Schematic drawing of Petra, Jordon

Project Description

What type of piece is this? Drawing Share a little about the materials, processes and techniques used to create this piece. Graphite pencil H What are you most proud of? In Drawing #1, I wanted to include other aspects covered in the initial lessons that I need to clarify for myself: (1) to create an imaginary horizon line, based on the perspective in the building carved into the rock. Given this is a sandy valley fully enclosed by mountains, I had no visible horizon to depend on; (2) to reinforce my understanding of the ground plane by keeping in mind the structure of the da Vinci drawing in Lesson 1. The photo itself provided the composing L's (here in black pencil). My horizon is imaginary (helped by perspective lines extended from the building) and I've overlaid in red and blue biro the Albertian veil. The horizontal line thus becomes my eye level line and the two blue biro lines help me "process" the ground plane (especially since it's undifferentiated sand in the photo); (3) to deliberately "flatten" space by using an equal line quality throughout, thus making the compositional elements very hard to "read" in places. It was very hard personally not to include any tone. (4) to work within a border, which will stop my tendency in my own drawing to "roam" away from what attracted me initially in the landscape; (5) to be conscious of overlap and making the necessary pleasing adjustments, e.g. the rocks behind the donkeys and carts; (6) to superimpose an Albertian veil on a landscape; (7) to acknowledge indirectly, in the donkeys and carriages at left, the discussion about hyperfocus, the "distraction" inherent in people, perspective and shading associated with park bench covered in the lessons. While I found it terribly hard not to include tone, I found myself still inadvertently drawing "light" by outlining some of the mid- and dark-tone shadows on the rock faces. What advice would you give someone starting this project? When it's not possible to draw outdoors, it's still possible to do a lot of 'thinking' and other important work indoors.

What you will need

  • Graphite

Q&A with Rod B

Patrick Connors asked:
Rod B, Congratulations on posting another group of drawings. It is a pleasure to see that you are drawing landscapes, outside when the weather permits and inside when it does not. Good application of the perspective grid in the Petra project. On the grid that represents the ground plane, would you be able to give them the illusion of squares rather than rectangles. This will be of use in setting up grids for your direct observation from nature as well.
Rod B answered:
Thanks for the feedback. I'll post a Project weekly - next week's will be based on Lessons 1-4 and include the Signac and Smart paintings plus drawings done outdoors.
Patrick Connors asked:
Rod B, Once again it is good that you are using the Albertian Veil to analyze space, this time in a Signac painting. In this painting you will need to move the Albertian Veil down a bit so that the horizontal center line is closer to the foundation of the buildings on the right. This was were Signac's eye-level was. Also, I think the vertical center line, although close, was a bit more to the left lining up with the right side of the chimney on the roof. I deduced this from following the diagonals of the wall on the left and the side of the house on the right.
Rod B answered:
Thanks for the feedback! It's been very valuable plotting these lines in the work of others and will continue this practice. I will re-post the Signac with the lines in their correct positions, as well as creating a squared ground plane in response to the feedback on the Petra.
Patrick Connors asked:
Rod B, Would yo be able to repost image #5? It is very light.
Rod B answered:
Will do, after adding some tone and variation in line quality. Feeling "brave" in the wake of your valued feedback on the others.

Skill Level