Landscape pencil sketch

Landscape pencil sketch - Beautiful Frame work 

                     Landscape pencil sketch - Beautiful Frame work

                           pencil sketch scenery    

About this Pencil sketch

Easy to Hang: Canvases already stretched on wooden frames, gallery wrapped, with hooks, ready to hang.
Size: 8 x 8 inches, 12 x 12 inches, 16 x 16 inches, 20 x 20 inches, 24 x 24 inches, 28 x 28 inches.
Wall Art Decor: A perfect wall decorative painting artwork for living room, bedroom, kitchen, hotel, dining room, office, bathroom, bar, restaurant, lobby, hallway, etc. We do our best to provide an accurate description and realistic images.
Perfect Gift Idea - Great idea for your family, friends, partner and relative on birthday, wedding day, anniversary, festival, Valentine's Day, Mother's Day, Thanksgiving Day, Christmas and New Years and others .
Please pay attention to the seller name "Atstares" when you click the button: "Add to cart", to ensure the quality

Brand                                 Artstares
Size                                         12 x 12 Inch
Color                                 Shadow5fly7409
Material                                 Canvas
Theme                                 Abstract
Item Dimensions LxWxH 12 x 12 x 0.01 inches
Frame Material                 Wood

Product description

Size: 12 x 12 inches | Color: Shadow5fly7409
8 x 8 inches = 20x20cm
12 x 12 inches = 30x30 cm
16 x 16 inches = 40x40 cm
20 x 20 inches = 50x50 cm
24 x 24 inches = 60x60 cm
28 x 28 inch = 70x70 cm

Vivid image prints on quality canvases to create the look of wall art. The printed canvas is now perfectly stretched on a wooden frame with hooks, ready to hang. Canvas wall art and canvas paintings are the modern way to brighten the walls of your home and relax after work. Our wall decor category offers quality yet affordable canvas art. We have a painting gallery with many decorative paintings for sale and beautiful canvas prints from a multitude of periods and styles including modern art, contemporary art, abstract art, famous art, pop art and much more, to meet your every need. of fine arts.
If you have any questions about wall art, please feel free to contact us.

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 Are you intimidated by the idea of ​​drawing outside?

Like you, I used to suffer from the fear of drawing outdoors.

The insecurities that my sketchbook was being judged stopped me.

What if someone looks over my shoulder to see a "bad" drawing? What would they think?

What was a bad artist, who did not know how to draw?

It does not have to be this way.

I learned that when I wanted to post something to the page quickly, I had to adapt my methods.

I decided to "draw" with brush and ink, not with pencil, so that the "drawing" would go through that awkward stage and begin to resemble the subject.

I felt more confident with a brush, the marks could be bolder, looser.

You could give the impression of a tree, a building, light and shadow with easy strokes rather than working in a detailed pencil drawing.

It works and I think it can help you with your drawing problems too.

I went from brush and ink to a much more travel-friendly set of tools that combined both.

The SECRET behind an effective landscape sketch
My "secret weapon" became a Brush Pen.

I was able to be much freer with markings, creating detailed lines next to broken edges and that forced me to be sharp, no more erasing areas and start over.

Make a mark and leave it.

The pen combined the flow and convenience of a pen with the variety and texture of a brush.

Shifting your way of thinking from pencil to pen and from long, detailed drawings to quick expressionist sketches can revolutionize the way you approach your sketch, giving yourself permission to enjoy the process and atmosphere of the sketch as much as the finished piece.

Simple principles that make your landscape sketches 100% more powerful.

However, even with the right tools, many students still feel overwhelmed when transferring a vast landscape to a small sketch pad.

Trying to create realistic depth and perspective, including a focal point and choosing what to draw, when there are so many potential viewpoints in a landscape, can result in frustration for the student.

I see the same compositional errors crop up over and over again, so I want to focus on the theory behind 'how' to choose a good composition for your drawings, the thought process I use when deciding what to include (or what to omit) in a He drew.

I developed this course to show you exactly how I approach landscape sketching, the materials I use, and how you can do the same.

What's in the course?
The course is a mix of actual sketches on site with lessons and studio-based concepts. So you can learn the steps in the studio and then see how they translate on the street.

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pencil sketches easy

Theory of drawing.

In general, it is assumed that people have a talent for drawing or not, and when they do, they learn organically over time. There is a kind of mystique around the idea of ​​drawing. More magic than science.

In the excellent book "Drawing on the Right Side of the Brain", Betty Edwards writes in the introduction:

Many people regard drawing as something mysterious and even magical.

My perspective is that we feel it is magical because it is a type of skill that is more holistic than others. We always do all the work, all the time, and you always get the ruthless internal comparison with what we had in mind. While there are different components that we can learn to draw (color, shapes, materials, etc.), the line itself goes where we want it to go or not. Either it is there or it is not.

My skill level has peaks and valleys. I can produce high-quality work with certain subjects and especially digital, but I'm not that good with the human figure and with certain techniques.

That is why a while ago I began to study again in a more structured way, borrowing from my other studies on how our mind learns. I also raised my limitations: just black and white, just ink to start with.

I did that for many reasons. Concentrate for sure, but also because I already know the technique of refining a line to the correct shape. Instead, he wanted to learn to draw a line right the first time. Which is a bit absurd, I know it doesn't really work that way, but it's a challenge and a pleasure for me.

After a while thanks to these minimalist limits I began to notice more clearly how I was learning as well. I found that every time I copied something, very slowly tracing the lines on the paper trying to get the correct curve, it improved my ability to make that specific shape again from memory.

I started doing that on purpose, hovering between direct copying for a while and then trying to repeat by breaking down and recomposing in different ways the things I was copying.

Remembering from memory was worse, about 80% worse than the original copy I made, but still an improvement in the same way before the copy exercise I did.

That meant that little by little I was acquiring knowledge thanks to the copy. The straight lines that were intended to be legs now acquired a slight curvature, still far from perfect, but closer to reality. And even the straight line techniques for a slimmer leg were better.

I was also acquiring patterns. When I had to do a specific body position, in practice my mind did nothing but try to recall from memory the other time I did it and shape it in the same way.

And then I realized what my art teacher kept telling us over and over again, over a decade ago:

Do not stereotype.

He was obsessed with it, to the point that we joked about it, but that's the essence behind this process. He was teaching us to draw, so copying stereotypes from memory made no sense. We had to copy from reality, from another drawing, from anything. But not from memory.

A technique can be acquired and repeated, which in practice means repeating from memory, but when we learn, we have to copy from reality.

When it comes to drawing techniques, this could also mean copying a specific technique, not just the subject. But.

It is the copy where learning occurs.

You don't see the picture.

It is not remembering the image from memory.

The key is the moment the image is being copied.

The interesting thing about this learning technique, copying and then reassembling from memory, is a general learning technique. It shouldn't seem surprising now that this is also the genius behind LEGO - we get a box with one specific thing to build on, but then we can take it apart and put it back together in many other ways, also incorporating other parts that we had previously acquired to build even better ones. and complex structures.

Ultimately, this learning theory can be summarized as a continuous repetition of three steps:

  1. Copy - Copy as is, as accurately as possible.
  2. Combine: hide the source, retrieve it from memory and try to reproduce it, disassembling and reassembling the subject in different ways. Also composing it with other parts that you already know how to do to see how they can come together.
  3. Check - Go back to the source and check how close you came to remembering from memory, highlighting discrepancies, which is where improvements can be made.
So if you like to draw, why don't you choose an artist you like and do the copy, combine and review the above steps once a day.


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