![]() First they were shaded with vertical strokes, rather than horizontal to suggest trees rather than branches. The background trees were created the same way with two key differences. This is why we outlined the tree at the start. Note how it is now the white shape, not the dark line around it that reads as the tree. On conifer on the right, I punched some holes through the foliage to the trees behind. In this drawing I suggested shadows and branching at the base of the willows and small trees. Now add shadows and details to the foreground elements. ![]() As you bring the values together, the forest will start to unify and the shadows will drop back to negative shapes, leaving the positive shapes of the light trees. To resolve this problem, make the value of the rest of the trees darker. They will feel like carrots suspended from the treeline. If your shadows are very dark but the surrounding mass of trees is light, these shadows read as positive shapes instead of settling in as shadows between the trees. Just as you try to avoid symmetry in creating the treeline, the trick here is to be consistently inconsistent. It helps to use a dull, broad pencil to avoid too many lines.Vary the width and height of these triangles. ![]() Give these arrows rough, stepped edges to suggest layers of branches. Let the triangles get darker as you work your way down. These are the shadows between trees and they will carve the shapes of the trees between them. You are going to hang downward facing triangles of dark shadow from the treeline. The next step is really important and is the secret to drawing the forest. There should be no line at the edge of the trees. Toward the top of the forest edge, darken the strokes so that they absorb the line you used to create that edge. Now shade in the face of the forest with horizontal strokes. Compare the shape of the right hand tree with the trees suggested in the skyline above it. Instead of drawing the shape of these trees, I draw around them. These trees will stand in brighter sunlight. The next step is to do the same for the foreground elements, here some smaller trees and willows at the forest edge. Vary the spacing, height, fullness, and shape as you go along. Avoid symmetrical tree tops that look like dragon teeth. ![]() different species of conifers make very different shapes. This part of the drawing requires a little care. Now I carefully draw in the shape of the upper edge of the forest suggesting individual trees. You make your job easier if you can break down the number of thing you must consider at one time. That way when I am trying to draw the details of a tree line, I do not need to worry about where it goes or how long it should be. Lets look at how we create this effect step by step.Īs with most of my drawings, I begin with a pale erasable non-photo blue pencil line that blocks in the basic shapes of the major elements of my drawing. There are a few places, such as the edge along the skyline or a few isolated trees at the edge of the forest where you can clearly pick out individual trees but throughout most of the forest the branches of trees intermingle and make a mass of branches with deep shadows between trees. The trick to drawing a forest is not to draw the trees. You begin to draw the trees fast, sloppy and more spaced apart and do not like what you see. You begin to wish the forest would end so you can wrap up and head down the trail but you are only one-quarter of the way through the forest. Your hiking partners are getting antsy too. You have been drawing trees for the last fifteen minutes and are growing impatient. There you are sketching a forest landscape, drawing one tree after another.
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