This article is about my charcoal drawing of the Philadelphia, Pennsylvania, downtown skyline. Key point to this drawing are as follows:
The absence of clouds and foreground.
It is my intention with this drawing to make a strong and bold drawing of the Philadelphia skyline by focusing my attention on the structures. Charcoal lends itself to this kind of drawing because of the soft and dark text of the coal, it leave granules at every point, thus making it very difficult to execute for it is ever so easy smear and ruin the drawing.
In this lovely drawing of Philadelphia I have made an effort to carefully detail both the landscape and the skyscrapers that tower behind FDR Park. When doing this I made use of cross hatching to get the full range of tones given off my shade and shadows of both the landscape and the buildings. I am very pleased with how well the hatching brings out the charm of the Classical structure in the bottom right side of the drawing.
The drawing of the trees is very full and rich which is essential in visually supporting the skyscrapers that jut out from behind them. There is a strong sense of continuity throughout the drawings that makes the viewer want to come back to look and see what other things can be seen in the drawing.
This article is about my pen & ink drawing of the Philadelphia, Pennsylvania, skyline. To do such a drawing I suggest the following:
Have high quality permanent ink and excellent pens or styluses.
Choose a vantage point that take in the desired angle of the site.
Look at the horizon line and make sure that it is not in the center of your drawing.
This drawing is of the central downtown district on the Schuylkill River. This is my favorite drawing of Philadelphia, it is one of those drawing where all of the elements that I was seeking came together.
The brown ink is a plus for this image, it nicely compliments the flow of the Schuylkill River with it’s “brown trees” along the shore line. Most of the line work is straight and I have used very little cross hatching as the lighting of the day does not place demands for shade and shadows.
This article is about my watercolor painting of downtownAtlanta, Georgia, at night. To do such a watercolor I suggest the following:
Take extra art supplies and food with a blanket.
Study the city lights and take in all their ranges of color.
Look at the buildings as figures rather than structures
A most difficult task indeed, doing a watercolor of the city at night, but it is done. The one thing that I had to watch out for at all time was the loss of detail in the watercolor washes. In other words, as I applied the washes of color to the paper I had to do it in such a way as to keep the lines clear and not muddied over. It is amazing how even a light clear stroke can cloud up a pen & ink line!
It is all about lights and street lights to be exact. With the son far gone you need the source of the street and traffic lights to illuminate your skyline by reflecting their shine onto and around the building. The light of course pours into the sky but this is very difficult to catch because in the process you can muddy up details of the structure to capture a vapor. It is sort of like stepping on dollars to pick up dimes. Just go with the flow of light as you see it and then put it down on paper, do not be concerned with be so exact and precise ~ this is what watercolors are all about!
Give yourself time, be sure to be in the site you select early, as the sun sets faster than you think.
Bring lots of coffee and snacks.
Do quick studies before you tackle the big sunset because it gets your eyes and mind in tune with the changing skyline.
This watercolor is a joy and reflects my feeling about the great and wonderful city of Atlanta. I wanted the color of the sky to be the dominant element of this watercolor from the start. Therefore, I had to diminish the detailing of the landscape and skyscrapers so as not to draw attention to them. The looser the better because nothing in this seen is looser than the gases of the atmosphere which is man manifest in the vast colors of the setting sun.
It is all about color and space not line. If you think of opera you will know that the musicians are the support element of the opera and the voice is the main element. Though the orchestral themes can be very powerful and grand they should never upstage the voices on stage. The same holds true in this context of watercolor painting. It is my intention to have the watercolor, especially in sky, be the voice of the painting, and that the line that form the buildings and landscape is the orchestra.
This article is about my red pen & ink night time watercolor of Piedmont Park, midtown Atlanta, Georgia. To do this kind of night scene I would suggest the following:
Bring extra coffee and snacks, along with a small blanket.
Have amble art supplies.
Study ever so carefully the city lights, for they are the light source that you need to work with.
This watercolor was difficult to execute do to the fact that the water of Lake Clara Meed becomes the same tone as the evening sky. Thus, I had to work more with the ink to bring out the contour of the buildings in the background and the structure of the trees and bushes on the shore. I used extra ink via cross hatching along the shore’s edge to delineate the land from the water.
