V01 - Light Beyond The Trees

LIGHT BEYOND
THE
Brenda Hoddinott
V-01 ADVANCED: NATURE & STILL LIFE

Using both geometric and atmospheric perspectives, you create a three-dimensional space within
a forest. Emphasis is also placed on several techniques for rendering textured values.
The rendering of textures, and geometric and aerial perspectives, focus on the following:
Texture is defined with various tools and shading techniques which illustrate the surface
details of the trees and ground foliage.
Geometric perspective is applied to create the illusion that the closer trees are larger than
those farther away. Also, the bases of each tree seem to recede into the distance by drawing
each, from foreground to background, progressively higher within the drawing space.
Atmospheric (sometimes called aerial) perspective is utilized by illustrating the components
of the atmosphere, such as tiny particles of dust, pollen, or droplets of moisture. The trees in
the foreground are more detailed and have brighter highlights and darker shadows than the
ones farther away. Trees which are far away appear lighter in value and less detailed because
of the presence of more atmospheric components between them and the viewer.
Suggested drawing supplies include 2H, HB, 2B, 4B and 6B pencils (but a complete set from 6H
to 8B would be advantageous), vinyl and kneaded erasers, and 90 lb. cold pressed (heavily
textured) watercolor paper.
This lesson is recommended for artists with strong drawing skills, as well as home schooling,
academic and recreational fine art educators of advanced students.
14 PAGES – 25 ILLUSTRATIONS
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2002 (Revised 2006)
2
PLANNING THE COMPOSITION

Fourteen trees create the illusion of depth in this drawing. Assume that all the trees in this
drawing are, in reality, approximately the same size. However, in viewing them within the rules
of geometric perspective, they will be drawn various sizes.
Compare the following two illustrations to gain further insights into the process of creating this
drawing. To help identify which trees are closer to you, each one is numbered, thereby
establishing a guide for shading.
ILLUSTRATION 01-01
Tree number 1 is closest to
the viewer and number 14
is the farthest away.
Each tree is drawn
progressively darker from
the distant ground toward
the foreground, until you
get to number 1, which is
the darkest of all
Conversely, the higher
numbered trees have more
light values.
.
ILLUSTRATION 01-02
The trees with low numbers
are more detailed and have
brighter highlights and
darker shadows.
The light source in this
drawing is from behind and
to the right.
The shadow side of each
tree is shaded slightly
darker on the left.
PLANTING THE TREES WITHIN A DRAWING FORMAT

In the first few steps of this project, before you begin shading, you draw the outlines of all
fourteen trees. Remember to draw the base of each tree a little higher as the numbers get higher.
Also, the trees should become progressively smaller, as the numbers become higher.
Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may
not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
3
1. Outline a drawing format that is proportionately the same as mine.

My drawing is 4 by 6.5 inches. Other options include 6 by 9.75 inches or 8 by 13 inches.
2. Draw the outlines of the three trees closest to the viewer.

Tree 1, the largest tree, is the focal point of this drawing. Observe its location to the right of
the center of your drawing space. Its base is close to the bottom of the drawing space.
Tree 2, the second largest tree, is sketched close to the left edge of the drawing space, and
is smaller than the first tree. Its base is slightly higher than tree 1.
Tree 3, the third largest tree, is located on the right side of the drawing space. The base is a
little higher than tree 2.
ILLUSTRATION 01-03
3. Outline trees 4, 5, and 6.

Trees that are in front of others sometimes overlap trees behind them, providing an obvious
clue that one is in front of the other. Note how tree 4 appears to be in front of tree 6. Also,
trees appear smaller the farther they are away from you. Conversely, the closer they are to
you, the larger they look.
Tree 4 is not as wide as 1, 2 or 3, and has a base higher within the drawing format.
Tree 5 is sketched slightly to the left of 3.
Tree 6 is slightly behind 4, so you only need to indicate its right side and base.
4
ILLUSTRATION 01-04
4. Sketch trees 7, 8, and 9.

Tree 7 is very slightly to the left of 1. Tree 8 is to the left of Tree 7 (with a space in
between them). Tree 9 has a higher base than 8, and has only one vertical line to create the
illusion that it’s behind 7.
ILLUSTRATION 1-05
5
ILLUSTRATION 01-06
5. Add trees 10 and

13 to the left of 7,
8, and 9.
Keep in mind that the
trees are drawn
progressively higher
in the drawing space
as each number gets
higher, and each is a
little smaller as the
numbers get higher.
6. Draw the outlines

of trees 11 and 14
(to the right of 1).
ILLUSTRATION 01-07
7. Draw tree 12 on the far left of your

drawing space (refer to the
illustration on the next page).
8. Compare your drawing to mine and

make any changes you want.
Check the bases of all fourteen trees,
beginning with tree number 1 (the
largest tree), and working your way
back to number 14 (the smallest tree).
Make sure each base is drawn slightly
higher than the last.
6
ILLUSTRATION 01-08
CREATING DIVERSE TEXTURES

