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    Landscape Drawing in Pencil
    Landscape Drawing in Pencil
    Landscape Drawing in Pencil
    Ebook74 pages38 minutes

    Landscape Drawing in Pencil

    By Frank M. Rines

    3.5/5

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    About this ebook

    Concise and beautifully illustrated, this guide provides invaluable instruction on the art of pencil drawing. It covers the basics of holding the pencil, applying different strokes, shading, perspective, and the rendering of different textures, as well as the finer points of pictorial composition and drawing from nature.
    Based on the author's years of experience teaching art students at all levels, this book is ideal for home or class use. Its thirty-six evocative sketches range from English castles to American bridges, with a few detailed close-ups showing how to surmount some of the problems of depicting rocks, roofs, standing water, or leafy tree branches. The accompanying text describes how artists at every level of experience can develop their own pencil technique by employing fundamental rules.
    LanguageEnglish
    PublisherDover Publications
    Release dateMar 14, 2012
    ISBN9780486140575
    Landscape Drawing in Pencil

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      Book preview

      Landscape Drawing in Pencil - Frank M. Rines

      Bibliographical Note

      This Dover edition, first published in 2006, is an unabridged republication of the third (1937) edition of Drawing in Lead Pencil, which was originally published by Bridgman Publishers, Pelham, New York, in 1929.

      International Standard Book Number

      9780486140575

      Manufactured in the United States by Courier Corporation

      45002303

      www.doverpublications.com

      INTRODUCTION

      Only recently has the pencil been considered by the laymen, as well as most artists, as anything more than a tool with which to sketch or map out ideas, layouts, etc. That pencils are ideally adapted to carry these ideas further—to carry them to completion in fact, will be obvious to anyone visiting our art galleries, or studying our recent books and periodicals, especially those of an architectural nature.

      While closely allied with the other branches of Art, the pencil, like any other medium, necessitates certain methods or tricks in handling, peculiar to itself. A realization of the possibilities and limitations of the pencil is the first, and most important requisite to an understanding and appreciation of pencil work.

      The purpose of this book is, not to make a finished artist out of everyone who chances to pick it up. Its aim is rather an appeal to those students, who have had some training and experience in drawing with other media—from the cast, we will say, with charcoal,—and especially some knowledge of free hand perspective (concerning which many excellent books are available)—to arouse an interest in the art of pencil technique, especially as it pertains to out of door subjects. If others,—those who are interested in art, in all its different aspects—are helped towards a better understanding of such work—then the reader and everyone who works with the pencil has been benefited.

      The author does not attempt to establish any hard and fast rules as to technique, nor to imply that the examples shown here are the only way in which the pencil should be used,—for one of the beauties of pencil sketching is that there are as many different ways of working as there are persons to attempt it, and each student progressing in this work will gradually develop his or her personal technique, just as each one of us puts more or less of our individual characteristics into our handwriting. This of course, is as it should be, otherwise only a limited few artists would be needed to supply the entire demand for work of this nature.

      A careful study of the following pages will, it is hoped, however, show how one artist has met and dealt with certain problems. The suggestions, principles, and few rules that follow have all been tried out with different groups of students and individuals. The results, naturally, have varied proportionately with the ability and previous drawing experience of each. In the majority of cases, however, the results have proved satisfactory, not only to

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