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Download Along the Border of Heaven by Richard M Barnhart, John P. O'Neill & Joan S. Ohrstrom, PDF

By Richard M Barnhart, John P. O'Neill & Joan S. Ohrstrom, WalterJ.F Yee, Gerald Pryor

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Figure 2-4D (2) shows where I used the broad-point 2H to put a little shadow on the lintel above the doorway where part of it would be shadow in the A part of the barn. main few touches on the of the vertical boards, first toned in figure 2-4, this time with the HB mechanical pencil brought the visual relationships to where Showing I wanted them. wood the texture In figure 2-5, I added a few indications of the actual grain pattern in the wood on the front, or sunny, side of the barn. done after I first This graining was toned these boards a 19 20 Countryside Sketching Figure 2-4 (A) Detail of the doorway into the shed (B) Broad-point HB pencil toned the boards that face to the left, away from the sun.

A related way of showing background, which might be trees or distant hills, is to present a solid tone indicating that something there. This can be a light, is medium, or dark tone depending on the needs of your particular sketch. Ways to address this question will be presented throughout the book in terms of the particular objectives of different demonstration sketches. Figures 4-2, 4-3, and 4-4 show such monotone backgrounds. Figure 4-2 was drawn using a medium- to heavy-point pen, closely spacing the vertical lines of the background hills to create a dark tone.

Figure 3-4 sees from artist the What the high point of view. Horizon The Horizon drawing must be All the horizon. " There is remember: level, just work _ one primary rule to the horizon is always at eye when you are looking down or straight up; but these except straight are rare viewpoints for a drawing or painting. Consider the little stick figure artist in figure 3-1 who is standing in the middle of a country road looking at a covered bridge. The artist is holding up a picture frame that contains only a piece of glass.

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