This section offers suggestions for rendering the various textures in this project.
ILLUSTRATION 01-09
The tooth of heavily textured watercolor paper
can help create many of the textures of the trees
and foliage! Hold your pencil sideways and use a
gentle circular motion as you add the shading.
Don’t press too hard with your pencil! The
gorgeous texture of this paper can be easily
flattened. Please be careful!
ILLUSTRATION 01-10
Remember to leave more

white paper showing
through, on the lighter
sides of the trees.
7
If you have a full set of pencils, use them to their full advantage, to draw many different values
without damaging the tooth of the paper. Refer to the following chart to help you choose pencils
for each value in this drawing:
ILLUSTRATION 01-11
6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B
ILLUSTRATION 01-12
Squirkling is a fun
way to render
various textures,
including trees,
plants, and ground
foliage.
Leave lots of the white of your paper showing through for the lighter values by making your
squirkle lines lighter and farther apart. In the darker values, the lines are darker and closer
together.
ILLUSTRATION 01-13
Take note
of the wide
range of
values
used for
drawing
the texture
of the
ground
foliages.
ADDING DEPTH AND TEXTURE TO A FOREST

In this section you add the shading that creates the illusion of numerous textures within a
perceived three-dimensional space
9. Shade in the sections behind the smaller trees, graduating from white at the top to
darker values towards the bottom.
Note that the shading only goes down as far as the base of the background trees.
8
10. Shade in trees 11, 12, 13, and 14.
ILLUSTRATION 01-14
ILLUSTRATION 01-15
11. Shade in trees 6, 7, 8, 9 and 10.

Refer to the illustrations 01-15 to
01-18 (on the next page).
Note that each tree is darker on
the left,
Keep in mind that the lower the
numbers become, the darker the
shading needs to be.
12. Use a combination of hatching

and squirkles to draw the
texture of the distant ground
foliage.
Also, add a little darker shading
to the bases of the trees.
9
ILLUSTRATION 01-16
ILLUSTRATION 01-17 ILLUSTRATION 01-18
10
13. Finish the shading of all the trees except the big one in the very front.
Use whatever pencils work best for you, and refer to illustrations 01-19 to 01-21, as you
add the following:
More textured shading at the base of the trees (to look like ground plants).
More contrast to the trunks of the trees.
A few small branches (growing downward) in the upper sections of some of the trees in
both the background and foreground.
ILLUSTRATION 01-19
11
ILLUSTRATION 01-20
ILLUSTRATION 01-21
14. Use various pencils and a full range of values

to finish the largest tree.
Refer to the following four illustrations.
15. Add darker values with very dark pencils to
the shadow side.
16. Add more high contrast, textured shading to
look like ground plants in the foreground.
ILLUSTRATION 01-22
12
ILLUSTRATION 01-23
13
ILLUSTRATION 01-24
17. Check over your drawing and make any adjustments needed. Then sign your name
and go hug a tree! ☺
ILLUSTRATION 01-25
14
BRENDA HODDINOTT - BIOGRAPHY

As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes
diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté
crayon, and oil paints.
My philosophy on teaching art is to focus primarily on the

enjoyment aspects while gently introducing the technical and
academic. Hence, in creating a passion for the subject matter, the
quest for knowledge also becomes enjoyable.
>Brenda Hoddinott<
Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She
developed strong technical competencies with a personal commitment to self directed learning,
and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a
self-educated civilian forensic artist, numerous criminal investigation departments have
employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police
departments. In 1992, Brenda was honored with a commendation from the Royal Canadian
Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic
Artists International”.
Her home-based art career included graphic design, and teaching recreational drawing and
painting classes. As supervisor of her community’s recreational art department, Brenda hired and
trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda
chose to end her eighteen-year career as an art educator in order to devote more time to writing,
drawing, painting, and developing her websites.
Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to
curriculum development. This site offers downloadable and printable drawing classes for
students of all abilities from the age of eight through adult. Students of all ages, levels and
abilities have praised the simple step-by-step instructional approach. This site is respected as a
resource for fine art educators, home schooling programs, and educational facilities throughout
the world.
LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

Drawing for Dummies (2003): Wiley Publishing, Inc., New, York, NY, this 336 page book
is available on various websites and in major bookstores internationally.
The Complete Idiot’s Guide to Drawing People (2004): Winner of the Alpha-Penguin
Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN,
this 360 page book is available on various websites and in major bookstores internationally.

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LIGHT BEYOND

V-01 ADVANCED: NATURE & STILL LIFE

PLANNING THE COMPOSITION

PLANTING THE TREES WITHIN A DRAWING FORMAT

1. Outline a drawing format that is proportionately the same as mine.

2. Draw the outlines of the three trees closest to the viewer.

3. Outline trees 4, 5, and 6.

4. Sketch trees 7, 8, and 9.

5. Add trees 10 and

6. Draw the outlines

7. Draw tree 12 on the far left of your

8. Compare your drawing to mine and

CREATING DIVERSE TEXTURES

Remember to leave more

ADDING DEPTH AND TEXTURE TO A FOREST

10. Shade in trees 11, 12, 13, and 14.

11. Shade in trees 6, 7, 8, 9 and 10.

12. Use a combination of hatching

ILLUSTRATION 01-17 ILLUSTRATION 01-18

14. Use various pencils and a full range of values

BRENDA HODDINOTT - BIOGRAPHY

My philosophy on teaching art is to focus primarily on the

LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT

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