Patrick Connors asked:
Hello Lisaper, Welcome to Perspective in Landscape Drawing. Congratulations on posting your second project. The information you gave about the photo reference was important for this critique [If possible, please include your image reference]. As mentioned earlier [Please see most recent General Announcement], although it is preferred that you work from nature circumstance may dictate otherwise. The most important thing is to draw, no matter the reference source, and to draw something that delights you. To get the most from this course you should use images that predate the photograph due to the photograph's inability to recognize spatial layout the way we perceive. It tends to flatten space. One way to observe this is to turn a photograph of a landscape, or any artwork that is camera-conditioned, upside down and for a few seconds the entire landscape will lack depth. This happens for only 3-5 seconds and then the mind realizes it has been tricked and starts doing what it always does, perceiving space. Try this with an artwork that is not camera-conditioned, generally most work done before the advent of the photograph, and it retains all its spatial expression. Also, it would be of use if you would give everyone a bit more information: What size is your sketchbook, the tooth of the paper, inspiration, etc. That being said let's begin the critique. It said that this is Sketch 2 and there is a border around this drawing. Did you do the first project, if so for some reason it is not posting in the platform. *I just found it in your projects* Can you display it here with the rest? Back to Sketch 2: This composition is a lovely idea, a low-lying field, or plane as perspectivists would say, counterbalanced with the high mountains [Not to sure of what is depicted in the right hand center]. Your depiction of the flowers in the foreground is well done. It gives enough detail to inform the viewer of the importance of this element. For example one thing it does is to act as a foil to the distant mountains: soft, fragile versus hard, enduring. For the purpose of this exercise, it also gives the viewer an idea of the space, how far those mountains are. Also, you confirm this space with how the flowers in the middleground are rendered: less detailed. The problems with space come when the viewer looks at the mountains. The linear and tonal aspects of their depiction would mean they closer than the visual cues of the fore- and middleground have led us to expect. There are a great many paintings [remember to reference pre-photograph to understand the lesson here] that demonstrate how to depict landscapes with mountains, even dark mountains, and give the illusion of space. What also may help is if your fore- and middlegrounds had tone. This tone would give an anchor to the mountains rather than letting those areas "disappear or float." Look forward to your next posting and please remember to post that first drawing here so it can be critiqued.