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Drawing the Landscape - The Art of Hand Drawing and Digital Representation 4e
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Table of Contents

Preface vii

Preface to the Third Edition ix

Acknowledgments xiii

1 The Essence of Drawing 1

Definition of Drawing 3

Drawing as Conceptualizing 7

Drawing as Seeing 7

Freedom and Structure 12

The Power of Drawing 16

The Spirit of Drawing 17

2 The Daybook 19

Types of Daybooks 27

Media 29

Mixed Media 31

Doodles 32

Daybook Variations 33

3 The Creative Environment 43

The Studio 44

The Artistic Community 50

Inspiration 56

The Creative Process 60

4 Equipment and Drawing Instruments 65

Equipment 66

The Pencil 69

Drawing Paper 72

Soft Media 73

Pen and Ink 76

Technical Pens 77

Colored Pencils 80

Watercolor 84

5 Preliminary Drawing Exercises 93

Holding the Drawing Instrument 94

6 Tone and Texture 111

Light, Shade, and Shadow 112

Tone and Value 113

Hatching 114

Crosshatching 115

Chiaroscuro 116

Light 116

Shadow 117

Basic Solids in Tone 119

Texture 122

7 Drawing Techniques for Trees and Plants 131

Contour Drawing 133

Gesture 136

Plant Forms 137

Plant Structure 137

Foliage 140

Shadow 147

Tree and Plant Massing 154

8 Composing the Landscape Drawing 157

The Picture Plane 162

Drawing Paper 164

The Classic Landscape Composition 169

Optical Devices 171

9 Freehand Perspective Drawing 181

Linear Perspective 183

Freehand Landscape Perspective 186

Horizon Line 187

Viewpoints and Vanishing Points 189

Proportional Relationships 191

Developing the Gestural Quality of Freehand

Perspective 200

Architectural Perspective 203

10 Drawing the Landscape in Plan, Elevation, and Section 207

The Landscape Plan 209

Frame of Reference 211

Scale 212

The Freehand Conceptual Plan 216

The Measured Plan 218

Ground Plane Treatments 219

Ground Plane Textures 220

Water 221

Architecture 224

Trees and Vegetation 225

Shadows 227

The Elevation 228

The Section 230

Illustrating the Elevation and Section 231

Elevation Perspective 233

11 Axonometric and Isometric Landscape Drawing 235

The Axonometric 239

The Isometric 242

Freehand Bird’s-Eye 243

The Exploded View 244

Illustrating the Axonometric and

Isometric 246

Composing the Paraline Drawing 250

12 Animating the Landscape: Visual Narratives, Storyboards, and Moving Drawings 251

The Figure in Space 252

Comics and the Visual Narrative 259

Storyboarding the Landscape 263

Moving Drawings: Animating the Storyboard 271

13 The Hybrid Drawing 275

The Joy of Graphite 277

Embellishing the Wireframe 280

Digital Rendering Techniques 281

Drawing over Photographs 285

The Cézanne Effect and the

Impressionist Image 286

Techniques of Sequential Artists 288

Tea and Coffee Cocktail Washes 291

The Scanned Wash 291

Special Effects for Texturing Digital Prints 292

Overpainting with Oils 293

The Tableau 294

Summary 297

14 The Art of Presentation 299

The Mock-up 302

Lettering 309

The Competition Drawing 310

Experimental Media: A Gallery of Ideas 312

Conclusion 319

Afterword 323

References 325

Index 327

About the Author

Chip Sullivanis Professor of Landscape Architecture at the University of California, Berkeley. Numerous articles have been written by and about Mr. Sullivan, who continues to show his work in galleries across the country. He is the recipient of many prestigious awards, including the Rome Prize. Earlier in his career, he taught at Harvard University and worked at Sasaki Associates.

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