DRAWING FROM NATURE

In drawing from nature we should refrain from drawing that which is known to be present. Draw only that which is seen. Our vision should now be the guide, not our imagination.

Distant Detail Appears Dim. Looking at a tree in the distance, we do not see the individual leaves on each bough. Or, if in town, in looking at a distant brick building we do not see each individual brick. But we know they are there. Nature provides that distant detail should appear dim to the human eye. Hence, such minor detail should not appear in the sketch. Knowing that they are there, there is a natural inclination to supply from memory the apparent deficiencies of the vision. Such inclinations should be resisted. The same principles apply to the detail in the foreground, for, even here, the moment the vision takes in the whole, multiplicity and detail are lost; only the general masses being grasped by the eye. Therefore, no attempt should be made to put in many minute objects. Let all those parts of the picture that are accessory to the main objects have little more than the impression that will be given by a momentary view. The absence of detail is still more to be desired when considered from the standpoint of light and shade alone. The lights and darks of the trees in the immediate foreground contain much diversity of light and shade; in the foliage of the middle distance, less will be noted; while further away from the eye there is still less, and the objects there seem almost flat in their sameness. This is a phenomenon to be observed in all nature sketching, for details vanish as they recede from the eye.

Tendency to Put in Detail because one's experience or memory tells that it is there, is so great that it is well to keep in mind always this axiom: The greater the distance of an object, the less detail is to be seen.

Even the forms of objects become more and more indistinct as they recede from the eye. This is a law of atmospheric perspective. If this law be broken there will be dis-

turbance, including encroachment and trespass, and these, as every one knows, are serious offenses; for distance will encroach on the middle distance and the latter, in turn, will trespass on the immediate foreground.

Distant objects should, if placed against the sky, be well relieved against the latter, but not harshly; on the contrary, their outlines or outer tints may melt softly into the sky.

When Finish Is Unnecessary. In sketching from nature, avoid, as far as may be, any tendency to work over and over. Study the effects, as far as can be, in advance, and, as far as possible, make the drawing with single operations. Otherwise, distance and atmospheric perspective are lost and the effect is one of flatness devoid of air and expression. In sketching from nature it is by no means necessary to make a finished drawing, but it is quite needful to indicate the character of the masses in outline and tone sufficiently to guide one in the more finished drawing or colored sketch to be made afterward. In sketching from nature one should strive not merely to make a pretty picture but to make lines and tones that will, to an extent, approximate those seen in nature, the model. In a composition to be made later, one may arrange the component parts of the picture to suit the individual taste.

Cloud Forms. Give much attention to cloud forms. With rare exceptions, outlines should be defined, but not harshly. To take out the high lights in a pencil sketch use the sharp corners of the rubber eraser or use the paper masks as described in the chapter on Pastel-Stencils. One may use the "stump" in the main tones of the clouds or similar objects. Sharply defined objects projecting against the sky should be put in last. The lines in the distance may be partially obscured, but the sharply defined outlines in the foreground and middle distance should not be smudged or obliterated by the "stump" or anything else.

Fashion Design Drawing - Dress Design

Sections

Part-1 Part-2 Part-3