Drawing Trees- Student Work

My Drawing & Painting Trees class is off to a great start! In this  class we have students from Alaska to France and all across the USA. I am really pleased with the work they are doing and also with the enthusiasm they are showing for drawing and for trees! Here are a few examples. Enjoy!

Carole Baker

Carole Baker

Jessie Cook

Jessie Cook

Jon Main

Jon Main

Jon Main

(copy of Asher B. Durand)

Lolly Shera

Lucy Durfee

Mallory Agerton

Mallory Agerton

Maria Glodt

(Copy of Wm. Trost Richards)

Beppy Deaton
(copy of Asher B Durand)

Winter Trees

Winter Morning

A student shared this poem with me today and so I am sharing it with you. As a lover and painter of trees, I find it touches many things that I think about them. Enjoy!



Vertical


by Linda Pastan

Perhaps the purpose
of leaves is to conceal
the verticality
of trees
which we notice
in December
as if for the first time:
row after row
of dark forms
yearning upwards.
And since we will be
horizontal ourselves
for so long,
let us now honor 
the gods
of the vertical:
stalks of wheat
which to the ant
must seem as high
as these trees do to us,
silos and
telephone poles,
stalagmites
and skyscrapers.
but most of all
these winter oaks,
these soft-fleshed poplars,
this birch
whose bark is like
roughened skin
against which I lean 
my chilled head,
not ready 
to lie down.

Drawing & Painting Trees

Tree Study

Charcoal on Twinrocker paper

I have just a few spots open in my most popular online class Drawing & Painting Trees. Class begins on October 26 and you can register here.  Not sure if an online class is right for you? Check out student comments here.

Summer Pond

charcoal on Strathmore laid paper

Lennox Woods- Work in Progress

This is a painting I have had on the easel since early this year. It is the first of the larger works I am completing for my Lennox Woods solo show in 2014. At 48 x 64 it is the smallest of the six or seven large paintings I have planned to anchor the 50 piece exhibition. I completed the underpainting on this one early in the spring, but other things kept me from making any more progress on it until recently.

All of these images can be clicked for a larger view.

This is one of the value studies I did when working out the idea of the piece. This is graphite. At this point I am working out the design in the proportion I plan to use for the large canvas.

After deciding on a design, I did a monochromatic study in oil (again using the same proportion, 3:4)  Not a great image, a little glare. 18 x 24
Here is a grid on tracing paper. I laid the tracing paper over the oil study and drew a simple grid. This gave me some measuring points for placing the horizon and main forms on the larger canvas. I didn't draw a grid on the larger canvas because I really didn't need it but also because parts of my canvas will remain transparent in the final piece and I didn't want the grid to show. So, I just used the distances indicated by the grid (each 3" square would translate to a 8" square on the larger canvas) eyeballed it and measured using the proportions from the smaller study.

Here are the grid and the study on the easel next to the larger canvas.
Here is one days work on the larger canvas. 48 x 64. I lightly indicated where the horizon line was, the main tree shapes. Then I started using a wipe out method in the background using transparent paint (Vasari Shale) which was applied with a rag. The trunks will eventually be darker but at this stage I just wanted to get the placement organized. I started on the dry brush in the foreground before I stopped for the day. The toned triangular area in the foreground will eventually be covered with some opaque paint, then glazed (suggestions of leaf litter and forest floor clutter).
Unfortunately, I forgot to photograph the progress on the underpainting, but here it is completed. At this point I was beginning to change the direction of the light. Initially I had planned to have the light coming from the left and illuminating the main tree trunk. While I was working on the underpainting, I decided to change that plan and create a softer backlit scene. I also decided I wanted to open up the woods a bit more, creating more distance between the trees in the foreground and the trees in the distance. The underpainting is really the last opportunity to make those sorts of changes so I take my time and try to pay attention rather than just slavishly following my studies. 

Here is the piece after I have put a first layer of paint on the tree trunks in the foreground, a couple of layers of paint on the foreground, and also put in a first layer of paint in the sky and carved out some negative spaces in the distant trees

A detail of the near trees on the left side. These are American Hornbeams which abound in Lennox Woods. They have a distinctive fluted sort of trunk and are part of the understory trees throughout the Woods. This is just a first layer of paint. Many more to come.

Here is a detail of the sky and distant trees.

A detail of the main tree trunk, a white oak, in the foreground. Again, just the first layer of paint.

This is the foreground area depicting the forest duff- which is sometimes several feet deep in Lennox Woods!

I hope to have this piece finished by year end. Stay tuned!

Student Drawings

My online class Drawing & Painting Trees started last Friday. I am so pleased with the work the group is doing, so I wanted to share some of it with blog readers. In the first week, we are studying the concept of taper-the diminution in size from trunk to limb to branch to twig, as well as using Ruskin's Elements of Drawing to do some drawing exercises. Although students are encouraged to work from life, I have also posted many examples of 19th century drawings so that students can also make copies, a time honored way of learning. Students are using pencils and charcoal. This is just a small sample of the many drawings the group has produced over the last six days.