The bottom third of the watercolor is devoted to the lagoon. I have made the blue of the water a bit darker than the sky since it has no luminosity from the city lights to ease the darkness.
If you look carefully you can see that directly behind the buildings the sky is lightest and then as you move your eyes upward the sky darkens into the clouds. This is all due to the city light in the background and from downtown Atlanta, which is not so far off.
This article is about my watercolor painting of the Piedmont Park skyline in midtown Atlanta, Georgia. To undertake such a watercolor I would do the following:
Have all of your art supplies in hand with extra supplies.
Calculate your position in relation to the sun and the shade and shadows on the subject.
Study the contour lines of the buildings.
This lovely watercolor is from the edge of Lake Clara Meer looking toward the midtown skyscrapers. I have carefully done the watercolor of the water so that it reflects both the trees and the buildings in the background.
I have made it a point not to use very much ink in this painting and let the watercolors have the stage.
The horizon line is gently below the center so that the base of the buildings would be adequately supported by the image of the trees and the reflections in the water. The green is heavily mixed with lemon yellow to give a lighter tone to the foliage.
This article is about my brown pen & ink drawing of Piedmont Park in Atlanta, Georgia. To to this kind of drawing, it is recommended that you do the following:
Have extra supplies and food on hand.
Study the contour of the trees with the skyscrapers.
Make use of cross hatching for deeper tones.
The brown ink that I have employed for this drawing has worked very well for me. The tone of the ink goes will with the light brown paper and the shadows in the drawing all compliment this tone.
I am very will pleased with how well cross hatching has made Lake Clara Meer look so alive. When I look at this drawing all that I can see is the stirring of the lagoon.
The skyscrapers in the background almost seem to grow out of the landscape. The use of ink details in the shrubs and trees is very will executed and convinces the viewer that this is truly a tranquil place.
This article is about my red pen & ink drawing of the Atlanta, Georgia, skyline at Piedmont Park. To do this it is highly recommend to do the following:
Have all of you art supplies in order and extra stocks of it.
Study the movement of the water.
Watch the time of day and calculate the time for the angle of the sun.
Regarding the angle of the sun, which is very important, be sure to have the rays of light working with you and on the subject. Do not have the subject in shadows. It is amazing how often I encounter artist drawing their subject in the shade. Much of the time this was due to poor calculation of time, for as the day passes the sun moves and soon they find that their subject is in the shade. Make sure that you give yourself time!
In this red pen & ink drawing I have made use of the suns rays which in this drawing are coming in from behind me over and to the right. The shade of the buildings in the back ground reflect this.
I am very please with my handling of the motion of the water. When you look at the center you can see how the strokes of ink have dissipated. Keep in mind that loose following lines work better for you on water than cross hatching. Hatching is best utilized in places such as under the trees on the shore line.
All in all the clarity of line work in the drawing is very good and has rendered the landscape of Piedmont Park admirably.
This article is about my pen & ink night time drawing of Lake Clara Meer at Piedmont Park, in Atlanta, Georgia. To do this I would suggest the following:
Have all of your art supplied and gear in place.
Bring lighting to allow you to work.
Spend a long time looking at the city lights to understand the contour of the buildings.
It is not a common practice to do landscape drawings at night. However, if you are only in town for a short time take advantage of this. It is my practice to do as much as I can in the short time that I am usually in places.
It is amazing just how much that you can see at night when you have set up your easel or table. There are many kinds of lighting fixtures to choose from. One you have your lighting in place it is quiet easy to work. The flip side of the coin however, is that you need to keep your working light at a lower than usual level of brightness because you need to be able to see out into the dark and thus your pupils need to dilate to take in that light. If you have bright lights on around you, then you will not be able to focus on things out in the darkness.
Cross hatching is king! In this pen & ink drawing cross hatching has become indispensable due to the darkness. However, you cannot let the darkness take over. If you make too many hatch marks then the drawing becomes to dense and then ruined. Remember it is not easy to see in the dark and then you have to take into account your eye adjustment between viewing the site and refocusing in the brighter light of your easel.
As dark as the scene was I have made the trees light so as to create a negative space to hold the composition together. There is an abundance of light in the center of the lagoon as well as on the building in the background. The deep darkness of the center sky behind the skyline makes for a wonderful perspective drawing without vanishing points.