon.
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