Judy Warner, Harvard, MA

Judy Warner, Harvard, MA
A Ruskin exercise

Tom Peterson, Canton CT

Deb Mason, Fredericksburg, TX
copy of a Jervis McEntee drawing


Sandra Daunt, New Ross, Ireland

Jamie Kirkland, Santa Fe, NM
Ruskin exercise

Jan DeLipsey
Dallas, TX

Julie Davis, Austin, TX
Ruskin exercise

Chris Chisholm, Tyngboro, MA
Copy of William Trost Richards drawing

Phoebe Chidester
Clearwater, FL

Rose Tanner, Banff, Canada



Anne Marie Propst, NC
Concord, NC

Spring Trees

Spring Trees
10 x 12

This past Sunday I should have been in my studio-I really should. But, it was such a gorgeous spring day and friends offered to take us over to a nearby ranch. It's a property of about 1100 acres that I would never had access to without their generous offer. So, off we went in pick up trucks and 4 wheelers. There were creeks and pools (ponds) and big hills! Trees were leafing out and red buds lit up the mauve and green haze. It was heavenly.

I painted this little study from memory today.

John Constable
Fir Tree Study

Just a quick reminder that the online class Drawing and Painting Trees starts in just a little over two weeks. For landscape artists, trees are arguably the most important raw material of our craft and art. Their very individual character, their attitude as living beings within the landscape make them a source of endless fascination and challenge for the artist. Artists in the 19^th century routinely sketched and painted studies of these sentinels of nature in order to understand their structure as well as their artistic bearing. These drawings and studies were then used to create larger studio works. Through drawing and observation, we will learn to paint not only their anatomy, but their line, character, and the emotions they can inspire.

There are just a couple of spots left in the class. You can go here for more information and to register (scroll down).

Summer Woods

7 3/4 x 8 1/4
Vine Charcoal on Canson paper

This week it was hot in Texas with big well developed cumulus clouds forming in the afternoons. When we moved here a few years ago, I really missed those clouds. We seemed to just get high cirrus clouds. But, this summer we've had the big boys! Yesterday I saw some really large ones, all stacked up to the north as I was walking back from the studio to the house in late afternoon. Soon after, a ferocious storm blew in and our power was knocked out for a few hours. This morning I noticed one of the huge old white oaks across the road had come down.

We are just wrapping up the online course Drawing & Painting Trees. As part of the course we've looked at 19th century examples of drawings and painted studies of trees. I thought I'd share a few of my favorites. Enjoy!

John Constable-Study of Ash Trees



Asher B. Durand
Study of Trees


John F. Kensett

Jervis McEntee

John Constable

Trees

Pine Tree Study
Vine charcoal on Hahnemuhle paper

I started teaching my online class Drawing & Painting Trees this past Friday, so trees have been much on my mind. Here is one of my favorite poems . Enjoy.

The Trees

Do you think of them as decoration?

Think again.

Here are the maples, flashing.
And here are the oaks, holding on all winter
to their dry leaves.
And here are the pines, that will never fail,
until death, the instruction to be green.
And here are the willows, the first
to pronounce a new year.

May I invite you to revise your thoughts about them?
Oh, Lord, how we are all for invention and
advancement!
But, I think
it would do us good if we would think about
these brothers and sisters, quietly and deeply.

The trees, the trees, just holding on
to the old, holy ways.

Mary Oliver

Drawing & Painting Trees

Southwest Corner
7 1/4 x 8 7/8
Vine charcoal on Strathmore 500 paper

For landscape artists, trees are arguably the most important raw material of our craft and art. Their very individual character, their attitude as living beings within the landscape make them a source of endless fascination and challenge for the artist. Artists in the 19^th century routinely sketched and painted studies of these sentinels of nature in order to understand their structure as well as their artistic bearing. These drawings and studies were then used to create larger studio works.

I have a new online class scheduled- Drawing and Painting Trees. I plan to structure it as an online atelier for the study of this most important subject. You can go HERE (scroll down) to read more and to register. Class is limited to 10 students - 3 spots left!

Notice What You Notice

Morning Haze
6 x 8
Private Collection

Last week someone asked me how I choose the subjects I want to paint. The easy answer is- they choose me. I paint the things that I notice. It sounds simple, but it took me many years to figure that out. I have a good friend who paints the figure and portraits. She notices faces but refers to anything more than a foot high with leaves as "shrubs". I, on the other hand, am fixated on shapes and negative shapes made by trees. I think we are somehow hardwired to notice certain things. So, its just a matter of paying attention-notice what you notice.