Then I went over parts of the tree with a wet brush, blending the pencil marks into soft gray tones. This locust tree was sketched with an aquamedia pencil. Except for the large pine, all the elements have a soft look accompanied by the kind of quiet found in fields and woods. I wanted to capture the mood created when the sky and the land take on a warm gray appearance after a storm. The gray sky, with a little white showing, tells us the storm is over and the sky might be clearing. In the drawing below, we see a pine tree in a field after a snowstorm. You can also tell a story with your winter sky. A driving storm would show more snow covering the trunk and vertical wood of a tree a light snow would show much less. The way you portray snow on trees will tell the viewer if it was a heavy snow, a driving storm or just flurries. It is not necessary to include every limb of the trees the vertical lines spotted around give the appearance of many trees on a snow-covered mountain. 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). Use your blending tool to blend out any harsh lines.Snow-covered mountains present a variety of shapes and patterns to compose beautiful winter landscapes. Use a light brown colored pencil to lightly shade the landscape around the mountains. Use light strokes with a blue colored pencil to create a sky, and then blend it out for a realistic look. Finally, lightly color in the sky and the landscape around the mountains to give the scene some context.Color in small patches of green on the sides of the mountains, and use your blending tool to make them look more realistic. Next, choose a green colored pencil to add some vegetation to the mountain range.Use a blending tool and slowly work over the colored areas, smudging them together. Blend the colors together to create a more realistic look.Use the same technique as before and use different pressure on the pencil to achieve different tones. Continue to add depth to the mountain range by shading the sides of the mountains using lighter tones of the same color. Try to vary the pressure on the pencil, so you can get different gradations in color. Using a dark brown or black colored pencil, shade in the areas that would be darkest.
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